Theatre Australia Christmas 1976 by UOW Library

IS S N 0 3 1 3 -2 0 :

C H R IS TM AS 1976

$1.25

DON'S PARTY From Play to Film

VOL 1 NO !

Widow’s Weeds by Anthony Shaffer Hobson’s Choice by Harold Brighouse The Merchant of Venice by William Shakespeare The Last of the Knucklemen by John Powers St. Joan by George Bernard Shaw Public Choice The Brass Hat by Thomas Muschamp Otherwise Engaged by Simon Gray M r. Mrs. Miss.

Number of subscriptions required

A d d r e s s ..........

□ □

P o stco d e P h o n e B u s ........................... H o m e

Y O U T H / p e n s io n e r (C ir c le c a t e g o r y ) s u b s c r i p t i o n s at $ _______e a c h = $ __________

Performance choice

A D U LT s u b s c rip tio n s at $ _______e a c h = $_

M a r k y o u r F IR S T p r e f e r e n c e 1 st a n d S E C O N D p r e f e r e n c e 2 nd

Adult

T o ta l p a y a b le

S__________

I e n c lo s e C h e q u e M o n e y O rd e r in p a y m e n t a n d an 18c s ta m p e d s e lf-a d d re s s e d e n v e lo p e fo r ja c k e t re tu r n P le a s e m a k e re m itta n c e p a y a b le to Q u e e n s la 'i* ! T h e a tre C o m p a n y w e lc o m e h e r e

No Moneys refunded

EVENINGS

MATINEES

FIRST NIGHT

TUES.

WED.

THURS.

FRI.

SAT.

WED

8 00 p m S 25 00

SAT.

8 00 p m S25 00

WED.

8 00 p m S 27 00

10 3 0 a m S 14 0 0

2 00 p m S 1 4 00

Ì0 0 p m S 27 0 0

Youth

( u n d e r 21

)/pensioner

TUES.

WED.

THURS.

FRI.

SAT.

8 00 p m S 19 00

WED.

8 00 p m S19 0 0

SAT.

8 00 p m S21 00

WED.

8 00 p m S21 00

10 3 0 a m S1 1 00

2 00 p m S 1 1 00

Ì 00 p m

P e n s io n e r e n title m e n t N o (s )

S21 0 0

Y o u th d a te ( s ) o f b irth

Mail to:

Call at:

Q u e e n s la n d T h e a tr e C o m p a n y G .P .O . B o x 21 B R IS B A N E Q. 4 0 01

Q u e e n s la n d T h e a tr e C o m p a n y S .G .I.O . T h e a tr e T u r b o t St. B R IS 1 0 .0 0 a m .-4 .0 0 p .m . M o n . to F ri.

Phone: L e w is S a v a g e . S u b s c r ip t io n O ffic e r

221 3061

E N Q U IR IE S

Theatre

IS S N

0313 - 2080

- A ustralia

AUSTRALIA'S NATIONAL THEATRE MAGAZINE

Nov-Dec, 1976

ED ITO R IA L BOARD: Bruce Knappett Robert Page Lucv Wagner

CONTENTS T H E A T R E G U I D E ................................................................................................................................................ 2 Q U O T E S A N D Q U E R IE S ................................................................................................................................... 4 L E T T E R S T O T H E E D I T O R ............................................................................................................................ 5 S P O T L IG H T ..............................................................................................................................................................6 K a th a rin e Brisbane A u s tra lia n N a tio n a l P la y w rig h ts C o n fe re n c e ............................................7 R E V IE W S Jack H ib b e rd C ity S u g a r........................................................................................................................9 J o h n S m y th e Cascando, F in g e r o n the Trigger, Peer G y n t ..................................................... 10 G arrie H u tc h in s o n A S tre tc h o f the Im a g in a tio n , The D u d d e rs ........................................... 12 D on B a tc h e lo r A n d The B ig M en F l y ............................................................................................. 13 R ichard F o th e rin g h a m H o w C o u ld Y ou Believe M e ? ............................................................... 14 R oger Pulvers Cabaret, D ir ty L in e n ...................................................................................................15 M aria Prerauer T a ra n ta ra ! T a ra n ta ra !................................................................................................16 Rex C ra m p h o rn C a lifo rn ia S u i t e ...................................................................................................... 17 D o ro th y H e w e tt A H a n d fu l o f F rie n d s ............................................................................................ 18 B a rry E aton C o n n e lli a t the Palace, D ead E yed D i c k s ............................................................ 20 K a th a rin e Brisbane R o o k e ry N o o k , Here Comes the N ig g e r.................................................. 21 M ichael M o rle y M a lf i ................................. 22 C o llin O 'B rie n A rs e n ic a n d O ld L a c e ............................................................................................... 24 P L A Y S C R IP T D o ro th y H e w e tt The B e a u tifu l M rs P o rtla n d A c t I I ............................................................... 26 F IL M , T V , & R A D IO B ruce B eresford D o n 's P a rty - F ro m P lay to F ilm ......................................................................32 A U S T R A L IA N C U R R E N T S Graeme B lu n d e ll D o n 's P a rty - Then a n d N o w ......................................................................... 34 J im S harm an, Rex C ra m p h o rn D ire c to rs ' D ia lo g u e ..................................................................... 38 M arlis Thiersch W om en in A u s tra lia n Theatre Part I I ................................................................. 40 P L A Y W R IG H T Stan M arks A n o th e r S u m m e r... A n o th e r D o ll......................................................................... . 42 C arole S k in n e r The C haracter o f O liv e ..........................................................................................4 4 I.T .I. N E W S ...........................................................................................................................................

IN T E R N A T IO N A L A l B. W einer A m e ric a n L in e U p ....................................................................................................... 4 6 T H E A T R E IN E D U C A T IO N Peter W ilk in s A Sense o f I n v o lv e m e n t ............................................................................................ 48 T E C H N IC A L A la n Lees D esigners' D i f f i c u l t i e s ...................................................................................................... 50 AM ATEUR R o b e rt Levis B rin g in g in th e P ro fe s s io n a ls ..................................................................................... 52 OPERA D avid G yger C a p ita l O pera................................................................................................................. .... BOOKS Helen van der P oorten H a n d fu l o f P a la c e s................................................................................... 56

P R O M O T IO N S A D V E R T IS IN G (Sydney) Sue Manger (02) 4 5 6 -2 0 6 8 A D V IS O R Y B O A R D John Bell Ellen Braye K atha rine Brisbane V ivia n C h a lw y n W .A . E n rig h t

L y n d a G ray Jack H ibbe rd Ken H o rle r R o b e rt Jordan P h ilip Mason Stan Marks

Jake N ew by Phil N oyce R a ym o n d O m odei P h ilip Parsons Diana Sharpe Ken S outhgate

D am io n S ta p le to n E liza beth S w eeting John T im lin T o n y T rench G u th rie W orb y R ichard W h e rre tt

T H E A T R E -A U S T R A L IA is p u blished b y T h eatre P ublic a tio n s L td ., 7 P resident Place, N ew L a m b to n H eights, N ew S o u th Wales 2 3 0 5 (Tel 049 5 2 5 9 7 6 ) on th e 1 9 th o f every m o n th . It is d is trib u te d b y s u b s c rip tio n and th ro u g h th e a tre fo y e rs etc., by T h eatre P u b lica tio n s and to newsagents th ro u g h o u t A u s tra lia by G o rd o n and G otch (A 'asia) L td ., M E L B O U R N E S Y D N E Y . P rinte d by N ew ey & Beath P ty. L td ., 10 B e lfo rd S t„ B roa dm ea dow , 2 2 92 N ew castle N.S.W. A D V E R T IS IN G A G E N T S : T R E W E E K E D U R N F O R D ASS. N. S ydney Tel. (02) 9 2 -0 2 4 7

E D ITO R IA L The g ra n t a llo c a tio n s have been de cid ed fo r a n o th e r year and in e v ita b ly th e re are th e usual winges - especially th is tim e w h e n , in real term s, th e purse strin gs are tig h te r. Our Concern is a b o u t th e o c to p u s g ro w th o f th e state th e a tre com panies w hen th e sm aller th e a tre com panies are fig h tin g fo r surviva l. A fig h t w h ic h fo rce s th e m , on th e ir re la tiv e ly m in iscu le grants, to go f o r co m m e rica l successes and th u s p ro m p ts th e q u e s tio n o f w h y th e y sho uld be subsidised a n yw a y. A v icio u s circle . The point o f subsidy is su re ly to p ro v id e th e rig h t to fa il in a long te rm search fo r o u r d ra m a tic in d e n tity . Its pu rpose is n o t to fu n d e m p ire b u ild in g on th e one hand and fo rc e necessary , and d is o rie n te d , co m p ro m ise on th e o th e r . T h ere is no p o s s ib ility o f h e a lth y c o m p e titio n in such a s itu a tio n . Tyrone G u thrie, back in 1 9 7 0 , p re d ic te d th a t ve ry s h o rtly A u s tra lia w o u ld be s u p p o rtin g o n ly one professional c o m p a n y in each state w ith all th e rest being fo rc e d to tu r n am ateu r. D espite th e em ergence o f th e A u s tra lia C o u n c il as th e p rim e cen tral fu n d in g o rg a n isa tio n fo r th e A rts , it is s till o n th e cards because o f the d is p a rity betw een state co m p a n y grants and th e rest. A given production sh o u ld cost as m u ch fo r any th e a tre to m o u n t so w h y , fo r instance, sho uld N im ro d , th e closest riva l to th e T o te , receive o n ly one f i f t h o f th e state co m p a n y's grant? A la s ta ir D uncan believes th a t th e grant fo r S yd n e y's M arian S tree t ($ 4 0 ,0 0 0 ) d o e sn 't a llo w ro o m fo r one slip -u p in cho ice o f progra m m e . S tate com panies already have an en orm o us head s ta rt; it w ill be a s o rry day fo r A u s tra lia n th e a tre if th e y ever achieve th e m o n o p o ly s itu a tio n to w h ic h th e y are heading and w h ic h some seem d e lib e ra te ly to w a n t.

WITH THANKS It is a w e lcom e task and one a p p ro p ria te to th e tim e o f year to th a n k th e m a ny pe ople w h o have made Theatre A u s tra lia possible. The o n ly onerous p a rt is th a t th e list w o u ld be to o long i f we w ere to in clu d e eveyone by name. G ra te fu l th a n ks m ust go to o u r s ta ff, c o n trib u to rs , a d viso ry b o a rd , representatives and p rin te rs . T o th e th e a tre com panies, especially N im ro d , H .V .T .C ., A .P .G ., N a tio n a l T h eatre P erth, and M .T .C . G ra nt S treet (tw ic e !), fo r b e n e fit nights. To D avid W illia m so n , P h ilip Parsons, K a th a rin e Brisbane, D o ro th y H e w e tt, Graeme B lu n d e ll, Jen ny R a n kin and M a rlis T h iersch, fo r having so m uch fa ith in th e m agazine as to have c o n trib u te d fin a n c ia lly o r guaranteed th e magazine. For services and in v o lv e m e n t in k in d , W .A . E n rig h t & Sons, E lle n B raye, th e U n iv e rs ity o f N ew castle, and M & L C asting. The R t. H on. A n th o n y S taley, J o h n M o s ty n and Bob A dam s fo r s y m p a th e tic discussions at a Federal level, to th e S tate c u ltu ra l d e p a rt m ents and N.S.W. Dram a F o u n d a tio n w h o w ill be helping th e Magazine in 19 77.

W h ilst every care is take n o f m a n u scrip ts a n d visual m a te ria l fo r th is magazine, th e p u b lish e rs a n d th e ir agents acce pt n o lia b ilit y fo r loss o r damage w hich m a y occur. U n s o lic ite d m a n u scrip ts a n d visual m a t e ria l w ill n o t be re tu rn e d unless acco m p a n ye d b y a stam ped addressed en velope. O p in io n s expressed in signed article s are n o t necess a r ily those o f the E d ito rs. © 1976 Theatre P u b lic a tio n s L td . * M a x im u m re co m m e n d e d re ta il p ric e o n ly . Prices su b je ct to change w ith o u t n o tic e .

Page 2 Theatre-Austral¡a Dec-Jan, 1976/7

Theatre Guid

— A.C.T.

DECEMBER 1 3 7 6 /7

CANBERRA THEATRE CENTRE (49 8211) Playhouse: R u m p le s tilts k in by the A lp h a T h eatre (Dec. 15 th - 1 8 th ) C anberra R e p e rto ry S o c ie ty 's E quus b y Peter S haffer D ire cte d b y Ross M cG rego r (D ec 2 0 th -2 3 rd ) C anberra T h eatre: S uperstar in R eview , w ith J on English and T re v o r W h ite (D ec. 1 7 th ) La tvian A rts Festival (D ec 2 8 th -3 0 th )

THEATRE THREE (47 4222) C anberra R e p e rto ry S o c ie ty C abaret D ire cte d by Ross M cG regor Designed b y Russell B ro w n

(to

GENESIAN (827 3023)

OLD TOTE (633 6122)

G aslight by P a trick H a m ilto n D ire c te d by Jo h n W illia m s (to Dec. 31st) Sark by Ben Travers D ire c te d b y K e vin Jackson Designed by P h ilip R itc h ie (o pen M id-Jan)

D ram a T h e a tre : The M a g istra te W ing P inero. D ire cte d b y Peter C o llin g w o o d (Jan 1st - Feb. 1 5 th )

HER MAJESTY'S (212 1066) P riv a te Lives b y N oel C ow ard D ire c te d b y R o b e rt C h e tw y n (to Dec 1 8 th )

1 8 th )

NEW SOUTH WALES: ABORIGINAL ARTS AND CULTURE CENTRE (6 9 9 2619) Here Comes the N igge r b y G. L. B o s to c k D ire cte d by Jack Charles (to Dec. 1 8 th ) The Trials o f S ylvester w ritte n and d ire c te d b y L o rra in e M a fi—W illia m s (M id -D e c ., 3 - 4 weeks.)

A n d N o w a t L a s t The N ib b le N o b b y s N u ts Show B y Ray B e ih le r and D e rry Blazer D ire cte d b y R o d n e y D elaney (fro m Dec 9 th ) W innie the P ooh b y A .A . M iln e . D ire cte d by M a tth e w O 'S u lliv a n (D ec. 1 7 th Jan 1 5 th ).

AUSTRALIAN

THEATRE

(51

P iano Speak to Me b y R o d n e y S tew art D ire cte d b y J o h n H o w itt (fro m M id

3841) - Jan)

BALMAIN BIJOU (827 3652) W ond erw om an by Reg L iv e rm o re D ire cte d by Peter Batey

Parade T h e a tre : R o o k e ry N o o k b y Ben Travers D ire cte d b y B ill R edm ond (to Jan 1 1 th ) The F a th e r b y A ugust S trin d b e rg (F eb. 9 th - M arch 2 9 th )

A.T.Y.P.

INDEPENDENT (929 7377)

SEYMOUR CENTRE (692 0555)

Opus T h e a tre G ro u p : The S ta r S pangled G irl b y N eil S im on D ire c te d b y F rank H arne (D ec. 15 th - Jan 22 nd) A d v e n tu re s o f Is k y b ib b le b y S tu a rt S m ith and M a rtin E rdm an. D ire cte d b y R ay A in s w o rth (Dec 4 th - Jan 31 st Sats.)

D o w n sta irs: Jeral Puppets - M u rg a tro y d & Fleabag. presented b y Jackie and J o h n Lew is (D ec 2 7 th - Jan 7 th ) A N ig h tin g a le S till Sings in B e rk e l y Square C ollee n C liffo rd D ire cte d by Peter W illia m s (Jan 3 rd - Jan 1 5 th ) Y o rk : A lic e in W o n d e rla n d b y Lew is C a rro ll D ire cte d by W illia m O rr (Dec 2 7 th - Jan 2 9 th ) E vere st: The M agic S h o w In te rn a tio n a l B ro th e rh o o d o f Magicians (D ec 2 8 th - 3 0 th ) H y p n o tis tic s S p ecta cular w ith Z o ltá n (D ec 2 9 th - 3 0 th ) M ichael A spinal , M usical S a tiris t (Jan 1 0 th 2 9 th ).

KILLARA 680 (498 7552)

COFFEE

THEATRE

M em ories - A T rib u te to Ten Years Devised by Jo h n H o w itt (c o n tin u in g )

T a ra n ta ra ! T a ra n ta ra ! G ilb e rt & S u lliva n M usic Revue D ire c te d by Ted Craig (to Dec 2 2 n d ) The L a s t B u n y ip b y W end y B la xla n d D ire c te d by A u d re y B laxland (Jan 4 th - 1 5 th , 11.00 & 1.30)

MINERVA (358 1221) S a tu rd a y N ig h t a t the T iv Chelsea B ro w n (to Dec 31st)

(to Dec. 1 8 th )

QUEENSLAND

MUSIQ HALL THEATRE RESTAURANT (909 8222) The Beast o f Belgrave S quare w ritte n d ire c te d by S tanley Walsh (c o n tin u in g )

THEATRE ROYAL (231 6577) D ead E ye d D ic k s b y Peter K ing. D ire cte d b y Peter O 'T o o le

ACTORS THEATRE (349 4026) and

A t th e C o n sva to riu m o f M usic T h eatre The M is a n th ro p e b y T o n y H arrison a fte r M o lie re D ire cte d b y D avid C le n d in n in g (to Dec 1 1 th )

NEW ARTS THEATRE, Glebe (660 3922) (c o n tin u in g )

BONAPARTE'S THEATRE RESTUARANT (357 255) The P u d d in ' C lub (Same D iffe re n c e ) B o o k b y M o rry S w e rd lin , W ords an d M usic b y Steve F e n to n . w ith A l Thom as , G o rd o n G le n w rig h t , V a le rie N ew stead, D avid G o d d a rd , C h ris tin e C am eron, Paul W oods (c o n tin u in g .)

The E lo c u tio n o f B enjam in F ra n k lin b y Steve J Spears. D ire cte d by R ich a rd W h e rre tt; starring G o rd o n C hater (c o n tin u in g ).

NEW THEATRE (519 3403) F a llin g A p a r t b y M o n te M e rric k D ire cte d by B rian S yro n (to Dec 18 th ) Caucasian C halk C ircle By B e rto lt B rech t D ire cte d by D avid Cisek (fro m Jan 1 5 th )

NIMROD (69 5003) U psta irs: A h a n d fu l o f F riends b y D avid W illia m s o n . D irecte d b y Jo h n Bell (to Jan. 8 th ) Young M o by Steve Spears. D irecte d by R ich a rd W h e rre tt (fro m Jan 1 5 th ) D o w n s ta irs: D ir ty L in e n by T o m S to p p a rd D ire cte d by Ken H o rle r (D ec. 1 7 th - Jan 15 th )

CAROUSEL (358 2333) H e llo H o lly w o o d Tracey Lee (to Dec 31st)

ENSEMBLE (929 8877) C a lifo rn ia S u ite b y N eil S im on D ire cte d by Hayes G o rd o n

A rth u r

R e-open 2 6 th F e b ru a ry.

MARIAN STREET (498 3166) ACTORS COMPANY (660 2503)

S u m m e rtim e Y o u th T h e a tre (Jan 1 0 th fo r 2 w eeks) N in e S w eetdays p ro d u c tio n fo r S ydne y Festival (Jan 1 2 th - 22 nd)

HUNTER VALLEY THEATRE COMPANY NEWCASTLE (26 2526) Dec.

JAIN

(c o n tin u in g )

R o d d Islan d: Treasure Isla n d adapted D ire c te d by Ken H o rle r (M id — Jan).

and

ARTS THEATRE (36 2344) C arousel b y Rogers and H am m erste in D ire cte d by A n d re w M cK e lve y & F o w le r (to Dec 2 4 th )

R obyn

LA BOITE (36 2296) H o w C o u ld Y ou B elieve Me W hen / S aid I'd Be Y o u r V a le t W hen Y ou K n o w I'v e Been A L ia r A ll M y L ife ? b y Joh n Bell a fte r G o ld o n i D ire cte d by Graeme Jo h n s to n (to Dec. 1 8 th ) The Sea b y E dw ard B ond D ire cte d b y D avid Bell (Jan 21st - Feb 1 2 th )

QUEENSLAND THEATRE COMPANY (221 3861) A n d the B ig M en F ly by A la n H opgood D ire cte d b y James R id e w o o d (to Dec. 18 th) Closed u n til Feb. 9 th

Theatre-Austral¡a Dec-Jan, 1976/7 Page 3

■\

|RY TWELFTH NIGHT (52 5889) Closed u n til M arch ex c e p t fo r (d ay) c h ild re n 's w o rksh o p s

rsOUTH AUSTRALIA ARTS THEATRE (87 5777)

A d e la id e R e p e rto ry C om p any l/Vho Goes Bare b y R ic h a rd H arris & Leslie D arb on D ire cte d b y M u rra y G eorge (to Dec 1 8 th )

ENJOY THE BEST MOMENTS

Back T h e a tre : A S tre tch o f th e Im a g in a tio n b y Jack H ib b e rd D ire cte d b y Paul H a m p to n (to Dec 2 4 th ) St M arks H a ll: The Y oung Peer G y n t fro m H e n rik Ibsen D ire cte d b y J en ny K e m p (to Dec 2 4 th )

O p

AUSTRALIAN THEATRE

HER MAJESTY'S (663 3211) S n o w W h ite M o u n te d b y Rudas O rg a n isa tio n , S ydne y (Jan 3 rd - 3 0 th )

LA MAMA (347 6085) FESTIVAL CENTRE (51 2292) Space: E l G rande de Coca C ola fro m an idea J b y R o n House and D iz W h ite D ire cte d b y Joe La to n a P layhouse: (and see S .A .T .C .) M r F a t F rie n d by Charles Laurence. I D ire cte d b y C h ris to p h e r B ro w n (Jan 2 0 th | Feb 1 9 th )

Q THEATRE (223 5651/278 2319) W o rksh o p P ro d u c tio n

SHERIDAN (267 3751 evngs) | A d e la id e T h e a tre G ro u p Jack th e R ip p e r b y R o n Pem ber and D ennis de M arne D ire cte d b y B rian D ebnam (to D ec 1 8 th ) > A C hristm as C a ro l adapted b y B e tty Q u in n I D ire cte d b y T re v o r Joh nson (to Dec 1 8 th )

SOUTH AUSTRALIAN THEATRE COMPANY (51 5151) H a p p y L a nding s b y M ichael Cove D ire cte d by George O g ilv ie (to Dec 1 8 th ) | O ld K in g C ole b y K en C am pbell D ire cte d b y R oger C hapm an (D ec 2 8 th Jan 1 5 th )

S t ill L ife b y James C la yd o n D irecte d b y James C la yd o n (to Dec 1 9 th )

LAST LAUGH (419 6226) Crackers a t th e S avoy b y G arde H u tc h in s o n (to M id Jan)

MELBOURNE THEATRE COMPANY (645 1100) Russell S tre e t: O th e r Tim es b y R ay L a w le r D ire c te d b y J o h n S um ner Designed b y A n n e Fraser (D ec 1 6 th - Jan 2 2 nd) S u m m e r o f th e S eventeenth D o ll b y R ay L a w le r D ire cte d b y J o h n S um n er (Jan 2 4 th - Feb 5 th ) S t. M a rtin s : C ity S uga r b y S tephen P o lia k o ff D ire cte d b y Ian Giles (to Jan 8 th ) Gam e o f L o v e a n d Chance b y P ierre de M a riva u x D ire cte d b y M ic k R odger (Jan 1 3 th - M ar 5 th ) G ra nt S tre e t: C h id le y b y A lm a de G ro en D ire cte d b y G a rrie H u tc h in s o n

REGENT PALACE The R o c k y H o rr o r S h o w (c o n tin u in g )

WINDSOR REGIS (51 6979)

HOBART REPERTORY THEATRE

^THEATRE ROYAL T h e A p p re n tic e T h e a tre W in n ie th e P ooh b y A .A . M iln e (to Dec 1 1th )

VICTORIA

WESTERN AUSTRALIA HOLE IN THE WALL (81 2403) M ix e d D oub les by H a ro ld P in te r, A y c k b o u rn e , James Saunders and O thers.

is a Christmas present that lasts the whole year.

• • •

T o A u stra lia 's firs t tr u ly n a tio n a l and c o m p rehensive th e a tre magazine. F o r n a tio n w id e reviews and a fu ll range o f article s on A u s tra lia n th e a tre practice. To a magazine w h ich has th e fu ll s u p p o rt o f the c o u n try 's leading th e a tre com panies.

A la n

D irecte d by J o h n M ilson (to J a n 1st) H o w D oes Y o u r G arden G ro w ? b y J im M cN e il D irecte d b y A arne Neem e (fro m Jan 1 5 th )

AUSTRALIAN PERFORMING GROUP (347 7133)

r F ro n t T h e a tre : The D udd ers b y J o h n R o m e ril & • J o h n T im lin D ire c te d b y J o h n R o m e ril (to Dec 2 4 th ) Eugenie K n o x in a P rogram m e o f Dance (Jan 7 th - 2 2 n d )

Theatre - Australia

SUBSCRIBE NOW tz,

The N a ke d V ic a r S h o w b y T o n y S e ttle r D ire cte d B y G il T u c k e r (to Jan 31 st) and G ary R ile y

'T A S M A N IA Jack a n d th e B eanstalk (to Dec. 17 th )

A Gift Subscription to

B y Post fro m th e pu blishers — T h e a tre P ub lic a tio n s L td ., 7 President Place, N ew L a m b to n H eights, N ew S outh Wales, 2 3 0 5 A u stra lia . A n n u a l S u b scrip tio n s o n ly accepted. Rates: A us $ 1 5 .0 0 * ($ 2 0 .0 0 overseas)* U .K . £ 1 2 .0 0 * U .S .A . $ 2 0 .0 0 * N a m e ................................................................................

PLAYHOUSE (25 3344) Closed fo r R e n o va tio n s u n til 7 th Feb. The P lough a n d Stars, O ld T o te P ro d u c tio n (opens Feb 7 th )

_______________________________ )

A ddress............................................................................. ...............................................P o stco d e ......................... B y H and : Please ask y o u r newsagent to place a regular o rd e r o f T h e a tre -A u s tra lia fo r yo u . Price per co p y $ 1 .2 5 .* Please a llo w 21 days fo r firs t p o s ta l d e live ry

Page 4 Theatre-AustraUa Dec-Jan, 1976/7

F IR S T A U S T R A L IA N T R IL O G Y " I t is an e n th ra llin g experience to d ire c t R ay La w le r's trilo g y (S u m m e r o f th e Seven te e n th D o ll, K id Skates, O th e r Tim es) - th e firs t I believe b y an A u s tra lia n . Its stre n g th w ill be seen o n S aturdays F e b ru a ry 1 2 th and F e b ru a ry 1 9 th w hen audiences w ill have th e u n iq u e experience o f fo llo w in g th e characters th ro u g h seventeen years, not ju s t th e ge n e ra tio n o f one p la y ." John S um ner, A r tis tic D ire c to r, M e lb o u rn e Theatre C om p any. S H A R M A N T O D IR E C T A N O T H E R W H IT E A fte r The Season a t S arsaparilla J im Sharm an is to w o rk o n a n o th e r P a tric k W h ite s c rip t. "T h is tim e i t ’s f o r a film based o n a sh o rt s to ry . The N ig h t ... The P row ler. I'm pre p a rin g th e film fo r sh o o tin g at th e end o f n e x t year w ith p ro d u c e r T o n y B u c k le y ." A n d th e th e a tre ? "B e tw e e n n o w and th e n I w ill be d o in g a n o th e r p ro d u c tio n b u t I ha ve n 't de cid ed as y e t w h a t it w ill be.” (See J im S harm an in dia lo g u e w ith R ex C ra m p h o rn Page 38 .)

SUSANNAH'S COMPLAINT

Q UO TES A

C R IT IC S S E L F - C R IT IC IS M Perhaps th e m ost in te re s tin g th in g d ire c tin g A lm a de G ro en's C h id le y is d iffe re n c e be tw een w o rk in g w ith actors te x t , and s ittin g in a th e a tre and w a tc h in g h o w a pla y fits in to one's c u rre n t version o f th e h is to ry and th e o ry o f th e th e a tre . D o in g it is m uch m o re d if f ic u lt th a n w a tch in g and p o u n d in g th e ty p e w rite r. W hatever th e re la tive im p o rta n c e o f in te lle c tu a l co n s tru c ts in vie w in g a p e rfo rm a n ce th e y c e rta in ly f ly o u t th e w in d o w in th e rehearsal ro o m . It is very easy fo r a c r itic (I d o it all th e tim e m yse lf) to m ore o r less at ra n d o m p ic k a th e o ry o r an a rtis tic m o vem en t (lik e E xpre ssio nism , say: its e lf an a r tific ia l c o n s tru c t o f c ritic s ) and im pose it o n a p ro d u c tio n . It's m u ch ha rd e r to fin d a s ty le o u t o f w h a t on ce appeared to be a clear analysis o f a m isu n d e rsto o d p ro p h e t in A u s tra lia , b u t n o w is a huge array o f in d iv id u a l lines and acto rs pro b le m s. I m ean, no c ritic in th e w o rld has ever spent six w eeks reading ing and discussing a p la y ove r and over again. Unless, o f course he is a be lie ver in th e Jo h n La hr d ir t y hand th e o ry o f c ritic is m . It's a big he lp w o rk in g w ith to le ra n t, e xp e r ienced and in ve n tive a cto rs, as I am , b u t th e re is s till a gap be tw een w h a t I say, and w h a t th e y say and w h a t a c tu a lly happens. We ta lk a b o u t, fo r instance, m o tiv a tio n a l aspects o f a cha racte r

G arrie H u tc h in s o n , G raem e B lu n d e ll a n d C a rillo

LETTERS TO

Susannah Y o rk ha sn't m u ch a cq uainta nce w ith A u s tra lia n plays. She's been to o busy w o rk in g here fo r th a t. B u t she was im pressed b y D avid W illia m s o n ’s s c rip t fo r E liza Fraser, "o n c e I'd g o t used to its idiosyn cracies. Every language has its o w n ." Th e p e c u lia titie s o f th e star system in trig u e her. In England Peter O 'T o o le w o u ld n 't a u to m a tic a lly have th e m flo c k in g in as he does here. "T h e re is th e th o u g h t 'th e y 'll d o a n o th e r'. B u t people d o n 't h o n o u r th e ir stars enough, w h ic h is perhaps th e p ro b le m f o r A u s tra lia n actors a t h o m e ." She d o e s n 't feel th a t she sh o u ld be fe te d as a m a tte r o f course; " I d o n 't believe in th e H o lly w o o d m e n ta lity - e n te rta in e rs have to w o o th e ir p u b lic .” A n d A u s tra lia n audiences? "T h e y 're v e ry ho nest. It's sha m efu l th a t one sho uld be a ffe c te d b y on e's personal life th a t da y, b u t if one is, th e audiences are sus c e p tib le . A n d if th e y d o n 't lik e y o u , y o u k n o w it . " W hich brin gs us to Susannah's big beef th e b o o k in g system . " I t 's in c re d ib le , p e ople can o n ly b o o k tw o weeks in advance and th e n th e y 're to ld w e 're b o o k e d o u t w hen w e a re n 't. A c to rs w o rk th e ir socks o f f and its all th e ha rder w hen th e agency a llo c a tio n s o r w hatever prevents us reaching some o f th e o rd in a ry people w h o w a n t to com e to P riv a te Lives ! !

Dear Sirs, M arlies T h ie rsch 's W om en In A u s tra lia n Theatre (T .A ., N ov-D ec 1 9 76, p p 46-7) c o n ta in s so m a n y errors th a t her a p o lo g y -in advance seems e m in e n tly ju s tifie d . A m o n g th e m : The C u rre n cy Lass was p e rfo rm e d a t th e R o y a l V ic to ria n . George C o p p in was n o t, in fa c t, "T h e F a th e r o f th e A u s tra lia n T h e a tre ", th o u g h several w rite rs have so described Jiim : th e accolade rig h tly belongs to B a rn e tt Levey w h o established S yd n e y's fir s t T h e a tre R oyal in 1 8 33. Maggie M o ore and J.C. W illia m so n d id n o t fir s t com e t o A u s tra lia in 1 8 7 3 ; th e y a rrive d on 1st J u ly , 1 8 74. In co m p a rin g M elba and N e llie S te w a rt, Ms T h iersch says, "R e c e n tly tw o plays have been w ritte n , b y m en, a b o u t M elba, b u t N e llie S te w a rt w ro te her life 's s to ry h e rs e lf'" M elba, to o , w ro te an a u to b io g ra p h y : M elodies a n d M em ories, p u b lish e d in 1925. A n d m e n tio n sh o u ld have been made o f M a jo rie S m ith 's b io g ra p h y o f N e llie S te w a rt, S w eet N e ll o f O ld S yd n e y, p u b lish e d in 1973. Th e D uke o f Orleans w ith w h o m M elba was associated was P h ilip p e , n o t Lo uis P h ilip p e , w h o had d ie d in 18 5 0 . A n d M elba d id n o t "C o m e back to A u s tra lia to becom e Dame N e llie in 1 9 1 8 ." She re tu rn e d to her ho m elan d m a ny tim e s, fin a lly in 1 9 3 0 ; she was in th e U n ite d States w hen she heard th a t she had been created D .B .E . N elle K o lle was an established m usic ha ll star in E ngland, b e fo re she came to A u s tra lia to se ttle , a ro u n d 19 1 4 . G ladys M o n c rie ff's m ost fa m o u s ro le was n o t The M e rry W idow , b u t The M a id o f th e M o u n ta in s. She die d , n o t in 19 7 5 , b u t o n 8 th F e b ru a ry, 1976. Was K it t y C a rro ll re a lly a " w e ll-k n o w n

p e rfo rm e r in her o w n r ig h t" ? Perhaps Ms Th iersch c o u ld give us a resume o f her career. It is D iane C ile n to , n o t D ianne, w h o achieved success abroad , and Googie W ithers was b o rn in In d ia , n o t in E ngland. B u t Ms T h iersch's sins o f o m issio n are w orse th a n her sins o f com m issio n . W hat a b o u t soprano G e rtru d e Joh nson, w h o re tu rn e d fro m fam e in England to fo u n d th e N a tio n a l T h eatre M o ve m e n t in M e lb o u rn e ; Frances A ld a , th e w o rld fa m o u s N ew Z e aland -bo rn diva, w hose e a rly career was o n th e A u s tra lia n m usical co m e d y stage as F rancie A d le r; actress D oris F itto n , w ho established th e Ind e p e n d e n t T h e a tre in S yd n e y; K a th le e n R o b in so n , p h il a n th ro p ic fo u n d e r o f W h ite h a ll P ro d u ctio n s; Queenie Paul, w h o , w ith husband M ike C on n o rs, was responsible fo r th e survival o f A u s tra lia n vau d e ville d u rin g th e depression, and w h o fo u n d e d th e second T iv o li C irc u it, N ancye S te w a rt, N e llie 's d a u g h te r, w h o had a d istin g u ish e d career b o th here and overseas; Irene M itc h e ll, fo r so long associated w ith th e M e lb o u rn e L ittle T h e a tre (la te r S t. M a rtin 's ) b o th as an actress and as p ro d u c e r and d ire c to r; D o ro th y B ru n to n , V era Pearce and June B ro n h ill, stars o f m usical co m e d y (and, in Miss B ro n h ill's case, op e ra ), b o th here and in L o n d o n ; N a n cy B ro w n , w h o had a spa rkling career in th e West End, starred in th e film version o f The M a id o f th e M o u n ta in s, and, la te r, w ith her husband, A lb e rt A rle n , w ro te th e b o o k and ly ric s o f th e h ig h ly successful m usical version o f The S e n tim e n ta l B lo k e ; V a rn e y M onk, who c o n trib u te d to th e exce lle nce o f several A u s tra lia n m usicals, n o ta b ly C o llits ' In n ; M in n ie E ve re tt, a ta le n te d ch o re o g ra p h e r and d ire c to r, w h o w o rk e d w ith J.C. W illia m so n s fo r m a ny years; Therese D esm ond, ra d io actress and p r o lific s c rip tw rite r - she w ro te and starred in F re d a n d Maggie E v e ry b o d y fo r m a ny years; Dame Joan H a m m o n d , in te rn a tio n a lly - fam ous soprano.

Theatre-Australia Dec-Jan, 1976/7 Page 5

» Olli:i?ll<Sß

resolve it in an ad hoc w a y , o r discuss th e m echanics o f C h id le y's e x tra o rd in a ry th e o ry c o itu s , o r even th e im p o rta n c e o f th e b a ck g round o f violen ce and de ath to his ideas o f violence and s e x u a lity , b u t th e w a lk across th e flo o r, th e vocal to n e o r th e lo o k across th e room is in a n o th e r league. B u t the re it is. Once y o u s ta rt w o rry in g a b o u t m etaphysics and e p is tim o lo g y yo u can never stop . B u t those concerns, how ever im p o rta n t th e y are to ta lk a b o u t are fro m a n o th e r language, n o t w h o lly

B IL L R E D M O N D B A C K A T T H E T O T E ? Is it tru e th a t M ichael Langham , M a rrie tta 's b e t fo r th e new T o te A r tis tic D ire c to r, w ill n o t be available fo r eighteen m o n th s and th a t B ill R edm ond has been asked to stay o n fo r th e tim e being? A N G E R A B O U T A W G IE S " B y g ivin g o u t fo u r A w gies th is year instead o f a b o u t tw e lv e th e G u ild has sho w n scorn fo r its m em bers. B y giving none f o r stage plays it has agreed w ith th e I.A .C . th a t th e live th e a tre does n o t deserve s u p p o rt. B y g ivin g tw o to th e ad aption s o f novels w h ils t e x c lu d in g th e novelists them selves, b o th o f w h o m are s till alive, th e y have sh o w n them selves to be id io ts . B y giving one to a c itiz e n o f N ew Zealand, n o w resident the re, th e y have sh o w n e n orm o us pre ju d ice against th e cre ative a rtis ts o f Tonga and F iji. The fo u rth aw ard was w e ll deserved. By n o t rin g in g D avid W illia m s o n , A le x B uzo D o ro th y H e w e tt and R o n B la ir and asking th e m to p u t in plays, th e y have show n themselves to be in c o m p e te n t, T h e ir c o n d u c t is am azing. I suggest th e y hand o u t fo u r m o re belated awards - if th e y d o n 't th e y deserve e x tin c tio n . B ob E llis g a r r y M cD o n a l d t o p l a y m d

th e language o f th e th e a tre . G arrie H u tc h in s o n . A F IR S T FO R JO A N ? George O gilive w ill be d ire c tin g Lu cre zia B orgia fo r th e A u s tra lia n O pera w ith Joan S u the rland - is th is th e fir s t tim e Joan S u the rland has been d ire c te d by an A u s tra lia n in her o w n c o u n try ? A M E R IC A N L IN E -U P S ure ly it was k n o w n th a t th e y w ere b rin g in g in an all-overseas cast fo r A C horus L in e so w h y are th e y h o ld in g extensive a u d itio n s in A u s tra lia ? Just to s a tisfy E q u ity ? A fte r all the hoo-ha a b o u t A u stra lia n a c to r T o n y B art being refused a pa rt in th e A m e rica n In te rn a tio n a l p ro d u c tio n and th e mass im p o rta tio n o f English actors in D ead E ye d D icks, sham a u d itio n s , if th a t's w h a t th e y are, go no w a y to w a rd s solving th e deeper p ro b le m . G ra n t St.

P h o to : D a v id P arke r

EDITOR

and, u n til re c e n tly , a rtis tic adviser fo r th e V ic to ria n O pera C o m p a n y ; and th e great Neva C arr G ly n , m o th e r o f N ic k T a te , w h o had a long and n o ta b le career o n stage and in ra dio and film s . A n d th e re are m a ny m ore. S incere ly, F rank V a n S traten, S outh Y arra V ic to ria

M a rl is Thiersch is in te re s te d b y a n d th a n k fu l fo r th is re p ly a n d in v ite s th e readers to c o m m e n t u p o n h e r tw o article s, w h ic h as a general survey c a n n o t be a ll in c lu s iv e — Ed.

Dear Sir, I re fer to th e a rtic le in th e O c to b e r/N o v e m b e r issue o f Theatre A u s tra lia o n th e S .G .I.O . Th eatre, by your co rre sp o n d e n t R ichard F o th e rin g h a m . In th e interests o f tr u th m ay I p o in t o u t a fe w errors. (i) The th e a tre seats 6 1 9 n o t 61 5. (ii) The Q .T .C .'s s u b s c rip tio n scheme does n o t cost as m uch as the tic k e t sales it produces. In 19 75 to ta l sub s c rip tio n e x p e n d itu re (in c lu d in g salaries) was $ 2 0 ,6 2 7 w h ic h produced $ 6 2 ,1 7 0 in tic k e t revenue and in 1976 $ 1 8 ,8 7 6 w h ic h produce d $ 7 5 ,1 5 6 in tic k e t revenue. (¡ii) The Q .T .C . is "a llo w e d to get o u t " o f the S .G .I.O . th e a tre and has done so on several occasions having playe d a t T w e lfth N ig h t Theatre La B o ite and the A rts T heatre. (iv) The Q .T .C .'s average attendance d u rin g the fiscal year 1 9 7 5 /7 6 was 75.24% o f c a p a c ity , n o t 50%. E rrors m ig h t have been avoided had y o u r c o rre sp o n d e n t paid the Q .T.C . the cou rtesy

o f c o n s u ltin g w ith us, (as th e p rin c ip a l user o f th e th e a tre ) b e fo re c o m m ittin g h im se lf to p r in t. Y ours sincerely. A la n Edw ards D ire c to r Queensland T h eatre C o m p a n y. Dear S ir, In reference to y o u r re vie w (T hea tre A u s tra lia , O c t/N o v . 1976) o f E quus b y R oger Pulvers I w o u ld like to m ake a fe w com m ents. F irs tly , th is is h a rd ly w h a t I w o u ld call a review - no basis, c o n s tru c tiv e c ritic is m o r w e ll c o n s tru c te d argum ent. Perhaps it has n o t o ccu rre d to th e review er, b u t th e reason E quus has alw ays been "th e same, w ith th e same set, same te c h n iq u e , same s p irit and v irtu a lly th e same cha racte r in te r p r e ta tio n " is n o t, as sta te d , th a t th e o rig in a l p ro d u c tio n was perhaps so g o od, b u t th a t the p la y carries w ith it very e x p lic it stage d ire c tio n s ch a ra cte r in te rp re ta tio n and te c h n iq u e ideas, w ith precise notes on stage se ttin g . The "u n -h o rs e y s o u n d ", as it was re ferred to is th e re " t o herald o r illu s tra te th e presence o f Equus th e G o d " (Peter B h a ffe r - E quus). The c lo m p in g o f th e fee t was in te n tio n a l (o r perhaps M r. Pulvers d id n 't q u ite understand th is ). The idea o f w ritin g E q u i m ay give th is naive w r ite r a sense o f s u p e rio rity , b u t as any firs t fo r m L a tin s tu d e n t w o u ld k n o w , th is is n o th in g special. The tim e ta ke n fo r th e re vie w er to w rite th e p lu ra l E q u i w o u ld have been b e tte r spent reading, or con sid erin g, th e play m ore th o ro u g h ly . B in ce re ly, R o m o la M . W earin. B ellevue H ill, N.S.W .

F o llo w in g the en orm o us success o f S tephen J. Spears' E lo c u tio n o f B e n ja m in F ra n k lin , th e N im ro d T h eatre w ill present Y oung M o b y Spears as its new year o ffe rin g . P laying th e t it le ro le w ill be G a rry M cD o n a ld . W h y d id he accept th is pa rt? "W e ll to be q u ite ho nest, it was rig h t in th e m id d le o f th e th ir d N o rm a n G u n sto n series and I was desperate to do so m e th in g else. G un ston was d riv in g me up th e w a ll.” W o u ld he have ta k e n a n y th in g to escape his a lte r ego fo r a w h ile ? "O h no n o t in th e a tre . I have no in k lin g to be a th e a tre a c to r again. It was ju s t th a t I e n jo ye d the p la y ." W ill audiences com e to see an e xte n sio n o f th e N o rm a n G u n sto n character? " I guess so,” laughs G ary, " B u t it w o n 't be a n y th in g lik e th a t at all.. He's n o th in g lik e N o rm a n - he's a b it co a rse r." Y oung M o opens at th e N im ro d fo r a six w eek season o n Ja n u a ry 1 5 th . Th e s c rip t w ill be pu b lish e d in th e F e b ru a ry e d itio n o f Theatre A u stra lia . i B a rry E a t o n ^

Page 6 Theatre-Austral ¡a Dec-Jan, 1976/7

A fte r th e recent u n c e rta in tie s . C u rre n cy Press is d e lig h te d to a n noun ce a new p a rtn e rsh ip w ith C am b ridg e U n iv e rs ity Press, w h o w ill h o ld th e s to c k and handle d is tr ib u tio n . N o t o n ly does th is mean a sigh o f re lie f and an assured fu tu re , b u t also th e h a p p y fa c t th a t C u rre n c y w ill n o w stra d d le b o th M e lb o u rn e and S y d n e y. o

By arrangement with the Melbourne Theatre Company Hoopla Productions present

CHIDLEYI Australians legendary sex, food and dress reformer____ hy Alma de Groen " T îîl^ ™

Graeme Blundell Carol Burns Peter Cummins Carrillo Gantner Robert Hewett directed hy Garrie Hutchinson Phone hook now 654 4000 Russell St. Theatre! Readings. Tickets Centertainment, ÎCW, 225 Exhibition St. 663 1822 |$4.50; S3.50 groups, ___students. GRANT STREET THEATRE Dec 15 - Jan 16 Tues •Sun 8.40 pm Fri 6, 9.30 pm No performances Dec 24-27.

T h e y are tig h t-lip p e d at T w e lfth N ig h t Theatre a b o u t th e new s itu a tio n b ro u g h t a b o u t by S tate o w n e rs h ip o f th e th e a tre , p rops etc. w ith th e co m p a n y as th e m a jo r ten ants. Discussions are going on o n th re e levels. Federal, State and w ith in th e c o m p a n y ; b u t w ha te ve r th e ir o u tc o m e , T w e lfth N ig h t's fu tu re , acco rding to Jerem y M u ir S m ith , is assured and w ill open th e 1977 season in M arch o A arne Neeme is to be guest d ire c to r a t th e H ole in th e W all th e a tre , P erth , fo r th e p ro d u c tio n o f J im M cN e il's H o w Does Y o u r G arden G ro w scheduled fo r Ja n u a ry. D u rin g th e same p e rio d prisoners fro m F rem a ntle Gaol w ill be w o rk s h o p p in g and p e rfo rm in g M c N e il's The C hoco late F ro g as p a rt o f th e H ole's S unday C lu b nigh ts. Jo h n M ilso m is said to be d e lig h te d as th is is th e fir s t tim e th e prisoners have p e rfo rm e d o u ts id e th e gaol. The N im ro d held a fa re w e ll d in n e r fo r Jake N e w b y , D e b b y Baile, L a rry E astw ood and M ik e M a nuell w h ic h was a tte n d e d by f i f t y m em bers and frie n d s at Le Cafe. S ix years o ld on D ecem ber 2 n d ; th e ir seventh year c a n 't b u t see a lo t o f changes be h in d th e scenes at one o f o u r m o st p o p u la r and progressive theatres. o P ity a b o u t M o re C a n te rb u ry Tales in M e lb o u rn e . Seems a case o f m o re being to o m u ch . B ut big th in g s are exp ected o f A C horus Lin e . W ith A .B .C . dram a bu d g e t cuts, the Tales debacle means a d d itio n a l cause fo r co n c e rn am ong th e a tre people. Some co m m ercial T V p ro d u c tio n s are said to be in th e p ip e lin e . o S p e cu la tio n is ru n n in g high about the E liza beth an Theatre T ru s t a fte r th e re co m m e ndatio ns o f th e I.A .C . R e p o rt and th e en q u ir y in to th e ir w o rk in g s b y m anagem ent con s u lta n ts. T here are tho se w h o th in k th e T ru s t orchestras in M e lb o u rn e and S ydne y should go to th e B allet and O pera respectively. If so, w o n 't th e A .E .T .T . ju s t be reduced to a cush io ned co m m e rc ia l-e n tre p re n u ria l role? D ead E ye d D ic k s m ig h t have made th e m m o n e y , b u t lit t le acclaim fo r b rin g in g it to A u s tra lia . T h e y say it is im p o rta n t to have an org a n isa tio n capable o f to u rin g com panies w ith in A u stra lia - and arranging loss-m aking c u ltu ra l exchanges w ith overseas organisations. B u t surely th is c o u ld be d o n e on th e one hand by giving th e m o n e y d ire c t to indigenous com panies, and on th e o th e r using an org a n is a tio n w ith fa r lo w e r overheads. Mr G e o ffre y J o y n to n -S m ith , General Manager, d id believe th is la tte r area to be one o f enorm ous im p o rta n c e fo r th e T ru s t, and d id say th a t o th e r m o re o v e rtly co m m e rcia l a c tiv itie s w ere necessary to h e lp fu n d it. " O u r

em phasis is o n he lp ing A u s tra lia n th e a tre ". As he also said, u n til th e T ru s t B oard and th e A u s tra lia C o u n cil have considered th e re p o rt, any c o m m e n t in th e press m u st re m ain spe cu la tio n . A C T O R S ' NEW S A rth u r Dignam w ill be back in A u s tra lia 6 th D ecem ber. The Prospect T h e a tre C o m p a n y has expressed in te re st in h im jo in in g n e x t year. Michael Kent has lead in M y F a t F rie n d to be m o u n te d in A d e la id e a t th e Festival C entre Playhouse fro m Jan uary 2 0 th . Playhouse fro m Ja n u a ry 2 0 th . Cul Cullen is starring in The T ra in in g R un d ire c te d by b ro th e r M ax at B o n d i P a villio n w h ic h opens Ja n u a ry 1 4 th '7 7 . John Hargreaves also in cast. A lex Archdale opens at S e ym o u r C entre in Jan uary w ith his one-m an sho w as y e t un title d - Peter W illia m s is th e p ro d u ce r. Colleen C liffo rd is also at S e ym o u r C entre in Jan uary w ith her one-w om an show A N ig h tin gale s t ill Sings in B e rk e ly Square w h ic h has ju s t been to A dela id e fo r th re e weeks as p a rt o f S yd n e y Festival. Ron Falk is to appear in S ch o o l fo r S candal and C herry O rch a rd w ith Ruth Cracknell fo r the S o u th A u s tra lia n T h e a tre C om p any. Garry Files is ap pearing in C ity S ugar w ith th e M e lb o u rn e T h e a tre C o m p a n y at St. M a rtin s u n til Ja n u a ry 8 th . D rew Forsyth is rehearsing The w ith A le x H ay fo r th e O ld T o te .

M a gistrate

G erry M aguire, a fte r successful D avid W illia m son p la y , has been requested to jo in th e M .T .C . n e x t year. Bruce Spence is appearing w ith M erv Drake in A rd e n at th e M .T .C . Nancye Hayes and Graeme Blundell are to to u r Same T im e N e x t Year - a fte r C hristm as, to all m a in capitals. Gloria Daw n n o t f i t and w e ll, is to jo in cast o f Y oung M o to p la y Sadie Gale. R oy R itchie, th e com poser, has le ft The R o c k y H o rr o r S h o w to ha ndle th e m usical d ire c tio n (See Q uotes and Q ueries fo r G arry M cDonald in th e t it le ro le ). Chris A m o r w ill be seen in f ilm ro le in be tw een M .T .C . plays in 19 77. C o u ld be th e sta rt o f big th in g s fo r a g irl w h o lo o ks as good as she acts. In d ic a tio n s are th a t A u stra lia n a c to r Noel Ferrier w ill c a rry o f f th e m ain m ale acting ho n o u rs fo r B u rsta ll's E liza Fraser. In form atio n supplied by our Melbourne,Sydney and Perth correspondents, and M & L Casting P ty. L td ., Sydney.

Theatre-Austral ¡a Dec-Jan, 1976/7 Page 7

A t th e tim e o f w ritin g th e 1977 N a tio n a l P la y w rig h t’ s C onference in C anberra n e x t M ay is u n der th re a t. The T h eatre B oard o f th e A u s tra lia C o u n c il, strapped fo r m o n e y , is c u ttin g d o w n to essentials - these being th e existin g th e a tre com panies - and have h a rshly e lim in a te d th e " f r il l s " - these being w o rk s h o p s , special pro je c ts grants, and grants to stru ggling sm all com panies w h ic h , if a llo w e d to live m ig h t g ro w in to larger com panies in need o f m o re subsidy. The con fere nce c o m m itte e , I am ha ppy to say, has responded to th e k n o c k back w ith becom ing m ilita n c y . O thers have ra llie d to its s u p p o rt and p la n n in g proceeds in c o n fid e n t d e te rm in a tio n . In fa c t each year th e g ra n t has been to u c h and go w ith th e T h eatre B oard, w h ic h has alw ays begun a t th e to p w ith its fu n d in g . Since 1 9 68 th e m a jo r c o n c e n tra tio n has been on d e ve lo p m e n t w ith in th e big p e rfo rm in g arts com panies w ith o n ly secondary a tte n tio n given to th e a tre o f a m o re radical k in d . T o q u o te th a t m u ch-m a ligned d o c u m e n t, th e In d u strie s Assistance C om m ission D ra ft R e p o rt o n Assistance to th e P e rfo rm in g A rts : "T h e C om m ission is n o t con vin ced th a t the existin g fo rm s of assistance encourage in n o v a tio n s u ffic ie n tly o r in th e m o st e ffic ie n t m anner. M ost im p o rta n tly th e ir c o n c e n tra tio n on e xistin g in s titu tio n s and fin a n c ia l stru c tu re s is considered lik e ly to have discouraged in n o v a tio n . F o r e x a m ple , th e A u s tra lia C o u n c il has stated th a t its p o lic y is to s tim u la te new a c tiv ity and th e d e v e lo p m e n t o f new styles and w o rk s ; b u t th e a m o u n t o f fu n d in g fo r such purposes has been re la tiv e ly in s ig n ific a n t a b o u t one per cen t o f its b u dget fo r th e p e r fo rm in g arts. The need to c o rre c t th e ir inbalances is one reason fo r th e re co m m e n d a tio n th a t a v e ry m u ch larger p r o p o r tio n o f th e available assistance s h o u ld be d ire c te d to en couraging in n o v a to ry a c tiv itie s . " In n o v a to ry a c tiv itie s s ho uld be assisted n o t o n ly because th e y c o n s titu te a b e n e fit to th e c o m m u n ity b y h e lp ing m a in ta in th e c o n tin u in g relevance o f th e arts b u t also because it is v e ry lik e ly th a t w ith o u t such assistance fe w w ill be u n d e rta k e n . T here is a need fo r new w o rk s and a c tiv itie s to establish a 'tra c k re c o rd '. C o m m ercia l prudence and conservatism w ill ge n e ra lly in h ib it in n o v a tio n and th e C om m ission considers th a t th e greater risk associated w ith in n o v a to ry a c tiv itie s should be o ffs e t b y assistance because o f th e p o te n tia l c o m m u n ity b e n e fits th a t can accrue fro m w o rk s o f th is nature. "S u c h sub vention s fo r in n o v a tio n sho uld n o t n o rm a lly be large, since th e c ro s s -fe rtilis a tio n o f ideas depends o n a large n u m b e r o f in itia tiv e s - in c lu d in g in e v ita b ly a high p ro p o r tio n o f fa ilu re s - ra th e r th a n a fe w e la b o ra te ly m o u n te d 'e x p e rim e n ts '. " W h a t, th e n , is th e P la y w rig h ts ' C onference's tra c k re cord? It has m e t fo u r years ru n n in g w ith a team o f acto rs and d ire c to rs to w o r k shop some six o r seven u n trie d s cripts - none o f w h ic h , so fa r, has proved to be a no ta b le , o r even a m odest c o m m e rc ia l success in th e real th e a tre . It c e rta in ly stands up to th e re q u ire m e n t o f a high p r o p o rtio n o f fa ilu re . Its sub v e n tio n is n o t n o rm a lly large - at betw een te n and tw e n ty th o u s a n d o n ly a fra c tio n o f th a t one per cent th e A u s tra lia C o u n c il lavishes on in n o v a tio n . B u t in th e m a tte r o f th e cross fe r tilis a tio n o f ideas, com pare d to th e m a jo r sub sid y-ho lders, th e P la y w rig h t's C onference is an un beatable bargain.

K A TH A R IN E BRISBANE ON THE TH R E A T TO THE

AUSTRALIAN NATIONAL PLAYW RGHTS CONFERENCE F o r th e con fere nce is th a t o d d ity in th e th e a tre : a circu m sta n ce in w h ic h th e process is th e ach ie vem e nt, n o t th e end p ro d u c t. It is th e o n ly refuge w here acto rs, au th o rs and d ire c to rs can achieve fa ilu re w ith h o n o u r and c a rry th e lesson to success in o th e r ventures. I suppose th is sounds lik e a p a rado x b u t th e I.A .C . is, as we all k n o w , a b s o lu te ly rig h t in statin g th a t co m m e rcia l prudence and conservatism w ill ge nera lly in h ib it in n o v a tio n . A n d th e to u g h e r life becomes in th e present p o litic a l c lim a te , th e m o re c o n servative w ill becom e even th e best o f o u r theatres. W hy d o w e need such a conference? A n d w h y fo r p la y w rig h ts ? D o n 't th e y have it p r e tty good a n yw a y? L o o k at Steve Spears. O ve rn ig h t at 2 5 on his w a y to B roa dw ay w ith o u t a green card. A n d w hen c o n s o lid a tio n is th e catch c ry , d o w e w a n t m o re o f th e m k n o c k in g a t th e d o ors o f o u r theatres? F irs tly it o ffe rs o p p o r tu n ity f o r in n o v a tio n un iq u e to th e th e a tre s im p ly b y being fle x ib le and free fro m firs t-n ig h t pressure and th e need to ta ilo r y o u r w o rk to a th e a tre 's re quire m en ts. T h a t th is fre e d o m has n o t re a lly begun to be e x p lo ite d b y th e p a rtic ip a n ts does n o t d e d u c t fro m th e fa c t th a t th e o p p o r tu n ity is th e re . S econ dly th e con fere nce is a p o r tr a it in m in ia tu re o f th e profession fro m w h ic h it stems and as such a valuable o b se rva tio n a t all levels. In 1 9 73 I a tte n d e d tw o weeks o f th e annual fo u r-w e e k A m e rica n N a tio n a l P lay w rig h ts ' C onferen ce in C o n n e c tic u t. It is a big, intense a ffa ir w here I w a tch e d fam ous faces and ne w faces, h o p e fu l y o u n g pe ople and defeated o ld ones. I saw a pre sold m usical dise m b o w e lle d b y a B ro a d w a y d ire c to r and re c o n s titu te d in th e B roa dw ay m o u ld , o n ly to be rejected o u trig h t (q u ite rig h tly ) b y its to o hasty b u y e r. I saw plays a b o u t F rench in D e tro it, pre-paid de ath in Los Angeles, blacks in H arlem and P uerto Ricans in th e B ro n x . I le a rn t a lo t a b o u t th e A m e rica n th e a tre and its a m b itio n s in th a t fo r tn ig h t - and th o u g h t o u r acto rs w e ll o u t o f th a t k in d o f pressure. A n d I le a rn t a lo t a b o u t A m e rica to o . O u r con fere nce began o n th e A m e rica n m o d e l and year b y year is assuming its o w n id e n tity . T h a t as y e t th e re has been little in n o v a tio n has to a large degree re fle cte d th e

co n ve n tio n a l pa ttern s o f th in k in g o f those involve d. A n d th a t includes m yse lf. T h a t it is n o t a m ore da rin g place, a breeding g ro u n d o f re v o lu tio n , th a t no idea y e t has emerged to s ta rtle th e w o rld is a re fle c tio n o f th e c a u tio n o f th e pro fe ssio n its e lf, (lo o k at A c to rs ' E q u ity ), n o t o f th e co n ce p t o f th e conference. A n d I suspect th a t we p la y readers have been lo o k in g n o t fo r re v o lu tio n b u t fo r o ld ideas in a new disguise. A ccusatio ns o f m o n o to n y in th e w ritin g o r o u r b e tte r-k n o w n p la y w rig h ts are b e ginnin g to be heard, n o t in fre q u e n tly . A n d th is is n o t w ith o u t cause. T h ere is a danger, to o , th a t some o f these w rite rs are b e ginnin g to m ove o u t o f range o f th e ir audiences. The P la y w rig h ts ' C onference is a c ru c ib le fo r th e senior w rite r as w e ll as th e ty r o and he sho uld use it as such, w ith o u t self-consciousness. T w o o f th e m ost re w a rdin g conferences so fa r have been those in w h ic h A la n S e ym o u r and D o ro th y H e w e tt w o rk e d in harness w ith beginners o n new scripts. Th e con fere nce, s im p ly b y its existence, gives status to th e y o u n g w rite r. It is his m a rke t place to com e and be seen and perhaps fin d h im se lf a d ire c to r o r an agent, to m eet his be tters and p u t his p o in t o f view . F o r d ire c to rs and actors it is an annual re m in d e r o f th e ir d u ty to new ta le n t and to in n o v a tio n . It is a grain o f sand in th e skin o f th e p rofession w h ic h m ay y e t have pro d u ce d no pearl - give it tim e . In th e m e a n tim e it rem ains as a re m in d e r th a t pearls do begin as an ir r ita tio n . W hat is th e a lte rn a tive ? T o q u o te Steve J. Spears fro m th e N a tio n a l T im es, N ovem ber 2 9 : "B e llig e re n t w o u ld be th e w o rd . These com panies th a t say th e y have a play-rea ding service - y o u send th e m a p la y and w a it, and w a it - six weeks, eig h t weeks, n o th in g happens. I used to w rite f ilt h y le tte rs to th e m , w h ic h d o e sn 't h e lp ." The con fe re n ce is n o w h e re near as valuable as it c o u ld be and it has no na tura l rig h t to su b ve n tio n . B u t i t is th e re to p ro v id e a service, if even to s to p b e llig e re n t w rite rs sending f ilt h y lette rs. It w ill be as in n o v a to ry as those w h o w o rk in th e th e a tre w a n t it to be.

Katharine Brisbane is chairman o f the Australian National Playwrights' Conference.

Page 8 Theatre-Australia Dec-Jan, 1976/7

D R A M A THEATRE, Sydney Opera

House

THE MAGISTRATE

by A rthur Wing Pinero Sat. January 1 to Tue. February 15, 7 7

THE PLOUGH & THE STARS

by Sean O'Casey

Wed. February 23 to Tue. April 12, 77

CAESAR & CLEOPATRA

by George Bernard Shaw

Wed. April 20 to Tue. June 7, 7 7 .

PARADE THEATRE j Anzac Parade, Kensington. THE FATHER

by August Strindberg Wed. February 9 to Tue. March 29, 7 7

THE ALCHEMIST

by Ben Jonson Wed. April 6 to Tue. May 24, 7 7

UNSPEAKABLE ACTS bYco mFee Wed. June 1 to Tue. July 19, 7 7 BOOK N O W -S A V E $ 21 .00 on a pair of subscriptions to the season. Phone 663 6122

P R IO R IT Y R EN EW A L P E R IO D -E N D S SEPT. 25 Brochures and Renewal Order Forms, with full details of 1977 Season One have now been posted to all current subscribers. Please phone us immediately if you have not received your copy (663 6122). IT'S SO EASY TO SUBSCRIBE-SIMPL Y COMPLETE AND RETURN THIS FORM

THE OLD TOTE THEATRE COMPANY-SEASON ONE 1977 -NEW SUBSCRIPTION ORDER FORM Num ber o f subscriptions required

Mr. Mrs. Miss. Ms.

Address..................

AD ULT Subscriptions @ $30.90 each $ ...................

.Phone: Bus............................ Private.

Postcode...............

PER FO R M AN CE CHOfCE Mark yo ur FIRST preference 1 and SECOND preference 2. i MON

TUES

WED

TH U R

FRI

SAT

" wed

1 Y O U T H /P E N S IO N E R /C H IL D I ■ 1 (Circle category)

FRI

sät"1

Subscriptions @ $17.40 each $ ...................

____ 2 NOTE: Wednesday Matinees apply only to the Drama Theatre & Fridays to Parade Theatre ‘ Y outh Pensioner & C hildren's concessions apply on Mon. to Thurs. Eves and all mats. Youth Subscriptions are restricted to persons under 25 and are not transferable to older persons. Pensioners please w rite entitle m e n t No(s) h ere .................... Youth please give date(s) o f b ir th .................. [ A Mail to: Sales D epartm ent, Old Tote Theatre C ompany, P.O. Box 1, Kensington, NSW. 2033 I

Total payable

I enclose Cheque/M oney Order in paym ent o f the above and a stamped self-addressed envelope fo r tic k e t re tu rn. Please make rem ittance payable to Old Tote Ltd.

'C all at: Parade Theatre, Anzac Pde., Kensington, (Opp. Round House, Uni o f NSW) .9 .3 0 am to 6.30 pm M on.to Sat.

Phone: S ubscription Secretary 1 663 6122 L FOR A L L E N Q U IR IE S .

Theatre-Australia Dec-Jan, 1976/7 Page 9

MELBOURNE THEATRE COMPANY

CITY SUGAR Jack Hibberd

L id d y C lark, M a rily n V ern on a n d G ary Files.

CITY SUGAR by Stephen Poliakoff. St Martins Theatre (opened 9.xi.76.) Director, Ian Giles; Designer, Peter Corrigan. Leonard Brazil, GARY FILES; Rex, GARY DOWN; Big John, JOHN WOOD; Nicola Davies, LIDDY CLARK; Susan, CATHERINE WILKIN; Jane, MARILYN VERNON.

A p a rt fro m th e O sm ond B ro th e rs , Stevie W ond er and Jam ie R e d fe rn , it has alw ays seemed to me th a t o u r epoch was n o t one ric h in p re c o c ity . Mass c iv iliz a tio n m ig h t w e ll e n tail retarded and lu m p is h d e v e lo p m e n t. The days w hen a be n a p kin e d M o z a rt c o u ld en chant an Empress w ith his o w n c o m p o s itio n s o n th e v io lin o r clavier, w hen a pu bescent R im b o u d c o u ld a lte r th e course o f p o e try , o r some Polish to d d le r emerge fro m th e T a tra M o u n ta in s and set a lig h t th e P aganini, seem q u ite rem ote. T h o u g h n o t q u ite in th e same league as these prodigie s, England (via Russia) has tossed a y o u th fu l and p r o lific p la y w rig h t in S tephen P o lia k o ff — a t th e age o f tw e n ty th re e he has w r itte n nu m ero us plays, eig h t o f w h ic h have alre ady been aw arded professional p ro d u c tio n s . His C ity Sugar, described b y som e d im w it as 'th e m o st e x c itin g and au spicious W end End d e b u t f o r a g e n e ra tio n ', is u n d e n ia b ly im pres sive given th a t m ost dra m a tis ts d o n 't k ic k o f f t i l l th e ir late tw e n tie s , th o u g h th e y th e n fre q u e n tly go on to last th e fu ll fo u r q u arte rs e.g. E uripid es, so v iv id ly re counted in F .X . Leatherhead's L e m o n -T im e a n d th e Classic Greeks. C ity Sugar deals w ith th e s trid e n t and a r t ific ia l eth os o f th e DJ, w here th e m e d iu m is th e message and th e m o u th th e m eaning, w here th e w ay y o u read th e news is m o re im p o rta n t th a n its im p o rt, w here Bangladesh and Janis J o p lin 's latest hangover achieve equal status in a h e ctic triv ia l p a tte r. It is a w o rld o f heroes and heroines, w here re p u ta tio n s are made and d e cim ated o v e rn ig h t.

It is also a w o rld o f lies, w here th e m edia image is at u tte r odds w ith personal re a lity . The dupes in th is aural ju n g le , so th e p la y suggests, are b o th th e p u rve yo rs and th e listeners - n u m b dehum a nized kids, desperate fo r s u b lim a to ry th r ills . C ity S ugar captures a lo t o f th e w o rk d e ta il and atm osph ere o f p la tte rd o m . Indeed th e p la y is o v e rcro w d e d w ith th e necessarily obsessive labours o f th e ce n tra l cha racte r DJ par excellence, Leonard B razil. T his is especially tru e o f th e firs t act w h ic h never moves m u ch past e x p o s ito ry esta b lish m e n t, som ething th a t c o u ld 'v e been d ra m a tic a lly a tta in e d in h a lf th e tim e . C e rta in ly we learn o f B ra zil's d ise n ch a n t m e nt and c y n ic is m , his awareness o f th e spu rious and e x p lo ita tiv e na ture o f his a c tiv itie s . The real personal and social sources o f th is d is a ffe c tio n nevertheless re m ain in c o m p le te ly e x p lo re d o r sub sta n tia te d . One m a jo r source fo r his ja u n d ic e seems to be a b e lie f th a t th e po p m usic o f th e sixties was in c o m p a ra b ly b e tte r th a n th a t o f th e seventies - a fee ble ra tio n a liz a tio n , since surely th e DJs w ere as noisom e th e n as th e y are no w . The dram a o f th e fir s t h a lf is o n ly p re c a rio u sly sustained b y B ra zil's c o n flic ts w ith th e sound engineer (R e x) w h o gre e d ily and in a n e ly aspires to sta rd o m b e fo re th e m ic ro p h o n e . The pla y chops sce n ica lly be tw een th e ra d io s tu d io and tw o w o rk in g class girls (IMicola and Susan) w h o are seen e ith e r at hom e o r w o rk in g soullessly a t a s u p e rm a rke t. These tw o g irls are th e v ic tim s and gulls, v ic tim s o f a s tu ltify in g c o m m o d ity c u ltu re as m u ch as a n y th in g else. In th e second h a lf, N ico la , an a b je c t be lie ver in p o p ha giograph y and th e h ip dem ogogue, reaches th e fin a l ro u n d o f an e ffig y c o m p e titio n w ith her a rdent c o n s tru c tio n o f a s tu ffe d d u m m y representing a c u lt id io t called Ross. Th e d u m m y , s ig n ific a n tly enough, is p a rtly s tu ffe d w ith c o m m o d itie s fro m th e s up erm a rket. As C ity Sugar progresses we see th e o th e r side o f B ra z il, his fa ta l a ttra c tio n to th e po w e r o f his s itu a tio n , th e relish w ith w h ic h he m a nipula tes b o th R ex and N icola. T h o u g h b itte r and f u ll o f self-disgust, B razil goes on and up . He accepts th e lu re o f a b ig DJ jo b in L o n d o n , a leap fro m p ro v in c ia l Leicester, in

P h o to : D a v id P arke r a p e rfe c t exa m ple o f m o ra l c o w a rd ice o r 'bad fa ith ' as S artre d e n o te d it. N ico la , w h o loses th e rigged c o m p e titio n , has th e scales rem oved fro m her eyes ... her hero is a nasty lit t le p u n k , her Big B opp er a d ro n g o , her W o lf Man a b le a tin g lam b . She takes it o u t o n th e goods a t th e s u p e rm a rke t. T h is is all p o te n tia lly p o w e rfu l s tu ff. U n fo rtu n a te ly th e pla y co n ce rtin a s to o m uch up a t th e end so th a t it all becom es a little g lib , skeletal, even tagged o n . The p ro d u c tio n w ith its lack o f cu ts ea rly and its b lu rre d even fo cu s (fa ilin g to p lu c k o u t emphases and de velop th e m ) does n o t assist. F u rth e rm o re , an in te re stin g indig eno us n o tio n w o u ld have been to set th e p la y in A u s tra lia , 3SR S he p p a rto n , fo r exa m ple, w ith th e nirvana o f M e lb o u rn e d o w n th e h igh w ay. The evening how ever was p a rtic u la rly enlivened b y a n u m b e r o f good pe rform ance s, c h ie fly those o f G ary Files as B razil and L id d y C la rk as N icola. Files, o n and o ff m ik e , sounded dem ented and vario us, d is c o rd a n tly rin g in g all th e vocal changes in d ica te d in th e te x t, th o u g h he m ig h t p h y s ic a lly and fa c ia lly push these alm o st p s y c h o tic co n tra sts and spirals even m ore. L id d y C la rk , in a d e lib e ra te ly u n d e rw ritte n and d u m b p a rt, gathered to g e th e r as m u ch d ig n ity and pathos as possible in her pe rfo rm a n ce . The design b y Peter C orrigan was at once fu n c tio n a l and s y m b o lic , n a ttily d e p lo y in g a revolve in th e shape o f a w arped re c o rd , a k in d o f m andala w ith the s tu d io con sole and B razil n a rcissistically m irro re d o n th e back w a ll, o c c u p y in g its ce n tra l a p e rtu re , w ith th e g irls' scenes ta k in g place u n d e r th e ca n o p y o f th e w a rp . A ll very flu id and expressive vis u a lly o f th e v ic tim iz a tio n s . T rann ie s w ere slung along th e side o f th e a u d ito riu m and gave th e y o u n g audience, decked to th e last in leathers and d e n im , a nice dose o f th e e n viro n m e n ta l. In th e sound d e p a rtm e n t, th e p ro d u c tio n is a to u r de fo rc e - a v e rita b le avalanche o f c o m p le x sound cues. As th e chaps (in th is case) o n th e bench ra re ly get a m e n tio n . I'd lik e to d raw sp e cific a tte n tio n to th e w o rk o f A rtu r o Hynes w h o rem orselessly tic k le d th re e R evox in stru m e n ts w ith all th e pre cisio n and ap lo m b o f a v irtu o s o .

Page 10 Theatre-AustralÂĄa Dec-Jan, 1976/7

LA MAMA

^CASCANDO THEATRE PROJECTS

FINGER O N THE TRIGGER AUSTRALIAN PERFORMING GROUP

THE YOUNG PEER GYNT John Smythe

CASCANDO collaged and directed by Benny the Dip. Cascando, D A N N Y ROB IN SON ; Woburn, NEIL GREENAWAY; Anadun, VAL KIRWAN; Florida, RACHEL HOWELLS; Titolo, HOWARD STANLEY.

Three recent events in M e lb o u rn e set o u t to e x p lo re d im e nsion s o f life exp erien ce and modes o f th e a tric a l expression n o t n o rm a lly re flected o r flo a te d in th e m a in strea m o f th is c ity 's d ra m a tic a c tiv ity . T w o I fo u n d e x tre m e ly s tim u la tin g and re w a rdin g. The th ir d was " re a lly lik e y o u k n o w it b le w th e m in d s o f a lo t. o f p e o p le " a c c o rd in g to one inv o lv e d a c to r

FINGER ON THE TRIGGER La Mama Theatre. Director. James McCaughey. Devised and acted by BARBARA CISEWSKA, RACHEL FENSHAM, SUSIE FRASER, KAREN ROWELLS, JANE REFSHAUGE

THE YOUNG PEER GYNT by Henrik Ibsen. SUE INGLETON, ROB MELDRUM, ROZ DE WINTER, assisted by JENNY KEMP.

b u t I m u st confess to being one o f th e f i f t y o r so pe rcent w h o fo u n d h im s e lf u n to u ch e d . V a le rie K irw a n (aliases B enny th e D ip and C h ilo o n ) "w o r k s in te x tu re s o f sound and m o vem en t to create a th e a tre th a t is p a rt dream , p a rt v is io n , p a rt dance, p a rt fo r m " . Her latest piece, Cascando, is described as "a collage o f Samuel B e cke tt and o th e r w ritin g s .

It d e p icts th e fr a ilt y and a m b ig u ity o f hum an re la tio n s. A ll th e a ctio n s o f th e fo u r players are th e re su lt o f th e ir im p ris o n m e n t w ith in th e b o unda ries o f o p p o s ite s ." F o r me a t least, an y p e rce p tio n s or revelations co n ce rn in g th e hu m a n c o n d itio n w h ic h m ay have been th e re in th e o ry w ere im p riso n e d in pra ctice by an ap pare nt c o m p u ls io n to re nder all verbal and visual clues as in c o h e re n t and obscure as possible. The od d am using o r im a g in a tive im age (lik e th e b u rn in g and scraping o f to a st o r th e h a lf dozen ra in -h a tte d o r b ro lly -b e a rin g extras w an d e rin g back and fo r th be yo n d th e glass d o o rs) d id little to dispel m y fe e lin g th a t K irw a n and co. lacked e ith e r th e c ra ft o r th e w ill to share th e ir e so teric exp erien ce w ith th e ir audience. O r if in fa c t th e re was n o th in g m o re o r less to th e th in g th a n w h a t one saw o r heard, I suppose I resented having to e n dure o n tru s t w h a t fin a lly em erged (to me) as an inane and fu t ile exercise. K irw a n , in the defence I in v ite d her to give us ( it fo llo w s th is piece) seems to dem and th a t her audience lim it its e lf to in s tin c tiv e response. I lik e to be fre e r th a n th a t and o p e n ly a d m it th a t m y e n jo y m e n t o f th e a tre is d ire c tly re la ted to th e degree to w h ic h all m y fa c u ltie s as a fe e lin g sensing in tu itiv e and th in k in g in d iv id u a l are s tim u la te d . B y c o n tra s t, th e APG-based P e e r-G yn t g ro u p (n o t so m uch an arm as a fe w p ro b in g fing ers o f th e A PG , since th e y are s till so m ew hat o u t o n a lim b ) and th e T h eatre Projects F in g e r On The T rigger co m p a n y show a h u gely generous c a p a c ity to share. F in g e r On The Trigger (o r Walls o r E ncores I f D esired) is a som etim es e x tre m e ly personal e v o c a tio n o f w h a t it is to be a w o m a n , an o fte n alone in d iv id u a l, a person ... w h ic h also em braces th e values o f c o lle c tiv e awareness and response. I t is an honest ge ntle b itte r-s w e e t ce le b ra tio n o f being. Agressive p o litic a l r ig id ity and coarse broad p e rfo rm a n ce devices are c a re fu lly avo id ed so th a t im p o rta n t tru th s are n o t obscured and th e audience is fre e to absorb, re la te, learn, assess and reassess in th e lig h t o f th e ir o w n personal experience. A lth o u g h th e m a te ria l was larg ely developed and w ritte n b y th e acto rs, e xte rn a l sources have p ro vid e d elem ents o f te x t : fo u r poem s b y E m ily D ic k in s o n , C hekov's Three S isters and Shakespear's K in g L e a r (o r ra th e r. Three D aughters) am ong oth ers. B u t th e y have been th o ro u g h ly absorbed and re-emerge as p a rt o f th e ir personal sta te m e n t. On o p ening n ig h t som e aspects o f a b stra ct p h ysica lisa tio n (e m a n a tin g , I suspect, fro m d ire c to r James M cC aughey) had n o t been so re a d ily digested b u t d o ubtless th a t w ill be solved as th e process co n tin u e s. T h e y hope to e xte n d th e c u rre n t season if a n o th e r su ita b le venue can be fo u n d and m ay de velop th e p ro je c t fu r th e r n e xt year. A n d so to Peer G y n t and a th e a tric a l exp erien ce I w o u ld rate as th e m o st im p o rta n t and e x c itin g I've been w itness to fo r a long tim e . H e n rik Ibsen's 1 8 67 d ra m a tic poem is a classic in every sense o f th e w o rd . Over a c e n tu ry o ld , i t grew fro m th e stories to ld o f a real Peer G y n t w h o had lived h a lf a c e n tu ry e a rlie r and w hose e x p lo its had becom e legendary in th e fo lk - lo re o f th e G udbrandsdal peasants (w hence he ha ile d) th e n celebrated in A sjornse n's N orw e g ia n F a iry Tales. In Ibsen's eyes he is no w o rth y hero b u t m ore a ro m a n tic fa n ta sy d o m in a te d adolescent try in g to w o rk h im s e lf o u t and m a kin g a b o tc h o f i t ; th e q u ite sse n tia l c o p -o u t a rtis t, incapable o f facin g th e re a litie s o f life and fin a lly death head-on. So in th e end n e ith e r heaven n o r hell

ÂŤ

Theatre-Australia Dec-Jan, 1976/7 Page 11 w ill have h im and all he is go od fo r is m e ltin g d o w n and recasting via th e b u tto n -m o u ld e r's ladle. O r if s p iritu a l re in c a rn a tio n 's m o re y o u r bag, he's an im p e rfe c t soul th a t needs to go back and t r y again. A t th e p o in t Ibsen leaves h im he is saved fro m all th a t, how ever, b y th e e x tra o rd in a rily pu re and e v e r-fa ith fu l S olveig. Decades b e fo re th e de noue m en t she was seen to renounce her past c la u s tro p h o b ic life and c o m m it herself to t a lly and irre v o c a b ly to a fu tu re w ith H im . Peer c o u ld n 't q u ite handle all th a t ju s t th e n , given an unresolved sense o f g u ilt and co m p a ra tive w orthlessness added to his basic fear of c o m m itm e n t, re s p o n s ib ility and precious dream s being sha ttere d b y tr u th - so he to o k o f f a ro u n d th e w o rld alone to fin d h im se lf. B u t th e quest c o n tin u e d to be sabotaged larg ely b y im possible dream s and he re turn s none th e w iser - to be to ld b y Solveig th a t his real c o m p le te and w h o le self has alw ays existe d in her fa ith hope and love. His face lig h ts up and he cries o u t, " M y m o th e r m y w ife ! O h purest o f w o m e n - hide me, oh hide me, w ith in y o u r lo v e ". A n d she does! It w o u ld be p o in tless to waste space accusing Ibsen o f p e rp e tu a tin g m alebred m y th s . He has s im p ly exposed a lasting t r u th a b o u t hum an b e haviou r. S olveig's a c tio n echoes th e rin g in g o f c h u rc h bells (in act tw o ) to save Peer G ynt fro m tro lls and Boygs, thu s e ffe c tiv e ly d iv e rtin g h im fro m im m in e n t c o n fro n ta tio n w ith his fa l la b ility , re la tive in sign ificance and m o r ta lity . (In a sense he suffers th e curse o f th e b e a u tifu l vivacious you ng w o m a n o r s p u n k y successful yo u n g m an). N ow adays th e roles m ay n o t be so re a d ily d e fin e d by sex b u t th e p ra c tic e o f " lo v in g " p ro te c tio n persists. It is a t th e ro o t o f countless social p o litic a l and re lig io u s ph ilo s o p h ie s let alone personal re la tionsh ips. W h ils t on th a t p o in t, it is in te re s tin g to no te th a t th e th re e A PG m em bers w h o set o u t e a rlie r th is year to " f in d the m s e lv e s " as actors have larg ely succeeded in th e ir quest w ith o u t m uch "lo v in g p r o te c tio n " fro m th e parental group. The APG s im p ly has n o t had th e fin a n c ia l resources to s u p p o rt all its a ctive o f f spring and th e p re o c c u p a tio n s and in te n tio n s o f th is p a rtic u la r p ro je c t g ro u p w o n th e m c o m p a ra tiv e ly lim ite d fa v o u r fro m th e C olle ctive . B u t th e y refused to c o m p ro m is e and persisted, progressing b e y o n d th e ir selfabsorbed (adolescent?) Stasis stage, th ro u g h th e ir d y n a m ic a lly c h a ris m a tic S y lv ia P lath p e rfo rm a n ce , to th is m ore m a tu re , p ro fo u n d , pe rceptive , c o n fid e n t, c o n tro lle d , c o n ta in e d yet open-ended liv in g and tr u ly lib e ra te d Peer G yn t. Ros de W in te r, R ob M e ld ru m and Sue In g le to n have, w ith th e assistance o f Jenny K em p , developed a re m arka ble e v o c a tio n o f acts one to th re e o f Ibsen's epic and called it The Y oung Peer G y n t. I t covers his adolescent phase fro m w h ic h , de spite age, he never re a lly progresses. The d ra m a tic focu s is on his re la tio n sh ip s w ith w om en: his ever-loving and p ro te c tiv e m o th e r w h o m he drives to despair w ith his lies; Solveig w h o m he idealises and idolises b u t never re a lly relates to ; In g rid , th e b rid e w h o m he a b ducts seduces and abandons; th e D ovre k ing's d a u g h te r w h o m he lusts a fte r and a tte m p ts to use as a means to gaining a k in g d o m ; tw o ra n d y fa rm girls w h o m he co u n ts h im s e lf m a n /tro ll enough to sa tis fy th e n la te r judges as crazy. The approa ch o f g ro u p is th e to ta l course. T h e y a b h o r self be e n o u g h "

th is tig h t- k n it p e rfo rm in g a n tith e s is o f G y n t's , o f th e t r o ll d ic tu m , " t o t h y and re je ct th e B oyg's

in ju n c tio n to "g o ro u n d a b o u t". T h e ir search fo r essential tr u th in p e rfo rm a n ce is unw avering and c o m m itte d , a vo id in g th e sid e -tra ck p itfa lls o f p ro c ra s tin a tio n o r exclusive p re o c c u p a tio n w ith te c h n ic a l s k ills la ug h-g etting m o n e y m aking etc. to th e e x te n t th a t th e y becom e ends in them selves. The quest has been and w ill c o n tin u e to be "lo n g hard and w o r r y in g " b u t at th e same tim e im m e n se ly s tim u la tin g , n o t o n ly to them selves b u t to all w h o w itness and share in th e p ro d u c ts o f th e ir endeavours. T h e ir w o rk m e th o d has evolved fro m th e ir in v o lv e m e n t in th e celebrated R ow ena Balos voice classes and is based o n th e prem ise th a t the a c to r's w h o le b o d y is th e in s tru m e n t o r to o l he / she uses. T h e y have " p u t th e ir voices back in to th e ir b o d ie s " and fused th e essence o f p e rfo rm a n ce w ith th e essence o f Ibsen's p o e tic te x t - d is tillin g th e ir o w n English language version fro m th e tra n s la tio n s o f A rc h e r and Fjelde and reference to the o rig in a l N orw e gian. Th e focu s is firs t and fo re m o s t on th e te x t, discove ring and lib e ra tin g essential m eaning by fo llo w in g clues and images rig h t in to th e ir lite ra l tr u th (a paraphrase o f progra m m e notes). Hence th e ir de cisio n , in d iv id in g tw e n ty -o d d roles am ong th re e , to share Peer, Aase, Solveig and o th e rs betw een th e m in no w a y d e tra c ts fro m th e ir o b je c tiv e . In fa c t it enhances th e e x p o s itio n o f universal tru th s - a lth o u g h it m u st be said th e y are m o re successful in th is th a n o th e rs have been (eg: th e APG cast o f B rech t's The M o th e r last year) due to an e x tra o rd in a ry balance and cohesion in ta le n t, s k ills , m e th o d and purpose. U n c lu tte re d s im p lic ity is also th e key to th e ir use o f space and ob je cts. T hree w o o d e n spools ( fo r u n d e rg ro u n d cables) - one massive, th e oth ers successively sm a lle r - are a s tu te ly u tilis e d to great e ffe c t w ith in th e w h ite canopied le n g th o f an average-to-sm all ch u rch ha ll. M o s tly w here needed to a vo id c o n fu s io n and som etim es to enhance a p o e tic image, sim ple suggestive costu m e and p ro p devices are used: a b ro w n w a is tc o a t fo r Peer, a w h ite k n o tte d headband fo r S olveig, a c ro c h e te d shawl (m o s tly tie d ro u n d th e w a ist) fo r Aase; a le n g th o f w h ite lace da n g lin g fro m th e ce n tre ho le in on e o f th e spools to suggest th e re c a lc itra n t b rid e , a card b o a rd c y lin d e r to represent th e "u g ly b o y " . L ig h tin g to o is s im p le and d ire c t. Live pe rcussion in te rlu d e s acco m pan y scene tra n s itio n s . B u t n o th in g is o v e rd o n e o r a llo w e d to in te rfe re w ith th e ce n tra l focus. O n th e n ig h t I saw i t th e re w ere a fe w im p e rfe c tio n s , o f course: th e an tics o f th e D ovre kin g 's d a u g h te r d is tra c te d us fro m absorbing th e f u ll im p o rt o f " t o th y s e lf be e n o u g h " and some pro b le m s associated w ith m a n ife s tin g th e B oyg and b ird cries rem ained unresolved. B u t th e im p o rta n t th in g to re cord a t th is p o in t is th a t w ith in a m a tte r o f m o n th s th is g ro u p has de veloped w o n d e rfu lly y e t th e y are a n y th in g but c o m p la c e n t. T h e y are e x tre m e ly re ceptive to o u ts id e c o m m e n t and kee nly c ritic a l o f them selves. A n d th e y are avo id in g th e risk o f g e ttin g in to a p e rfo rm a n ce ru t by re d is trib u tin g roles and p o rtio n s o f roles as th e season progresses. The Y oung Peer G y n t is th e s o rt o f sho w all A u s tra lia - indeed th e w o rld - sho uld see. T o m y m in d it is m u ch m o re w o rth y o f w ide exp osure th a n w h a t w e saw o f K e m p 's F lo w e rs o r B ro o k 's A M id s u m m e r N ig h t's D ream , fo r instance. A n d th is g ro u p 's basic w o rk m e th o d sh o u ld ensure th a t th e ir show w o u ld n o t becom e stale o r c o m p ro m ise d f o r p r o fit given a w e ll managed to u r.

V alerie K irw a n & H o w a rd S ta n le y in Cascando V A L E R IE K IR W A N R E P L IE S Cascando has no s to ry lin e so m a ny in te r p re ta tio n s in th a t sense can be m ade o n it. A s to ry lin e is a s u p e rfic ia l and co n v e n tio n a l device th a t man im poses o n h im s e lf. It o fte n includes o th e r irre le v a n t parts o f psych o lo g ica l and visual re a lity th a t a p la y w rig h t m ay n o t w a n t to in clu d e . A s to ry lin e b u ild s a p la y on th e fa c t th a t o u r lives are h a b itu a l and a u to m a tic, th a t w e are tie d to a fix e d w a y o f e x istin g . I t can lim it e x p lo ra tio n in to th e essence and u n d e rsta n d in g o f tr u th . B ut Cascando o ffe rs an a lte rn a tiv e to th is device fo r in th is p la y every a c tio n , every sound and every im age exists fo r its o w n sake. A man peering th ro u g h a w in d o w o r s ittin g in a c h a ir is n o t m e re ly a logical re a lity . Th e d e lib e ra te d is in te g ra tio n o f logical sequence th ro u g h o u t th e pla y gives one th e o p tio n to q u e s tio n th e logical m eaning we im pose u p o n existe nce its e lf. The aim o f th e p la y is to he ig hten d a ily re a lity and reveal th a t d ire c t exp erien ce can be m o re p o w e rfu l th a n logic. In Cascando one hears o ve rla p p in g speeches w h ic h d e p ic t a universal babble. Th e logical significa nce o f these speeches is d ro w n e d o u t. It is th e mere rh y th m and th e seem ingly c o n tra d ic in g lin k in g of a ctio n s to these speeches th a t im p a rt th e ir e m o tio n a l essence. F o r instance w hen a cha racte r takes o f f her w ig and says " L is te n " o r blo w s u p o n a to a ste r and says " D e t r o it " th e barriers o f language are b ro k e n . C o m m u n ic a tio n is d ire c t and th e gu t kno w s m o re th a n th e in te lle c t. T h en th e endless im p o te n t ba bble o f h u m a n ity becomes m usic to o u r ears. To c o n ce p tu a lize on th e pla y d u rin g p e rfo rm a n ce c o u ld lead to a lie n a tio n . It is necessary fo r th e audience to live w ith it m o m e n t b y m o m e n t. In th is w a y d ire c t experience is achieved and no m ore need be said.

Page 12 Theatre-Austral¡a Dec-Jan, 1976/7

AUSTRALIAN PERFORMING GROUP

A STRETCH OF THE IM AOINATDN THE DUDDERS Garrie Hutchinson

A STRETCH OF THE I MAG IN A TION by Jack Hibberd. Pram Factory. Director, Paul Hampton. Monk O'Neil, MAX GILLIES.

THE DUDDERS by John Romeril and John Timlin. Pram Factory. Director, John Romeril; Choreographer, Bob Thorneycroft. Delma, Lady Fizz-Robur, SUSY POTTER; Homer, M.P., Ossie, BOB THORNEYCROFT; Colonel Coop, Phil Furley, TIM ROBERTSON; Digger, RICHARD MURPHETT; Icko, BOB DALY; Cackie. BILL GARNER; Coral, Sago, Janet, Norma, ALISON RICHARDS; Colonel Fudd, M.P., Brad, PETER GREEN.

It's a lm o s t an a rtic le o f fa ith ro u n d th e th e a tric a l tra ps in M e lb o u rn e th a t the A u s tra lia n P e rfo rm in g G ro u p has been w o r k ing o n th e d e v e lo p m e n t o f, if n o t an A u s tra lia n actin g s ty le at least a s ty le th a t w o rk s w ith A u s tra lia n w rite rs . S p e c ific a lly Jack H ib b e rd John R o m e ril and B arry O akle y. The firs t p u b lic sho w in g o f th is s ty le was in th e m uch un der-rate d and un der-rem em b ered M arvellous M e lb o u rn e , o f th e sum m er o f 1 9 7 0 / 1, by H ibbe rd , R o m e ril and th e g ro u p . Here we saw the ro ugh, caricatureesque, g e s tu ra lly broad.

M ax G illie s as M o n k O 'N e il

P h o to : A .P .G .

v o c a lly lim ite d , p h ysica l, in tim a te , sw eaty, closeup, fa m ilia r, im p ro v is a to ry , fr ie n d ly , la r r ik in , ty p e o f th in g fo r th e fir s t tim e . W ell, M arvelous M e lb o u rn e was m uch m o re o f a sta te m e n t o f th a t tha n p ro d u c tio n s o f La Mama o r in th e streets in th e years previous had been. (O 'M a lle y in a s im ila r vein came to M e lb o u rn e la te r in th e year. It in cre asing ly seems lik e an a b e rra tio n in s ty le given th e w ay th in g s have gone in S ydne y and M e lb o u rn e since.) W heth er o r n o t la rr ik in actin g is a genuine s ty le o f actin g is a m o o t p o in t, b u t c e rta in ly it is a th re a d th a t has c o n tin u e d to th e present and is dragged o u t w henever an audience needs to be e n te rta in e d . Closer to th e tr u th p ro b a b ly is th a t th e A .P .G . s ty le is a c o m b in a tio n o f d ire c to rs and design ideas th a t w eld w ith a n a tu ra lly o c c u rrin g k in d o f closeup fe e lin g fo r expressing a te x t p h y s ic a lly w ith o u t to o priuch e m o tio n a l (ch aracter) b u lls h it. The spaces th e A .P .G . w o rk in place tre m en dous lim ita tio n s o n w h a t y o u can get aw ay w ith . In tim a c y breeds ho nesty in actors. The accepted d ire c to ria l and design ideas — p o o r, ro u g h , use o f ta b le a u x , a n ti illu s io n is t, tra n s fo rm a tio n s , d o u b lin g , e m b le m a tic dress ing and o th e r ad je ctives also de rive fro m th e necessities o f th e space and th e w rite rs . The w h o le th in g is b u ilt on th e idea th a t th e te x ts and th e a cto rs w ill have enough v ita lity and honest sw eaty e n te rta in m e n t value, to make ju s t a b o u t a n y th in g w o rk . M ost o f th e tim e it does, ho w e ver in a p p ro p ria te th e style m ig h t be. There's n o th in g lik e a bad-breathed a c to r speaking in to y o u r face and staring y o u in th e eye to keep y o u aw ake. B u t saying th a t d o e s n 't mean th a t eve ry th in g is ro sy, and th a t th is k in d o f actin g has been honed d o w n and developed in to co herence. A d h o c-ery s till prevails. B u t in te r esting a tte m p ts are being made in d iffe re n t d ire c tio n s . A side fro m th e no stalgic and d e te rm in e d ly p o p u la r a tte m p ts o f M elba, The H ills F a m ily S how , and n o w th e S o ap box Circus, th e re has been th e w o rk o f Lind say S m ith , fo r exa m ple, to de m ocra tise a ctin g . He has used people w h o p re vio u sly had n o t been actors in p ro d u c tio n s lik e B re ch t's The M o th e r, R o m e ril's G old en H o ld e n , and Hare's Fanshen. Here actors are n o t so m u ch actors as c o m m itte d in d iv id u a ls - b y th e ir s in c e rity , b e lie v a b ility , and ho nesty a pe rfo rm a n ce is illu m in a te d . A lth o u g h using o th e r peoples w o rd s , th is idea is s im ila r to a lo t o f w o rk o f say, th e W om en's T h e a tre G ro u p . I t is w h o y o u are and w h a t y o u are saying th a t is im p o rta n t, n o t th e th e a tric a l e ffe c t. A n audience kno w s th a t th e pe ople o n th e actin g area are w h a t th e y appear to be. T h e y are n o t re a lly p la yin g som eone else. T h ey a d o p t roles fo r a purpose, and w ill o fte n break o u t o f th e m to address an audience fro m th e ir o w n experience. This is n o t so m u ch acting as being on stage. Som e tim e s in th e p ro d u c tio n s m e n tio n e d above, it w o rks. S om etim es it d o e sn 't. A n o th e r d ire c tio n is in d ica te d b y M ax G illies in his c u rre n t p e rfo rm a n ce as M o n k O 'N e il in Jack H ib b e rd 's A S tre tch o f the Im a g in a tio n . This is a very re fin e d physical s ty le th a t in co rp o ra te s th e g a m u t o f c o m ic techniques. G illie s does some am azing p ra t falls, face p u lls, b u m wiggles, eye ro lls , bits o f m im e , shrugs, grim aces. His M o n k is a k in d o f la n te rn jaw ed A u s tra lia n sub je ct to fits o f th e Jew ish com edian . G illies is m ore a cto ro rie n te d th a n interested in de velopin g a character-based, in te rn a lly co h e re n t, n a t u ra lis tic personage. G illies, over th e years, has given an am azing

range o f carica ture s and c o m ic p e rfo rm a n ce s fro m Menzies and S anta m aria to th e m u lt i tu d e s in M elba to C heko v's no n sm o ke r. He is one o f th e A .P .G .'s assets. A n d th is M o n k is ge n u in e ly e n te rta in in g , no d o u b t a b o u t th a t. Perhaps his vocal style m ig h t be elasticised, b u t th a t is a p ro b le m w ith m o st a cto rs, the fin d in g o f a fle x ib le A u s tra lia n voice. A n d the fin a l b la c k , d ru n k e n , de a th w ish speech is p e rfo rm e d depressingly w e ll. The th in g a b o u t G illies th o u g h , is th a t he is an a c to r w ith an arsenal o f s k ills developed over a long p e rio d th a t appear to me to be underused—to o o fte n th e parts d o n 't seem to e x te n d his range. Even th is M o n k is a d e m o n s tra tio n , a lb e it a very good one, ra th e r tha n a challenge. It is alm o st im posed on to p o f th e te x t, n o t co m in g fro m inside it. T h a t is re a lly a c o m m e n t on th e c o n fid e n c e and fla ir he shows. B u t m aybe some R e s to ra tio n co m e d y m ig h t n o t go astray. If G illie s is th e s k ille d p h ysica l c o m ic , th e n th e R ow ena Balos fa c tio n - R oz de W in te r, R o b e rt M e ld ru m and Sue In g le to n are w e ll in to clear speech. C u rre n tly th e y are pe r fo rm in g th e firs t th re e acts o f Peer G ynt. Using a c o lle c tio n o f cable d ru m s, a cou ple o f lig h ts and some stro n g vocal and ph ysica l images, th e y have m ade a very m o vin g version o f th e p la y . T h e ir Peer G y n t is a c o lle c tio n o f aspects o f th e cha racte r and his re la tio n sh ip s and th e y swap th e ro le o f Peer G y n t be tw een th e m . T h e re is no d o u b t th a t th e w h o le th in g is b e tte r a rtic u la te d , and m o re understand able fo r th a t, and m ore refined th a n th e average A .P .G . show . T here is no sign o f roughness, th e y are p o o r b u t 'h o ly '. The images are d ire c tly related to th e te x t in a m o re o r less s y m b o lis t w ay. The p h y s ic a lity is n o t o f th e ca rica tu re ty p e , n o r o f th e c o m ic ty p e b u t an a p p ro p ria te stance. T h a t is to say, it is th e m im im u m necessary to be in keeping w ith th e w o rd s, n o t an e m b ro id e ry o n to p o f th e m . It alm o st never d istra cts fro m w h a t th e y regard as es sential - w h ic h is Ibsen's speech. T his is a new d e ve lo p m e n t fo r A.P.G . m em bers, w h o have p re vio u sly (to m y k n o w ledge), n o t com e u n der th e spell o f a teacher. It w ill be in te re stin g to see w h e th e r any o f th is filte rs back to the m a in group. The last o f th e c u rre n t p ro d u c tio n s is The D udd ers by R o m e rill and J o h n T im lin . T h is is o s te n sib ly a th e a tre re staurant piece a b o u t A m e rica n / A u s tra lia n re la tio n s d u rin g th e second w o rld w a r. W hat it re a lly is, is a p la y a b o u t depression and im p e ria lism mas qu e ra d in g as cheerfulness and sm art Aussie co n m e n . Here m ixe d in w ith an in com pre hen s ible n a rra tive , and some inspired jitte rb u g g in g is a m y s tifie d tra d s ty le A .P .G . show w here d ru n k e n lu n a cy and images seep th ro u g h . It d o e s n 't m a tte r to th e b ib u lo u s the atre-goer, b u t it does represent a missed chance. B u t w h y a th e a tre re sta u ra n t show? F ro m all th is h is to ry it m ig h t be possible, w ith h in d s ig h t, to w ish th a t th e A .P .G . had p icke d a s ty le , gone fo r it p ro p e rly and com e o u t w ith sequences o f po lish ed p ro d u c t. T h at h a sn 't happened. B u t w h a t has happened is th a t here has been a d iv e rs ity o f w o rk done, fa ilu re m ix e d w ith success, a m b itio n m ixe d w ith a n y th in g handy at th e tim e . B u t it is a measure o f th e im p o rta n c e o f th e ideas flo a tin g a round the A.P .G . th a t praise w hen given is e xtravag ent, and c ritic is m th a t preaches th e n a d ir w hen it is n o t. Todays c o m m e n t is th a t lo o k in g a t The D udders is a depressing re m in d e r o f h o w little th in g s have changed since M a rvellou s M elb ourne. Same sty le , b u t th e o p tim is m has n o w gone.

Theatre-Australia Dec-Jan, 1976/7 Page 13

QUEENSLAND THEATRE COMPANY

AND THE BIG MEN

FLY

Don Batchelor

AND THE BIG M EN FLY by Alan Hopgood. S.G.I.O. Theatre (opened 24.xi.76.) Director, Murray Foy; Designer, James Ridewood. J J. Forbes, DOUGLAS HEDGE; Wally, LEO WOCKNER; Achilles Jones, STEVE KENYON; Lil, KAY McFEETER; Harry Head. RAY MEAGHER; Wobbly Coates, JOHN HEYWOOD; T V. Hostess, RIKKI McDONALD; Floor Man, MARK HEMBROW; Les Williams, MARK HEMBROW.

It's end o f th e 1976 season, tim e fo r th e Q ueensland Theatre C om p any , and th is year's grand fin a l was A n d th e B ig M en F ly . N o t de stined fo r th e h is to ry bo oks, th is one. F ro m o p ening bo unce to fin a l h o o te r the hom e team never re a lly came to g e th e r. There w ere to o m a ny h a n d lin g e rro rs, sm all th in g s th a t ta ke th e edge o f f a game (o r a show ), and th e ir c u m u la tiv e e ffe c t p u t th e over-all result in to reserve grade standard. A p a rt fro m one vintage m a rk b y Ray Meagher as H a rry Head, th e fo o ty c o m m e n ta to r, w h o spared m ig h tily in an ecs ta tic d e s c rip tio n o f A ch ille s Jones firs t goal, th e big men never re a lly g o t o f f th e g ro u n d ....a n d n o r d id the little w om e n. A la n H o p g o o d ’s yarn is a tr ic k y piece o f th e a tre . A n M .C .G . fu ll o f school teachers ro u n d A u s tra lia has fa lle n in to th e tra p o f th in k in g th a t it is o n ly a ta il-s to ry a b o u t a sup erathelete on b o th o f w h ic h c o u n ts it is b o u n d to be a h it w ith the boys in the class. The very m e n tio n o f fo o tb a ll, it is believed, w ill riv e t th e prepon derance o f Aussie male a tte n tio n . T h a t m ay be v a lid , b u t, even th is g ro u p has its standards, and can tu rn very nasty w hen th e pace is less th a n spa rkling. The same merciless d e ris io n can be heaped o n a go od ta il-s to ry w hen it is p o o rly handled in the te llin g . So teachers - and th e a tre com panies - ta ke o n awesom e risks w ith th is p la y . In its ap pare nt s im p lic ity th e re lu rk a p ro d ig io u s n u m b e r o f p itfa lls . N o t to m e n tio n th e heart o f th e play w h ic h is a b o u t th e cha rm o f innocence - a q u a lity th a t d o e s n 't re a d ily co m m e n d its e lf to th e average Aussie adolescent, n o t one th a t is easily ca p tu re d even b y an experienced and e x p e rt a c to r. In casting th e key ro le o f A c h ille s Jones, M u rra ry F o y to o k a gam ble. I t is th e so rt o f

gamble th a t occa sio nally (n o t to o o fte n , th a n k G o d !!) produces a Paul Hogan. Th e p a rt calls fo r a p e rfo rm a n ce o f e x tra o rd in a ry s u b tle ty to produce an e ffe c t o f e c o n o m y , directness, and size. A c h ille s is th e artless b o y fro m th e backw ood s w h o blasts his w a y, b a re -fo o te d , in one u n lik e ly season in to th e sagas o f fo o tb a ll. He becomes one w ith th e heroes o f th e G olden Age. In a tte m p tin g th is H erculean ro le , Steve K e n y o n lo o k e d every c e n tim e tre th e golden b o y w o n d e r; b u t despite ob vio us coaching fro m the side-lines, and some e vide nt a p p lic a tio n to the task, he never became a ir-borne. M e n ta lly , and o fte n lite ra lly , he was on th e b a c k -fo o t. The c h ild lik e q u a lity , th a t enviable fre e d o m o f the s p irit, elud ed h im . He presented a nice enough c o u n try lad be w ild e re d b y c ity so p h is t ic a tio n . He was never th e to w e rin g fig u re in a ta il-s to ry ...... th e s tu ff o f legend. T here w ere a tte m p ts by m em bers o f th e cast to ca p tu re th e necessary measure o f exagger a tio n . Douglas Hedge w e n t a fte r th e grotesque elem ent in his p o rtra y a l o f J.J. Forbes; b u t instead o f th e fe w broad d e ft strokes w ith w h ic h a c a rto o n is t catches th e essentials o f cha racte r and th e am using d is to rtio n s . Hedge c lu tte re d th e p e rfo rm a n ce w ith a lo t o f fussy fo o t-w o r k and o th e r flo u rish e s so th a t the manager, b ig-shot, asp iring p o litic ia n g o t lost in th e w h irl-w in d . I t was a p ity also th a t he and Leo W a lke r (W a lly ) d id n 't make m ore o f th e A b b o tt and C oste llo p o s s ib ilitie s suggested b y th e ir physical m ake-up. As i t was, W o ckn e r lu m b e re d th ro u g h the s itu a tio n a p p ro p ria te ly enough, b u t it was som ehow a separate p e rfo rm a n ce fro m Hedge's. Since th e L il cha racte r is so centered on A c h ille s Jones and w o rk s o f f h im , K ay M cF eeter d id n o t get th e s u p p o rt she needed to do a n y th in g special. S till, she m ig h t have held m ore tru e to her b u m p k in beginnings instead o f tra n s fo rm in g he rself in to som ething o f a girl a b o u t to w n b y th e end o f th e pla y. We k n o w H opgood sees L il as a w illy m a te ria lis t and som ething o f th e heel in A c h ille 's life , b u t c a rto o n characters d o n 't change. T h ro u g h all exp erien ce th e y rem ain tru e to th e ir na ture . Ray Meagher, as H a rry Head th e c o m m e n t a to r, was th e o n ly flie r on th e n ig h t, and, if

he h a d n 't been so b a d ly le t d o w n b y th e c ro w d noises, w h ic h e ith e r d id n 't w o rk a t a ll, o r were d is ta n t, o r were w ro n g in m o o d , he m ig h t have given th e w h o le show a lif t . I t was to o re a listic a pe rfo rm a n ce m uch o f th e tim e to be in s tyle , b u t in its m o m ents o f e csta tic a p o p le x y it was a triu m p h . Jo h n H e yw o o d g o t th e physical aspects o f W o b b ly Coates p r e tty rig h t, and was vis u a lly fu n n y in a cou ple o f freezes he d id at c lim a tic m o m ents in cru cia l games, b u t, over lay i t th o u g h he m ig h t w ith O cker sounds, th a t lig h t-w e ig h t voice lacked th e c o n fid e n t tones o f a p e d a n tic k n o w -a ll. The b ig -fa u lt o f th e th e p ro d u c tio n was th e pace. A yarn lik e th is s im p ly c a n 't be sustained if y o u give people even a m o m e n t to th in k . It is all so slig h t th a t unless it is c o n tin u a lly m o vin g i t loses m ost o f its a b ility to h o ld a tte n t ion. There w ere pauses be tw een scenes, o r lig h tin g fades, s u ffic ie n t in length and n u m b e r to slo w th e m o m e n tu m , and to lose pace at all is to lose g rip on th e pla y as a ta il-s to ry . A n o th e r d is a p p o in tm e n t in th e p ro d u c tio n was th e c o m p le te absence o f any a tte m p t a t th e special e ffe c ts called fo r in th e te x t at th e tim e o f th e great sh o o t-u p w ith the W illiam ses. W here w ere th e bre a kin g w in d o w s , th e fly in g tin s , th e sh a tte rin g bo w ls o f pla stic fru it? These w o u ld have given life to an o th e r wise fla t scene. The set, to o , c o n trib u te d to th e general d iffu s io n . Successful th o u g h it was in a repres e n ta tio n a l w ay, specially in th e corruga ted iro n sectio n o f A c h ille s sho ck a t M anangatang, and in th e T .V . set fo r W o rld o f S p o rt, it opened up to o m uch space overhead th e n fille d it w ith c lu tte r all o f w h ic h w o rk e d against th e e co n o m y o f statem en t. W h y be re prese nt a tio n a l a t all? W hy n o t make suggestions, th e same k in d o f b o ld essential stro kes as seem p ro p e r to th e characters and th e tale. F o r all th is carping, applause d u rin g and a fte r the show w o u ld in d ic a te th a t p le n ty o f fans had an e n te rta in in g evening, and w o u ld n o t agree w ith me or th e tw o pe ople in m y v ic in ity w h o d id n o t re tu rn a fte r th e second in te rva l. B ut it's Barassi to a b ric k th a t th e c ro w d a t th e M .C .G . had a m ore e x c itin g grand fin a l to 1976 tha n we d id .

Page 14 Theatre-Australia Dec-Jan, 1976/7

BRISBANE REPERTORY THEATRE

H O W COULD YOU BELIEVE ME... 8 Richard Fotheringham

HOW COULD YOU BELIEVE ME WHEN / SAID I D BE YOUR VALET WHEN YOU KNOW I VE BEEN A LIAR ALL M Y LIFE? adapted from Goldoni by John Bell. Director, Graeme Johnston; Designer, David Bell. Pantalone, GORDON SAUNDERS; Clarice, RHEE HOLLYER; Lombardi, LEWIS NORMAN; Silvio, PHIL ARMIT; Beatrice, MARINA BOSSOU; Florindo, PETER GAHAN; Truffaldino, SEAN MEE; Smeraldina, MONICA GILFEDDER; Brighella, GRAEMA HATTRICK; Porter. DICK FREELAND; Peerettes, NICOLE LECOMPTE, JACKIE TEUMA, DAPHNE ANDERSON, CHRISTINE McGRATH, JUDY FOSTER._________________________

R e p e rto ry T h eatre has ju s t a n noun ced its re p e rto ire o f plays fo r th e f ir s t 6 m o n th s o f 1 9 77, and a varied and a d ve n tu ro u s progra m m e it is. Plays by th re e Q ueensland p la y w rig h ts , E dw ard B ond 's The Sea, B u lls h o t C ru m m o n d , Seneca's O edipus, Grease, an o rig in a l d o c u m e n ta ry on w a r, and K e n n e d y 's C h ild re n . A d d to th is th e one a ct and less c o m m e rc ia l plays w h ic h th e y s lo t in M o ndays to W ednesdays and th e E arly C h ild h o o d D ram a p ro je c t, and y o u 'v e g o t to a d m it th e place is alive and b u b b lin g . W h e th e r 1977 w ill be go od fo r th e b o x o ffic e rem ains to be seen. R ep. has o f late swung to w a rd s th e lig h tw e ig h t w ith a cheap and ba w d y L y s is tra ta and th e present ro m p H o w C o u ld You B elieve M e ... etc. B o th have sum m oned fo r th in large num bers th e lounge suite d and long dressed cou ples fro m da rkest H a m ilto n and In d o o r o o p illy , and th e y 're th e c ritic a l secto r th a t decide th e h its fro m th e misses. Being o f course th e universal m an I can appreciate b o th Seneca and an in fla tin g g lo w in g pla stic penis; E dw ard B ond and W a ite r th e re 's soup in m y f ly . The n o tio n o f a co n siste n t house s ty le is an o d io u s m a rk e tin g c o n c e p t, b u t it w o rk s , and Rep. lik e o th e r com panies w h o fla u n t i t has fo u n d audiences v o tin g w ith th e ir fe e t. Th e saving grace is th a t in th e ir 2 0 0 seat th e a tre in th e ro u n d 60 is a s a tis fa c to ry audience fo r th e acto rs i f n o t fo r th e a cco u n ta n ts. In 19 72 Jo h n Bell and a g ro u p o f actors fro m th e O ld T o te to o k C arlo G o ld o n i's slig h t E ig h te e n th c e n tu ry co m m e d ia d e ll' a rte s c rip t The S ervant o f T w o Masters, and sent it u p g u t less. The s to c k lovers, masters and servants o f th e o ld c o m e d y w ere re in te rp re te d as c a ri catures o f m o dern eq uivalen ts - Jeanette M cD o n a ld and N elson E ddy, K a th e rin e H e p b u rn , J im m y D u ra n te and a host o f o th e rs w h o have fad ed fro m m y m e m o ry . L o usy

jokes and puns w ere fire d o u t w ith d isarm ing glee, and pre sid in g o ve rall was R o b in Ramsay (s till rem em bered th e n fo r fa llin g o f f the B e llb ird s ilo ) as th e fa ir-a b lo o d y d in k u m N in o C u lo tta Ita lia n servant o f th e t itle . The re s u lta n t ro m p was backed w ith pian o and d ru m s , a crobatics and songs in c lu d in g th a t fro m w h ic h th e t it le was p in ch e d . It was a huge success. Th e R e p e rto ry version has fe w e r songs, even fe w e r c o m p e te n t singers, tap ed m usic and a very ine xp e rie n ce d and uneven a m a te u r cast. It's s till fu n n y enough to send us aw ay m ild ly e n te rta in e d , and I'm re lu c ta n t to e n te r in to u n fa ir com pariso ns. A fe w m u st ho w e ver be m ade, because o f th e ve ry d iffe re n t w ays in w h ic h each p ro d u c tio n ap proached th e s c rip t. M y m ain c ritic is m o f th e S ydne y p ro d u c tio n was th a t th e y h a d n 't gone fa r enough. T r u ffa ld in o (th e servant o f tw o masters) was s till burden ed w ith all th e " I 'm so h u n g ry " lines o f th e o rig in a l p la y , and u n lik e th e o th e r characters seemed s tu c k in th e E ighte enth c e n tu ry c o n c e p tio n o f th e servant in spite o f his O c k e r-lta lia n accent. Th e fu r th e r th e cast go t fro m th e G o ld o n i o rig in a l, th e fu n n ie r it was. The jo y in th e ir madness sprang fro m th e fre e d o m and q u ic k w itte d n e ss w h ic h blossom ed as th e y tossed aside fo rm a l c h a ra c te riz a tio n and good taste. Some o f th e jokes and caricatures w ere d e c id e d ly in , p a rtic u la rly fo r a B risb a n ite w a tc h in g S ydne y a cto rs p la yin g to S ydne y audiences, b u t w h a t th e hell i t was s till fu n n y . In B risbane th e w o rd s th a t th e S ydne y actors made u p and th re w aw ay w ith abandon became th e ty ra n n y o f a fo rm a l s c rip t. The d ire c to r G raem e Jo h n sto n has a t th e best o f tim e s a te n d e n cy to tre a t his acto rs as pu p p e ts and to d r ill th e m in th e o ld -fa sh io n e d w a lk , tu r n and speak tr a d itio n . T his m ay have some value as p a rt o f a c to r tra in in g , b u t it k ills stone dead any c o m ic s p o n ta n e ity . In using th e S ydney s c rip t w ith very fe w concessions to th e Brisbane locale, the p ro d u c tio n loses layer a fte r la ye r o f co m edy. Jokes a b o u t B e llb ird and N .I.D .A . w ere o n ly sharp and fu n n y w hen spoken b y R o b in Ramsay in th e Parade T h e a tre ; i t ’s sp e cific, 'in ’ h u m o r. In some cases jokes w h ic h had m eaning o n ly w hen related to a p a rtic u la r piece o f business (such as T r u ffa ld in o 's c o m m e n ts a b o u t Headmasters a fte r b o th his masters have spanked h im w ith a w o o d e n paddle) w ere re tained even th o u g h q u ite d iffe re n t business was used (in Brisbane

th e

m asters

k ic k e d

h im

a ro u n d

th e flo o r).

The p rogra m m e notes are p a rtly pinch ed fro m th e ba ck cover o f a Penguin e d itio n o f G o ld o n i's plays, and ta lk a b o u t h o w G o ld o n i changed th e o ld "c o m e d y o f in tr ig u e " in to a "n a tu ra l co m e d y o f c h a ra c te r". Y o u o n ly have to go to th e in tr o d u c to ry essay o f th e same v o lu m e to fin d th a t S erva nt o f T w o Masters (one o f G o ld o n i's fir s t e ffo rts ) belongs to the fo rm e r genre; even if it had been o th e rw ise in th e o rig in a l b y th e tim e th e S ydne y actors had dism em bered it th e s c rip t d id n 't have a na tura l ch a ra cte r w ith in cooee. Y e t in Brisbane th e lovers in p a rtic u la r w ere playe d in ro m a n tic co m e d y s ty le , and ne arly all th e characters were stra nge ly sub dued . O n ly M o nica G ilfe d d e r as S m eraldina co m p le te w ith fr u it and p ra w n hat g o t som ew here near th e degree o f extravagant in a n ity w h ic h c o u ld have made th e evening sta rt to bo unce and b u b b le . Sean Mee was an engaging and frie n d ly T r u ffa ld in o , b u t he g o t little h e lp fro m the p ro d u c tio n . Th e op e n in g was a p e rfe ct exa m ple o f th is ; i t com m enced w e ll enough w ith th e cast appearing at th e en tran ce to the a u d ito riu m and T r u ffa ld in o in v itin g us all to have-a b lo o d y good-a tim e eh? A n d th e cast cra cked jokes and fo o le d a ro u n d as w e sh u ffle d in. B u t th e n we w ere m e t by th re e M a ry lin M onroes in s h o rt w h ite k n ic k e r-w in k in g dresses w h o sim pe red " tic k e ts please" and scu ffstep ta p danced th e ir w ay ahead o f us to o u r seats. A n d as if th a t w a s n 't enough, once we w ere seated th e stage cleared, th e lig h ts w e n t o u t, th e cast came o n in th e d a rk , and th e pla y p ro p e r - in c lu d in g T r u ffa ld in o 's speeches to the audience began w ith us in th e d a rk distance and th e actors in th e k in d o f p o o l lig h tin g m ore a p p ro p ria te to a re a listic dram a. It tu rn e d s o m e th in g as sim p le as ta lk in g d ire c tly and casually to th e audience in to an a w kw a rd v io la tio n o f th e fo u rth w a ll c o n v e n tio n . A n d y e t i t w o rk e d w e ll enough to a ttra c t fu ll houses, and having stoo ped to th e o d io u s I o u g h t to redress th e balance b y p o in tin g o u t th a t th e re was an o rig in a l and fu n n y s w o rd fig h t, a d in in g ro o m scene w h ic h w o rk e d b e tte r as sla p stick th a n th e pre cisio n farce th e O ld T o te trie d to tu r n it in to , and th a t I a c tu a lly preferred some o f th e c o rn ie r m o m e n ts played w ith general y o u th fu l enthusiasm ra th e r th a n p rofession al c o m ic tim in g . I'm a sucke r fo r a gag. W a ite r th e re 's a S oup in m y ... I liked th a t.

Theatre-Australia Dec-Jan, 1976/7 Page 15

CANBERRA REPERTORY COMPANY

CABARET NIMROD

DIRTY LINEN

th e C h ris to p h e r Ishe rw ood fig u re in th e s to ry , and Ernst L u d w ig , his fascist frie n d , m eeting and a rriv in g in B e rlin . T h is f ilm sequence, in sepia to n e , was a b r illia n t idea: it set th e tim e and place o f th e piece and le n t to its a u th e n tic ity . Paul K rieg, to o , m ust be m e n tio n e d . He played H err S ch u ltz p o ig n a n tly , q u ie tly . T o o o fte n these sad-eyed Jew ish type s are e ith e r H err S ch m a ltz o r H err S chlim azel! T he costum es w ere go od to o , s k illfu lly verging on and o f f th e de caden t. A n d th e re w ere some fin e m in o r tou ches, as in th e lo o k and be h a vio u r o f th e tw o lo o k -a lik e lovea like beauties, playe d b y Jen ny O ngley and W endy T u b m a n . A t th e end th e re was a tim e d w in d in g d o w n o f th e a c tio n , in grotesque effe cts. W hen th e q u e stio n o f professional standards is being debated as n o w , th is p ro d u c tio n at C anberra Rep m ust ta ke its place.

Roger Pulvers

CABARET Book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood. Theatre 3 (opened 25.xi.76 ). Director, Ross McGregor; Designer, Russell Brown. Principals: Master of Ceremonies, IAN HOWARD; Clifford Bradshaw. DAMIEN CONNOR; Sally Bowles. SALLIE SALLIS; Max. JOHN THORP

DIRTY LINEN by Tom Stoppard. Canberra Playhouse (opened 23.xi.76.) Director, Ken Horler. Madeleine Gotobed. ELIZABETH MORTISON; CockleburySmythe M.P., JOHN GADEN; McTeazle M.P., RALPH COTTERILL; Chamberlain M.P., WILLIAM NAGLE; Withenshaw M.P. Chairman, ROBERT DAVIS; Mrs Ebury M P., JOHANNA PIGOTT; French M.P., ALAN TOBIN.

W hen is professional th e a tre am ateu rish and am ateurs profession al? T w o p ro d u c tio n s I have seen in succession -- K en H o rle r's D ir ty L in e n and Ross M cG regor's C abaret ~ prove th a t th is d is tin c tio n is n o t o fte n v a lid . M o re o v e r, a stack o f O ld T o te program m es in m y d ra w e r attest to a k in d o f glossy in e p titu d e o f so m u ch o f th e ir w o rk . "P ro fe s s io n a l" p ro d u c tio n s m ay mean o n ly th a t th e acto rs are pa id , having n o th in g to do w ith th e q u a lity o f th e p ro d u c t. W ell n o w C anberra Rep has presented a show th a t is so p o lish ed and fin e . I f it's standards y o u w a n t, th e y 're very very high. The s c rip t its e lf is a drag, how ever. Those endless s h ifts fro m th e K it K a t K lu b to th e pe nsion; and those m e at-sto ck Germ ans and p la in tiv e Jew ish strains! I mean, m y m o th e r c o u ld m ake as w ic k e d a m a tzo ba ll as th e ne xt d o o r n e ig h b o u r's b u t w hen it sticks in th e th r o a t lik e th is ! B u t th e p ro d u c tio n was m a g n ific e n t. S allie S allis pla ye d S ally B ow les. She was fa n ta s tic in b o th th e cabaret and th e in tim a te scenes. Ms Sallis is a profession al n ig h t c lu b singer. N o t o n ly th a t, she is th e a c to r w ith th e m ost s ta r-q u a lity to appear in th is c ity . If I w ere a scout fo r a c o m m e rc ia l th e a tre , she w o u ld n 't last long in c ap ital te rrito rie s . She played S ally Bow les w ith th e rig h t rough q u a lity , lik e a piece o f w o o d th a t has been tossed a ro u n d in th e ocean and ha sn't had tim e to sm o o th th e edges. She leaves Liza M in e lli fo r dead. W h ile o n th e sub je ct o f th e m usic, th e re is K e ith Helgesen. The arrangem ents w ere superb; and Helgesen's o w n c o n d u c tin g , in sequined w ig and u n m a tc h in g "W h e rre tt-s o c k s ", was a d ra m a tic p a rt o f th e sho w in its e lf. Ross M cG rego r had film m a k e r H enning S chou f ilm a sequence in a tra in o f Bradshaw ,

D IR T Y L IN E N T h is p ro d u c tio n d id n 't move. F o r a fa rce fu l o f d o u b le entendres and lines d ro p p e d h o tte r th a n po tatoe s, th e p la y 's d ire c tio n was all to o s ta tic . It tu rn e d o u t as a co m e d y o f very lo w m e ta b o lis m . T he b a c k d ro p was a fla t o f flash headlines o f super size. The op e n in g was liv e ly , w ith Ms G o to b e d , a fem ale c le rk w ith P ieter-B reugelth e -E ld e r bosom s, slip p in g in to a s ilk slip. Jo h n Gaden and R alph C o tte rill, M.P.s e n te r in good c o m ic s ty le , w a itin g fo r each o th e r at th e d o o r lik e F a ls ta ff and F o rd . T h e y com e in and m ix up th e ir in d e n tic a l b o w le r hats. In th e b e g in n ing o f th e p la y th e m o vem en t was back and fo r th across th e fr o n t. The lines came o f f th is m o vem en t. B u t a fte r a s h o rt w h ile th e characters sat d o w n and ba rely m oved. In fa c t, th e e n tire second h a lf o f th e p la y was spoken lik e th is , sedentary and w ith o u t lightness. Perhaps d ire c to r Ken H o rle r c o u ld n 't get aw ay fro m his d ire c tin g s ty le in B e n tle y's A re Y ou N o w o r Have You E ver Been? T here th e d ire c tio n was e xce lle n t. The fa c t th a t the

actors sat m o st o f th e tim e , spread a heavy c o m m itte e -ro o m oppression in to th e corners. A gain w e have a c o m m itte e ro o m and a liv e ly fem ale ch a ra cte r to one side. B u t th e n a ture o f S to p p a rd 's farce dem ands a b ris k e r approach. Take Joh n Gaden's long m o n o lo g u e a b o u t bo obs and being " o n th e f lo o r " . I t was spoken peering in to Ms G o to b e d 's cleavage th e w h o le tim e , a p lo y w h ic h w o rk e d d u rin g th e firs t fe w seconds o f th e speech b u t tu rn e d to te d iu m as it w e n t o n . Perhaps I am d w e llin g to o long on these aspects o f th e p ro d u c tio n . B u t I fo u n d the e x e c u tio n o f th e p la y so to ta lly lacking . Ms G o to b e d 's m iserable clich e p a rt is hard to act w ith any s u b tle ty . W hat d o y o u do w hen an MP comes in and reaches fo r y o u r lo in s, o r w hen y o u r s k irt is rip p e d o f f in m idstream ? The re a ctio n is im p o rta n t if th e message o f being a sex o b je c t w h o com es o u t on to p in th e end is to be b ro u g h t across. A g a in , th e d ire c to r's lack o f panache was e vid e n t. T here was some good actin g. T h is came especially fro m R o b e rt Davis, Jo h n G aden, and, th a t b r illia n t c o m ic m an, R alph C o tte rill. R o b e rt D avis' a n im a tio n in th e second h a lf and his w o n d e rfu l facia l expressions, rescued m ore th a n a fe w jokes. A pla y lik e D ir ty L in e n is p u rp o s e fu lly fr o th y , m a in ly o f the tin y little bu bbles on to p o f th e fr o th . Its characters, a d u m b blo n d e on the w ay d o w n , a h a n d fu l o f zany m o u n te banks o f p a rlia m e n t, need n o t be any m ore th a n the co m p o site o f th e ir fu n n y lines. The them es o f sexism , h y p o c ris y in high places, and scandal-m ongering jo u rn a lis m are p a rt o f it to o . B ut th is is no b la ck co m e d y . In th e end th e M.P.s are fo u n d o u t, Ms G o to b e d beds d o w n th e last m em ber o f th e c o m m itte e , and, as the fin a l lin e announces, " th e co m e d y is o v e r". A play like th is is all in th e p ro d u c tio n . It is surface co m edy th a t has m oved fro m the d ra w in g -ro o m in to p a rlia m e n t house. T his N im ro d p ro d u c tio n , u n lik e J o h n B ell's fa n ta s tic to u rs de farce, was m u rk y and bogged. It never even reached th e surface.

Page 16 Theatre-A u stra l ¡a Dec-Jan, 1976/7

MARIAN STREET THEATRE

TARANTARA! TARANTARA! Maria Prerauer

TARANTARA TARANTARA by Ian Taylor. Marian Street (opened 9.xi.76.) Director, Ted Craig; Designer. David Brinson. Joe. JOHN HANNAN; Richard D'Oyly Carte. RICK BURCHALL; Sir Arthur Sullivan, RAYMOND DUPARC; Jessie Bond, JULIE CHENERY; Sybil Gray. ROSALIE HOWARD; Geraldine Almar, BARBARA FARRELL; William Gilbert, JOHN FAASSEN; George Grossmith. JON EWING; Mr. White. PHILLIP SCOTT.__________________

Tarantara Tarantara, the lig h t-h e a rte d , fastm o vin g G ilb e rt and S u llivan sho w , bo unced in to S yd n e y's M arian S tree t, th e bo ulevard th e a tre o f K illa ra , fo r a ru n rig h t th ro u g h to a very m e rry C hristm as. Ian T a y lo r's m usical is a c le v e rly pieced to g e th e r collage o f e x c e rp ts fro m th e s to rm y careers o f th e tw o squ abblin g gents W .S. G ilb e rt and A rth u r S u llivan — backstage b lo w u p s and fr o n t o f house triu m p h s th a t w ere once th e ta lk

of V ic to ria n England — b len ded w ith e n c h a n tin g ly in te rp o la te d scenes fro m th e ir m o st p o p u la r op erettas. Th e seven u b iq u ito u s singing-actors and one ve ry busy m usical d ire c to r, w h o p o unds a pia n o perched o n th e p ro m p t side w ith ju s t th e rig h t m ix tu re o f c o rre c t s ty le and jo ie de vivre , s lip in and o u t o f a h u n d re d d iffe re n t roles at th e d ro p o f a w ig o r th e sw ing o f a cape. A n d it's all done at a speed th a t at tim e s seems fa ste r th a n sou nd. D ire c to r Ted Craig o f th e O ld T o te 's E quus fam e and designer D avid B rinson to g e th e r exercise an illu s io n is t's m agic in scene s w itc h in g and tw id d lin g . N o th in g ever o u tsta ys its w e lc o m e and the re's alw ays a ne w f l y past o f events b e fo re th e re 's a chance o f g e ttin g bogged d o w n in to o m uch b o rin g d e ta il. One second J o h n Faassen, o u ts ta n d in g as th e pe ppery sharp-tongued b u t b r illia n tly w it t y G ilb e rt, m ay be te s tily sto m p in g in to rehearsal h u rlin g a w ell-e arne d in s u lt a t S u lliv a n , th e next sna tching u p a coa t fro m th e on-stage cloth estre e fo r a q u ic k change o r la un ching in to as nasty a M ik a d o as was never made in Japan, w h ile g ia n t p o p -u p fans u n fo ld a tm o s p h e ric a lly fro m th e flo o r be h in d h im . O r R a ym o n d D upa rc m ay be su d d e n ly tra n s fo rm e d fro m an e q u a lly fin e S u llivan — every inch a va in , po m p o u s, g a m bling , w h in in g s o c ia l-c lim b e r p u ffe d up w ith an exaggerated sense o f his o w n m usical im p o rta n c e — in to th e shreds and patches o f m in stre l N a n k iPoo o r w hatever. Jo n E w in g, to o , is q u ite da zzlin g in his a s to n is h in g ly d iffe re n t p o rtra its o f e cce n tric jo h n n ie s , R ic k B u rch e ll makes a w ic k e d ly handsom e e n tre p re n e u r D 'O y ly (O ily ) C arte, and Jo h n H annan an en d e a rin g ly cheeky stagehand. W hile th e th re e little m aids in and o u t o f scho ol, J u lie C hen ery, R osalie H ow ard and Barbara F a rre ll are as p r e tty as a p ic tu re w h e th e r m asquerading as th e Queen kn ig h tin g S ulliv a n — his gong cam e long b e fo re G ilb e rt's --- p la y in g o th e r lady m e ntors o r th e G and S heroines. Even m usical d ire c to r P h illip S c o tt rem ains in V ic to ria n cha racte r, at th e piano w h ile t a c t fu lly s till ensuring th a t everyone sings s p o t - on and a rticu la te s th e w o rd s w ith e x c e p tio n a l c la rity .

Joh n Faassen ( G ilb e rt) a n d R a y m o n d D u p a rc (S u lliva n )

The sho w begins at a Y eom an o f th e Guards rehearsal ra th e r late in th e d u o 's career and th e n flashes ba ck. In re vu e -like sketches it manages to ta ke a good lo o k at th e w h o le c u rio u s ly English G ilb e rt and S u lliva n c u lt — a p h e n o m e n o n as in co m p re h e n sib le to m ost foreigne rs as cu cu m b e r sandw iches eaten on w e t grass and kippe rs fo r b re a kfa st — w ith o u t s p o ilin g th e fu n by digging d o w n to o far p s y c h o lo g ic a lly . It brings o u t th e p e cu lia ritie s o f th e on-again, o ff-a g a in c o lla b o ra tio n w ith m u ch go od h u m o r, revealing th e selfm ade s u ffe rin g o f S ir A r th u r w h o alw ays im agined he was re a lly de stined fo r greater feats like co m posing grand operas b u t was p u lle d d o w n b y G ilb e rt (B u t he w a s n 't, as one glance at his Ivan hoe w ill prove. He was a man o f sm all ta le n t). W h ile it also shows G ilb e rt's bitterness at his a llo tte d seco n d -strin g -to -S u lliva n p a rt - " th e m o n k e y on his ba rre l-o rg a n ” , as he expresses it , w h ic h becom es all th e m ore p o ig n a n t n o w th a t tim e , th a t m o st merciless o f c ritic s , has p u t e ve ry th in g in to its rig h t perspective. It is a c tu a lly th e evergreen genius o f G ilb e rt's satire th a t alone has k e p t S u lliva n 's ra th e r w ish y-w a sh y tu n e s alive. A n d perhaps th e biggest iro n y o f all is th e fa c t th a t S ir A r th u r , th e R o ya ls' d a rlin g g o odie g o odie, seems to have die d e a rly fro m an excess o f th e good life w h ile S ir G ilb e rt th e baddie m e t an accide ntal end fro m an overdose o f c h iv a lry , n o t to say heroism . B u t th e s c rip t goes to o fa r in c la im in g th a t every op era house in th e w o rld resounds to these op erettas. C om e, com e, Ian T a y lo r. T h ere are h u ndre ds o f C o n tin e n ta l theatres th a t have never m o u n te d a G ilb e rt and S ullivan a t a ll. Such q u ir k y h u m o r is f u lly un d e rsto o d o n ly b y audiences w ith a stro ng E nglish-speaking tr a d itio n . T r y searching program s in G erm an y, A u s tria , Ita ly , France o r Spain th is year and see h o w m a ny G and S y o u fin d . N o t th a t such a fla w w ill in any w ay m ar the e n jo y m e n t o f Tarantara T a rantara a t M arian S tre e t. It's great fu n . M aria Prerauer is music critic and arts feature w riter fo r The A u s tra lia n and writes by kind permission o f the E ditor.

P h o to : M a rian S treet.

Theatre-Australia Dec-Jan, 1976/7 Page 17

ENSEMBLE THEATRE

CALIFORNIA SUITE Rex Cramphorn

CALIFORNIA SUITE by Neil Simon. Ensemble Theatre. Director, Hayes Gordon; Designer, Brian Nickless. Hannah Warren, Diana Nichols, Gert Franklin, CAROL RAYE; William Warren, Sidney Nichols. Stu Franklin, STANLEY WALSH; Marvin Michaels, Mort Hollender, ARTHUR SHERMAN; Bunny, ANNA WEIR; Millie Michaels. Beth Hollender, HELENE KAUB.

The fo u r p la y le ts (th e w o rd is fro m th e p r o gram m e) th a t m ake up C a lifo rn ia S u ite are fin e exam ples o f N eil S im o n ’s v e ry fu n n y dialogue. It's d ialo gue w ith a m a nic life o f its o w n ; th e characters speak w isecracks lik e some s o rt o f fo re ig n language whose speed and vividness can o n ly dazzle those n o t lu c k y enough to be b o rn to speak it. The firs t p la y le t s k ilfu lly eases us in to th e c o n v e n tio n o f th e dialo gue by a llo w in g us to id e n tify w ith an e x-N e w Y o rk e r w h o has lived so long in C a lifo rn ia th a t he has fo rg o tte n h o w to speak it, and c a n 't , at firs t, keep up w ith his e x -w ife w h o has stayed on in N ew Y o rk and, o f course, speaks it nineteen to th e dozen. A n d having suggested th e N ew Y o rk o rig ins o f th is re m arka ble language, N eil S im on moves on in th e late r p la y le ts , to show his m a stery o f regional v a ria n ts , even in c lu d in g one in w h ic h foreigne rs (an E nglish actress and her husband) speak it. The characters and s itu a tio n s fro m w h ic h th e d ia lo gue springs are fa ir ly s im ple : a longsince d ivo rce d c o u p le w hose seventeen-year-old d a u g h te r w a n ts to stay w ith th e fa th e r in C a lifo rn ia instead o f w ith th e m o th e r in New Y o rk -- th e m o th e r w ants her back b u t comes to u n derstand th a t to dem and her re tu rn w ill fu r th e r a lien ate her; a husband fro m P hilade lphia w h o has w o k e n up a fte r a d ru n k e n evening to fin d a g irl in his bed ju s t as his w ife arrives; an English actress and her bi-se xual, a n tiq u e dealer husband w hose 'u n d e rs ta n d in g ' is a little shaken w hen she gets d ru n k a fte r fa ilin g to w in an A ca d e m y A w a rd ; tw o couples fro m Chicago on h o lid a y to g e th e r, whose frie n d s h ip has been w o rn th re a d b a re b y over-exposure to one a n o th e r. I have d e ta ile d all th is to in d ic a te th e ra th e r neat balance o r se rio u s/se n tim e n ta l characters and s itu a tio n s w ith th e m o re o v e rtly c o m e d y /s la p s tic k ones: N eil S im on begins w ith

th e 'heaviest' (re la tiv e ly speaking) m a te ria l -the d iv o rc e e ’s sple n d id flo w o f q u ip s conceals he artb reak; he moves to a m a rita l crisis w h ic h c o u ld end in disaster b u t is saved b y th e w ife 's s lig h tly am biguo us d e cisio n (is she being J e w is h /fu n n y o r Je w ish/b rave w hen she decides to stay w ith h im and spend all his m o ney? A b it o f b o th no d o u b t) ; he com es back a fte r inte rval w ith a w a rm hu m an un de rsta n d in g and concludes w ith ro llic k in g slapstick. These are all characters and s itu a tio n s th a t a te le v is io n -tra in e d audience can recognize in a flash. I fo u n d m yse lf th in k in g th a t these s im p lifie d 'p s y c h o lo g ic a l' insights are th e c o m m o n c u rre n c y o f to d a y 's p o p u la r e n te rta in m e n t. T he d ire c to r, Hayes G o rd o n , has made an inte re stin g decision in u n d e rlin in g th is aspect o f th e p la y in his p ro d u c tio n . He makes us liste n , in b la c k o u t, to th e so rt o f lu sh ly-o rch e stra te d , p o p u la r, s e n tim e n ta l m usic th a t m o st p e rfe c tly associates its e lf w ith th e sorts o f insigh ts th a t th e plays o ffe r -- th e m o st s trik in g exa m ple, p ro b a b ly , was th e segue in to Barbara Streisand singing 'P eople ... w h o need pe ople ...' a fte r th e p la y le t a b o u t th e actress w h o needed to be made love to b y her s lig h tly re lu c ta n t husband. I also lik e d th e o p u le n t o ve rtu re piece th a t faded d o w n to m u zak level as th e set lig h ts (th e B everly H ills H o te l) came up. T here is a perverse g lo ry about th e w hole -h e a rte d e m o tio n a l clich e -- it's th e life -b lo o d o f large sections o f A m e rica n m usical and film a fte r all. Th ere 's a k in d o f eerie resonance, w h ic h I g re a tly re lish , a b o u t film s lik e B ack S treet, w ith Susan H ayw ard and Im ita tio n o f L ife w ith Lana T u rn e r. A n d it's very m u ch th e k in d o f th in g th a t th e m usic fo r C a lifo rn ia S uite b ro u g h t to m in d .

Seven years ago I review ed Plaza S u ite fo r The B u lle tin . T h a t tim e it was W illia m so n s' and fe a tu re d G oogie W ithers and A lfre d Sandor. A n d in those days th e shape was th re e plays w ith tw o in te rva ls -- w h ic h suggests to me th a t e ith e r N eil S im on is be com ing increasingly e co n o m ica l, re fin in g h im s e lf to a fo rm w h ic h w ill u ltim a te ly co in c id e w ith th e revue sketch , o r else th a t he is ta k in g in to c o n sid e ra tio n a c o n s ta n tly s h rin k in g span o f audience c o n c e n tra tio n -- a span w h ic h w ill u ltim a te ly co in cid e w ith th e e x te n t o f th e te le visio n co m m e rcia l. I said th e n th a t G oogie W ithers 'lo o k s a little s titc h e d -u p and u n c o m fo rta b le ' and rem arked on 'th e s lig h tly co n stra in e d and insecure a ir' o f th e cast. I had ra th e r th e same im pression w ith Carol R aye and Helane K aub , th o u g h less so w ith th e male m em bers o f th e q u a rte t (S tanley Walsh and A r th u r Sherm an) a t th e Ensem ble. It is possible th a t m in o r insecurities related to th e e a rly days o f a run e xp la in th is im pression , but it is also conceivable th a t actors fin d some d if f ic u lt y in re co n cilin g th e characters th e y are p la yin g w ith th e dazzling flo w o f w ord s. I can o n ly say th a t w hen N eil S im o n 's d ialo gue seems to w o rk best, in th e film e d pe rform ance s, it is w ith th e actors lik e A nne B a n c ro ft in P riso n e r o f S econd A venu e and W a lte r M a tth a u in The Sunshine Boys, w h o seem to m a n ife st a savage m aniacal enthusiasm fo r th e language its e lf, le ttin g th e easily-graspable ch a ra cte r lo o k a fte r its e lf. A t any rate th a t seems to me to be th e w a y N eil S im on pu ts th e emphasis. I very m uch enjoyed seeing Carol R aye again, th o u g h t S tanley Walsh gave her good s u p p o rt, and fo u n d th e th ir d p la y le t th e m o st sa tis fa c to ry , fro m a p e rfo rm a n ce p o in t o f view .

Page 18 Theatre-Australia Dec-Jan, 1976/7

NIMROD

A HANDFUL OF FRIENDS Dorothy Hewett

A HANDFUL OF FRIENDS by David Williamson. Nimrod Upstairs (opened 12.xi.76). Director, John Bell; Designer. Larry Eastwood. Russell McAlister, PETER CARROLL; Wendy McAlister, JUDITH FISHER; Jill McAlister, BERYS MARSH; Mark Marshall, PETER SUMNER; Sally Marshall, ANNA VOLSKA

A nna

Volska. P eter S u m n e r a n d B erys Marsh

S ittin g in o n D avid W illia m s o n 's new p la y at th e N im ro d is a s a lu to ry and p a in fu l experience, lik e liv in g at hom e and having d in n e r parties. We have all been the re. W ith th e in e vita b le b u lls h it, in fig h tin g , confessionals, be traya ls and p a rtings, o f h a n d fu ls o f o u r frie n d s , relatives and colleagues, and every sho t flies stra ig h t hom e. T his is A H a n d fu l o f F rie n d s ' fo u rth season a fte r A d e la id e , M e lb o u rn e and P erth, and it w o u ld be hard to fa u lt Jo h n B ell's elegant p ro d u c tio n . The S ydne y s ty le -is sm a rt, ra p id , edged w ith w it and m a lice . The problerr| o f th is s ty le is th a t som etim es th e essential serious ness o f a p la y , th e m o ral tra g e d y if you lik e , tends to be m in im iz e d . T h is d o e sn 't happen here. In fa c t it is th e b r it tle exp ertise o f the p ro d u c tio n th a t discloses th e w o rm in th e bu d, reveals th e s k u ll beneath th e skin. There is an uneasy balancing act go in g o n w h ic h fits so b e a u tifu lly th e life o f th e p rotag onists, a balance betw een w it and b itte r high seriousness. As th e pla y draw s to a close, th e tig h t c o n tro l d e lib e ra te ly fra gm e nts, th e pace slows, u n til we are le ft w ith scenes th a t emerge lik e sad, slow film clips , fa llin g in e x o ra b ly in to place. T his is a sub tle, d if f ic u lt , d e m and ing pla y fo r d ire c to r, acto rs, designer and audience, b u t th e re is n o th in g else needed, as some review ers have m a in ta in e d th e re is, no o ve rw e ig h tin g , no heavy handed c la rific a tio n s , no sequels, no d in n e r p a rty scene. It is all th e re in a b e a u tifu lly poised, spare, sop h istica te d scrip t. Any d if f ic u lt y can o n ly lie in th e s u b tle ty . A u s tra lia n audiences are n o t stro ng on s u b tle ty , n e ith e r are A u s tra lia n dram a reviewers. " I 'm going to make one good film b e fo re I die. It's the o n ly m o tiv e I've go t le ft, and its going to be so good th a t none o f those b itte r little ty p e w rite r assassins w ill dare k n o c k i t , ”

says M a rk, th e f ilm p ro d u c e r in A H a n d fu l o f Friends. " A great deal o f m o dern A u s tra lia n social h is to ry is packaged in to th is p la y : academ ia, th e film in d u s try , th e m edia, th e lib e l laws, even the N a tio n R eview gets a guernsey. This is n o t unusual in a W illia m so n p la y . In his last p la y . The D e p a rtm e n t, we saw th e slo w and ca re fu l d o c u m e n ta tio n o f th e characters, th e o rc h e s tra tio n o f th e ir su b tle re la tio n sh ip s. In th is p la y th e d e ta il is sharper, m o re im p re ssio n istic, we are in to th e n it t y g r it ty in no tim e , and th e re is th e added bonus o f th e th e a tric a l risks. I lik e to see D avid W illia m so n ta k in g risks. He understands so w e ll th e w ell-m ade, realist p la y th a t a c e rta in a m o u n t o f risk ta k in g is n o w necessary, and he d o e sn 't s h irk it. Th ere is alw ays a m o ra lity th a t in fo rm s the w o rld o f W illia m s o n 's plays, a m o ra lity his characters are uneasily aware o f. The d iffe re n c e in A H a n d fu l o f F rie n d s is th a t th e m oral choices are so close to th e s k in , th e characters are very aw are, as he is, and th e razor's edge th e y w a lk on makes th e m b o th vu ln e ra b le and te r rify in g . Th e w h o le p la y can be seen as a m e ta p h o r a b o u t re alism , its p itfa lls and triu m p h s , its uneasy re la tio n s h ip w ith re a lity , p a rtic u la rly in A u s tra lia w here w e all end up kn o w in g to o m uch a b o u t each o th e r fo r c o m fo rt. I t d o e sn 't seem q u ite a ccide ntal th a t in th e w eek A H a n d fu l o f F riends opened in S ydne y, th e n o ve list C h ristin a Stead, liv in g back in th e w estern suburbs, w e n t o n re cord w ith an in te rv ie w in The N a tio n a l Tim es m a in ta in in g th a t she does n o t w rite fic tio n . H er characters are pe ople she has k n o w n , speaking th e ir w ord s, behaving as th e y do . " I t 's a great m istake to th in k pe ople d o n 't lik e being in bo oks, th e y love it, " she says.

P h o to : P eter H o ! d e r ness

Theatre-Australia Dec-Jan, 1976/7 Page 19

P h o to : P eter H olderness

A n n a V olska a n d P eter S um n er " T h a t's one th in g a b o u t being a w rite r : people in s ta n tly te ll y o u e v e ry th in g ." (I) In A H a n d fu l o f F rie n d s R ussell, th e academ ic, ju s t re tu rn e d fro m th e States, is ta lk in g to sister J ill a b o u t th e ir m u tu a l o ld frie n d , M a rk, th e local m o vie m aker. R ussell: O ne th in g a b o u t M a rk , com e fam e o r fo rtu n e , he never fo rg e ts his o ld frie nds. W e n d y: N o. He pu ts th e m in his film s . R ussell: C reative people do it all th e tim e . I p u t M ark in th e novel I trie d to w rite d id n 't I? He was the ce n tra l cha racte r. I'm ra th e r fla tte re d to th in k he fo u n d us in te re s tin g enough to w a n t to in clu d e us. O f course th e re is a n o th e r side to th e co in and Russell p ic k s it up in his c o n fro n ta tio n scene w ith M a rk to w a rd s th e end o f th e pla y , w hen he accuses: " Y o u had no rig h t to make fu n o f me and m y novel no m a tte r h o w bad it was, and to m ake fu n o f m y d rin k in g p ro b le m ." I t ' s a p o in t ta k e n up b y B ob E llis w ritin g ab o u t A H a n d fu l o f F riends in N a tio n R eview as if it was a k in d o f incest, (J ill w rite s her ba ckstabb in g revenge piece on M ark and his actress w ife S ally fo r N a tio n R eview ) and E llis is as a m b ig u o u s ly fu n n y /u n fu n n y as th e play. " I w o rr y a b o u t w rite rs . So m any o f th e m used to w e t th e ir beds at bo a rd in g schools and n o w th e y beat th e ir wives, some o f th e m , lik e D avid W illia m s o n , by p ro x y , on th e p u b lic stage. W hat gets me d o w n is th e feeling I have th a t th e c ra ft I used so fe rv e n tly to practise in o rd e r to pay m y w ay is m ore o r less abnorm al because in one w ay o r a n o th e r it alw ays involves b e tra y a l." W ell, tne re are m any d iffe re n t ways to b e tra y and A H a n d fu l o f F rie n d s exp lo res m ost o f th e m : m a rita l be trayals, frie n d ly be trayals, lovers' be traya ls, c o m ic , tra g ic and sleasy be traya ls. T here are eigh t scenes spanning less

th a n a w eek, fo u r couples and th e od d w om a n o u t, w h o is a sister. B uzo's hero in M a rte llo Tow ers fin is h e d up w ith his sister (and her p a n ty h o s e ), W illia m so n 's a n ti-h e ro Russell fin ish e s up w ith sister J ill (and her eternal casseroles). A re sisters being used in A u s tra lia n dram a as m o th e r s u b stitu te s fo r th e sad A u s tra lia n male? The fo u r couples are Russell, th e new H is to ry Professor at a " n e w " M e lb o u rn e u n iv e rs ity , and his shadow w ife , W end y; M a rk, th e S ydne y film -m a k e r and his actress w ife , S a lly. S ister J ill is a jo u rn a lis t on a tre n d y mag. T h e y have all k n o w n each o th e r fo re ve r, (R ussell, M a rk and W endy have even had a threeso m e), all exce pt S ally w h o is o f N ew A u s tra lia n ge neolo gy, and believes y o u can do a n y th in g y o u w a n t to , a b e lie f th a t, in A u s tra lia , makes her m o re th a n usu a lly a ca n d id a te fo r th e c h o p p e r. R ussell, M a rk and J ill all com e fro m one o f tho se lit t le c o u n try to w n s F rank M oorho use kno w s lik e th e back o f his hand in The E le c tric E xperience. The set consists o f Area A : Russell and W end y's liv in g ro o m w ith p a rtly visib le k itc h e n / d in e r b e y o n d ; A rea B: J ill's m o dern fla t; A rea C a ro o m in an in n e r-c ity m o te l (o n ly used once in A c t tw o , Scene tw o .) L a rry E astw ood's fu n c tio n a l and im ag inative use o f th e N im ro d space a llo w s th e fre e flo w o f th e a c tio n , and his revolve copes b e a u tifu lly w ith th e p ro b le m o f th e late in tr o d u c tio n o f th e ho te l b e d ro o m set, a key m o m e n t in th e p la y . Peter C a rro ll as R ussell, Peter S um ner as M a rk and A n n a V olska as S ally ta ke th e actin g ho nours. S um ner's s o ft ce n tre d , h y p o c h o n d ria c , relentless M ark never p u ts a fo o t w ro n g , and A n n a V olska's S ally (W illia m so n gives her some o f th e best lines in the p la y ) is a fa scin a tin g

m ix tu re o f v u ln e ra b ility and hard-headedness. J u d ith Fisher as W end y and Berys Marsh as J ill seemed a little d im in c o m p a riso n , and y e t, lo o k in g back these tw o sad ladies, w ife and sister, do stay in th e m e m o ry as essential fo ils fo r the o th e r m o re v o la tile characters. One o f th e big risks o f th e pla y is J ill's s o lilo q u y in A c t one. Scene th re e . It d id n 't w o rk on opening n ig h t a t th e N im ro d , b u t th e re seems no real reason w h y it s h o u ld n 't. We have th e use o f th e tape re co rd e r to tie it to n a tu ra lis tic co n v e n tio n , and th e m o n o lo g u e , n o t ju s t th e re to get ove r som e ve ry essential in fo rm a tio n (a lth o u g h it does th a t to o ) is also p a rt o f the p sych ologica l p o rtra it, c lu tc h in g a m edia s ym b o l. Perhaps th e answer is m o re d ra m a tic em phasis, and no a tte m p t to u n d e rp la y . W hen do in g som e th in g a b it ou trag eou s be as outrageous as possible. The u n fo rg e tta b le p e rfo rm a n ce in th e ga lle ry o f academics we have k n o w n is Peter C a rro ll as Russell M c A llis te r, the c o m ic , sad, w itty , v io le n t, self d e s tru c tiv e H is to ry Professor w ith a lo w sperm c o u n t. It is no accid e n t th a t W illia m so n gives h im th a t so a p t second last line. He is th e o n ly cha racte r in th is charade o f tr u th and consequences w ith enough real insigh t to make it, and th a t o f course is p a rt o f his tra ged y as "a c lo w n w ith d ig n ity ." R ussell: A pleasant lit t le socie ty we live in, isn 't it? J ill: I'll be th e re in te n m inu tes.

(1 ) "C h ris tin a S tead; The E x ile R etu rns U n h a p p i l y M a rio n M cD o n a ld , The N a tio n a l Times, N ov. 2 2 -27, 1976. (2) "D ro p p in g s ; Veges ta ke th e piss o u t o f y o u ." Bob E llis, N a tio n R eview , N ovem ber 19-25, 1976.

Page 20 Theatre-A u stra l ¡a Dec-Jan, 1976/7

OSCAR'S HOLLYWOOD PALACE

CONNELLI AT THE PALACE" PAUL ELLIOT, A.E.T.T.

DEAD EYED DICKS Barry Eaton

CONNELLI AT THE PALACE Oscars Hollywood Palace. JUDI CONNELLI, ROSS COLEMAN, JAN HOGAN, TERENCE M. MAHOUB, GRANT POMMEROY. DEAD EYED DICKS by Peter King. Theatre Royal (opened 22.xi.76.) Director, Peter O'Toole; Designer, Hutchinson Scott. Lord Bogmore, RICHARD VERNON; Lady Bogmore, LALLY BOWERS; General Moran, DONAL McCANN; Alice Moran, MADELEINE CANNON; Elizabeth Moran, SHEILA RUSKIN; Molly. JUNE BROWN; Coachman, DECLAND MULHOLLAND; Bunter, Mopsy, Dr Watson, Dead Eyed Dicks, PETER O'TOOLE.

M usical c o m e d y is n o w n o n -e x is te n t in S ydney and w ith th e dem ise o f J.C . W illia m sons its fu tu re lo o ks bleak. M o u n tin g p ro d u c tio n costs and th e u n a v a ila b ility o f good new m a te ria l bodes ill fo r th e lo ve r o f "m u s ic a ls ". O n ly th e a m ateu r societies manage to survive.

J u d i C o n n e lli a n d Cast.

T h e a tre restaurants are n o w ca te rin g to th e dem and o f th e "S p e cia l N ig h t O u t" . D in n e r and a show all u n d e r one ro o f fo r a package price is an a ttra c tiv e p ro p o s itio n fo r m a n y pe ople these days. C e rta in ly S ydne y has its fa ir share o f T h e a tre R estaurants, p a rtic u la rly o n th e N o rth side o f th e h a rb o u r. Oscar's H o lly w o o d Palace re c e n tly opened its do ors in Sans S ouci and w ill cater p a rtic u la rly fo r S yd n e y's s o u th e rn and w estern suburbs. Th e o p ening sho w is C o n n e lli a t the Palace fe a tu rin g m usical co m e d y star Judi. C o n n e lli. B asically it is a c o lle c tio n o f musical c o m e d y num bers spanning th e years fro m th e '30s to th e '70s. T h is fo rm a t has been successful at th e " B u ll 'n B ush” fo r over te n years n o w and th e re is no reason to suppose it w ill fa il at th e H o lly w o o d Palace. J u d i C o n n e lli, last seen o n stage in th e ill fa te d A p p la u se tw e lve m o n th s ago, w o rk s v ery hard e n te rta in in g th e audience. She is a v ery versatile p e rfo rm e r and fro m a b o u n c y opening goes in to th e Sweet C h a rity song, " I f m y frie n d s c o u ld see me n o w ." T h is sets th e pace fo r a to u r o f th e m usical co m edy w o rld th a t is to th e stage w h a t T h at's E n te rta in m e n t is to film . O f course every m usical co m e d y star needs a good cho rus and clever dance ro u tin e s. Ross C olem an and frie n d s f i l l th e b ill a d m ira b ly a lth o u g h th e y sh o u ld s tic k to singing as a g ro u p . A co u p le o f solo num bers w e n t astray because o f w eak singing voices. Th e sh o w belongs, q u ite r ig h tly , to Ju d i C o n n e lli and some o f th e num bers th a t I re m em b er p a rtic u la rly are "S h e 's a S ta r" " 4 2 n d S tre e t" and th e A n d re w Sisters send up. T h ere is th e in e vita b le G arland m e dley and J u d i's fin a l is fro m Applause. A ll in good fu n . So

I guess th e

message is fo lk s , m usical

c o m edy in S ydne y is s till alive and w e ll and n o w liv in g a t Sans S ouci.

P h o to : Oseads H o lly w o o d Palace

R ic h a rd V ern on & L a lly B ow ers in Dead E yed D icks P h o to : S tu a rt R ob in so n B y n o w we are a ll fa m ilia r w ith th e fa c t th a t a f u lly im p o rte d co m p a n y fro m England has been m a kin g a lig h te n in g t r ip to A u s tra lia . The m agic name o f Peter O 'T o o le has lured thousands to S yd n e y's T h e a tre R o ya l to w itness a m ild ly am using show called D ead E ye d D icks. I t is som e th in g to be said fo r th e p u llin g p o w e r o f an overseas star th a t pe ople w ill pay $ 1 2 a seat fo r th is show . A sizeable n u m b e r w ill make th is th e ir annual pilg rim a g e to th e th e a tre . T he p la y its e lf is a fa ir ly fo g e tta b le piece, w h ic h , i f i t ever does reach th e West End, w ill cate r fo r w h a t is k n o w n in th e business as th e 'coach tra d e '. W ith som e go od w o rk do ne b y established p e rfo rm e rs L a lly Bow ers and R ich a rd V e rn o n , it c o u ld even be q u ite success fu l in L o n d o n 's to u ris t season. It needs a lo t o f p o lish in g b e fo re th a t c o u ld happen and we are o b v io u s ly p ro v id in g th e te stin g gro u n d . I t w o u ld appear th e o n ly real advantage to th e A u s tra lia n th e a tre scene fro m th is v isit is th a t it prevented th e T h eatre R o ya l fro m going d a rk fo r tw o and a h a lf m o nths. A c to rs E q u ity made a special dispe nsatio n fo r th e co m p a n y to p la y here, w ith o n ly seven local u n derstudies g e ttin g w o rk , plus a fe w backstage crew . E q u ity fe lt i t had an o b lig a tio n to th e R o y a l, having been in s tru m e n ta l in th e new th e a tre being in clu d e d in th e M .L .C . b u ild in g .. It w o u ld have been m o st em barrasing if th e R o ya l w e n t d a rk o n ly te n m o n th s a fte r its o p ening . F o rtu n a te ly th e fu tu re o f th e th e a tre looks secure a fte r F e b ru a ry w hen th e E liza beth an T h eatre T ru s t have fir m c o m m itm e n ts . Manager F re d d ie G ibso n has been w o rk in g hard to keep th e R o ya l in p ro d u c tio n and he hopes to c o n firm a Jan uary b o o k in g s h o rtly a fte r T h eatre A u s tra lia goes to p r in t. It w ill be a fu lly A u s tra lia n sho w to jo in th e fo u r local p ro d u c tio n s a lre ady staged. A c to rs E q u ity rem ains fir m th a t D ead E yed D ic k s has h o t set a p recede nt f o r overseas co m panies c o m in g to A u s tra lia . Each case w ill be tre a te d o n its m e rits . T h a t's th e ir s to ry and th e y 're s tic k in g to it!

Theatre-A ustral ¡a Dec-Jan, 1976/7 Page 21

OLD TOTE THEATRE COMPANY

ROOKERY N O O K BLACK THEATRE

HERE COMES THE NIGGER Katharine Brisbane ROOKERY NOOK by Ben Travers, Parade Theatre (opened 24.xi.76 ). Director, Bill Redmond; Designer, Alan Lees. Gertrude Twine, JUDY FARR; Mrs Leverett, BETTY LUCAS; Harold Twine, EDGAR METCALF; Clive Popkiss, RONALD FALK; Gerald Popkiss, NEIL FITZPATRICK; Rhoda Marley. LYN CURRAN; Putz, RIC HUTTON; Admiral Juddy, R A Y M O N D M U RRAY; Poppy Dickey, LIZ MARSHALL; Clara Popkiss. PAMELA GIBBONS. HERE COMES THE NIGGER by G.L. Bostock. Aboriginal Black Theatre (opened 29.xi.76.) Director, Jack Charles. Sam, ATHOL COMPTON, Billy, KEVIN STEWART; Odette, JULIE McGREGOR. Verna, MARCIA LANGTON; Neil, BRYAN BROWN; Bob/Toby, ROBERT HANSLEY; Ari. JOHN BAYLES; Tim, RON MURRAY, Johnny, LES SMITH; Marsha, LORRAINE MAFI WILLIAMS; Betty, VENIECA DOOLAN

I t has been one o f th o se weeks. Th e Prim e M in is te r, M r Fraser, had been seen to tu r n his sto n y gaze to w a rd s those areas o f free expression k n o w n as th e p e rfo rm in g arts and th e m edia. The n e w ly -fo rm e d M edia W o rke rs' C o u n cil was s te rn ly raising forces to save th e A .B .C .. The T h e a tre Board o f th e A u s tra lia C o u n c il had been s ittin g and news o f its c u t backs was beginnin g to seep th ro u g h . F in d in g its e lf w ith a p r e tty p o o rly fu rn is h e d C hristm as s to ckin g and to o m a n y v o c ife ro u s orphans c ry in g fo r it, th e T h e a tre B oard had a p p a re n tly

made th e ch o ice o f p u ttin g p e rfo rm a n ce b e fo re d e v e lo p m e n t - m eaning b y th a t to save th e liv e lih o o d o f tho se at present in th e profession . A w o rth y a im in a crisis. In e v ita b ly , ho w e ver, th e m o ney m u st end up going to th e big th e a tre com panies s tu c k o n th e ir tre a d m ill o f y e a rly re p e rto ire , never m in d th e progress w h ic h o n ly risk can achieve. I d o n 't blam e th e T h e a tre B oard. We are all reaping a w h irlw in d to d a y and th e hard th in k in g it is b rin g in g is no bad th in g . Just as has happened in th e A .B .C . in th e s h ip b u ild in g in d u s try , in u ra n iu m m in in g and elsew here, th e tim e is fast a rriv in g in th e th e a tre w hen w e shall have to p u t o u r jobs on th e lin e and declare w h a t, in C h u rc h ill's w ord s, u p w ith we w ill n o t p u t. It was w ith th e hard lu c k stories o f d is a p p o in te d sub sid y a p p lica n ts in m y m in d and th e m ilita n t proposals o f th e N a tio n a l P lay w rig h ts ' C onferen ce exe cu tive (th e A .N .P .C . had had its e n tire $ 2 0 ,0 0 0 a p p lic a tio n refused fo r th e firs t tim e ) th a t I w e n t to tw o plays fo r Theatre A u s tra lia w h ic h c o u ld n o t be m o re d iv e rg e n t: a t th e O ld T o te 's Parade T h eatre at th e U n iv e rs ity o f N.S.W . Ben T ra v e r’s R o o k e ry N o o k ; and a t th e B lack T h eatre b e h in d th e ra ilw a y in R e d fe rn , G .L . B osto ck's H ere Comes th e Nigger. R o o k e ry N o o k is an exa m ple o f th e k in d o f th e a tre w h ic h is to be saved: a 1920s farce, n o t very w e ll d o ne and - to judge b y th e m o o d o f th e audience th e n ig h t I saw it - sadly o u t o f tim e and place. M indless ru b b ish , one m ig h t fa ir ly call it if one chose. B u t i t is, o f course, n o t th e O ld T o te 's o n ly c u rre n t o ffe rin g . A t th e Opera House D ram a T h e a tre we have th e rare jo y o f seeing P a tric k W h ite being p e rfo rm e d again - so m ething o n ly a c o m p a n y w ith T o te 's resources c o u ld u n d e r ta k e so succe ssfully. W ith The Season a t S arsaparilla at one th e a tre , w h y n o t R o o k e ry N o o k at th e o th e r? N o good reason at a ll. T h o u g h , o d d ly , it is th e W h ite p la y th a t is o c c u p y in g th e m o re co m m e rcia l o f th e tw o the atre s. I am n o t against R o o k e ry N o o k as a C hristm as sh o w : h o w m a ny tim e s has it been so in its life tim e ? W hat condem ns it fo r me is th a t th e audience fo u n d it u n fu n n y and e ffe te . It is c h a rm in g ly designed by A lla n Lees and has an exp erien ced co m edy cast led b y N eil F itz p a tric k , R o n a ld F a lk , J u d i F a rr and Edgar M e tca lfe . B ut th e y w ere all w o rk in g to o hard.

R o n a ld F a lk , N e il F itz p a tric k , Pamela G ibbons, J u d i F a rr, M a ry M a ckay & B e tty Lucas in R o o k e ry N o o k .

ty in g them selves in k n o ts w here th e te x t calls fo r o n ly th e sim ple st gesture. W ith th e e x c e p tio n o f L y n e tte C urran w hose R hoda, th e in n o c e n t pyja m a g irl w h o seeks refuge fro m her fearsom e s te p fa th e r w ith a n e w ly m a rried m an, was lik e th e lig h te st o f lem o n m eringues, th e cast p u ffe d a ro u n d as th o u g h th e y lacked any a to m o f fa ith in th e play. B ill R edm o n d is u n q u e s tio n a b ly capable o f d ire c tin g th e p la y fo r o u r e n jo y m e n t. The fa c t rem ains th a t all these actors have done b e tte r w o rk elsewhere. In s h o rt, th e p la y was o u t o f sorts w ith its th e a tre ; and th a t, fo r a farce, is fa ta l. Here Comes th e N igger, o n th e o th e r hand, grow s o u t o f a th e a tre o n survival ra tio n s and th e m a terial o f th e pla y is, a c c o rd in g ly , basic necessity. It m ay lack elegance b u t it does have passion and th e great advantage th e g ro u p have over th e T o te in th is p a rtic u la r case is th a t th e y care; because i t is th e ir o w n basic necessities, th e ir o w n im m e d ia te exp erien ce th e y w ish to express in th is p la y . Th e re su lt is rough th e a tre b u t it had me and th e rest o f th e a ll-w h ite audience s ittin g o n th e edge o f o u r seats fo r reasons o th e r th a n c o m fo rt. The B lack T h e a tre has advanced q u ite a b it since The Cake M an a year ago. H ere Comes th e N igger is d ire c te d w ith c o n fid e n c e by Jack Charles w h o n o w has th e s u p p o rt o f b la ck actors o f g ro w in g exp erien ce lik e A th o l C o m p to n and M arcia L a n g to n ; and gu tsy yo u n g w h ite acto rs lik e J u lie M cG rego r and B ryan B ro w n . The hero is Sam ( A th o l C o m p to n ) a b lin d b la ck w h o makes le a th e r b e lts and is s tu d y in g fo r his h igh er school c e rtific a te . Th e play opens as he is a b o u t to m eet a new tu t o r , O d e tte (Ju lie M cG rego r) a so cio lo g y stu d e n t on a p a rt tim e jo b . O d e tte takes u p w ith Sam w ith enthusiasm , p a rtly fro m a ttra c tio n , p a rtly fro m c u rio s ity and a d m ira tio n , and soon fin d s herself at a s to rm c e n tre o f p re ju d ic e b o th fro m Sam's b la ck colleagues and fro m her b ro th e r N eil (B rya n B ro w n ), a v io le n t, racist exV ie tm a n veteran. The firs t life s ty le o f to u c h in g on b la ck po w e r,

h a lf is an a im ia b le s tu d y o f th e th e urban b la c k in R e d fe rn , d o m e stic ha b its, m o n e y w o rrie s, th e c o n d itio n o f fa m ilie s o n th e

P h o to : R o b e rt Me F a r lane

Page 22 Theatre-Australia Dec-Jan, 1976/7 reservations. M ost o f ail it sends up w h ite s , p a rtic u la rly th e liberal w h ite try in g to u n d e r stand. It is a sharp slap in th e face fo r us w h ite s and its b lu n t speaking is h o n e s tly refreshing. In th e second h a lf fro m th e tim e N eil e xp lo des o n th e scene the p la y m oves o u t o f th a t casual re a lity in to a tra g ic gesture, Jacobean in fla v o u r. T h a t it goes to o fa r is due to th e a u th o r's in exp erie nce and th e in flu e n c e o f E uropean dram a. B u t a t th is p o in t th a t is u n im p o rta n t. W hat one retains is th a t sense o f danger and honest passion, o f som e th in g e x c itin g a b o u t to happen - m aybe n o t to n ig h t o r to m o rro w , b u t n o t to o fa r a ro u n d the co rn e r. A nd in re tro sp e ct th a t makes R o o k e ry N o o k an even sadder o b je c t. So w h a t price our d e v e lo p m e n ta l program m es? A t th is p o in t I w o u ld lik e to m e n tio n a th ir d pla y w h ic h poses a p a rtic u la rly tr ic k y p ro b le m ap ropo s o f th is q u e s tio n . A n d th is is the recent season in C anberra in th e as y e t u n fin ish e d A .N .U . A rts C entre o f R oger P ulvers' D ro p D rill. T his was d ire c te d w ith great c la rity and in g e n u ity b y R a lp h W ilso n and p e rfo rm e d w ith s k ill and th a t same sense o f c o n v ic tio n I fo u n d at th e B lack T h e a tre , by acto rs in c lu d in g A n n G re y , D avid B e n n e tt, M a rgue rite W ells and Ewa C zajor. M r Pulvers, an A m e ric a n -P o lis h , n o w -n a tu ra lis e d A u s tra lia n w h o lectu res in Japanese a t th e A .N .U . w rite s in a s ty le w h ic h re fle c ts b o th th e P olish and th e Japanese th e a tre and is to t a lly fo re ig n to the average A u s tra lia n audience. I m y s e lf d o n o t un derstand Pulvers' w o rk b u t its q u a lity is selfevid e n t and th is p ro d u c tio n c o n firm e d me in th is vie w . D ro p D r ill is an a lle g o ry a b o u t the c o n d itio n in g fro m w h ic h h u m an beings s u ffe r in th e 2 0 th c e n tu ry , th e ritu a ls w h ic h have lost th e ir m eaning and th e means people fin d fo r survival. The characters in c lu d e a w o m a n p rim e m in is te r and her a tta c h e , fo re ig n pow ers, and a fa m ily o f several generations. The se ttin g ro u g h ly , is an Asian desert in w h ic h th e p rim e m in is te r fo r a tim e is lo s t. T h ere is a deal o f m im e , o fte n v e ry w it t y . T o give y o u some in k lin g , one o f th e e a rly scenes is a s u m m it ta lk c o n d u c te d b y pa rties w h o exchange view s by p la y in g a v a rity o f in s tru m e n ts , som e tim e s in h a rm o n y and som etim es in em barras sing d iscord. T h e a tric a lly in fa c t th e p la y w o rk s v ery w e ll and is c e rta in ly no m o re strange th a n th e w o rk o f Peter H andke w h o re c e n tly had som e vogue in o u r theatres. B u t w hen life is to u g h , as it is ju s t n o w , w h a t place is th e re in o u r th e a tre fo r such radical o rig in a lity ? T h en again w hen life is to u g h , sho uld n o t th is be th e v e ry tim e to decide o u r p rio ritie s ? T o re tu rn to P a tric k W h ite 's The Season a t Sarsaparilla. F o r all its b rillia n c e , no one can de ny th a t it also c o n ta in s s tru c tu ra l and te ch n ica l pro b le m s w h ic h J im S harm an's fin e p ro d u c tio n d id n o t solve. One c a n n o t he lp ru m in a tin g th a t had th e c lim a te o f th e th e a tre in th e e a rly 60s been m ore m a tu re , m o re h o n e stly progressive, m o re o f tho se th in g s we lik e to th in k we are a fte r n o w , w e m ig h t to d a y have greeted th is revival w ith o u t such reservations. D evelo pm e ntal w o rk is b y its na ture c o n tin u o u s and changing; and essential to a u th o rs, actors and audience in a w id e v a rie ty o f w ays. The a lte rn a tiv e to change and v a rie ty is stag natio n and m o n o to n y ; and i f w e d o n 't ta ke tim e o f f fro m th e present pressing fin a n c ia l pressures to get o u r p r io ritie s s tra ig h t, th e danger is we shall be s tu c k w ith n o t-v e ry good pe rform ance s of R o o k e ry N ook.

SOUTH AUSTRALIAN THEATRE COMPANY

MALFI Michael Morley

MALFI an adaption of Webster's The Duchess of M alfi by Rodney Fisher. The Playhouse (opened 11.xi.76) Director, Rodney fisher; Designer, Shaun Gurton. ALAN ANDREWS, CRAIG ASHLEY, JO ENGLAND, PATRICK FROST, DOUG GAUTIER, IAON GUNN, PEGGY O BRIEN, GEORGE SZEWCOW, CLARISSA ZORZAN.

R e fle c tin g in the 1950s on th e q u e stio n o f a d a p ta tio n , B re ch t observed: " We can change Shakespeare i f we can change h im ." T he q u ip is fa r m o re th a n a n e a tly tu rn e d p a ra d o x: fo r it pre-supposes b o th th e a m e n a b ility to change o f th e w o rk in q u e s tio n as w e ll as th e d ra m a tu rg ica l sense and s e n s ib ility o f th e pros pective a d a p to r. U n fo rtu n a te ly , fe w a u th o rs and d ire c to rs now adays seem u n d u ly b o th e re d b y th e th o u g h t o f ta k in g a n o th e r's w o rk and re- (o r ra th e r m is -) shaping it to s u it th e ir

o w n o fte n obscure and to ru o u s ends. R o d n e y Fisher's a d a p ta tio n and p r o d u c tio n o f W ebster's The Duchess o f M a lfi is a triu m p h a n t, b ra ze n ly s e lf-c o n g ra tu la to ry exa m ple o f ju s t h o w illconceived such an approach can be. A d a p ta tio n , as w rite rs lik e M ille r, D ü rre n m a tt and B rech t have sho w n , can lead to p ro d u c tiv e and illu m in a tin g insigh ts in to a w o rk . B u t R o d n e y Fisher's versio n n o t o n ly d is to rts and confuses W ebster's p la y , it succeeds in m a kin g it so b o rin g and te d io u s th a t o n ly a re-reading o f th e o rig in a l con vin ced me th a t m y re c o lle c tio n o f it as a piece fu ll of fe b rile energy and intense, if o fte n c o n tra d ic to ry e m o tio n , was n o t, in fa c t, a d e lu sio n . M y respect fo r W ebster's language and sense o f d ra m a tic s tru c tu re has n o w been re -a ffirm e d : in th is respect it c o u ld be said th a t th e p ro d u c tio n was successful. B u t th is "n e g a tive d ia le c tic " is h a rd ly s u ffic ie n t c o m p e n sa tio n fo r an evening in w h ic h W ebster and the audience b o th su ffe re d e q u a lly severe m is h a ndling . In case it m ig h t appear to th e u n in itia te d th a t th e a d a p ta tio n lacked a co n c e p t, tw o p ro g ra m m e notes c o rre c t th is m isap pre hen sio n. A d m itte d ly , th e y d o p o in t th e reader in tw o o p p o s ite d ire c tio n s s im u lta n e o u s ly - th a t is, if o n e can fo llo w th e s y n ta x. M r. F isher te lls us th a t " th e la b o rio u s p lo t o ffe rs lit t le to an audience w ell-versed in th e sh o rth a n d te ch n iq u e s and non-seq uiters (sic) o f te le v is io n and c in e m a ." N o w W ebster's p lo t m ay seem la b o rio u s to R o d n e y F ish er: b u t a t least th e o rig in a l managed - th o u g h at some le n g th to suggest w h o was d o in g w h a t to w h o m , w here, and som etim es w h y . It is a singu lar ach ie vem e nt o n M r. Fisher's p a rt to have c u t th e p la y b y h a lf and increased its c o n fu sio n s and "n o n -s e q u ite rs " an h u n d re d fo ld . A m o d e rn audience m ay w e ll be fa m ilia r w ith th e s h o rt hand te ch n iq u e s and e p iso dic la y o u t o f cinem a and te le v is io n : b u t to fo llo w , le t alone u n d e r stand, M a lfi, th e y w o u ld need to be c y p h e r e xp e rts and free-association fre aks blessed w ith p ro d ig io u s m e ntal a g ility . F o r w h ile the d ire c to r's p rogra m m e n o te sees th e essence o f W ebster's p o e tic visio n in te rm s o f re v o lu tio n , oppression and Fate, Jo E ngland presents the u n w a ry reader w ith a horoscop e fo r th e pla y w h ic h is, i f a n y th in g , even m o re con fu sin g .

Theatre-Austral¡a Dec-Jan, 1976/7 Page 23 Needless to say, it is d if f ic u lt to fin d any re alisation o f e ith e r c o n c e p tu a l o u tlin e in the p ro d u c tio n its e lf. The set no d o u b t h id e o u s ly expensive - is a c a re fu lly chosen mess o f d i l ap idated tim b e r, rusted c o rru g a te d iro n , a sym m e trica l do ors, ladders, s ta irw e lls , screens, etc. e tc. It m ig h t have lo o k e d a p p ro p ria te in a p ro d u c tio n o f C annery R o w - th o u g h even th e n it w o u ld have posed ju s t as m any ph ysica l pro b le m s fo r th e acto rs. Its fu n c tio n seemed o b s tru c tiv e , to say th e least: th e sound and spectacle o f a cto rs stru g g lin g m a n fu lly (?) to make them selves heard ove r u n s tra te g ic a lly placed m icro p h o n e s and th e c la tte r o f fe e t on corru g a te d iro n w o u ld n o t usu a lly be considered an essential e lem ent in th e th e a tric a l experience. B u t th e n it appears th a t a n u m b e r o f elem ents one usu a lly takes fo r granted w ere considered irre le va n t to th is p a rtic u la r p ro d u c tio n . F o r exa m p le : costum es - here replaced b y w hat lo o k e d lik e s lig h tly b e tte r-ta ilo re d versions o f th e all-p u rp o se coarse a c to r's ra im e n t, p re fe ra b ly in shades ranging fro m g ru b b y b ro w n to d ir t y grey. M usic, a n d /o r sound e ffe c ts - here replaced b y w h a t sounded lik e a ta p le ft o n back-stage and an u n fo rtu n a te series of m ishaps w ith th e props-table. C haracters - here replaced b y a c o lle c tio n o f y o u n g actors and actresses w h o w ere b o th miscast and inadequate. It was, perhaps, a p ra is e w o rth y a im to choose a vehicle fo r th e yo u n g e r m em bers o f th e S .A .T .C . : b u t alm o s t a n y th in g w o u ld have been m o re a p p ro p ria te th a n M a lfi W ith th e e x c e p tio n o f D oug G a u tie r a t th e beginnin g (speaking som e o f th e lines W ebster once w ro te fo r D e lio ) and George S zew cow (in te r m itte n tly as B osola) no-one re a lly had the o p p o r tu n ity to present a cha racte r. Peggy O 'B rie n as M a lfi and Jo E ngland and Clarissa Z o rzan as her tw o little m a id s/acolyte s/sistersin -m is fo rtu n e / g irl-frie n d s (?) seemed at tim es to have d r ifte d in fro m a so m n a m b u lis t c h u rc h hall p ro d u c tio n o f The M ik a d o . O fte n th e ir "c h o re o g ra p h e d " m ovem ents w ere charged w ith the same e m o tio n a l and ph ysica l in te n s ity disp la ye d b y the in e ffa b le Frida and A gnetha. A nd A la n A n d re w s ' w h ite -g o w n e d C ardinal w andered th ro u g h th e set and th e te x t lo o k in g ra th e r lik e a w e t Wee W illie W in k ie in W ond erlan d. It is perhaps in d ic a tiv e o f th e d ire c to r's close reading o f th e p la y th a t in his version D e lio s till speaks o f th e C a rd inal in the fo llo w in g term s: W hat's th a t C ard inal? I mean his tem per? T h e y say he’s a brave fe llo w w ill play his fiv e tho usan d cro w n s a t ten nis, dance, c o u rt ladies, and one th a t hath fo u g h t single com bats. O f course, th e re is a d iv is io n be tw een the inne r and o u te r cha racte r in W ebster's p re s e n ta tio n : b u t to replace his C ard inal b y th is w ra ith lik e fig u re w h o squats on a po rce la in c ha m ber p o t to d e liv e r h im s e lf o f G od kno w s w h a t, to g e th e r w ith one o f his m ore m em ora ble speeches, seemed n o t o n ly unnecessary b u t t o t a lly and g ra tu ito u s ly perverse. S haw once said th a t, fa r fro m c u ttin g Shakespeare, a p a rtic u la r acto r/m a n a g e r had d ise m b o w e lle d h im . R odn ey Fisher has gone a step fu r th e r . He has ta k e n the guts o u t o f W ebster, set up a tw o -a n d -a -q u a rte r h o u r tra ns p la n t o p e ra tio n d u rin g w h ic h he pu ts a fe w o f th e organs back in all th e w ro n g places and has e ffe c tiv e ly discouraged absenteeism am ong th e un prepared observers b y n o t p u ttin g back th e one th in g th a t was needed in th is p ro d u c tio n as never b e fo re - - - an in te rv a l. A p o lo g y .F io n a R e illy designed M iss R eardon - Ed.

Peggy O 'B rie n (le ft) as th e Duchess o f M a lfi.

THEATRIMUSIC

P h o to : S .A .T .C .

We offer Australia's widest selection of specialist music. No pop music no dreaded 'middle-of-the road' and no ABBA. We do offer the best in Spokenword, selected Classical, Political, Folk Arts, Early Jazz, Blues, New Songwriters, Ozmusic and Ethnic music. Our 'mixed' racks offer plays, theatre music, odd sounds, whales grunting and anything else you might need for theatre production. Our records pop up at the best theatres in Australia. Mail Order: Send a S.A.E. for our 40 page catalogue.

58 Oxford St., Paddington, 2021 (near V ic to ria Barracks) Ph: 3 3 -3 9 8 0

open normal business hours.

Page 24 Theatre-Australia Dec-Jan, 1976/7

NATIONAL THEATRE

ARSENIC AND OLD LACE Collin O'Brien

ARSENIC AND OLD LACE by Joseph Kesselring. Playhouse. Director, Aarne Neeme; Designer, Bill Dowd. Abby Brewster, MARGARET FORD; Teddy Brewster, ROBERT FAGGETTER: Dr Harper, IVAN KING; Officer Brophy. ROLAND PAVER; Officer Klein. JOHN RAYMENT; Martha Brewster. NITA PANNELL; Elaine Harper, PAULINE HOOD; Mortimer Brewster, DENNIS MILLER; Mr Gibbs, GEOFF GIBBS; Jonathon Brewster, LESLIE WRIGHT; Dr Einstein, JAMES BEATTIE; Officer O Hara, ROD WILLIAMS; Lt Rooney, GEOFF GIBBS; Mr Witherspoon, IVAN KING.

R eview ing plays o f th e A rs e n ic a n d O ld Lace ty p e induces in me w h a t I can o n ly describe as the b u tte rfly -u p o n -w h e e l o r A ttic u s / S ch m a tticu s s y n d ro m e . To s ta rt asking qu estions such as 'W hat is th e relevance o f th is sort o f th e a tre in A u s tra lia to d a y ? ' o r 'Is th is w h a t th e subsidized th e a tre sh o u ld be d o in g ? ' is surely to ta k e th e sledgeham m er to th e n u t.

to o v e rk ill, to in v ite th e response 'A h , jeez, d o n 't com e th e raw praw n. W hy get all heavy a b o u t a b it o f lig h t e n te rta in m e n t? Y ouse u n iv e rs ity ty p e s are all th e same ...' and so o n in s im ila r vein. On th e o th e r hand to ta ke th e line th a t i t is ju s t a d iv e rtin g , th e a tre -fillin g pre-C hristm as ha ha (o r sh o u ld it be ho ho?) is perhaps to le t go b y d e fa u lt w h a t sho uld be a c o n tin u in g and serious c o n ce rn : w h a t is and is n o t th e p ro vin ce o f the atre s subsidized fro m th e p u b lic purse. N o t th a t th e P layhouse o r its d ire c to r A arn e Neeme are c u lp a b le w h e n it com es to th e range o f plays th e y p re e n t. T h is year th e y have balanced p re d ic ta b le overseas successes w ith fo u r A u s tra lia n plays, in c lu d in g local p la y w rig h t M a ry Gage’s E ve ryo n e 's a General, and w ith w a y o u t and e x p e rim e n ta l plays such as Casper and A C /D C . B u t w ith th e ra m pan t p h ilis tin is m o f th e e c o n o m ic squeeze th e P layhouse lo o k s lik e having to tre ad m o re w a rily and p re d ic ta b ly , so th a t fo r th e fir s t season o f 1 9 77 we are to be o ffe re d M o lie re 's The M iser, W illia m s o n 's The D e p a rtm e n t, A y c k b o u rn e 's A b s e n t F rie n d s, G ra y's O th e r wise Engaged and H a m p to n 's Treats. Its n o t a bad lis t given th e circum stances, and I suppose I'd w a n t to ta k e to task th e G o v e rn m e n t fo r its s h o rtsig h te d cheeseparing ra th e r th a n th e Playhouse w h o have to live w ith it it as best th e y can. T h e a tre is a lo w im p o rt, la b o u r-in te n sive o c c u p a tio n , con sistin g a lm o s t e n tire ly o f people w h o b y necessity consum e all th e ir incom e - a fte r a ll, I c a n 't see R od W illia m s going o u t and splurging his earnings o n b id d in g up th e p rice o f B.H.P. shares. A n d th e te rrib le th in g is th a t, in th e live th e a tre , actin g is an ephem eral and w asting resource w h ic h d e te rio ra te s if it is n o t practised. Y o u c a n 't store it o r leave it in th e g ro u n d lik e iro n ore. The pla y n o t done is lost fo re v e r, and th e value an a c to r has to give is th a t m uch less ove r a life tim e i f he spends a year o u t o f w o rk . Such m o rb id th o u g h ts are exacerbated b y seeing acto rs w o rk in g th e ir guts o u t over th ir d rate m a te ria l such as I am suggesting A rse n ic

a n d O ld Lace is. Even th e S a tu rd a y n ig h t audience w ith w h ic h I shared th e exp erien ce sat in so m ew hat g lu m silence, s lo w to laugh. I was surprised to fin d th a t th e s c rip t had n o t sto o d th e test o f tim e , it had d a ted in b o th th e fo r m o f th e th in g and in w h a t makes us laugh. It su ffe rs fro m th a t s o ft, half-arsed, bo urge ois, send-'em -hom e-sm iling-ness w h ic h plagues B ro a d w a y to th is d a y , as The G ing er b re a d L a d y c le a rly de m onstrate s. L e t me be m o re precise. The p lo ttin g is heavy ha nded , o b vio u s and banal to an asto n ishing degree, being o f th e 'o h y o u mean th a t nice y o u n g man w h o came to live n e x t d o o r w ith his w id o w e d sister and th a t d re a d fu l p o o d le ' v a rie ty . T hen th e re is th e p la n tin g o f laughs ... and th e d o u b le , tre b le , q u a d ru p le takes. It also fa lls d o w n because one g e nera tion's realism no long er h o ld s f o r th e n e x t. T w o characters w h o lo o k and behave lik e Peter L o rre and B oris K a rlo ff tu rn in g up on y o u r d o o rs te p w ere perhaps c re d ib le in th e e a rly fo rtie s - o r perhaps we have ju s t changed o u r acceptable m o vie fantasies - b u t n o w th e g ra tu ito u s th r ills and fu n n y b its seem th r o w n in to keep in te re st alive. S im ila rly , I t h in k th a t th e ce n tra l idea o f tw o d o tty ladies (p la yed w ith finesse b y M argaret F o rd and N ita P a nn ellj w h o h e lp lo n e ly o ld men along to th e H app ier H u n tin g G ro u n d w ith e ld e rb e rry w in e laced w ith arsenic no longer has enough in h e re n t co m e d y to sustain th e evening. The b ro th e r w h o th in k s he is T e d d y R oose velt, p laye d at fu ll g a llo p b y R o b e rt Faggetter, does s till w o rk , perhaps because his w o rld does have its o w n lo g ic, u n lik e th a t o f th e p la y . T he actin g was never less th a n co m p e te n t, a lth o u g h , I g o t th e d is tin c t fe e lin g th a t som e o f th e c o m ic tim in g was astray. O r it m ig h t be, as I have alre a d y suggested, th a t th e p la y is n o t in h e re n tly w it t y o r fu n n y enough to survive its o rig in a l n o v e lty value. D ennis M ille r plays M o rtim e r, th e one sane if fra n tic m e m ber o f th e fa m ily , as s o m e th in g o f a w id e b o y , tw o - to n e shoes and a to u c h o f th e R u n y o n /B ro n x . As I re m em b er (d im ly , ve ry d im ly ) fro m th e film th e p a rt was playe d m u ch s tra ig h te r, so th a t M o rtim e r was th e n o rm a l m an tr y in g to o ve r shadow th e o th e r players and un balance the p la y : perhaps it re fle cte d d ire c to r A arne N eem e's in tu it io n th a t th e p la y d id n o t have th e stre n g th to sustain its o w n w e ig h t. T h e re w ere also o d d and irrita tin g lapses in B ill D o w d 's design, p a rtic u la rly in th e area o f re a lis tic d e ta il. N ew Y o rk 's Best and Finest w o re caps w ith b la ck and w h ite checks a ro u n d th e m ; I'm sure fro m all tho se gangster m ovies relished in m y y o u th th a t p la in b la ck is c o rre c t. Th e stage flo o r was p a in te d b la ck and u n a d o rn e d w ith ca rp e t, w h ic h lo o ke d d u ll and stagey. The s ta ir b a n n iste r and s u p p o rts w ere o f p la in square w o o d , w h ic h lo o k e d stra nge ly m o d e rn and severe fo r a tu rn -o f-th e -c e n tu ry house. I d o n 't m in d going to th e th e a tre ju s t to be am used and d iv e rte d , n o t a t all. I d o n 't ask to be d is tu rb e d and m oved all the tim e (th o u g h I d o m o st o f th e tim e ). Th e p ro b le m here was th a t th e p la y fa ile d to ta ke m y m in d fo r one m o m e n t o f f th e p lig h t o f th e th e a tre in w h ic h it was being presented. T h is s o rt o f show e n ta ils th e real jo u rn e y m a n w o rk o f th e th e a tre a ll th e s k ills o n ta p a ll th e tim e . T o see such e xp e rtise c a rry in g and cove ring up th e p a u c ity o f such m a te ria l alw ays makes me regret th a t it is n o t being p u t to b e tte r pu rpose , and perhaps m o st w hen th e e c o n o m ic Huns and V isig o th s are c lim b in g in to th e ir saddles.

Theatre-Australia Dec-Jan, 1976/7 Page 25

D A V ID W ILLIAM SON'S

A HAKIM Until January 8th directed by JOHN BELL; cast includes PETER CARROLL, JUDITH FISHER, BERYS MARSH PETER SUMNER and A N N A VOLSKA. TOM STOPPARD'S Australian premiere of a brilliant farce on the hypocrisy of randy politicians and journalists. A select committee of MP's are meeting to investigate the immorality of members: "Someone's going through the ranks like a lawnmower in knickers!â&#x20AC;? - Shades of Christine Keeler, the Profumo Affair, Ainslie Gotto and Juni Morosi.

Cast includes JOHN GADEN, RALPH COTTERILL, ROBERT DAVIS, ALAN TOBIN, W ILLIAM NAGLE, ELIZABETH MORTISON as the minute secretary Miss Gotobed, and JOHANNA PIGGOT.

ROOD BLAND YO! HO! HO! and a bottle of rum! for the Festival of Sydney in association with the Sydney Committee and Streets Ice Creams a rattling great adventure story for the holidays!

Treasure Island Robert Louis Stevenson's immortal story freely adapted and directed for the stage

n im

r o d

theatre 500 Elizabeth St., Surry Hills 2010

by Ken Horler

Phone: 69-5003

y j)

Ü ? g © 5 -c ■Q Ì - 0 O "O g OC k i ©

"3 to 9 9 Jfc 9 ». 9 03 ' <3 C ® I < 9 -C ■" 9 -C o

* | î

£ «Í *» C E ^ O 9 "O P"-C

C .9 > • 9 r.

||5

i ° | s 2 S s I O «J s 5 9 c 9 9 3i, 5 ta *~ 5 £ -C 2 9 ^ 5 O ^ §>-0 , 5 9 ' * . " -C t> K- "C 3 - -s 03 9 g § 03 C -Q g O Q .C C 9 ç c 3 Ni 9 Xr O 9 " C „ t- 9 > C V. .9 9 o O à« g2 ® I S S « 9 ^ S S 9 -Ç ' S; 3 à 5 o ■S Ö ■s t ; & « ^ V. ^ * 1/5 S O 9 $ -C á S5' " g s l I 5 03 O c . 9 s ü s -s « g .c w I ¡5 9 9 ^ 93 S 3 ffl o o " (1 _ 0 > tj ¿ <5 I o. S 3: ^ 5| ^ > ï ^O cO ■è' C3 3 o or ^ 3s n p -o *5; oc 5 - * ^ 9 S 0 , ^i ® O 9 . O ? 9 ». .. s 9 . $ V. 9 <: 9 9 .v . 9 .C £ o 9 9 tj 9 *>• 9 ^ 5 -C O 9 -2 C 9 3 9 O 0. -2 I O ^ ô- 3 "O

3 3 < 9 C

O 9 C 9 U CO

> n

03 c

•o 0

ñ D û.

O J2 ? 0 ) 0

Ò œ 'i 'N -C 0 3 " ^ •2 ^ * g

. c

S i 03

*“ V 0 5 ® X XI

o ü

g g S ! X

V) © .° 5

• — 3 03 © «3 _ s

^ .Si • O) 9 C O g 1 ^ k: t o (C a: Q

0 CO CO ri jo CL

(0 0 > © X

CO <0 £ û-

>- O c £

5 3

U, 13 -O © ^ o © fe T3 © -C £■*= ^ SX

g C33 .c

'S ^ © = O . *4g

I I « <0 tí « P 0

C £. >- 3 E £ © 3 to

0 )3 J <

a en

•ri

"Ö © o . E

8 5 O) c « o

o "3 c ©

s> 33 >■ © £

Ä SO " O C

*îo 1=O -Q© rmo ^05 ©

OC © 10 0 c 03 C s.c t: « © .E ° © - o © "3 !É 2 to p© P > "8 fe 5 5 C © P S c o © © © -CS * 1 •c P ^ © — o 8 .8 £ O - - -ÿTJ = © c o © ^ o O tt =© -c o £ -C .01 — © -o E © -S i c ~ je « r^- 0 © <0 © © © . < 0 5 o © © s> 3 .C © © S s . g > | 0 «"* © t/3 C -C O )" 5 ■o £ a c ^ en . o ê % l Q) E 03 i?. 3 > .E -P © s ^ - © -C _ ‘o f e o •E fe © > 1 2£ © g ^ .s "O « ? 'i: .ÿ © ni c > -C © 5 © -a © g u <e >- x : x- © ç -8 -c © Q. § £ ?3 à© 2a>ufe fe$ & l ë E * O Ü to û C 3

if I SI à ■°-° I fe

f lfe © g

.» I

03 O

J t-D ÿ m C S Wm -n ©

8 ■3 c © S S

o 2

“ §!

2 © uj © 05 o

¡id © -c 15 > -Q O © OC <0 -C a> ç C0 - -8 0 cE © © > o -c 5

u co 2

• 5 e Q. c "O ® '© 8 (O C/)

o -ri -3 © fe o £ ©>~ 5 ©

■c . s ■O o .© ® >i: 'O' © o O -8 8 -* 8 © : "o < .te © © jS © Ts a « Uj 2 I

E I c — 5 -g $ > c0 > .x

ro i_ £® **

c • ;

— ro c © to F ^

■ en

• •

I " &•£

— % E © «o sJ 3 © p .©

E © -2,

m Q<r -o I W o ©

g 5O )

3 E 3 © 2 -Q 2 © "Ö

0 3

s 5. 0 ©

9.-0 3 qj

i"ü «sfe | t: « 0 >s=<

ï© l© 1 «o

fe > ® g 3 E g 5 E © E®

c wI ü © © 3 ï: ©

S - S fe

£ f -o o

■gs^ 5 f^ ^2 § Si

3 Sen®

1-S l i l

- 2

“ *

C C 5

« -Q O ce > to ■ 3 -8 Q 1

^ fe 'S ■Vw 0) « 8 " fe o 1% o © g en t *- P ^ o c© 03 ? ■ro © cB -s © o C _* O c o .• g ~ E "5 »V fo © T3 o .2 “L 2 co' •S s CL ~ m ro g . tn o ^ .-0 fe c T * >■ o ! © 5 fe © > 1 . ?í E « 5 i -Q ' - ' u </5.W 'Ö ® 3 * E ■5 I o ro , W ^* O-°C ^ S â Uj O § l ü ^ CJ o Qc S

g■ “©

-> s» © fi _ © Ic ¡= .3

c ©

I 5-g

s | t

■O

c -X ■< ~

fe ^ - E C à' ' qj © ■£ T3 t

9» S E

I* E

Is fe -8

E o o

-ti

©s

co c -c

•ft TO TO T 2O *—

9) f t ■5 H <0

i : t .f t O TO 3 5 >- « 5

co «

to -S2

I t1o TOTOft 2

E .||

o to'

•C TO

? -2 s 5

Q) C: 'fc o

to O TO à f t ft

•-

co H

- g 'g

O 0 3 "O O' >

<0 2 o | f t - ft TO öj Uj ÖJ § g> . . f t .TO . f t 0) 5> ‘- g O oo c: Q) *

TO ft ,c

C/)

TO TO

to ® ■TO c

c o

(1)

TO' TO Cl)

■ft -C

£ .fc

- ■£ X t í . f a, TO 'S. § 2 " 8 g - f t -2> ~ f t O TO

S-s

• ft

U ÏÏ2 .

a> £

¡£ w

O- O ? TO TO TO

1§£

TO ft to

ß S«

O «- O >~ TO

o :£ c ‘ > 3 O > -X

><- 3

TO C Ö TO

co E

g¿ 3

TO ■C

. TO 3

M - TO

O -c TO 'f t

g o

CD O

>Ns _

C o 3 O ft co to' X ft tr ®

erro

qj —

il l 3

TO to

I*| H

]fs tli S ì I « ft 45

TO S ft ^

E g « 5

c 3 ° TO TO .Ç S

CD TO f t -O g 3 C O “ § .£

1-1 ^ O ^ .. CD TO

> 0)< w

"TO TO — ► “ O) «

1 1 1 ^I

5 s 2 TO TO U j « TO œ TO ^ U j ^ 5 « 5 •c H j q ;

-u w g E

. S

3 g

O) TO c

TO £

CD c

§ 1 p

O) co C CD TO TO 5 5

CD . <0 C * - TO f t TO c “ O

CD -Û - E c □

2 (1)

„ N ¡T Q £ E is ^ O ) E <

ft TO CD TO to to _Q -ç, TO D E "TO - ® 3 § 3 "V-» ¡5 C _ c/> 5 TO TO C C O > >* CD J .= 0 0 5

(s\

5 ft5

ffi

CD ■ft V. TO - ft

§ - 0 ) 0 ( 0

ü ____Eto?

• s

O o

' E

1= CO TO >

l| .E •2

® O r~ O c_ — CD O 3 c — O D _ — C TO C - c T TO O p C ¿ Í « T3

^TO

E "G Q-

•ft x:

To TO ,® TO TO

• o « ^ -C “ O g c o to

.S : TO O 2 § -c — f t TO — = TO ,® ^ O >" Q) TO > co TO to 0) T3 f t cd TO -je TO ! § TO f t 2 U j TO C 3 ö: < o .§ 0

* ^ 2 x ? o TOTOo > to CD TO ^ o

■ft -g f t

TO ft ft ft ft ft

TO > -

^ «

TO ■ft

"O 0 .±

O d

TO f t f t TO CD C

TO ¡6 2 $ £ < 0 $ = TO o f|t tì * - c _ TO' CD *O -v. 2 TO TO TO) .TO CD TO 0) f ¿Í ft 0) ^ TO^ TO € g to -c f t 2 ^ Ö ) - f t 0) -ft TO 0£ 5 1to: <TO CC T O ■$ -K 'l_ ft T O é ® 3 ft O TO TO Ö) ft q, ^ TO -2 3 TO C O E ? .c .s 8 J ' TOTO O ■ft*“ TO TO O £ -ft Ç c °O) O ^T<uO o T O ft 3 TO ä .c TO^ "ft ft ft ft TO >, c JZ TO o " O to Ö ) CO TO -Ö

« -c ~ .05 TO

TO S SB- 3 B

TO 2 ■o —

r TO 2 TO . 5 -ft CD 5 5 - 3 -Ö O ft ft o O .. TO

E .

I c II §

>. TO TO CD

ft ft

TO f t

•ft ft f t TO C

r^-

TO TO TO -s

s - g 05 .TO Ç ■o 8 c to f t Q cq ft Ç ^ E i" 2

>• a

c > TO TO ■£ " g * - l£ ft ^ ■? f t C 08 TO =

> ^ TO TO è < TO -ft

ft ^

lc lSl ^

8 . CO .<2 TO

to « X TO •ft TO — . -ft 5 m > -»cc O Co T O O ) y. 3 toJ C TO 5 = -ft 5. Î -ft CO >- TO O) «0 ® 13 S TO ~ TO >• TO ç O •c E <2 ft CD <0 V. TO S E ■i TO ■»c > TO f t TO b 5 2 § C1 TO - - - r~: C «

VJ Í5 ö -s ~ TO TO f t C TO f t TO < TO f t : to to ^ c ft: | ? s O TO V. * “ - f t TO T O )^ -C ■ 5 to CO T O .2 2 Ì f t <0 TO) TO .TO f t f t To g TO § f t ° U j ^ 3 : - f t 2 -TO

Sài

o ^5 ^ 8

CD 9- 5» 8co ft TO *

a) ^

!-s lì •-se

1a§ 1K ft «

ftft g CD «

— 03

ID to

x ^ jE

-c — -* tj

.t;

!fc O ■X <5 o

> - to > «

a i

O E

c <= I

D n

> h c

53 £ G E

03 t e ®

> x

to «

X, C 05 —

5 ,Q

- ra £ ^ til

S x

| £ Qc ■< ^

P CO — ®

03 «0

? .C

■F *

~o c

to 03

to - c

to to P

* . 8

.0 5 ^ -

05®

to 3

O 1/5

- 5

C ~

T3 o "3

0 CO - c .g . 5 <

. ■ x> §

12 T3

È ‘Ë

c 03

> $

o 03 Œ.

O’ -S s

i 5“

03 to ■c t

8 > $ -? 03

c I

03 "G to

03 tj

03 -C

o o ^ >QC ^ CC ^ QC ^

— 0

S Q

to 2

S to

"1 ^ 3

II C

- O 03 ® to X: ^ CO 03^ ^ 0) s_ E J? to 2 ^ O gO So» - w U to C to Í ^--52. iD TD 03 G j i . e t

to 03

t o Qc

O TO 0

cuo

- C ^ ^ 2r05 ~r> i/i c sz +* "ZL -*-• O 1 < £ c S 03 03 c £ 13 £ O 03 03 P -Q 3 <13 E 2 $■O -Q o 5"§1 O -C S2 ° E ^ Qc > -to -c èO e^ ^ C C

03 CO

i l l !-C !QC§sz -C«'Si-C ü■.-Q° - o§ « °C

5 d

3 : o. £ E -K *0 V tr\ 03 ^ C C D O 03 O 2 -i f P ^ 0 r oOn

03 CO

C <

-C —

03 g

>- 03 i

S3 T3

> TO 0 -C

3 .S Q tO 2

= -E to to

CL 03 0) . - 03

<13 to

w- Q. ^ co O r~ O G .. ^ < "S V*. ^ —. ¡2 c Q) Cj ^ ¡k q< to 03 - ï i ,ÿ » .Ü -, -Q 5 ■O 5 -Q 5 O T3

»J

: «? -c J3 iZ: 5

^ .to

2 => ^ c to 03 tO (R03 03 CO X 53

? l

E X

C3 ^3

£ * QC

c-S

k. 9 £ TJ ® >

S %

£ -Q

£ ®

-5 3 E 2

■§

to S. § -

«3 i -3® C

c 'g

o > to _3¿ • tO <13 £ S

C ® 5 as -C E -c

>- O 05 5 . ^

;

O i_ 05 03

3 t

to 9 3

o a ^

(D O X >

■3 E 8 c

f i f e

> O 8

— to

■O O • g .T3 ED r03 ¡X CO , - c P . > x ^ — C r* CD ■ CO D P Ö5 « — ^ ' S C/> - S .C ,C w Ü $ — <D CD

® E 'S ° 05 o^ t r - o ^ O Q3 to

to 2

"o §

• o 03 o

05 -C

£ &.

.■ o r ^ e Q. -a

. E

E fc * 5

.« ' ■ o I

8=S :

__ :

c o g ." ^

03 to

s -s

= § to o

C3 C33 O

03 *“ .C X

_ 0) s s -C 03 -C .Oj tn tO C > ~ =2 ç !§) 3 O S 0 3 . » L .O O Í : O to C ( /¡ s ■si 03 to Í *- § ^ £ 0 3 ^ to « *-

c £

Ö5

< M V "Ö P3 (0 0) 3 O J)

III

c -c

* • §

■

2 =

> O —

sz > to to

- S '2

' 5 ^ D u O l

r o m

<5 —

<- E 2 "•Ï 5 co 'co

o p

g ~

'“

X SS

■C CO

E £

£> ¡o

C C

T3 X 03 03

® « .E

to . < 03 to

■CjS C</>u ■

ë S Ç "G

i ?

— T3 V. Co > o -Q C ^ '■'

> .to -*r-

G ,Q - *

u 4-*

rr>

Q. Í/5 CO

-c to

Q3 (13

o>'E E

u. E E o

f : ta ^

--Ï S 3

.5 2 ® ^ ~

-Û ^ î » c

w 2 x

to .to to ? to ¡X

•*1

S ^

□ -D £ ® ^ Í

-8 § 1

! c

° °P I o

T3 > T3 > g — > — a -a

I?5i5

,® S

>•

® œz ^ O E ® ^ 3 > -Q

c to R œ -Q °

c 03

3 CO C = C CD § tö <o 2

(V 2 “

“

0 3 03 _ 03 > - z

to r

ï ? p ai <

3 O

¿ its ^ ® f c Q) ^ Co ^ P to ® ® e g .C S I 2 03 §■ sS co S S

03 O

-c >

I° ¡E 21

-C.

,E -c 03 .Ç p Q. to

.i-

11 o 03 o

<0 -<

to C3 3S > ■£ 8 : ^ s-, o 0) O r; Q . to to lo ai 3 'S ^ i-lv S ■ <J = £ ® ^ Ö5 C -ZZ 0 ^ O C O «

.£

. <13

5 to 03 <o c CT

I 2 E

"S C 03

S§3

1 -c * 2V: C ■2 3 03 ÏS *1 53 x: ■C oí S • c s S CO^ S

G to O <13 l . s

03 03

5 Í Í « i

0 .Ç Co

<13

°°

S -Q o

0) s"

S r\\ Ö £ P

c/3

- -9 s

I §

lia

■o ®

0 ^ -0

3 <0 _ k. o >•■= >_ c «3

§ 03

X 03 -9 t 03 ** o Po —

-fk

•S i

< 5 ° -

cd 53

"G 03 to 53 £ ® > _ t/3 > ~

>- t

*“ -9 to to to o C 5 *

to o

O X

-n

5> O Ct

0 > 03 03 03 X

03 -G

"G 5 p •Ö O

. _ t/1

o Ï . a f

03 P X

t ii^ S

53 53

öl 2 1

03 -O 03 > XI > .O, _ o O CO Ü X -P ~ O 03 "O 03 «1

to ro 03 O

—

53 X

o —

G 03

G G -Q -C

X1 t/3

to ■*-

E-y

G ._ _q 05 0 ) 5 F M ._ ^ 5 - 3 T3 = < X X

O. -ie G 9 . k!

G Q53 ÌÒ 2

8 < S ?

TO O

8 \® -

9. O 3 CD03 — X> P G tn C -o k. C ^ C TO ^3 CO G , .t^

a. G

k.' S <3 °C5 £ ü G- ♦- Ta

G t» . -

■ S p i

-Q w

E J! ?

IR >

53 53

c Q. 5

O -OX G c 03_ ^ — 03 > 03 £

8 ‘5 P E O) o * TO Cj ^ 03 -t O >“ 0 3 TO c « o JÉ ? 5 03 O "S Ta — TO o 03 -C 53 V- 53 $ = s 01 03 C O 03 S ® X ^ t° E Ç -C u c t/1 1_ G ° 53 k- ço ro E ® 3 < ■G11 O ® cai 53 ^ 0 M * Ü 53 -C U X Z o ° 00 -Q û 0 0

^ TO

03 0 3 tO S 03 S

< k o ? § £ > 03 O

■O -G

G £ vi < 01 <0 *“ — 53 'S O. °

P-

-c

■ 03 Q3 C _*

g 8

O S >■ E 03 ^O C

.5) .03 03

03 >

® £

03 03 03 ■O X

to > . > t S -c P -o Ta S. 0 . > > r H 53 o > ® . C- tO.53 C S 5j> £ <0 os .. . . ^$ 03 * “ • • . ^ S h 03 •o O <0 g .« . ■£ c u X ■£ 6 S 03.® <0 c ^C -Q UJ - -J J £ to o £ ^ 53 ■S i s 5 3 0 11 5 “ O 03 O G S o 53 ^ ^ -C ■S3^ ^ o 0 ( 5 ° QC -® Ü S Qc £ ¡£ -§ S P ^ -G «

C 3

:• — O 5 > F o c

0 si3 O 'u 2 P 03

03 3

03 0) ~

=3 _Q to "

to to . 03 E Z 53 2 O O -C o 03 * Ö3 O Qc -c ; .03 c ^ to g. G -03 o2 - 03î~ C5'^ 03^ G G 2 c “to .» .Ç tb 1 -Q S ? C -C3O) I „ ^ Ö3 03 53 to 03<0 -C ü 1 ™ o to O 2 -° to i to > § ® «W 03 (O 03 ^ C 03 8 tv. o <o g 03 - Ï C 03 V, o ° 03 -G c C -C c O C-l 0) G: Ta ® to 03 'O 53 ■* C tn *-’ S5^ 03 CO è /)• -c C -C < 03 <0 c CO ^ o to Ç s < *3 "j < X-

O TJ -O c to p tO 03 ■— _ —

G X

p g — o < G G C5 . c ^

^§)| P

-£ t - g «a g g — G -c <0 Q

O à G ° G P

•® $

03 -Ï

*o . * cu -

3 p p - 9 .5 o ! S

*w "8 a

O £

2 (c1) en . I É 2 "ti ° £ (O áj ■*= 1 <D .< B ki 7® ^o

•JI

c a> a) o.

® s ° ■£ er -o a) «J1 c -o cü p <q c í « 2 8 .■n. ■— Oc 8 . 8 £ 00 ®) í ® l - s E « 5 2 «-• /-£ /) ■ S ü l l “ c •£

„

o Q. cu 3 •£ «o c 3 c -5 £! o, * cu -- O .< -Je _. ® E 45 p 5 -è <u 0 -Ö O O) o G as „ <u -g 45 -c

*0 § c u

2 1

Ìcu?^

as < -Q 2

íí-S fl l?8 *o

•a 2 ti,

a.Sl i

.h C rz t; O ■=

SD -è- E C b c 5 O eo ^ ^ cu T3 V OTJ C p 2 § £ 3 CO ® .2 -ci ® -5 ^ 2 §

•= c

r >"^c S 2 eu <0 — eo 2 S eu eu £ .P t Où > . — ou q> ® no ® T3P -55 p = ; = .E E o E * ro « ■ §3^ c -c — £® 0 ? o2 . Ç' ¿5 V<o U O ¡p ^P 4 : r eu ^ e - ï *" *- ui 'S g ° 5 > en 5 O® ® eu O O 5 s ’® P > ■£ Q) ~ O ® ® eu £ 0 : ^D £ U O ^ >•£ ? 3 E ^ m ® E qj £ ® p p V « 45 8 -2 3 p § l¡-§ 2Z, Z K - -O>~ u® ¡ i l C > G o 05 C) ^ ® E <3 i â ■- ^ eS 9» g . ? £ P qj p 0 3 ^ f P <0 i- ^ -V qj $ ® ^ T? C p p £ ^ è c >2 § q > G? m c: eu >2 p qj — E qj p p t u r v . 8 ^ 8 ai ® I I I 5 .2 .2 ■ï ÿ .ÿ eu '£ £ ï ' ; î <D

eu T3 = CO ® :

€s°

—

• c ® g

ï eo :s

® o P T3 _>■ ®

> o

¡5 I

® ® P e^- P en i 'O G

1<3 03

S b

>£ P c -a c v£ ® P

P C c o p aj n* 4CD G -b ^ Ö £ CO J) o eo .b _ -o O ® -Û 03 3 P cE " 0 ° o ^ P ô P _ -1 -1 B E C o w ■E g g > c c ü eu 0 T3 § 2 ® 01 Í5 ® ® "o eü o> Ö3 ® P E U3 JZ O ~ P r: ® P «û g ^ eu — p . iZ w 5 ® . U - p o P -b . <. ® 'S i- CD 5 ÿ p ® c <5 2 'S 5 .5 g •£ ro 03 P J <5 p >2 ® c H- Q Q) Ç P G> : ki uj k i Cj -o 2 eu kl Ü

*■’ "G

CD £

'SJ ?

03 as G

P P

E £ <* ^

co E

l |-i— -n ® ® n ® E

® ^ ® ñ P £p

2. c ^ -X a> P u ^ ® o ~

2 OS

î? S54 :

I.H5

g 2

y> ♦; E c ^o eo p eu E »- Q) 2 ~ CO Z n ■- E o 2 p -a — ® o

C c .CO

CD O

« p b œ — eu ®

S E

8S >■

® > ® I

42 P C <U

•b^<5qjQ ®■. èo ÿ >2-I 10 «sC E45 ki Cj E ü

g 2

c S 5q> o g 2 c _ « o >2 eu * .b cu

^ .9 e bO r-u O E ^

a. ®

sz G i ® 03 O P O ^ ~ O o Q_ >- û I G C • «3 g b ® O o ® J- -O >• eu > > ® n — qj sz % ki » t g

2 3 o ü

£ c ^ p GG Gj ® eu

® ®

cr P p p 3 W 5 eu — < c G o ^ qs eu "Ci 's*~ 1

qí S

si i l l l0 ï.2 k« j - O■Il « S ' c ce.

~o 9

<®

-c I

.C P qj

® D pW H. o

ï& %

o 3 ¡í ■° o O

2 C • .• o "o -b eo = eo eu -g -C S . 53 Ç eu S p

eo "O

g - b 42 - S

o eo E X p ® 5 S 5 g E eu c -ß eu ® JC > Û a> a» — pG oU I » -p > -n is C u CD ® & Li-

VI»

5 Ig 3 2 b fe ^ -P ® eo * Q. eu g w O ki X ° £

l l î l Ills

.g ®

8-2

03 —

C .E

5 .EcS . w

p I

Í > -£ CL

H ® G E

p «

6«g*t i

i 5 o 5

I ®e

< 81

o5 c JC ~

® O

® b

c 45 §U

■8 ?» T) •® • î | ® — î? ? eu qs c w ï P O ® r: r5«C S 03^5 UO G q> à 8 2 eu « C §00 £ 2 qj Ü 2 S S> = _ ® "O

"3 03 =

t< il

qj û .ç ® i ÿ E ç g '¡ t P o j p ■2 et e 2 Ë ni O

® ..

00 00 .8 5 . 5 03 à 03 p 45 p 5

o HJ O Uj O

§ -2

-g S 0) 3:

¡t

® o > O — (U

S p f c

B c as 2

Ö3 .C eu P ~

3 o ro c ® ®' £ ® ro

« i l gqs p2 I. P“ o* ¡2F C

103

ro ®

® ®

'S °» — C33p cj P c I® E ® l .E lg qj £ ° b eg p 2 Sj CD P ® ■" à . S ■£ > g j g > 45 ® ^ £ S - ! eu < ro ® 8 as as eu ‘q O g o s í G ki r ^ o f E >P j ®;

-§

p "P ^ ■ b 1

r-. >* 3 W

E ■-

o ■ __ G ® eu E B P « 2 ^

B o E p51 ® o E p «U -■ 50 œ 2 l b ® ■ ® * >- Ui o g _ i. O3qs ? 2 « fflO ü

® 8 P

> _ c o aj

o eo P ni Sj Uj •£

5 I1

< Co O

03 .ç «5.

g (U <0 G P Q) ^ >.cu 5» G) P ■ 10 G -O eu ôs"8 ® -c 2 co Q § cu qo ® -5 2 .Ç p ~ •£ qj cu co 3 C o — > o P G ÖJ 2 — eu § _ O en i~ K -Q S 2 ■S “ G> 5)*Ç CD *- § E o co _ O çeo -« - ° Ü3 > eu p £ * - % eu qj G ® ^ E P Q-áí P ^ -c ' ■ •S C 5 ■2 ® ç tS " . . E l ÖJ 0} è < ^ ® co ® ------tr OP p .. .. <0 Ö) O CD . c w eu eu P 2 1 .2 1 1 | w ® C S Q 4$ -§ W p JI o eu £ ^ in CGP P 8 O <T X

|| 1eo £ CO

| s . s i £ ® eq £ •« ^ ® 2 c jP P * 8 5 5 ..® g ® ¿ § P p . > c - ï 2 5 ® .S qj G eu — S «5 ^ "eg o 45 P 5 O p 2 tt U Uj $

c .£ "O c as

g .E £

p as •£' E

.5 ^ ® p

2œ

£s?£! ^p -S 10 V I c

^ ® CJ ® P P O ^ P

HJ pP S K O

E .5 ^ 'S -5 ro p O

flf

S5 a,

52 1<

$11

ÖJ

,® -Û CD <0' -Û “

7; § 8 C -c

o ® “ ® qj 2 r eu g < 0 rü CL > S p p P O o > P qs (ü _ .0 it ® c p c É " l qj - i ® P qj o lez ® P P O G .§ § £ S. en Ö $ ® -2 o P - eu § 9 eu p ^ P ° C 0)*^ ^ > ® x 5 ï ® *“ « ® I s H ®J ^^ - ® ^ P Veo L -- I 'cù I 'S CD O qs U4Ü CD ro ¡ s ^ ô*t

I «|s

C C

C G *-

.E “ ® 2) . E. loi U o .: 3c Ò o 2 ? 2 ®

cj C 2 c

si Ì ?

®I ®I ■- gI f -s g>• 2i! ®i •£- f®e^£I "B

03 b3

TD C

- p

w O) - i >

-Q. C F CD

H qj o ® q> ¿~ cu S -C K I w I <5 S - . p ■§ <o ^ ro co 1 1 5 r . cu >- 0) CU 9 8 "Ö «U c; cu f o cu o P § 2 8 ^ — O «3 4m .^. V, c: 0) ^ g . p Q) co .5 ® c ■2 C1/O5.< 05 j¿ ^ cü P ■§ ^ rJ2 Q. cu ^ «T J 2 §

.qj P Í3 .y O

2ì I

Ö3 o

>- ® c ,_ CD -1- CD m

q - ® £ f ¡ ¿ > CU ni !" a B 2 • o CU cu ® ! I cu I I ” «o co q> 5 u 2 ^ CU « = = 2 co qj co ~ .5 -C a> cu § i : o ^

-O ® ,® ^ 03 oeu eu g tn vi OC eu eu _ c P » O

C o

ti C cu V cu £ co

w -c V ,2 » p c 1 ■ï p eu ® I O O OP « | I | î s | o 45 o 5 p p çj Uj Uj ^ ® -fe b ü e i S QC Ü QC 5 8 ? 2 «t eo ***

£ Ü i qj Ü Ü

>cu cu O

03 ^

s -I? I s

ju O

2 £ G O

c c c <u as Sj E qj .

® w tu t j ? 2 . 8 o c qj ö? ^ - o .5 §» 2 >~ m CU cu ,Í2 cu — 5 £ •£ o W § -o -» S O ® / s > -5 <c ® - 3 « *“ ti S u o 3 9 CO U 10 g )„ ~ ® £ £ . $ £ P «o ~ as o> 2 E o a> «- i-fc c B C O 'S r¿ f'~ Ç f -S f _C Ì 2 8 3 _C CU ® Q. eo 2 CU O l 'c 5 — „ - < ® ~ -£ £ 0 < 2 q> 10 c ^ J ® < fl Cu C g ^ G en E Q.-S 5 m 2 T3 05 i è 10 (U - ch ü o as en o ü c 1! ! ß ß — — §> qj 42 i; cu — g ® en ^ . ® •*» 2 ° cu *Q>* Q>£ *r* - Q) ÿ cu 2.5 è .5 S 2 iqj -fe «5 . ÿ - f i s I 5- V *. I -2 -2 §?.£ ? § P 45 P 45 £ ÇÜ p ^ I f s l Ui O ^ -2 p 5 8 O ^ O ^ g O o ° -S U S u : s 2 — °

o —

s |

o O) _

.a ® 3

0 0^0^. a30 0 = -o to to 0 to © ri -C 0 ■ri C A 0 .C 0 0 -C 0 0 - 0 ? -C S ■° 0 s0 | S .5 *o sp < — 0 -c ^ -g - O 2 ai S S 0 ^ . 5 2 c —3000 t:^ V 0. c.0 ¡2 5 S < öS15 - © .0 i0 1I3 X ï^ 0 0 • S5-!: ">- 0 © -Q ri b C .Ç 0 co 0 rr O ^ TJ X x - ri © O.S ® 2 0 r <0 i ri 0 ~§ 0-2-2 - >0 0J "S ^ V 5 "ö E5 «o < ü 0 2 E -C ; ô )-2 0 « I I l » s 0^0 ^ 0 -c -Q to to © O 0 to ^ T3 g .C-) ^ Ö) ® 73 Q} 0 £c "2 0 s .0 0 i t © 's c o S-v « 5 2 -C ' < ¿ a ) ai 0 o -b 0 5 ■C s 0 5 0 £ c 0 .2 r-ci O © I o ^ ¡ ico|OC :co >■* ” W 1 £ ä : « 0 .E *0 § ri c —0P - 0 : b ~ 0 2 3 - ° o ^ -b c ve 3 0 E S S * -s 0 ) 2 0 0 0 ri 0 0 —^ 0 Q- >0^0 &.S §-b 5* 1 0) ' ^•C ^ 0 . S 0 •tC; <03 c0 b i $ Q> to 4 Q ■0 t- Je. -3 _E t ® §>■§ 2 0 -5 to s >Qxr < -S -Q ® iö — 0 i s , .< 0 > ~ o A* f |3 ;C g-g 0 O -C -»e 20 $3 ^ ^ 4- x Q.-2 0 ^ 5 ^ , 0 9>*o“ r 5 = c C Q) K . 03 °0 S s I « £ c . 0) 73 ce * • § to 1c ^ ‘ ■b 0 5 0 Q) ^ x £ ^ X. cd B 3Ì to f i l l - c r 5 01 to Co 0 0 ri s 0 '= > % s |ri |0 |o ^ü to 10 © ^ E g Q. Ö ■O ® 0 < -e 05-c o 3 X ~ S M£ • s 0) -Ïc 0 ^ 0 0 - « ^E .c 0 'S2 0c Î ! c JZ a S 3 _>-ri o > 0 c ÿ 3> l. b JS c 0 R 0 c o 0x S _ è 3 £ S5 C L V Ö3B 1= Ç E 0>2 ■" c» V*o g>£ 2 -E ~ o O) _Ç> ï g 5! g I c0 -Z -ri 0 0 ¿ E ° 1 ^ .5 I i s cE 0 p O V) zi _ ;. 2 .c E0 0 o. -b C «j o C 0 -Q —"D S s ¿ 3 0 0 0 0 0 E ^ -c ^ c = )c ^ ® = §* lotfl 5 0 % £ ^ t -g 0 0 03 -C CO 0 ° ~ o 0^3 o 0 -b - c X § i= EO-S 0 r_ a s 1g ! i § c S 0 r i E- 0 5 >.~ .0 0 i t 2 i = ' ® 2 A c .0 C L -C S C O 0 C O . > -c 0 . 0 . o . 0 0 *- = c r i X3 - ^ 0 -c O . -i 0 0D Î« g 0 5! N ♦«3 a) o ^ 04, 0© < 2 O0 0 o « ' ? 8 s "5 5 o «o 0 0 ‘ S c -0 ■E O 1 1Q. 0_ O0 : « ■£ 5 •0b E ^ 3 ■* * 3 g I C ' X ■E jc ■S Q: 0 03 ^ > ■S B ■® * ^ 0 b 03 ^ 0 .c S g l ? ¡ 5 w 0 J 0 £ Q) 0) a il 2 7 r i -C ■” 0 ». «o X: 0 £ ^ '«B DC ♦-0 0 0 ë 3 e0 0 ro ® o 0 , £ ^ cf È J ® E ■. a) ri > Ö3.0 £ ® 0 0 -c -Ç ^ 0 o .© c ®,1 i, CO .Vto g CJ . 0 -ï Ó) 1 Os o ■b o- E S - ~ ^ 0 ;b •3 .2 c © < L ^ w^ © g-vs > '£ to 'c0 C 0 0 Q. i- 03 E < 0 ^ ^2 5 ^ "O ? -Q 0 < 0D'>. « O O S ^C 0 Ofc C ■a5 to l. 0 co P 2 © -§ r i O 0 3 e ri » A S ® 0 0 0 0 ri ó O l - l O Q r ro C r i > © § < 0 0 o S ? c 5 = ® 0 0 S v E S = > 5 2 p Q. O 0 0 5 5 ^ « O r en zz O > W A 5 ï: q >* 5 ^ 0 C Q C< C> 3 2 r i -S r i -c -c ^ Q. ri -2 c Ce ■s -c ° o

CL CJ o O E

V o ro

3 > >~co

0 ai 3 w b

v“ ©

0 "5 ri 0 05 ® .£ g ri 2 X " su ? ï | 0 O ^ Ü 2 -c

> 1 . 2 JD X O 0 g: ^ 4- C

0 2 0 ri ■ri ■0 0 0Q

aS-w ■Q £ o ©

©© X > •

? " ° Soj ri

1 = 1 OO°

-O

c ri & § ATJ

|8 X -ç 3 o o « •*" w

kJ*

I I OC 0 0 "D 2 ® 0£ ^ 0 o © l ’1 ! « ai S © 0 ^ $ 0 > 0 2 r0i 0 co :§ © i_ 0 3 l i s i o .0 > °•e .c . „ r i o 0a%>. U b ri ,0 r ri o b: o V«, 0 0 c 0 ® . £ • « 0 2; | .§ . 0 r4i 5 : S E 0 ® b ■§ 0 o « r i. g £ r i ! Uj S 0 Uj c O ° ï et ü CCO §o C e

r i

O) r i C O

C r i 03 3

05 E 3 O

C5 0 S CD

•El CD o 0 ©

i^ 2

TJ r i

|||

i l - S 'T CO O0 5

X "O X ±J w QBX

<Ô X

0 0 O î> c 0 E l 0 ®« E « © 3 5 '© © r i I 0 0 © >: X 4w .■o2 X*" 0w -4 0 c -D (/> 4 E o 0 0 O ^ C T J • £ r i -E 0 0 0 C 5 "E U 5 1w ' — >■2 C 3 § o 0 0" •î 2>à£ x û 0 2 è o3 BCO 0 C “O 73 2 ! « 5 X — ® to ^ ôs.C S E © o > © Ö3- 0 ®- no > S B 4 § c TJ 4 è :T ri X __ > 3 ■ 22 ^ X .i 5 ® 1-2 g °o > §> 4-4 C C -L - . CD O =1 û 1 ® ^ A h(O : © 2 E ^ © TJ TJ co CO 0 .0 Q f 03 b0f „ ° C D nN C D © © ® X CD ^ -4 W 0 -s c : — B g' 5 4 j © 3 ri § E t ■ ^ c o 40 0 C lB -X TJ i l , f «1 1 ) 0 O ) P O O) CD I I ü d) co . • © r0i 5 cl II ° ! ^ (D r ^ £ ' CD -p* - CD 0 ) ! * ! B ^ = 5X 0 - - 5 Q5-C co -c~ I I >:£ «® 1 0 Eß ^ E- D 0 c $ 2 ^ w - 3 . — o x: i l l s 1 E S Co J) ri 0 > £ a 33 © O : 0 0 "3 c 1/3 © ri 3 Ct © 3 0_ sai-. e I " S 2 è 3 o X X 0- 0 ï 03 to S B. ® -a B g >- CQ 5 Ï « s | ■ § | f(D b-S E o © E ri £ ri F ri iu Q5 >CD X - "Ö "E • . C *Qt» 0 © B 0 X g .. b -, > 0 3 0 © 0 1L- 0 0 0 .,ï © -E £ à » 5 .2 1.2 ri ,b © I w « 0 3 5 J i 0 © ©1 r i 0 .2 5 © ri B -S ^ ri 0 ? | î ï 5 ri ri 4- 0 3 o i £ > ki — -c ô-OC 0 E B Ò > ^ E o 3 5 °> -XB ° Uj Uj ü B ^ © ^ co ki O ^ O

o en ^

^03.^1J C ^ (1)

B = 0 TJ

Í o 0 i-

r i

ca r*

0 Ö3ri 2 E •Cb 0 ri-^

Î-E §*"

tí ^ "Sf E ri 3 0 §Lm^ 2 £ -C ©-^.0 0 0 r- ri ^ c ri O3VS © ri s I c ri X .0 co 5 ä !« * .s r * ï ï 5 s 0 ^ ^ Q) © -Q è ri ri 03 -S ri ri ri s: ° ri o xi Uj Uj F OCUj QC

Q cj) tc .Ç 4-

¿ «5 5

0 ,♦r i C 0 0

C o -b o

S _

^ X CD 0

C ^

B § © ° X «

0 _Q ~ 3 ° e

0 0 0 0 b ® 0 ÎS g OE ri 1 t - ï g | r i 0 .5 ^ 0 -2 ^ r i 0 0 E E ’ 0 ^ >S 2 0 c 0 0 0 0 0 - 2 0 ,® l Î -C0 ^ r i r i . O> 0 :Sî ^ C 2 V. 0 co 5 0 r i -3c < 00 " . y o « ri =ri 0 ri s 0 2 ri S 0 ri o « 2 « ■• 0 o L.g jQ C ^ ° 0 0 X k -2 E. 0 S ' - 2 g ri L 3 tt J3 Q) <b 03^ -E -2 ^ 3 O O ® ^■s -b' C C 5ÈC 'S | £ rr ii 0 £_ ri r i C £ ^ s| m b O, 0 0 0 • ^ ^ l°r i 0 §*co 0 $ 33 .® b 0 cj E ^ î ; 0 en 0 to0 r i ^ 055 b2 - 1g«0 £ o -K ri 0 0 ! 0 *“ • s S â ^ 0T 0 s Oi riiï g i -C! §■ • r i 0 -S ÿ- 0 -o b 3 3 0 ! | 2 ® •»c c ^ l r i C 0 ■ § 0 0 . > -C . ■9- -E -2 0 *C ^01 S0 V.0 £ 0 3 * © 0 0 c t- -c o .b •—ri -0 r i 0 O ri ri ri 3- E O 0 3 o 3 0 2 0 - ' r i 0 4 ri 0 o 0 ^ Q --Ö ° £ 0 5 .52 s « Si ri' ri 0 0 ri i 0 0 £ à -E ri r 0 - S r i r" e -c - 0 0 0 - 2 1 0 e ■§ 3V0 o 0 ri t0é Cs -3el ri c g c ^ 0 ri o jg § 2 0 x ; r i o 1 0 g 1 0 S a -2 O 3 3 Q . © et 0 e t r i r i r i 5 *Q co Q. (o Ojri ri O r i r i c c 0 0

*o -

3>-; C

.®

0 0 r°i -^ 0c 0 r0i 0

' (/)

i(D

cQ) oO)

-3e c S ! î f ì l

€ 1 SS ° 2 | ï

« 0

ri 0 = ce E-g E © 0 © © Q. b © y à> ® X X ' ^ f 0 ® -C (—© 0© 3 -V >- 0 -$; © .ri « X 3 0 © ri 0 - £ ,c -° 0 © Z_ .0 -E o « cB 3 c 0 S >■ > ¿El o _ X C * E© 0 5 .0 0 i—ri lu c3 ^ri.r i X £ := § É 5 1 .2 1 .5 B0 B0 0^ *- . > ri 0 ri _, e E f:fO -ïï -5 0 r i 0 ri ri TJ 0 ^l Ü e® nL 1L 0X u 2 °>-X - 0o C 2 ô ^ ü ^ ^ Uj X 3: ^

0 0 |€ t s 5 ?

^3 3 tp

^ -b 0 Ö Q)) co -Q C O^ £ 01

■g «i £ 0 ri ri 0 e CO C 0 0 ri § 0 0 £ ri ri ai 0 C -Q ri « 0 -ri B ri

_ c c 8i s O E "Ö ^ C .h ©» } 0 Ö ) C D CO w "D 3■p£i V «O"o E D 0 m i- «T> C V. 0) o 0 ai 0 c ■o B "ti ri ■ S ta © ri to 0 — O ï t ! © 0 ri o 3^ 3 b l i a -Q 0 X 0 kj tt

II'

S^E X *4

ns Q

c £ 0

•g a ° 3 fe - "3 Q .X

~ O

ri 2 ^ ^ s ©

ai B — I o ? 2 ^ c E ®c

Page 32 Theatre-A u stra l ÂĄa Dec-Jan, 1976/7

*â&#x2013;

KNA K

DON'S PARTY FROM PLAY TO

FILM

by director BRUCE BERESFORD

B ruce B e re s fo rd a t th e cam era (above), G raham K e n n e d y as M a ck, a n d J o h n Hargreaves as D o n (b elow ).

BRUCE BERESFORD was born in Sydney in 1940 and educated at Sydney University. He worked as a film editor in Nigeria before taking charge of the British Film Institute production board. He directed the two Barry McKenzie films and is currently working on Getting of Wisdom which is to be released in July 1977.

As a s tu d e n t, m uch in flu e n c e d b y all those I was a w r ite r o f genius u n til th e p h ilis tin e m oguls o f H o lly w o o d tu rn e d me o n to th e b o o z e " novels, I re m em b er arguing th a t a n y film w h ic h alte red a single w o rd o f a p la y was c o m m ittin g sacrilege. A c c o rd in g ly , I revered a s to d g ily fa ith fu l S id n e y L u m e t versio n o f L o n g D ay's J o u rn e y In to N ig h t and an even m o re fa ith fu l, and te d io u s, film o f L o rra in e H a n b e rry's A R aisin in the Sun. A t least th e O 'N e ill was film e d o n lo c a tio n and lo o k e d m o d e ra te ly be lievable, even if it was fa r to o verbose. R aisin in the Sun was sh o t alm o st e n tire ly o n a stage set and to o k no advantage w h a te ve r o f th e film m a ke r's m a terials a tm o s p h e ric locales, th e e m o tio n a l e ffe c t o f changes o f cam era angle, d iffe re n t lens sizes, and so on. In th is w a y , it was a fo re ru n n e r o f th e recent A m e rica n F ilm T h e a tre series, w h ic h , b y s h o o tin g in long takes o n b a sica lly stage sets fa il to com pensate th e audience fo r th e loss o f th e ph ysica l presence o f th e actors b y ta k in g advantage o f th e e m o tio n a l apparatus o f th e te ch n iq u e s o f film . It is no re v e la tio n th a t c h a rism a tic actors can tu r n a m e d io cre p la y in to a success. In L o n d o n re c e n tly I saw an in d iffe re n t Ben Travers fa rce . Banana R idge, made q u ite am using b y R o b e rt M o rle y 's flaw less tim in g . B u t a p la y is w a tch e d in on e long " ta k e " . I f film e d , Banana Ridge, w o u ld have to be b ro k e n up in to close ups, long shots etc. so th e p e rfe c tio n o f th e a rtis t's tim in g w o u ld no long er be so a p p a re n t and, w ith his physical presence n o t a ctu a l, b u t p h o to g ra p h e d , all th e stress w o u ld be th r o w n o n to th e q u a lity o f th e d ia lo g u e and s itu a tio n s . In th e case o f Banana R idge as w ith so m a ny o th e r plays, th e re su lt w o u ld be disastrous. A fte r being asked to d ire c t a film o f D on's P a rty in O c to b e r 1 9 75, and u n d e rsta n d a b ly n o t being to a n x io u s to ru in such a p o p u la r p la y , I w a tch e d as m a ny p la y to film adaptions as possible. I n o te d , w ith re lie f, th a t the m ost successful w ere pacey, film e d o n s o lid lo o k in g sets o r actu al lo c a tio n s , and w ere n e ith e r so fa ith fu l to th e o rig in a l th a t th e y reprod uced every w o rd o r so friv o lo u s th a t th e y dissipated th e very q u a litie s th a t a cco u n te d fo r th e success o f th e o rig in a l, b y em phasising "s c e n e ry "

Theatre-Australia Dec-Jan, 1976/7 Page 33 instead o f characters o r b y casting "n a m e s " instead o f su ita b le acto rs. Th e f ilm version o f S u m m e r o f the S eventeenth D o ll is a g o od 'b a d ' exam ple. N e ith e r Jo h n M ills o r Ernest B orgnine w ere acceptable as A u s tra lia n cane-cutters and a naive a tte m p t to " in te rn a tio n a lis e " th e subject o n ly d ra in e d it o f i t â&#x20AC;&#x2122;s v ita lity . A m o n g th e film e d plays I a d m ire d was a graceful and elegant version o f M a ch ia ve lli's M andragola, s ty lis h ly d ire c te d b y th e alm o st fo rg o tte n A lb e rto L a ttu a d a . N o t to o m u ch o f the p la y was le ft (a good th in g in th is case). T h o u g h th e basic prem ise and sense o f it w ere le ft in ta c t. On late n ig h t T V I saw tw o o ld farces. G e ttin g G ertie's G a rte r and Up in A n n ie 's R o o m , b o th d ire c te d b y A la n D w an. In th is case, very lit t le was changed fro m th e o rig in a l plays (e ith e r settin gs o r dia lo g u e ) b u t D w an d ire c te d at a breakne ck pace w h ic h rem oved any staginess. O f th e m o re recent film e d plays I lik e d W illia m F rie d k in 's version o f C ro w le y 's B oys in the Band. It was film e d o n a vast set in a N ew Y o rk s tu d io b u t enough m o ney was spent, and ta le n t a p p lie d , to m ake it lo o k a c c e p ta b ly re alistic. N o t a great deal o f th e dia lo g u e was alte red fro m th e o rig in a l (th e film ran tw o and a q u a rte r ho urs) and F rie d k in never w e n t berserk w ith th e cam era (R ic h a rd Lester ru in e d The K n a c k b y th ro w in g o u t all the dialo gue and film in g it lik e a Coca C ola c o m m e rc ia l) b u t never let it becom e to o s ta tic eith er. Best o f a ll, and m o st im p o rta n tly , a superb cast p laye d every p a rt to p e rfe c tio n . M arcel Pagnol pro ve d , w hen he film e d his m a g n ific e n t trilo g y F a n n y , M a riu s and Cesar, in th e e a rly 19 30's, th a t it is possible fo r the sets to be c a rd b o a rd , th e sound e rra tic , tljÂŽ c u ttin g basic, and the lig h tin g d re a ry , yet truly m a g n ific e n t actin g (given th e m a te ria l) w ill create m agic every tim e . As soon as I received th e D o n 's P a rty f ilm scrip t I com pare d it w ith th e o rig in a l pla y and was relieved to fin d th a t D avid W illia m s o n was aw are o f the d iffe re n c e s be tw een th e tw o m e dium s. He u n d e rs to o d th e c a p a b ility o f th e cinem a to con vey nuances o f b e h a v io u r and had c le v e rly re w o rk e d a n u m b e r o f d ialo gue encounters so th a t th e ov e ra ll leng th was s u b s ta n tia lly reduced b u t th e c o n te n t rem ained th e same. T he a c tio n was exte n d e d th ro u g h o u t th e house, in to th e garden, a barbecue area, th e n e x t d o o r L ib e ra l v o te r's sw im m in g p o o l and to th e fr o n t s tre e t, w h e re D on and his frie n d s pla y fo o tb a ll. I realised all o f th is w o u ld give a m u ch greater sense o f realism th a n a m ere liv in g ro o m s e ttin g , and it was a m a jo r fa c t in our d e cisio n to s h o o t the w h o le film on lo c a tio n . In c id e n ta lly , th e P e titt and S evitt house we used to s h o o t th e f ilm sells fo r a round $ 4 0 ,0 0 0 , y e t th e q u o te I was given fo r re b u ild in g a section o f it in a film s tu d io was $ 8 0 ,0 0 0 ! A n d th a t's w ith o u t p lu m b in g , o r a ceilin g . D avid's film s c rip t was sho t w ith very few changes, th o u g h tw o s h o rt scenes betw een D on and K a th w ere la te r rem oved in th e e d itin g . E x c e lle n t in them selves, th e y seemed o n ly to repeat in fo rm a tio n we alre ady had a b o u t these tw o characters. A t th e last m in u te , ju s t b e fo re th e c o m p le te d film was p rin te d , I rem oved a t h ir t y fiv e second scene be tw een D on and Mai w h ic h to o k place near th e end o f th e m ovie. A gain, th e scene was fin e b y its e lf, and was b e a u tifu lly p laye d b y R ay B a rre tt and Joh n Hargreaves, b u t fa ile d to add a n y th in g to th e ir re la tio n s h ip . I spent alm o st e ig h t w eeks casting the eleven roles in D o n 's P a rty, and fin is h e d up w ith re m a rk a b ly fe w actors fro m th e o rig in a l S ydney

Claire B in n e y , as Susan, in the sw im . or M e lb o u rn e stage p ro d u c tio n s . Som e w ere unavailable d u rin g o u r s h o o tin g p e rio d , o th e rs were to o o ld fo r th e roles (m o re im p o rta n t on film th a n stage) and a co u p le I ju st c o u ld n 't f i t in to the p ro d u c tio n as I saw it. H ow ever, Pat Bishop, w h o was K a th in the p la y , is n o w Jen ny. Ray B a rre tt - C oole y in th e L o n d o n p ro d u c tio n - is M ai, and V e ro n ica Lang a c tu a lly repeats her L o n d o n p ro d u c tio n ro le o f Jo d y . The o th e r actors are Jo h n Hargreaves (D o n ), H a ro ld H opkin s (C o o le y ), G raham K enn edy (M ack), Graeme B lu n d e ll (S im o n ), K it T a y lo r (E van ), and Clare B inney (Susan). Because o f th e range o f characters and

P h o to D o u b le H ead Prodns. L td . v a rie ty o f in c id e n t, D o n 's P a rty lends its e lf to a film m uch m o re th a n D avid W illia m so n 's o th e r plays, th o u g h I'm a ttra c te d to his new one, A H a n d fu l o f Friends, because o f th e sheer c o m p le x ity o f th e fo u r cha racte rs' re la tionsh ips. I've seen fe w o th e r A u s tra lia n plays I w anted to film , th o u g h I was impressed earlier th is year b y R ich a rd W h e rre tt's e x c e lle n t p ro d u c tio n o f A le x B uzo's M a rte llo Towers. A p a rt fro m a fascin a tin g g ro u p o f characters it seemed to be one o f those rare plays w here the settin g (an island) and the c o m p lic a te d entrances and e xits o f the cast w o u ld b e n e fit fro m th e realism and scope o f the cinem a.

Page 34 Theatre-Australia Dec-Jan, 1976/7

D O N 'S

PAR

...TH E N

GRAEME BLUNDELL directed the premiere production of Don's Party for the A.P.G., and plays the role of Simon in the film. Graeme was a prime mover and chief apologist for an alternative theatre in Melbourne in the late sixties. He has acted with the M.T.C. and is part of Hoopla Productions which is mounting Alma de Groen's Chidley at Grant Street. He is best known for his title role in Alvin Purple on film and TV

The fir s t p ro d u c tio n o f D avid W illia m so n 's D ons P a rty at th e Pram F a c to ry in 19 71, was som ething o f an event fo r a n u m b e r o f reasons: it was th e second p la y by th is p la y w rig h t to be p e rfo rm e d w ith in a fe w m o n th s in C a rlto n . The R em ovahsts was ru n n in g a t La Mama at th is tim e w ith Bruce Spence, Peter C um m ins and W illia m s o n h im se lf and th e a tte n tio n th a t was focused o n these p ro d u c tio n s c e rta in ly helped laun ch th a t e x tra o rd in a ry and m u ch envied successful career; it came a t a tim e o f c ritic a l im p o rta n c e to th e A .P .G . and helped an ch o r w h a t had becom e an a m b itio u s (and w ith in th e g ro u p c o n tro v e rs ia l) strategy fo r survival - th e a tte m p t to operate th e Pram F a c to ry as o fte n as possible, c o m b in in g th e e ffo rts o f vario us u n paid A .P .G . people w ith tho se o f a profession al core co m p a n y o f p ro fe ssio n a lly paid actors and a d m in is tra to rs . In A p r il '7 1 , th e A .P .G . received a grant o f $ 5 0 0 0 to establish a 'c o re ' co m p a n y , w h ic h was to a c t as th e ce n tra l p e rfo rm a n ce g roup and was also to p ro v id e a d m in is tra tiv e s tru c tu re to enable th e A.P .G . to fu n c tio n w ith m ore e ffic ie n c y . Th e A .P .G . had sustained its e lf over th e previous th re e years th ro u g h th e hard w o rk , and at tim e s m essianic d e v o tio n , o f a core o f un p a id p e rfo rm e rs and w rite rs . T h ro u g h o u t its h is to ry , (tw o years as the La Mama C o m p a n y and a year and a h a lf as th e A .P.G ) th e G ro u p had been plagued b y th e c o n flic t betw een th e dem ands o f p e rfo rm a n ce and in n o v a tio n and those o f org a n isa tio n . O rgan isation al w o rk had alw ays been handled b y un p a id helpers and b y th e p e rfo rm e rs th e m selves, w h o had alw ays been o b lig ed to w o rk fu lltim e in o u ts id e jo b s in o rd e r to keep th e G ro u p 's w o rk going. Th e core g ro u p was called th e A .P .G . P orta b le T h e a tre , and was an am algam o f ideas p in ch e d fro m overseas groups lik e the P orta b le T h e a tre o f y o u n g E nglish w rite rs H o w a rd B re n to n , D avid Hare and Snoo W ilson and th e R .C .A .' T h ea tre -g o -ro u n d -dedicated to o ffe rin g a su p p ly o f dram a w herever the dem and m ig h t arise, and p a rtic u la rly co m m itte d to th e idea o f p e rfo rm in g plays devel oped b y resident w rite rs w o rk in g in s y m b io tic c o lla b o ra tio n w ith acto rs and d ire c to r. The c o n c e p t was s im ila r to o th e r E nglish groups as w e ll - Ken C a m p b e ll's R oad show fro m the B o lto n O ctagon, o r L o n d o n 's Cast in its deveiThe p re m ie re Pram F a c to ry p ro d u c tio n o f D o n 's P arty in 1971 D ire c te d b y Graeme B lu n d e ll. S h o w in g Jo h n S m y th e (M a ck) in the d u c k -h u n tin g sequence. P h o to : Ian M cK e n zie

Theatre-Australia Dec-Jan, 1976/7 Page 35

NO W ! o p m e n t o f 'p o p u la r th e a tre ', using fa m ilia r m a terial to sell live th e a tre to audiences fo r w h o m the experience is u n fa m ilia r, d e v elopin g ideas o f 'in s ta n t th e a tre ' tre a tm e n t o f real events. H ow ever, th ro u g h th is p e rio d it became incre asing ly ap pare nt to m a ny o f us th a t survival lay in th e Pram F a c to ry n o t re ally o u tsid e it. The P orta ble Theatre had p e rfo rm e d at a n u m b e r o f d iffe re n t venues - fa c to rie s , s trik e m eetings, ro c k and ro ll con certs, th e cam pus c irc u it, o th e r theatres - and developed a v a rie ty o f new, o rig in a l pro je c ts . B u t the re w ere o n ly salaries fo r seven o r e ig h t people fo r te n weeks. A nd th e w o rk has been less o u tw a rd - d ire c te d th a n w e had hoped and a lo t o f tim e was spent on p ro je c ts at th e Pram F a c to ry d u rin g th e same p e rio d . M any o f the ideas a b o u t th e 'porta b le n e ss' o f o u r w o rk stayed undeveloped and w e started to focus in, m ore and m o re, o n th e venue its e lf. C ould w e keep a playhouse open fro m w eek to w eek on a staple d ie t o f c o n te m p o ra y A u s tra lia n plays? C o u ld we de velop a professional ensem ble ?C ould we feed ourselves? A n d it was precisely at th is tim e th a t we fo u n d ourselves som ew hat deserted b y the press. As the firs t m a jo r A .P .G . re p o rt to th e A u s tra lia C o u n c il fo r the A rts said: " I n th e firs t year o r tw o o f o u r existence (as th e La Mama C o m p a n y ) w e w ere hailed in ra th e r e xtre m e w ays b y c ritic s and fea ture w rite rs . The acco unts o f o u r w o rk seldom m atched its q u a lity . O u r im p o rta n c e was, w ith o u t a d o u b t exaggerated. We w ere a g ro u p o f w rite rs , d ire c to rs and acto rs w h ic h used a pocket playh ouse ( " th e little h u t " as K a th a rin e Brisbane once re ferred to it in a review o f a S yd C la y to n event) as a showcase fo r th e plays o f w rite rs w h o happened to be p a rt o f th a t loose c irc le o f frie n d s , a c q u a in t ances and d ille ta n te s . Nevertheless we had a 'high m edia v is ib ility ' - th e press, w ith a pe culiar dish o n e sty o n ly it can understand gave us a go. A nd o u r fo llo w in g increased because o f it. We d id n 't c o m p la in n a tu ra lly , a b o u t being o v e r-in d u lg e d and ove r-ra ted. T h e n , w hen we started to need all th e he lp we c o u ld get - w hen we to o k on a p ro je c t and a playh ouse in fin ite ly m o re a m b itio u s , m o re su b sta n tia l, m ore s ig n if icant th a n La Mama c o u ld ever be, at th a t m o m e n t o u r n o te w o rth in e s s seemed to d im . The press began to give us aw ay. I t had exhausted a ll the angles. It le ft us there w ith scarcely a paragraph, lo o k in g very lo n e ly in th e m id d le o f an en orm o us $ 1 0 0 a w eek p la yin g space; ju s t as we started to face th e real test th a t any th e a tre c o m p a n y in th is c o u n try has to face - s u rv iv a l." The P orta ble Theatre shows generated little incom e. The grant covered a m ere ten weeks. F o llo w in g th e great success o f M arvellous M e lb o u rn e (th e firs t show at the Pram F a c to ry ),

R o m e ril's Chicago Chicago and The M u rd e r Plays (C h ris tie in L o ve b y H ow ard B re n to n and Mrs T h a lly F by R o m e ril, b o th p e rfo rm e d by th e P orta ble Theatre people) w ere very p o o rly a tte n d e d and w h ile review ed w e ll, re ceived alm o st no real press cover. Then came D o n 's P a rty, w h ic h generated the best audiences since M a rvellou s M e lb o u rn e , a lo t o f e x c ite d press coverage and th e chance o f survival. The Feet O f D an ie l M a n n ix (B a rry O akle y) and B e tty Can J u m p (a c o lle c tiv e ly devised w o m e n 's sho w ) q u ic k ly fo llo w e d . A bigger, m o re regular audience was established and sud denly the re was th e p o s s ib ility o f real subsidy. (A n d m o re headaches, if th a t was possible!) B u t D o n ’s P a rty in m any w ays re a lly g o t it going. H ow ever th e re had been a c e rta in a m o u n t o f h o s tility to d o in g i t w ith in th e g ro u p . It was n o t e x p e rim e n ta l en ough ; it d id n 't push back th e fro n tie rs o f dram a, and life , it's p o litic a l consciousness needed raising; it re hashed th e id io m o f th e fiftie s ra th e r tha n try in g to raise dram a o u t o f its ru t o f irrelevance; it's P interesque s o rd id ity was no w a T V c o m m o d ity and had no place in the th e a tre ; its w o m e n characters w ere c o n triv e d and p o o rly developed. A c o m m e n t b y a S ydne y review er a b o u t th e Jane S tree t p ro d u c tio n la te r on p ro b a b ly sum m ed it up : " I t 's n o t the rem iniscences o f p s y c h o w rig h ts we need, b u t people w illin g to e x p lo re new th e a tric a l possib ilitie s ..." Som e o f us fe lt at th e tim e th a t th a t was e x a c tly w h a t D o n 's P a rty represented fo r th e A .P .G ., new th e a tric a l p o ssib ilité s a chance to e x p lo re m o re n a tu ra lis tic areas in p e r fo rm a n c e ; th e p o s s ib ility o f d e ta ilin g a m ore p s y c h o lo g ic a lly ela b o ra te d , less sha llo w m ode o f a ctin g th a n had been possible in th e bro a d e r pieces lik e M a rvellou s M e lb o u rn e and Chicago. There was a n o th e r arg u m e n t against do in g th e p la y as w e ll. T h o u g h it had less to do w ith th e na ture and q u a lity o f th e te x t th a n w ith the th e a tric a l and in te rpersona l process at w o rk w ith in th e g ro u p . Some people w ere q u e st io n in g th e w o rk - o rie n ta tio n th a t was ta k in g

Graeme B lu n d e ll a n d B ruce B e re sfo rd ectors re sp e ctive ly o f p la y a n d film .

d ir

over th e m ore la b o ra to ry /e n s e m b le d ire c tio n th e y w ished th e A .P .G . to ta ke . It was fe lt th a t th e survival stategy o f g e ttin g shows on , "g e ttin g the w o rk to g e th e r” was m a kin g th e A .P .G . w o rk s h o p a p proa ch to te x ts suffer. Rehearsals w ere be com ing to o m echanical, to o little tim e was being d e voted to th e elab o ra tio n o f te xts. Ideas w ere being developed in p e rfo rm a n ce ra th e r th a n rehearsal; s h o rt com in gs in te ch n iq u e w ere being revealed the re, ra th e r th a n in rehearsal w here th e re was a chance o f c o rre c tin g th e m . O u tp u t, survival was ta k in g th e place o f e x p lo ra tio n and s o cio p o litic a l te x tu ra l e x a m in a tio n . (M y o w n fee lin g at th e tim e was th a t th e pressure o f p ro d u c in g

Page 36 Theatre-Australia Dec-Jan, 1976/7

------------------------------------ s WHEN IN SYDNEY GRAB AN

C IIM F M A N o. 12

ROMAN POLANSKI ON ACTING AND READ

JOHN WEST'S EMILE DE ANTONIO and The Weather Underground • HOW AUSTRALIAN FILM CENSORSHIP WORKS • On location with the PICTURE SHOW MAN

SHOW M AN'S DIARY EVERY WEEK IN THE

Send $8 00 with your name and address to Cinema Papers, 143 Therry St. Melbourne 3000

AT THE LOCAL NEWSAGENT OR NEWS STAND

S_______ ________ r THE CURRENCY PRESS THE A U STRA LIA N

DRA M A PUBLISHER

starts a new era with the oublication of M AR TELLO TOWERS H A N D FU L OF FRIENDS

BANANAS NORM & AHM ED

Available at good bookshops, recommended retail prices $3.50, $2.25, $2.25, $3.50 respectively. By direct mail at 20% subscribers' discount + 40c postage from Currency Press Pty. Ltd. 87 Jersey Road, Woolahra N.S.W. 2025. I M artello Towers

T A Handful of Friends

°BBBBB00B0BBBBBBBBBBBBBBBBBBBHBBBBBBBBBBBBBBBBB03BnBBnnnnuuuunnrjnnnncnncunnnnnnnnGI:!ncnnnnnnnnnnnnnnnnnnnn

.dnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn'innnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnrjnnnnnnnnnnnnnnnnnnnnnnnnnnn

Theatre-Australia Dec-Jan, 1976/7 Page 37 o rig in a l w o rk in a m in im u m o f tim e u n d e r great pressure pro v id e d th e means fo r try in g o u t a vast a rra y o f d iffe re n t te ch nique s and th e a tric a l ideas and seeing, very q u ic k ly w h e th e r th e y w o rk e d w ith audiences; in th is w ay y o u learn to tru s t hunches (and also learn h o w re lia ble y o u r in s tin c t is o r m ore lik e ly is n 't) and m o re p a rtic u la rly as Jo h n R o m e ril p o in te d o u t in a B u lle tin in te rv ie w a t th e tim e , the w o rry was less w h e th e r pe ople th in k yo u are d e liv e rin g 'th e goods’ th a n w ith th e m a kin g o f fo rm s and th e c re a tio n o f ideas th a t can be exp lo re d la te r at m o re leisure.) H ow ever fo r all th e c on cern, it was ge nera lly accepted th a t D on's P a rty was as good a play as an y to do - if any s c rip te d pla y had to be done. It's p o te n tia l ac c e s s ib ility fo r audiences th e m arvellous cau stic c o m e d y , th e in s ta n t gasp o f id io m a tic re c o g n itio n - th a t since m u ch m a rvelled - a t - and - re m arke d u p on W illia m so n ''g if t fo r a c c u ra te ly c a tc h in g and e x p lo itin g A u s tra lia n speech rh y th m s ” , and his u n ca n n y a b ility to deal "m o s t fo r c e fu lly , m ost c o llo q u ia lly and m o st un se lfco n scio u sly w ith c o n te m p o ra ry social a ttitu d e s " - made it w ith o u t d o u b t a v e ry " c o m m e rc ia l" pla y fo r th e A .P .G . stru ggling at th a t tim e fo r survival, try in g to de velop audiences, try in g to be f u ll tim e . It was also in lin e w ith w h a t had been m uch o f th e stated p o lic y o f th e G ro u p over th e years ... th e d e v e lo p m e n t o f new w rite rs and o f a th e a tre n o t th e re su lt o f th e c u ltu ra l cringe, P o m m ifie d and irre le v a n t o r Y anke d and w a n ke d ; b u t instead carving " its w ay th ro u g h th e ta llo w o f c u rre n t ta s te " and laying bare th e bone so th a t - " th e real issues, the m y th s and m ores o f o u r s o c ie ty w ill th e n declare them selves and be exa m in e d . O n ly th e n w ill we hear o u r o w n to n g u e , n o t th e m y th ic o lite ra ry language c o n c o c te d in th e p a s t-..." a th e a tre speaking ... d ire c tly to A ustra lia ns o f elem ental problem s in a livin g language.." It was decided to d o it. B u t th e a tte m p t was made to solve some o f th e g ro u p -fe lt problem s in rehearsal. In fa c t in m any w ays th e p ro d u c tio n was m o re a w o rk s h o p try - o u t fo r an e x tra o rd in a rily co m m e rc ia l p la y th a n a p u n t at th e 'th e ideal s h o w .' The firs t weeks o f rehearsal w ere m a in ly e x p lo ra to ry , researching cha racte r b a ckgrou nd and f illin g in th e s u b te x t and seeing if we c o u ld re p ro d u ce th e precision o f W illia m so n 's c o llo q u ia l speech rh y th m s , w ith th e same w arts-and-all accuracy. T im e was also spent a tte m p tin g to f i l l o u t th e w om e n's roles as it was ge nera lly fe lt on the readings th a t th e y w ere som ew hat on e-dim ensional and u n c o n v in c in g e ith e r as type s o r real in d ivid u a ls. We used a v a rie ty o f im p ro v is a tio n a l exercises and te ch n iq u e s to overcom e the very b itte r, c in e m a tic s ty le o f th e firs t d r a ft - to t r y to de velop an un de rsta n d in g o f th e in d iv id u a ls at th e p a rty , and th e n a tu re o f th e ir in te r re la tio n sh ip s, and on tra n s la tin g th a t in to th e a tric a l a c tio n w ith in rh y th m s and flo w o f a real p a rty . As W illia m s o n n o ted in his progra m m e n o te , th e fa s c in a tio n fo r d ire c to r and cast lay in solving th e problem s o f focus, as m o st characters are on stage fo r the d u ra tio n o r th e p la y , and in th e selectio n o f th e various in te ra c tio n s be tw een characters "a n d the accuracy o f th e re c re a tio n ". It was, in fa c t, a fo rm id a b le te c h n ic a l exercise. It was p e rfo rm e d alm o s t in th e ro u n d , w ith the audience s ittin g in th e m ain ro o m w ith the actors. As th e re was no real 'o ff-s ta g e ', co n ve r sations had to be m a in ta in e d t i l l it was an in d iv id u a l o r c ou ple's tu r n to move in to fo cu s again. T his m eant c o n s ta n t im provised

dialogue w h ic h c o u ld be overheard b y sections o f th e audience u n til y o u r tu r n cam e to heighten th e m o m e n t as it were. A nd th is 'p ic k in g up o f th e cue' had to happen s m o o th ly and w ith to ta l c re d ib ility . The same so rt o f d is c ip lin e was re quire d fro m th e p e rfo rm e rs in th e m ovie versio n, and w ith in th e lim ita tio n s o f tim e , Bruce B eresford trie d s im ila r te ch nique s to make th e a c tio n cre dible and co n vin cin g . L ik e th e Pram F a c to ry p ro d u c tio n B eresford and p ro d u c e r P h illip Adam s w ere a fte r "a ve ry n a tu ra lis tic , alm o st C z echo slovakian " style . T h ey w ere som ew hat desperate, and fo r good reason, to get aw ay fro m th e heighted th e a tric a lity of The R em ovalists m ovie - n o t so m u ch in p e r fo rm a n ce as in appearance. T h oug h Adam s d id ta lk to th e cast at one stage a b o u t im p ro v is a tio n and R o b e rt A ltm a n , w ho at th a t tim e was his hero: g e ttin g it in one ta k e , going w ith the a c tio n fu ll sound cover, th a t loose, laid-back actin g sty le , w ith p e r form ers c o n trib u tin g m o m ents fro m th e ir ow n experience as w e ll as in te rp re tin g som e one elses. There was a w eek's rehearsal. M uch o f it was re q u ire d , n o t to p o lish th e actin g as such, b u t to d e ta il and p a tte rn th e sh o o tin g scrip t and lig h tin g p lo t. As B eresford (and D ire c to r o f P h o to g ra p h y, D on M c A lp in e ) w a n te d to make it lo o k lik e a film n o t a p la y , th e y fe lt th a t a " r e a l" lo c a tio n , n o t a set was re q u ire d , w ith le n g th y and in volve d tra c k in g th o u g h th a t house and sharp shots th ro u g h w in d o w s , d o o r ways and gardens d e ta ilin g th e a c tio n across a long d e p th o f fie ld . There was o b v io u s ly a m a jo r p ro b le m w ith th is - the p ro b le m o f 'c o n tin u ity o f lig h tin g '; it was o f ob vio u s im p o rta n c e , w ith th e so rt o f c o m p lic a te d and extravagent tra c k in g shots th a t w ere being c o n te m p la te d , th a t th e cam era crew d id n 't tra c k th ro u g h th e lig h tin g sources. So th e rehearsal p e rio d was used m a in ly to see w here dialo gue lines and m o vem en t sequences w o u ld fa ll in term s o f shots, angles and lig h tin g set-ups. A nd because it was an a ctu al house, it was possible fo r th e actors to move th ro u g h it as th e y w o u ld in cha racte r, and b u ild th e shots a ro u n d th e ir na tura l and fe lt m ovem ents. ( I t u su ally w o rk s th e o th e r w ay - th e y push y o u in to th e m o st u n n a tu ra l and c o n v o lu te d p o s itio n s , make yo u cheat th e eye -line, keep th e level up fo r th e m ik e , react to a n o th e r p e rfo rm e r w h o is n o t th e re ( fo r close-ups) because th e p ro d u c tio n co m p a n y c a n 't a ffo rd

th e e x tra days rate - and exp ect y o u to be real.) It also m eant th a t w hen sh o o tin g started th e w h o le f ilm was p lo tte d , w ith each cam era angle w o rk e d o u t. It also gave us a lo t o f tim e to pla y w ith the characters and o f course get to k n o w the o th e r actors. It's alw ays a p r e tty a lie n a tin g experience a rrivin g o n a film set to w o rk w ith people yo u d o n 't k n o w and being exp e cte d , w ith a m in im u m o f rehearsal, to m ake th e m ost c o m p le x in te rp e rso n a l re la tio n sh ip s lo o k cre d ible. A n d th e g e ttin g -to -k n o w p e rio d was m ost im p o rta n t fo r th is film version because it was conceived very m uch in an ensem ble w ay th e so rt o f film w here actors w o u ld feed o f f th e te x t and each o th e r and th e crew , a n y th in g th a t developed and lo o k e d rig h t co u ld be w o rk e d in. T his creates a ve ry free atm osphere fo r actors p a rtic u la rly o n a f ilm set and th e chance fo r m uch greater c re a tiv ity th a n is usually a llo w e d . A c to rs are th e low est co m m o n d e n o m in a to r in th e w h o le in d u s tria l e q u a tio n , th e m o st dispensible, and are o fte n regarded at best as 'th e ta le n t'. B ut B eresford and M c A lp in e were superb acto rs-p eople - to le ra n t, aware, to ta lly focused and c o n c e n tra te d o n th e m in u tia e o f th e p e rfo rm a n ce as w e ll as the broad strokes. T h e y nursed people th ro u g h d iffic u lt scenes, cajoled perform ance s w hen necessary, w e n t w ith great good na ture w ith th e im p ro v is a tio n a l breaks (Jo h n Hargeaves fo r instance a tte m p te d to fin d o u t a b o u t p la y ing d ru n k fo r th e big scene w ith Mai and D on a t th e end o f th e p la y , b y d rin k in g a b o u t fifte e n heavy vodkas d u rin g a rehearsal lunch break. It was a serious, stu d ie d e xp e rim e n t. Y o u c o u ld n 't understand a w o rd he said, b u t it e n te rta in e d th e w h o le u n it fo r th e day and proved a fe w p o in ts a b o u t m e th o d and madness.) There were p roblem s th o u g h . S h o o tin g in th e real house fo r six weeks created m any te ch n ica l problem s, p a rtic u la rly as it rained fo r m ost o f th e tim e . A lso personal problem s. P h illip Adam s was keen on th e real house be cause "a dram a lik e D o n 's P a rty , co n cernin g a seething h o tb e d o f in te rp e rso n a l c o n flic ts , requires a high degree o f c la u s tro p h o b ia . It's like a d o m e stic arg u m e n t - if y o u step o u tsid e in to th e garden th e issues seem less im p o rta n t. The p ro b le m was th a t th e real c la u stra p h o b ia (and th e ensem ble-like pressure) created a h o t bed o f inte rpersona l tensions in th e cast and at tim es th e c o n flic ts and antagonism s involve d the m ovem ents o f the play.

Page 38 Theatre-Australia Dec-Jan, 1976/7 The o rig in a l idea was th a t I (R .C .) w o u ld in te rv ie w o ld frie n d (J.S.) fo r th e magazine. N e ith e r o f us lik e s be in g in te rv ie w e d b u t J im th o u g h t th is m ig h t be a re la tiv e ly painless one a n d / needed m o n e y . Then i t was suggested we c o n v e rt i t to a s o rt o f d ialo gue , have o u r p h o to take n tog ethe r, a n d f i t ourselves in to a p ro je c te d series in the magazine. The re s u lt is n e ith e r on e th in g n o r the o th e r: / made ra n d o m in s tru s io n s in a c o n v e rs a tio n th a t c o n s ta n tly veered fro m th e to p ic . A s ty p e d up fro m notes / m ade, th e co n v e rs a tio n gives a b ro a d general v ie w o f J im 's w o rk a n d a ttitu d e s , against a b a c k g ro u n d o f m y struggles w ith the p ra c tic a l a n d e th ic a l d iffic u ltie s o f c o n trib u tin g to a con versatio n a n d re c o rd in g i t a t the same tim e.

RETROSPECTIVES: J.S. L o o k in g back I see clear d ivision s. F in d in g m y w ay in th e '60s, a fte r N .I.D .A ., I g o t to g e th e r p ro d u c tio n s o f pu b lis h e d plays like Chips w ith E v e ry th in g , and The B irth d a y P a rty, and A Taste o f H o n e y , as w e ll as w o rk in g on new te x ts and fo rm s , as in On-Stage Oz a n d T e rro r A u s tra lis . T h a t was th e firs t d iv is io n . Then I w o rk e d fo r a yea r fo r the A u s tra lia n O pera as an assistant d ire c to r b e fo re being given a p ro d u c tio n o f D o n G iovanni. T h a t led to th e second d iv is io n -- th e m usicals H a ir and S upe rstar - w h ic h to o k me to L o n d o n . A lso in th a t d iv is io n w ere th e fir s t film s — A rca d e (w h ic h no-one w ill ever see) and S h irle y Thom pson Versus the A lie n s (w h ic h I've ju s t revised -- by c u ttin g h a lf an h o u r), and a c ou ple o f plays -- As You L ik e I t and Lassiter. The th ir d d iv is io n was L o n d o n w here I d id tw o Sam Shepard plays - The Unseen H a n d and The T o o th o f C rim e - and The R o c k y H o rr o r Show . T h a t led in to the fo u rth d iv is io n -- th e film o f R ocky and S u m m e r o f Secrets, back in A u s tra lia - i t w ill be released a t C hristm as. A n d last, a lm o s t a f if t h d iv is io n . The Season a t Sarsaparilla. We ta lk e d a b it a b o u t o u r j o i n t re tro s p e c tiv e : we fir s t m e t a t N .I.D .A . - J im h a d g ra d u a te d the ye a r b e fo re / s ta rte d a n d he was ta k in g som e classes a t N. I. D. A. h im s e lf - he in tro d u c e d m e to the m yste rie s o f th e ta p e -re c o rd e r - an a rtic le we c o u ld have used to som e advantage rig h t no w . / w o rk e d w ith h im o n a s tu d e n t

exercise re la te d to A D o ll's House. We b o th re m em b ere d w ith a ffe c tio n R o b in L o v e jo y 's lectu res on d ire c tin g - the o n ly tim e , in o u r experience, w hen a n yo n e even trie d to ta lk a b o u t th e subject. We b o th began, a fte r leaving N .I.D .A ., w ith p ro d u c tio n s w hose casts were e x -N .I.D .A . students. There we diverged - m y m a in lin e o f d e v e lo p m e n t b e in g in the d ire c tio n o f close w o rk w ith a s m a ll g ro u p , le ad ing to the fo rm a tio n o f P erfo rm a nce S y n d ic a te a n d p r o d u c tio n s lik e Orestes a n d The T em pest. O u r heroes a t the tim e , roseate w ith distance, were re p re s e n ta tiv e ly d iffe r e n t -- J im 's be in g Joan L ittle w o o d a n d P eter B ro o k , m in e be in g G ro to w s k i a n d tra d itio n a l E astern theatres. Perhaps m y c h ie f, th e m a tic in te re s t has been in Jacobean th e a tre , fro m my g ra d u a tio n p r o d u c tio n o f The B roke n H eart , th ro u g h The R evenger's T rage dy, The D u tc h C ourtesan, Measure fo r Measure, Pericles, to , m o s t re c e n tly . The Duchess o f M a lfi. M y in te re s t in these p la y s ran side b y side w ith m y in te re s t in a c to rs a n d ensem ble w o rk a n d reached p e r haps its h a p p ie s t expression in The Tem pest. O th e r w o rk c o n c e n tra te d on e xp e rim e n ts w ith fo rm - Ten T h ousand M iles A w a y , M u rie l, M a riner - and, th ro u g h o u t, the in v o lv e m e n t o f m u s ic a n d m usicians has been im p o rta n t.

WORKING

METHODS AND IDEALS:

J.S. R ig h t fro m th e be g in n in g , m y firs t response, m y m a in p re o c c u p a tio n has been w ith th e visual aspects o f th e a tre . I began by designing m y o w n p ro d u c tio n s ; th e n , w hen I realised th a t, by n o t having specialised in th a t area, I had lim ita tio n s o f te c h n ic a l kno w le dge , I began to lo o k fo r designers w h o w o u ld listen to me in d e ta il, fo llo w m y ideas, and the n ta ke th e m fu rth e r. R.C. I've never g o t o u t o f th e h a b it o f designing m y o w n p ro d u c tio n s — I've alw ays fe lt th a t th e pla y, w here it's placed, and th e w ay th e actors lo o k are q u ite inseparable, and th a t I'm to o in s u ltin g ly precise a b o u t it all to give a designer any creative fre e d o m . J.S. One o f th e tin g s we have in c o m m o n is a con cern fo r th e 't o t a lit y ', the th ro u g h -lin e o f a p ro d u c tio n . I t can be achieved w ith a designer lik e W endy D ickson, b u t it's a de lica te balance. Y ou need som eone, w h o w ill liste n , b u t n o t som eone w h o s im p ly says yes and carries o u t w h a t y o u 'v e described - i t ’s a c o m p le x and d e ta ile d re la tio n sh ip s. In th is area m y happiest c o lla b o ra tio n was w ith B rian T h o m so n w h o w o rk e d m ore as a stage a rc h ite c t th a n as a tra d itio n a l designer. R.C . I p ro b a b ly w a n te d to make 'w o rk in g m e th o d s ' a to p ic because I have clear ideas a b o u t th e s o rt o f w o rk I've alw ays w a nted to do: long p re p a ra tio n w ith a g ro u p c o m m itte d to one a n o th e r and the m a terial th e y 're w o rk in g on . I've n e a rly had it in the past, b u t I d o n 't th in k it w ill happen again now . In fa c t I have to learn to deal w ith th e status qu o — cast assembled fo r one p la y , fo u r w eeks' rehearsal, o p ening n ig h t th e o n ly goal ... B ut yo u d o n 't have a p ro b le m in th is area. J.S. N o, a pe rm an ent co m p a n y is n 't im p o rta n t to me. A p ro d u c tio n , fo r me, n o w , is som ething th a t s lo w ly com es to g e th e r in m y m in d - I'd been th in k in g a b o u t S arsaparilla fo r m o re th a n a year - and w hen I'm ready I s im p ly need an e n tre p re n e u ria l s itu a tio n th a t w ill a llo w me to realise it e ffe c tiv e ly . I s till have to make m y o w n o p p o rtu n itie s - w e b o th have, all along. Y ou c e rta in ly need m o re energy and d e te rm in a tio n to set up a p ro d u c tio n here th a n y ou d o in , say, L o n d o n . A n d c e rta in ly the re is no w here here, am ong the subsidised theatres.

JIM SHARMAN DIRECTORS

P h o to : W illy Young th a t y o u c o u ld in te re st in th e sorts o f plays th a t th e R oyal C o u rt w o u ld c h e e rfu lly ta ckle - plays, lik e those o f B ond , o f ob vio u s m e rit but no im m e d ia te co m m e rcia l appeal. A u s tra lia n the atre s, despite sub sid y, s till feel c o m m e rica l re sp o n sib ilitie s -- th e rig h t to fa il is n 't b u ilt in to th e p h ilo s o p h y o f any th e a tre here. R .C . I'm b o u n d to p o in t o u t th a t m y p ro d u c tio n o f The Duchess o f M a lfi w o u ld satisfy m ost d e fin itio n s o f co m m e rcia l fa ilu re and th a t th e a rtis tic d ire c to rs o f N im ro d w ere u n fa ilin g ly s u p p o rtiv e and e n th u sia stic in th e m id s t o f co m m e rcia l disaster. I rem em b er, in years gone b y , th a t y o u used to de fe n d com m ercia l v ia b ility and fe lt th e need to reach a mass audience. D o y o u s till? J.S. Since th e n I've had th e experience o f p ro d u c tio n s lik e Unseen H and, w h ic h I th in k o f as perhaps m y best w o rk to da te - and it playe d fo r six weeks U pstairs at th e C o u rt, a th e a tre seating s ix ty people. Th e th e a tre th a t I was inte reste d in in th e '6 0 's - 'c e le b ra to ry ' th e a tre , th e th e a tre o f ro c k and ro ll, o f p o p u la r c u ltu re , o f re v o lt against '5 0 's n a tu ra lism (th e careers and sex lives o f th e m id d le classes, endlessly discussed in room s) - all th a t came to a c o n c lu s io n , fo r me, w ith T o o th o f Crim e. I saw it as th e pla y in w h ic h th e '6 0 's fin a lly had to c o n fro n t th e '7 0 's. A fte r th a t I th o u g h t 'I'v e said w h a t I've go t to say' a b o u t all th a t. It's n o t th a t th e '7 0 's have seen a re tu rn to na tu ra lism , b u t ra th e r a re discove ry o f th e c o n te n t, o f th e w rite r's c o n trib u tio n , and o f th e im p o rta n c e o f pe ople as opposed to concepts. R .C . Th e q u e s tio n o f w o rk in g m e th o d is b o u n d up w ith it. In c o n fro n tin g Duchess o f M a lfi w ith a cast assembled fo r th e purpose, m any o f th e m pe ople I'd never w o rk e d w ith b e fo re , and a fo u r-w e e k rehearsal p e rio d , I fe lt as i f all th e th in g s I'd w o rk e d fo r, all the ideals I'd b u ilt up th ro u g h the 60 's, had been s trip p e d aw ay. It fe lt lik e com in g face to face w ith th e s o rt o f w o rk in g s itu a tio n I'd been a vo id in g all along. A lth o u g h , in th e end, some reactions to Duchess re-assured me th a t the w o rk in g exp erien ce o f th e 6 0 's had n o t s im p ly vanished - th a t th e p ro d u c tio n achieved its style as a re su lt o f th e w o rk th a t had preceded it - s till, I have th e fe e lin g th a t, to some e x te n t, w h a t was trie d fo r in th e 6 0 's has been given up fo r lo st in th e 70's.

Theatre-Australia Dec-Jan, 1976/7 Page 39

REX CRAMPHORN ,DIALOGUE

J.S. W hen Peter B ro o k re tu rn e d fro m ta k in g his co m p a n y th ro u g h A fric a his c o n c lu s io n was th e a tre is no m ore th a n people te llin g a s to ry to o th e r people, b u t th a t th e c o n c lu s io n c o u ld o n ly be valid a te d by th e process o f a rriv in g at it.

RECENT EXPERIENCES, THE STATUS QUO, AND WHAT MIGHT BE DONE: We h a d a lre ady o v e rla p p e d in to the n e x t to p ic , w h ic h was supposed to be a b o u t h o w o u r m o s t re ce n t experiences re la te d to o u r ideals. J im ta lk e d a lit t le a b o u t c o m in g ba ck, a fte r tw o years aw ay fro m the atre , to w o rk o n S arsaparilla fo r the Tote. J.S. I'm reasonably c o n fid e n t n o w , a b o u t m y a b ility to deal w ith the sorts o f problem s th a t com e up w hen y o u a rrive as an o u ts id e r to w o rk in an in s titu tio n a lis e d th e a tre . B u t I'm aw are o f h o w d if f ic u lt it m ust be fo r a you ng, inexp erie nced, o r in any w ay insecure d ire c to r to face a s itu a tio n w here saying 'I d o n 't k n o w ' o r 'n o t y e t' can cause a crisis in th e a d m in is tra tio n o r th e tech nical d e p a rtm e n ts , and cost the d ire c to r th e ir respect. In such a s itu a tio n all kin d s o f w ro n g decisions can be made ju s t to a vo id seeming slow , fu z z y o r indecisive. E a rlie r th is year, as a k in d o f in te lle c tu a l exercise, w ith no p a rtic u la r con cern fo r p ra c tic a b ility , J im a n d / w o rk e d o u t a season o f plays th a t w e 'd lik e to d o - B rech t, B ond , S hepard a n d so on -- to g e th e r w ith th e p ro d u c tio n re q u ire m e n ts o f such a season. W hen / asked h im w h a t th o u g h ts he h a d a b o u t im p ro v in g the status q u o th e a tre in w h ic h he w orks, his suggestions re m in d e d m e o f w h a t we h a d ta lk e d o f e a rlie r in the year. J.S. F irst, th e re c o u ld be m ore long -term vision in all de partm ents. O rg anizatio ns like th e T o te o r th e M .T .C . w ith several theatres at th e ir disposal, c o u ld have w e ll-d e fin e d a rtis tic p o licie s fo r each th e a tre . The plays c o u ld be organized in seasons w ith season them es (lik e th e T o te 's recent A m e ric a n season), and a co m p a n y assembled fo r the w h o le season. T h en, if, say, it w ere a B recht season, th e actors c o u ld have some p re p a ra to ry w o rk on the w h o le general area, and the n a series o f d ire c to rs c o u ld each deal w ith a d iffe re n t

play in a d iffe re n t w ay. A n y co h e re n t system even s o m e th in g lik e a star system w ith plays chosen in re la tio n to available ta le n t - w o u ld be b e tte r th a n ta c k in g a b o u t try in g to fin d w h ic h w ay th e w in d is b lo w in g . The s o rt o f the atre th a t S yd n e y, in p a rtic u la r, w o u ld s u p p o rt w o u ld be one lik e Joe Papp's N ew Y o rk P u b lic T h e a tre Shakespeare h its B roadw ay -- a c o m b in a tio n o f c o m m ittm e n t and flashiness.

DIRECTING, AT HOME AND ABROAD: The con versatio n tu rn e d to w a rd s several a llie d to p ic s - w h a t J im th o u g h t a b o u t w o rk in g in A u s tra lia as op posed to overseas; w h a t c o m in g ba ck to w o rk a fte r an absence was lik e ; w h a t d iffe re n ce s he saw in his ro le as a d ire c to r here a n d abroad. J.S. W o rk in g at th e R oyal C o u rt was p ro b a b ly th e m o st e n jo ya b le exp erien ce o f m y life . I w o u ld alw ays take an o p p o rtu n ity to w o rk in a n o th e r c o u n try . The m ost im p o rta n t pa rt o f w o rk in g overseas is th e sense o f distance and perspective. In L o n d o n I w o rk e d on A m erica n plays. Even R o c k y was related to A m erica and A m e rica n film s . C om ing back to A u s tra lia is com in g back to som e th in g m ore de tailed and d ire c t. P a rtic u la rly co m in g back to do S arsaparilla, a p la y w hose b a ckgrou nd is very m uch m y o w n b a ckgrou nd. In preparing fo r it I became very invo lve d in th e rest o f P a tric k W h ite 's w ritin g and th e new pro je cts th a t I have in m in d at th e m o m e n t (P a trick W h ite 's screenplay. The N ig h t, th e P ro w le r and a n o th e r screenplay a b o u t th e q u a lity o f life in S ydne y) are closely associated w ith m y ow n experience o f g ro w in g up in S ydne y. I also have th e im pression th a t A u stra lia n audiences see th e a tre in te rm s o f life , th e y are m o re susceptible, in a w a y — E uropean audiences see th e a tre in term s o f th e a tre . I am beginning to see th e ro le o f th e d ire c to r as a m ore a c tiv e ly cre ative one th a n I had im agined — I see in i t th e p o s s ib ility o f re-evaluating re a lity , as a p a in te r does, show ing it to an audience so th a t i t can never again be passed over o r igno red . The awareness, the d e ta il fo r th a t sort o f w o rk can o n ly com e in an e n v iro n m e n t y o u have k n o w n fro m c h ild h o o d .

THE ROLE OF THE CRITIC: J.S. If th e a rtis t re-evaluates re a lity , the firs t task o f the c ritic is to understand th is re -evaluation and, in his o w n te rm s , to m ediate betw een it and its audience - to fu r th e r reveal, even to e x p la in , the w o rk . C ritic s w h o plou gh s tra ig h t in to value judg em e nts have missed th e m ost im p o rta n t p a rt o f th e ir jo b . A good exa m ple is the review s yo u had fo r D uchess: m o st o f th e m o n ly w a nted to say 'W hy b o th e r to d o th is p la y? ' and leave it at th a t. B ut th a t's such a general p ro b le m - w h y b o th e r to get up

B ill H u n te r, M ax C ullen & K ate F itz p a tric k in

in th e m o rning ? T h e ir jo b was a c tu a lly to dis cover fo r them selves, th ro u g h o p en-m inde d experience o f th e p ro d u c tio n , w h y y o u had b o th e re d to do th a t p la y and th e n to share it w ith th e ir readers. Here's a te r r ific q u o te fro m M a rtin Esslin's piece on H aro ld H obson (Sept. Plays a n d P layers): " F o r th e c ritic , w h ile a guide and teacher o f th e audience, is also, fro m th e p e rfo rm e r's p o in t o f vie w , th e representative spokesm an o f th e p u b lic . A pplause, a fte r all, m ay be an in d ic a tio n o f audience re a c tio n , b u t it is a sin g u la rly in a rtic u la te one. H aving slaved fo r weeks, o r m o n th s, over a p e rfo rm a n ce th e actors, w rite r, d ire c to r are im m e nsely eager to fin d o u t w h e th e r w h a t th e y in te n d e d to do a c tu a lly achieved its o b je ctive . T h a t is w h y th e e a rly e d itio n s are snatched fro m th e new s vendors o f B roa dw ay at fo u r o 'c lo c k in th e m o rn in g . A co m p e te n t c r itic , how ever un fa vo u ra b le his v e rd ic t, is o f im m ense value to the p e rfo rm e r and th e w rite r . On th e o th e r hand, the active p ra c titio n e rs o f th e stage can in s ta n tly recognize th e in c o m p e te n t c ritic , in his praise as w e ll as in his co n d e m n a tio n , w hen he a ttrib u te s fa u lts o f th e w rite r to th e a c to r, and vice versa, o r displa ys ignorance o f th e actual process o r p ro d u c tio n . A c r itic w h o is recognised as kn o w le dge able can he lp p e rfo rm e rs im m e n se ly.”

FILM AND THEATRE: We h a d n 't ta lk e d m u ch a b o u t film , b u t, fin a lly , w h a t cam e o u t a b o u t i t gave a shape to the w h o le con ve rsa tio n , ro u n d in g o u t Jim 's re tro sp e ctive a n d his p e rc e p tio n o f his w ork. J.S. I suppose in th e '6 0 's I saw m yse lf as w o rk in g in th e th e a tre and ta k in g tim e o ff , w hen I had som e th in g p a rtic u la r and d iffe re n t to express, to w o rk in film . N o w I see m yse lf as w o rk in g in film and ta k in g tim e o f f , w hen I need to , to do som ething th a t can o n ly be done in th e a tre . The d iffe re n c e betw een th e m is w h a t is in te re stin g th e a tre , fo r me, is people ta lk in g to people; f ilm is a progression o f images. R.C. A t th e beginnin g y o u said th a t y o u r p re o ccu p a tio n in th e a tre was w ith visual aspects. It seems as th o u g h film satisfies th is p re o ccu p a tio n m ore e ffe c tiv e ly th a n th e a tre co u ld , and th a t th e tra nsference o f in te re st fro m th is aspect has a llo w e d o th e rs - the c o n te n t, the hum an level - to com e in to focus. It also seems as th o u g h m any o f the o th e r thin gs th a t we have ta lk e d a b o u t -- y o u r experience at the R oyal C o u rt, y o u r in te re st in P a trick W hite's w ritin g , y o u r re tu rn hom e — have c o n trib u te d to the d e velopm ent o f th is new area o f a tte n tio n , and th a t th e w h o le im p u lse has fo u n d its expression in the p ro d u c tio n o f Sarsaparilla.

Sarsaparilla.

P h o to : R o b e rt M cF arlan e

Page 40 Theatre-Australia Dec-Jan, 1976/7

Doris Fitton O.B.E.

\AOMBM IN AUSTRALIAN THEATRE

Neva Carr-Glyn

PART TWO Marlis Thiersch " A h , th e w o m e n !" sighs G irlie Pogson in P a trick W h ite 's p la y The Season a t S arsaparilla. " I t never pays to be a w o m a n ." B u t a fte r firs t p a rtic ip a tin g in th e A u s tra lia n th e a tre m a in ly as actresses and singers, w o m e n are n o w earning th e ir liv in g in it in m any roles. C o n tin u in g th e a c c o u n t o f w o m e n d e dicated to carreers in th e th e a tre - w h a t o n e m ale d ire c to r calls th e M a tria rc h y o f A u s tra lia n T heatre. F ro m th e 1930s on w a rd s, w o m e n w ere o u ts ta n d in g as d ire c to rs in th e re p e rto ry o r 'lit t le ' th e a tre m o vem ents. A m o n g th e m w ere R ona Feidgate and B abette Stevens in B risbane; and D o ris F itto n O .B .E . a t th e In d e p e n d e n t T h e a tre in S ydne y, Irene M itc h e ll M .B .E . at th e St. M a rtin 's T h e a tre in M e lb o u rn e , Joan W halley at th e T w e lfth N ig h t T h e a tre , J e n n ife r B locksidge at La B o ite , b o th in B risbane, M iria m H am pson at S ydne y's N ew Th eatre, and C olleen C liffo r d , Joan Pope and Jean M arshall in v ario us States, c o n tin u e to ru n th e ir o w n shows, som etim es as a u th o rs and p roduce rs lik e A m y M c G ra th a t th e A u s tra lia n T h eatre in S ydney and B e tty Q u in n a t A d e la id e 's Q T h e a tre - b o th de d ica te d to th e w o rk s o f indigenous p la y w rig h ts . In th e 1940s, M ay H o llin w o r th ran the M e tro p o lita n T h e a tre in S ydne y and B e tty B ry a n t d ire c te d B ry a n t's P layhouse. K a th le e n R o b in so n 's a c tiv itie s a t th e M ine rva T h e a tre are co m m e m o ra te d in an annual series o f lectures a t S ydne y U n iv e rs ity o n aspects o f th e a tre . Jean W ilh e lm , w h o cam e to th e S choo l o f D ram a a t th e U n iv e rs ity o f N . S.W. fro m th e U .S .A . nine years ago, has been a ctive in d ire c tin g operas and s tra ig h t plays such as th e O ld T o te 's p ro d u c tio n o f This O ld M an Comes R o llin g H om e b y D o ro th y H e w e tt. Sandra M ackenzie has com posed m usic f o r plays, d ire c te d m usicians in shows, is a h ig h ly developed stage m anager an d o n occa sio n has d ire c te d a cto rs and th e a c tio n as in Y o u 're a G o o d M an C harlie B ro w n fo r H a rry M . M ille r. C h ris tin e D unstan has c o n trib u te d to th e a tre as a fre elance stage d ire c to r and L o rra in e A rc h ib a ld lo o k s a fte r th e F lin d e rs T h e a tre in S o u th A u s tra lia . The R ayne r sisters, Joan and B e tty , have long b e n e fitte d yo u n g pe o p le as w rite rs , d ire c to rs and p e rfo rm e rs in A u s tra lia 's longest ru n n in g th e a tre f o r c h ild re n , to u rin g all States. A n o th e r p a ir o f sisters, B eatrice and th e late E velyn T ild e s le y , have aided th e a tric a l e n te rÂ prise th ro u g h th e ir w o rk fo r th e B ritis h Dram a

MARUS THIERSCH lectures on Australian drama and theatre at the School of Drama, University of New South Wales, is Honorary Secretary of the Australian Centre of the International Theatre Institute and was awarded her doctorate for a thesis on the development of indigenous playwrighting. She apologises for inaccuracies and omissions and would enthusiastically welcome additional information.________

League w ith its exte nsive lib ra ry and have b y th e ir co n s ta n t s u p p o rt encouraged th e g ro w th o f A u s tra lia n th e a tre in m a n y im p o rta n t w ays. A m o n g th e do yenne s o f w o m e n stage p e rfo rm e rs are Q ueenie A s h to n , W in ifre d Green, E n id L o rim e r, E thel G ab riel, A ileen B r itto n and B e ttin a W elsh, and present-day A u s tra lia n actresses are m a n y and ta le n te d . Some names m ay e x e m p lify th e v a rie ty o f a c c o m p lish m e n t in th e 'liv e ' th e a tre : G lo ria D a w n , P a tricia K e n n e d y, R u th C ra ckn e ll and B unn ey B ro o ke have deserved love and respect o n stage in m e m o ra b le roles; and B e tty Lucas, Joan B ruce, E liza b e th K ir k b y , Irene Ine scort, D aphne G ra y, Jackie K o t t , D in a h S hearing,

P a tricia C o n o lly , N ita P annell, D oreen W a rb u to n , B everley D u n n , Fay K e lto n , Elspeth B a lla n ty n e , A nne H a d d y, L y n d e ll R ow e, June C o llis , Maggie M ille r, J u d y D ic k , C arole S kin n e r, K ate F itz p a tric k , Jane Harders, Barbara West, H elen Morse, J e n n ife r C laire, J u lie H a m ilto n , Ja cki W eaver, R o b y n N evin A n n a V o ls k a , Jud e K u rin g , and E velyn K rape are som e o f th e m any o th e r ta le n te d p e rfo rm e rs w h o c o n tin u e to in s tru c t and d e lig h t th e ir p u b lic in a ll States. I t is, a fte r a ll, audiences w h o m ake 'th e a tre ' and m o re th a n h a lf o f all play-goers in A u s tra lia are w o m e n , as are taxp a ye rs w hose pa tronage enables th e a tre to stay live, en erge tic, in n o v a tiv e and e ffe c tiv e , th a n k s to co n sta n t p u b lic assistance to the p e rfo rm in g arts. Since M elba's success, A u s tra lia has had m ore th a n a h a n d fu l o f w o rld re n o w n e d singers. F lo re n ce A u s tra l, G e rtru d e Joh n so n , S trella W ilso n , S ylvia Fisher, Elsie M o rris o n , M arie C o llie r and Joan H a m m o n d w ere am ong th e sp le n d id voices b e fo re Joan S uth e rla n d came on th e scene, w in n in g th e Sun A ria C ontest and th e M o b il Q uest and in 1951 going to E ngland to w in fam e abroad and an im m e nsely e n th u sia stic fo llo w in g back hom e. J ill P errym an s ta rte d singing in m usicals such as P a in t Y o u r Wagon in 1 9 5 5 , th e n sta rrin g in F u n n y G irl in th e sixtie s and in A L it t le N ig h t M u sic in 19 73. N ancy Hayes p la ye d in musical com edies such as P ip p in and Ire n e as w e ll as ta k in g th e lead in S w eet C h a rity and a ctin g in m o re recent plays, June B ro n h ill, th e g irl fro m B ro ke n H ilt, has changed fro m o p e re tta to th e A u s tra lia n opera to th e d e lig h t o f audiences, and M argaret R o a d k n ig h t o f fo lk fam e and Jeannie Lew is th e blues singer are w ith R o b y n A rc h e r am ong to d a y 's p o p u la r m usical e n te rta in e rs in th e a lte rn a tiv e th e a tre . Th e d a ncing ladies o f th e A u s tra lia n stage in c lu d e La urel M a rty n , E liza b e th D alm an, M argaret B arr, Peggy Segar, M argaret W alker, L u c e tte A ld o u s , K a th le e n G o rh a m and M a rily n Jones, plus Darne Peggy van Praagh w h o came here fro m overseas.

K ate F itz p a tric k The Legend o f K ing O 'M a lle y P h o to : A .E . T. T.

W om e n designers in th e A u s tra lia n th e a tre are fe w e r, b u t D esm onde D o w n in g , W endy D ic k s o n and A n n e Fraser have created m any eye -catch in g stage sets. M o re re c e n tly , w o m e n have also take n leading roles as th e a tre a d m in is tra to rs . L ilia n H o rle r has ve ry e ffic ie n tly m anaged the o p e ra tio n s o f th e N im ro d T h e a tre in S ydne y, fro m p a ckin g audiences in to th e o ld warehouse

Theatre-A u stra l ¡a Dec-Jan, 1976/7 Page 41 to organising th e m o re s o p h is tic a te d doings at th e new fa c to ry b e fo re be in g a p p o in te d A rts A d m in is tra to r fo r th e P add in gto n T o w n H all. Diana Sharpe s tilt a d m inisters th e A u s tra lia n T h eatre fo r Y o u n g People, as w e ll as a ctin g as P rogram m e Manager fo r th e O ld T o te T h eatre C o m p a n y , fo r w h ic h J u d y C liffo rd dire c ts p u b lic ity . E liza beth B u tc h e r is th e busy Bursar fo r th e N a tio n a l In s titu te o f D ra m a tic A r t, and Carm el D unn has aided th e cause o f A u s tra lia n p la y w rig h tin g b y c o n d u c tin g th e P layreading P rogram m e fo r th e M e lb o u rn e T h eatre C om p any. As C h ie f E x e c u tiv e O ffic e r fo r th e A u s tra lia C o u n c il, Jean B atte rsby has g re a tly in flu e n c e d th e flo w e rin g o f th e a tric a l a c tiv itie s o f all k in d s and has been in s tru m e n ta l in e m p lo y in g w o m e n as a d m in is tra to rs : F e lic ity A bra h a m , D onna Greaves, M argaret W allace and A n tig o n e K e fa la , to m e n tio n a fe w . A ilsa C arp ente r, w h o used to w o rk fo r th e In d e p e n d e n t T h e a tre , no w organises th e Dram a C ritic s A w ards fo r th e A u s tra lia C o u n c il. L o ts o f ladies are a ctive in yo u n g th e a tre : C h ris tin e W estw oo d develops th e Y o u th T h eatre P rogram m e fo r th e A delaid e Festival C entre T ru s t, Carol W o o d ro w is th e A rtis tic D ire c to r o f C anberra C h ild re n 's T h e a tre , N io m i M a rks d ire c ts th e C h ild re n 's A rena T h eatre in M e lb o u rn e , M a ry F a irb ro th e r th e T ro ik a T h e a tre -in -E d u c a tio n team in A d e la id e , and Barbara M a nning is th e D ire c to r o f the Tasm anian T .I.E . tea m . A n n e G o d fre y -S m ith , fo r m e r ly a d ire c to r o f th e C anberra R e p e rto ry T h e a tre , is n o w n a tio n a l c o n s u lta n t fo r the A u s tra lia n Y o u th P e rfo rm in g A rts A s s ociation and M argaret Leask is n a tio n a l c o -o rd in a to r o f th e A .Y .P .A .A ., w h ic h is a ffilia te d w ith th e in te rn a tio n a l association o f th e a tre fo r yo u n g people, A S S IT E J. M argaret Leask has fo r th re e years ed ite d th e E liza beth an T h eatre T ru s t's q u a rte rly m agazine T ru s t News, and she c u rre n tly acts as A d m in is tra to r fo r th e A u s tra lia n N a tio n a l P la yw rig h ts C onference, a jo b held b y Carole L o ng b e fo re he r. Angela Wales, w h o is also involved in th e C onference, e d its th e T ru s t's present Theatrescope, and L u c y Wagner is one o f th re e e d ito rs f o r th e p ro m is in g new n a tio n a l m o n th ly m agazine Theatre A u s tra lia . B efore jo in in g th e p ro d u c tio n s ta ff o f th e S o u th A u stra lia n F ilm C o rp o ra tio n , Lesley H am m ond was th e A d m in is tra to r o f th e M a rio n e tte T h eatre o f A u s tra lia , and A nne T a y lo r is one o f th e Federal G ove rnm ent's fu ll-tim e F ilm Censors. In th e cinem a w o rld , S ylvia Law son is th e fo re m o s t fem ale f ilm c ritic and Joan Long is w e ll k n o w fo r her f ilm scripts, Caddie being so fa r th e latest. Joan has ju s t w ritte n " A h is to ric a l survey o f w o m e n in A u s tra lia n f ilm p r o d u c tio n " in tw o parts (C inem a Papers, J u n /J u l, S ep/O ct 1976) w h ic h o u tlin e s th e a c tiv itie s o f eighteen o th e r fascin ating fem ale film m a k e rs , and M argaret F in k , The R em ovatists, and Pat L o v e ll, P icnic a t H anging R ock, are p ro m in e n t producers, w ith J illia n A rm s tro n g b e com ing k n o w n as a you ng film d ire c to r. In th e m edia fie ld , an ever increasing n u m b e r o f w o m e n are successful in 'dra m a' a c tiv itie s , am ong th e m ra d io p ro d u c e r J u lie A n n e F o rd , te le v is io n e d ito r J u d y C o lq u h o u n , s c rip t e d ito r and agent M oia W ood , s c rip t a d a p to r Jo y H o lly e r, and stage p la y w rig h ts B arbara V e rn o n and M arien D re y e r as w rite rs and e d ito rs , to m e n tio n ju s t a fe w . G race G ibson fo r m a ny years headed her o w n p ro d u c tio n co m p a n y fo r ra d io plays, and G lo ria P aton, H ila ry Linstead, June Cann

and F a ith M a rtin successfully w o rk to d a y as th e a tric a l agents. Helen M o n ta g u , n o w jo in t managing d ire c to r o f th e im p o rta n t West End firm o f H .M . T e n n e n t, o rig in a lly came fro m A u s tra lia and has also he ld th e post o f A d m in is tra to r a t L o n d o n 's fam ous R o ya l C o u rt T h e a tre u n til 19 74. In P erth, Edna E dgley was a va u d e ville singer b e fo re her m arriage to im p re sa rio M ic k E dgley w h o m she survives and herself n o w d ire c ts th e biggest e n tre p re n e u ria l business in A u s tra lia . F o r a n u m b e r o f years, M argery M organ ed ite d th e q u a rte rly jo u rn a l K o m o s fro m Monash U n iv e rs ity and, since th e w a r, several o th e r w o m e n academ ics have c o n trib u te d learned studies to th e A u s tra lia n Th eatre. The late E unice Hanger fo r m a ny years advanced the cause o f indigenous dram a as w rite r, e d ito r and c r itic a t Q ueensland U n iv e rs ity , w h e re no w A lre n e Sykes lectu res o n A u s tra lia n dram a and w rite s and ed its s c h o la rly studies o n th e sub je ct. It was she w h o fir s t discovered th e D o ll in th e c o m p e titio n arranged b y th e P la y w rig h ts A d v is o ry B oard in 19 54. B efore her de ath in 1 9 69, Helen O pp enh eim o f th e S chool o f D ram a, U n iv e rs ity o f N.S.W ., w ro te a series o f jo u rn a l article s and an un p u b lish e d b u t e x tre m e ly w e ll researched and c o m p re h e n sive s tu d y o f th e e a rly c o lo n ia l d ram a in A u s tra lia . T o d a y M argaret W illia m s o f th e same S choo l lectures o n A u s tra lia n dram a and th e a tre and has also p u blished several article s and a fin e d is s e rta tio n in th is fie ld . She has tw o o th e r such lite ra ry p ro je cts a w a itin g p u b lic a tio n , as w e ll as being e d ito r o f one o f th e C u rre n cy M e thue n 'N a tio n a l T h e a tre ' series o f A u s tra lia n p la yscrip ts. Helen van der P o o rte n , n o w a t N ew castle U n iv e rs ity , has ed ite d th e m a jo r en tries o n A u s tra lia n th e a tre in th e A u s tra lia n D ic tio n a ry o f B io g ra p h y, as w e ll as pre p a rin g an e d itio n in th e C u rre n cy series o f p la y te x ts and actin g as C onvener o f the Play selection C o m m itte e o f the P la yw rig h ts C onference. F o r m a ny years n o w , a n u m b e r o f w o m e n have fille d th e ro le o f th e a tre c r itic in news papers a ro u n d th e c o u n try , th e re b y w ie ld in g con sid era ble in flu e n c e ove r th e a tric a l e v e n ts .. A m o n g th e m are M a ry A rm ita g e in A delaid e, D onna Sadka and M argo L u ke in P erth and G e ra ld in e Pascal I, M argaret Jones, Frances K e lly and R o m o la C o s ta n tin o in S ydne y. O u ts ta n d in g o n th e c ritic a l scene is K a th a rin e B risbane, w hose n a tio n a l th e a tre review s and

'th in k pieces' a b o u t th e state o f A u s tra lia n th e a tre have had a m o st n o u rish in g in flu e n ce o n th e 'n e w w ave' p la y w rig h tin g at a very im p o rta n t tim e in its d e ve lo p m e n t, betw een 1967 - 74. F o r seven years b e fo re th a t she had w o rk e d as dram a c r itic o n th e West A u s tra lia n . F ro m 19 70 on w a rd s she has fu r th e r sustained her c u ltiv a tin g ro le b y p u b lish in g , w ith her husband P h ilip Parsons, a series o f A u s tra lia n p la y te x ts , fo r ty plays in handsom e volum es to date. The C u rre n cy Press has made these c a re fu lly e d ite d te x ts available, n o w and fo re ve r, fo r p ro d u c tio n and fo r stu d y . By th e ir p u b lic -s p irite d en te rp rise th e y have v e rita b ly created "a survivin g re cord o f o u r dram a and, hence, o u r c u ltu re " - in th e w o rd s o f A nne S um m ers in th e N a tio n a l Tim es (O ct 18-23 1976) In her recent b o o k , D a m n e d W hores a n d G od's P olice (P enguin 1 9 7 5 ), A nne Sum m ers discusses th e image o f w o m e n as i t is m irro re d in "th e organize d b o d y o f expression called 'th e A r t s '. " She has p e rc e p tiv e ly analysed th e roles o f w o m e n characters in a dozen A u s tra lia n plays and has th u s herself c o n trib u te d s ig n ific a n tly to th e im p a c t o f A u s tra lia n dram a o n th e w id e r reading p u b lic . F ro m an in te rv ie w she qu otes D o ro th y H e w e tt, th e c re a to r o f S ally Banner in The Chapel P e rilo u s: W hat I th in k I succeed in is w ritin g some big roles fo r w o m e n ... W ell, we have to k n o w h o w w om e n th in k - and th a t's w h a t I'm tr y in g to get across o n stage. __ N O T E S : F o r in fo rm a tio n in th is c o m p ila tio n I am m u c h in d e b te d to k in d frie n d s a n d to the fo llo w in g b o o k s -B ria n C a rro ll: A u s tra lia n Stage A lb u m (M a cm illa n 1976) J e n n ife r C o m p to n : C rossfire (C urren cy M e thue n 19 76) E dw ard Geoghegan: The C u rre n cy Lass, ed. R oger C ovell (C u rre n c y 19 76) Leslie Rees: The M a kin g o f A u s tra lia n D ram a (A ngus & R o b e rtso n 1973) A n n e S um m ers: D am n ed W hores a n d G od's P olice (P enguin 1 9 75). D o ro th y H e w e tt: The Chapel P erilou s (C u rre n cy Press 1 9 7 2 ). Joan Lo n g : " A h is to ric a l survey o f w o m e n in A u s tra lia n f ilm p r o d u c tio n " in tw o parts, Cinem a Papers (J u n /J u l, S ep/O ct 19 76).

Madge R yan, June Jago, Ken Warren & R ay L a w le r in the A. E. T. T. D o ll 1956-7.

P h o to : A. E. T. T.

Page 42 Theatre-Australia Dec-Jan, 1976/7

ANOTHEf ....ANO TT Stan Marks

K en W arren, R ay L a w le r, June Jago, M adge R yan a n d E th e l G ab riel in the M .T .C /s o rig in a l p r o d u c tio n o f T he S um m er o f th e S eventeenth D o ll. P h o to : M .T.C . "R a y 's at the lib ra ry fin is h in g O th e r Times. W hy n o t 'p h o n e h im a fte r 11 to n ig h t - he sho uld be in . " Jacqueline L a w le r, a fo rm e r actress sounded a p o lo g e tic , th o u g h , heavens kn o w s , she s h o u ld n 't have been. It was as th o u g h the years had ro lle d back fro m O c to b e r 1 9 76, m o re th a n tw e n ty years ago w hen Ray L a w le r was a y o u n g m an w ritin g S u m m e r o f th e S eventeenth D o ll e x a c tly the same w ay as he was w ritin g th e th ir d p la y in w h a t has becom e k n o w n as The D o ll tr ilo g y a t th e M e lb o u rn e P u b lic L ib ra ry . It was s o m ehow iro n ic and som e s o rt o f c o m m e n ta ry on 1976 life . I w o n d e re d w h e th e r anyone w o u ld ask Ray a s im ila r q u e s tio n as w hen he had been w ritin g The D o ll. "B een reading a p la y ? " som eone w h o k ne w he was keen o n th e th e a tre asked. " N o , " re p lie d R ay L a w le r, in his usual m o dest, b u t very d e fin ite m a nner, " w r itin g o n e ." I rang R ay La w le r at 11 p .m . He sounded a little tire d b u t s till his pleasant, alw ays ready to assist self. " S o rr y to b o th e r y o u , R a y ." " Y o u 'r e n o t b o th e rin g m e !" "H a d a busy d a y ? " " V e r y . T im e is im p o r ta n t." t " H o w com e y o u 're w ritin g in th e p u b lic L ib r a ry ? " "W h y n o t? I w ro te The D o ll th e re . I p re fe r to w o rk th e re - it's as sim ple as th a t. There is a peaceful atm osphere good fo r w ritin g and th in k in g ." Does it have to be an A u s tra lia n lib ra ry and n o t an Irish o r a n o th e r overseas one? Ray re peated th a t a fte r all he was A u s tra lia n , w ith a

fee lin g fo r the c o u n try and people. I w o n d e re d h o w m a ny a t th e lib ra ry th a t p a rtic u la r day kn e w th a t a h is to ric a l event was happening near th e m - th e t h ir d play in a trilo g y th a t w o u ld m ake A u s tra lia n , an d, I ga ther, in m any w ays w o rld th e a tric a l h is to ry . The th re e plays o f The D o ll trilo g y w ill be staged separately (see panel) in ch ro n o lo g ic a l o rd e r in c lu d in g successively on th e S aturday beginnin g in th e m o rn in g , go in g a fte r lu n ch and in th e evening. It is believed th a t th is is a w o rld re cord fo r th e same set o f characters. The o n ly real e q u iv alents are th e B ritis h p ro d u c tio n o f The W ar o f the Roses and an A m e rica n Texas trilo g y . D u rin g th e tw e lv e -h o u r M e lb o u rn e T h eatre C om p any p ro d u c tio n th e audience w ill see the characters change fro m y o u n g fo lk to m id d le aged couples, w ith th e ir dream s spent and th e ir lives alm o st p a th e tic shadow s o f th e ir e a rlie r years. The m ain characters are th e tw o itin e ra n t can e-cutters R o o and B arney and the girls w h o share th e ir sum m ers w ith th e m . The plays are re a lly a c o n fro n ta tio n o f the A u s tra lia n o u t back w ith th e life o f th e c ity . A n A u s tra lia n tr ilo g y w h ic h is s till h ig h ly p e rtin e n t these days. K id Stakes takes us back to th e fo u rso m e 's firs t mad sum m er spree w hen th e ritu a l begins o f giving O live a ke w p ie d o ll to m a rk th e ir c o n tin u in g frie n d s h ip . Perhaps the w h o le idea is best sum m ed up in O live's lin e . " I swear th e y 're all the kids I.II ever n e e d ." T he m id d le p la y raises d is tu rb in g qu estions a b o u t th e arrang em e nt. In The D o ll e v e ry th in g falls to pieces. R oo and B arney due to advancing age and general circum stance s are fo rc e d to face

up to re alities. T h e ir illu s io n s are sha ttere d. In K id Stakes Nance appears, illu s tra tin g the u n c e rta in ty o f re la tio n sh ip s. The pla y is re a lly th e sum m er o f th e firs t d o ll's c lo c k tu rn e d back. Says R ay La w le r o f th e trilo g y " I t is a m ost personal s ta te m e n t." He sees O th e r Times as a "cro ssroa ds p la y " , th e end o f th e w a r and a chance to go in a sp e cific d ire c tio n - ta ke a road and choose a p a rtic u la r course. L a w le r says he w ro te th e o rig in a l D o ll in an e ff o r t to express som e th in g w h o lly p riva te a b o u t A u s tra lia . N o te d B ritis h w rite r -c ritic , m an - o f -the -th e a tre , K e n n e th T y n a n , described it as "th e d e c la ra tio n of A u s tra lia n p la y w ritin g in d e p e n d e n ce ." The L o n d o n O bserver said o f i t ; " B y a c c id e n t, an A u s tra lia n is d o in g fo r A u s tra lia n characters w h a t a Synge d id fo r th e Irish and Tennessee W illia m s d id fo r th e Deep S o u th . L a w le r can stand fo r a w h o le rising ge nera tion w h ic h , u n lik e its predecessor, has no in s tin c tiv e respect fo r E ngland, no long er th in k s o f

Theatre-Austral¡a Dec-Jan, 1976/7 Page 43

iSUMMER R (

D a i

STAN MARKS currently works in public relations. He has worked on newspapers, notably the Herald, both here and overseas. Many of his books for children have been published; just out is his latest Kettut Lives in Bali.

its e lf as English and prefers the lo o k o f A u s tra lia 's fu tu re to th a t o f a n yw h ere else. ( It is in te re s tin g to speculate h o w fa r we have m oved since th a t was w ritte n and w h a t c o u ld be said n o w .) The same cast w ill pla y the m ain characters in th e D o ll trilo g y , Peter C u rta in is R o o , Bruce M yles B arn ey, Sandy Gore N ancy and C arole S k in n e r O live. D avid D o w n e r and Irene Ine scort have th e o th e r roles. Designer is A nne Fraser and D ire c to r John S um n er w h o d ire c te d the o rig in a l D o ll and even in th e late 1950s discussed a sequel to it w ith L a w le r - even to open M e lb o u rn e new A rts C entre. (A n o th e r tr ilo g y can be w ritte n fo r th is eve nt!) A rra n g e m e n ts have been made w ith th e N a tio n a l F ilm L ib ra ry fo r a v a rie ty o f p e rio d film s , c a p tu rin g th e various eras d e p ic te d in th e plays to be sent to M e lb o u rn e fo r s tu d y . T h e y w ill h e lp w ith c a p tu rin g th e a u th e n tic a tm osph ere o f th e tim e s . N o th in g is being spared to ensure success.

Bruce M iles, one o f A u s tra lia 's best k n o w n actors, describes th e trilo g y as re a lly A u s tra lia n fo lk tales, w h ic h w ill becom e an established p a rt o f o u r n a tio n a l lite ra tu re . " Y o u k n o w , th e re re a lly are s till m any Barneys and R oos a ro u n d to d a y , and th e plays are in no w ay d a te d , " he says. "In d e e d , th e y are as to p ic a l as ever and have a fee lin g o f universal tim e and place. T h e y are n o t o n ly a slice o f A u s tra lia n life b u t p a rt o f A u s tra lia s the atre h e rita g e ." Bruce made no secret o f th e d iffic u ltie s in ensuring th a t th e w ays o f th e characters alte red d u rin g th e three plays. " A f t e r all, we d o age over tw e n ty years and th is is q u ite a challenge, especially d u rin g successive pe rform ance s d u rin g th e one d a y ," he adds. " Y o u k n o w , it w ill ta ke q u ite a deal o f stam ina on th e p a rt fo r th e c h a ra cte rs." T h e y all are ensuring th e y keep f i t fo r th e dem anding roles. T h ey m ay n o t jog, b u t th e y c e rta in ly do o th e r th in g s to make c e rta in th e y are in go od h e alth. As w e ll as e x c e lle n t actin g pe rform ance s, th e audiences w ill see exam ples o f sheer stam ina ... som e th in g fe w w ill consider. "W e are fascin ated at th e th o u g h t o f being on th e stage fo r such a long tim e , w ith o n ly lunch and d in n e r breaks, in d iffe re n t plays a lth o u g h th e y d o c a rry th ro u g h , " says Bruce. " I t 's n o t going to be easy n o t to w a n t to slip in to a y o u n g e r c h a ra cte risa tio n w hen an o ld e r one is called fo r and vice versa. Th e trilo g y c e rta in ly has m any challenges, e x c itin g ones at t h a t." A n d , in be tw een, th e able cast is also rehearsing fo r a p r io r pla y at th e M .T .C . Bruce sum m ed up th e o ve rall approach to the trilo g y by e x p la in in g , " We re a lly have to b lo c k o u t each pla y and alm o st isolate ourselves. Just th in k o f th e various lit t le and big th in g s we face in th e progressive m arch o f tim e d u rin g the th re e p la y s ." Bruce says Ray L a w le r in th e tr ilo g y shows an in s tin c tiv e fee lin g fo r sim ple w o rk in g class fo lk and an am azing ear fo r speech. O th ers I spoke to described L a w le r as p ro b a b ly o u r best w rite r in c a p tu rin g A u s tra lia 's e a rly lack o f s o p h is tic a tio n and w ritin g a b o u t th in g s w h ic h w ere w e ll ahead o f th e ir tim e . O liv e , in some w ays, was a w o m e n 's lib b e r in days w hen it w a sn 't fash ionab le to be one. The cast feel th a t, as w ith The D o ll , the c o m p le te tr ilo g y c o u ld be a success overseas, esp ecially in th e U .K . A n d w h a t n o w fo r R ay Law ler? N o, th e re c e rta in ly w o n ’t be a fo u rth p la y in The D o ll series. He h a sn 't made up his m in d w h e th e r he w ill rem ain in A u s tra lia and c o n tin u e as an advisor, d ire c to r and p ro d u ce r w ith the M .T .C . o r re tu rn to Ire land w h ic h has been his hom e fo r some years. " I t is e x c itin g in A u s tra lia and th in g s are c e rta in ly h a p p e n in g ," he says. " I 'd lik e , in m a ny w ays, to stay and be a sou nding bo ard fo r p o te n tia l p la y w rig h ts , exchange ideas and be a c a ta ly s t. " I d o love Ire land and feel th e tu g o f the land and m y Irish forebears. It's lik e A u s tra lia in so m a ny w ays. I d o n 't k n o w w h a t w ill h a p p e n ." O n ly tim e w ill te ll w h a t he w ill decide, b u t A u s tra lia c o u ld re a lly b e n e fit fro m th is a ll ro u n d man o f th e th e a tre , w h o feels th a t the A u s tra lia n th e a tre is in a m uch b e tte r shape th a n w hen he le ft in th e 1960s. B u t, he insists, th a t if o u r th e a tre is to succeed and prosper as it sho uld it c e rta in ly needs go ve rn m e n t assistance, as does th e a tre everyw here.

L a w le r said he th in k s he has th e fee lin g fo r th e p la y w rig h t in A u s tra lia . He fin d s c u rre n t A u s tra lia n plays s lig h tly depressing because A u s tra lia is s till lo o k in g fo r an id e n tity . P lay w rig h ts are asking q u estions ra th e r th a n su p p lyin g th e answers. T h is was p ro b a b ly a passing phase. B u t, he kno w s th e ta le n t is here on all levels. A lth o u g h , he p e rso n a lly received a round $ 1 2 ,0 0 0 fo r th e film rig h ts o f The D o ll he has never seen th e m o vie , n o r does he w a n t to . A b o u t the pla y o f The D o ll on B ro a d w a y, w h ic h o n ly lasted a s h o rt tim e , he says: "A m e ric a n s h a d n ’t th e fa in te s t idea w h a t we w ere ta lk in g a b o u t. It was p laye d in a b road A u s tra lia n accent and it never g o t on the A m e rica n w a v e le n g th ." A p ity , because The D o ll ty p ifie s a w h o le era o f A u s tra lia n th e a tre and te lls one a great deal a b o u t th e m an R ay L a w le r, w hose needs are sim ple and is one o f th e h u m b le s t people I have ever m et. Perhaps a real in sig h t in to Ray La w le r th e man, and m aybe his w ritin g s , is in som ething he

B ruce M yles a n d S andy Gore in K id Stakes __________________________ P h o to : D a v id P arke r once said to me a b o u t being a slave o f possessions and alw ays w a n tin g m ore and m ore thin gs in life . Q u o tin g a fam ous w rite r , a b o u t a ric h , p o w e rfu l m an, Ray L a w le r said: " H o w strange th a t a man clever enough to make all th is m o ney is s tu p id enough to t h in k he needs i t . ” W hen he w ro te The D o ll and a n o th e r play The R esign ation, R ay L a w le r spent eighteen m o n th s w ritin g it day a fte r day at th e M e lb ourne P ublic L ib ra ry . M y suggestion is fo r a plate o r in s c rip tio n to be made at a ta b le saying"777e D o ll was w ritte n h e re " - a fte r m any sum m ers. W hy d o n 't we advocate it? D o ll T rilo g y schedules — D ecem ber 14 to Jan 22 O th e r Times January 24 to F e b ru a ry 5 The D o ll Feb. 7 K id Stakes Feb. 8 O th e r Times Feb. 9 The D o ll F e b . 10 K id Stakes O th e r Times Feb. 11 F irs t S a tu rd a y o f trilo g y F e b ru a ry 12 three p la y s w ith lu n c h & d in n e r breaks. K id Stakes F e b ru a ry 14 O th e r Times F e b ru a ry 15 The D o ll F e b ru a ry 16 K id Stakes F e bru ary 17 O th e r Times F e b ru a ry 18 The three p la ys again ... F e b ru a ry 19

Page 44 Theatre-Austral¡a Dec-Jan, 1976/7

THE CHARACTER OF OLIVE Carole Skinner talks to Stan Marks

O live, a la d y in 1937, m ade som e m a jo r decisions in h e r life . She was a very lib e ra te d w om an fo r the p e rio d . W hat d o y o u feel a b o u t this? It was q u ite ev id e n t fro m th e s c rip t th a t she has take n one he ll o f a step fo rw a rd fo r a lady o f th a t p e rio d . I ju s t th in k it is p r e tty am azing th a t a w om a n has do ne th a t. I th in k it is also a little d if f ic u lt to believe - especially w hen I firs t read th a t s c rip t - th a t a w om an fro m th a t ba c k g ro u n d s ho uld take such a gian t step fo rw a rd . She has g o t so m uch a t stake w h a t else does she do? Does she go w ith c o n v e n tio n o r do th e o n ly th in g to keep her man. Is th a t w h y she is d o in g it? M o re th a n a n y th in g else. I d o n 't th in k she is such an in te llig e n t lady th a t she w o u ld ra tio n a lly sit d o w n and th in k th is o u t. It is ob v io u s th a t e ve ryth in g she does is to keep her m an. I d o n 't k n o w w h a t she does in O th e r Tim es (I ha ve n 't

read the s c rip t y e t ) - how ever, in a scene o f K id Stakes, the w ay we p laye d it - she w ill do a n y th in g , she is c lu tc h in g at straw s: in th e last scene p a rtic u la rly . I m ean, even in th e mere fa c t th a t she is sleeping w ith R oo, th e p re m a rita l th in g a b o u t g e ttin g m arred - a gia n t step. I th in k it is set up w hen O live hears B arney saying to N ancy 'It's y o u w h o said I c o u ld n 't keep creeping in to y o u r ro o m a t n ig h t in n o th in g b u t m y m o ney b e lt !.' O live tw ig s - th e n th in k s a b o u t w h a t N ancy says in the fo llo w in g con versatio n - a b o u t th e guys being ju s t fu n , b u t one d o e s n 't change jobs o r chance one's fu tu re on th e m . I feel th e de cisio n is b ro u g h t on b y th is con versatio n betw een B arney and N ancy and w h a t N ancy has to say provokes her. W hen R oo comes d o w n w ith the d o ll - the ph ysica l re a lity o f the man tu rn s her o n and w hen she realises w h a t is on his m in d , it's in e vita b le th a t th e y do sleep to g e th e r. I feel it's n o t a p u re ly sexual th in g fo r these tw o , th e re is so m u ch m o re going fo r

Carole S k in n e r (O liv e ) a n d D a v id D o w n e r (D ic k ie P o u n c e tt) in th e M .T .C /s p r o d u c tio n o f K id Stakes. P h o to : D a v id Parker.

O live and R oo as mates, even life tim e c o m pa nions. It is p re tty e vid e n t, th a t w ith R oo and O live it is th e re la tio n s h ip o f th e ir lives. A n d because i t is so im p o rta n t to h e r she is w illin g to d o a n y th in g ? It is in te re stin g to th in k th a t O live's ba ckg ro u n d is a s tric t u p b rin g in g b y her M o th e r, some s o rt o f C h ristia n o r c o n v e n tio n a l C hurch in flu e n c e and fro m w o rk in g class people o f the tim e . She has had a very w hole som e u p b rin g in g I w o u ld say - it is th e re fo re in te re stin g th a t she w ill make th a t so rt o f break, b u t th e n it is d o u b ly in te re stin g th a t such a de cisio n cou ld com e o u t o f th a t b a ckg ro u n d . She tends to q u e s tio n her M o th e r's a b ility to understand the s itu a tio n in v ie w o f her o w n b ro k e n m arriage - feels it c a n 't be th a t im p o rta n t - th e actual piece o f paper - w hen th e marriages th a t she has been close to have com e ap art. She m ust have seen th a t in the marriages o f frie n d s o f her M o th e r also. O live is to t a lly aw are th a t the re m u st be m ore to m arriage th a n dependence on a m an. The s itu a tio n has been hastened along b y th e pressure o f R oo saying he is going to leave and her M o th e r also com es o n very he a vily .... b u t I d o n 't th in k th a t she ever sat d o w n and th o u g h t a b o u t it m uch. W hat a b o u t leavin g h e r jo b to be com e a b a rm a id ? She is a p r e tty gutsy lady because she does a c tu a lly make th is decision ea rlier on w hen the M o th e r pu ts th e m on th e line a b o u t going to Luna Park e tc, O live says: 'It's a b o u t tim e I m ade a fe w decisions o f m y o w n .' D o y o u th in k she was ju s t fed up w ith he r M o th e r? N o t so m uch ju s t fed up w ith M o th e r, fed up w ith th e w h o le w o rk in g class s itu a tio n . R a th e r sick o f c o n v e n tio n and tire d o f being a sheep. I w ond ere d has she been fo rce d in to th is d e cisio n b y th e hom e e n viro n m e n t? She is b e frie n d e d by a lady like N ancy w h o shows her th e re is m ore to life th a n s ittin g hom e w a itin g fo r a m an, m illin e r y and d o in g w h a t M u m says! B ut I re a lly c a n n o t see th a t O live is aware o f w h a t a big step she is ta k in g . She is a ro m a n tic and ro m a n tics a re n 't alw ays th a t ra tio n a l. The 'd e c is io n ' is m e re ly a 'h a p p e n in g ' - it com es o u t o f a lo t o f pressure fro m vario us areas, w h ic h I th in k happens w ith a lo t o f so-called liberated ladies to d a y - a lo t o f th e m wave flags and say h o w lib e ra te d th e y are b u t i f y o u scratch the surface, u n der a lo t o f those ladies y o u w ill fin d a tru e ro m a n tic . Ladies livin g w ith a b lo ke , and having babies o u t o f w e d lo c k etc., I am sure th a t a lo t o f th e m are d o in g it because of pressure fro m ho m e o r th e y are tire d o f a situ a tio n . We accept it m o re n o w , th a t sort o f th in g .

Theatre-Australia Dec-Jan, 1976/7 Page 45

AUSTRALIAN CENTREINTERNATIONALTHEATRE INSTITUTE T H E 1 0 th C O N G R E SS OF T H E IN T E R N A T IO N A L F E D E R A T IO N OF A C T O R S (F .I.A .) held in V ienna , 1 3 th - 1 8 th S eptem ber 1976. H A L LA S H W O O D (past President o f A c to rs E q u ity ) and E L IZ A B E T H K IR K B Y represented th e A u s tra lia n u n io n a t th e Congress. A c c o rd in g to a re p o rt b y Hal La sh w o o d : An address delivered a t th e opening cerem on y on be h a lf o f th e M a y o r o f V ienna m e n tio n e d th e need to encourage people to a tte n d live th e a tre , th a t th e Mass Media had a re s p o n s ib ility to p a rtic ip a te in th is encouraging process, and it was f u lly accepted b y th e A u s tria n G ove rnm ent th a t theatres have to be subsidised. In her o p ening speech th e President o f th e F .I.A . Madame France D elahalle, stressed th e need to establish be y o n d d o u b t th a t p e rfo rm e rs are also creators because th is has an im p o rta n t bearing on the q u e s tio n o f c o p y w rig h t. She also re m inde d delegates to pay m o re a tte n tio n to th e T h ird W o rld and to de fend the na tio n a l cu ltu re s o f these c o u n trie s fro m e x p lo ita tio n b y p r o fit-h u n g ry m u lti-n a tio n a ls . The fo llo w in g p o in ts led to re so lu tio n s carried by Congress: The c u ltu ra l needs o f man are as im p o rta n t as his m a terial needs, and th e p e rfo rm in g arts.

as a liv in g elem ent o f c u ltu re , sho uld be accessible to all. Th e w o rld o f th e arts, as th e base o f the c u ltu re o f so cie ty sho uld lead in the e ffo r t to eradicate the de nial o f equal rig h ts and o p p o rtu n itie s to w om e n to persue careers in the arts. The ra pid d e ve lo p m e n t o f th e mass m edia, w h ile c o n trib u tin g to th e spread o f c u ltu re in various p ro d u c tiv e w ays, can also result in d is to rtin g th e high concepts o f the a rt o f acting. G ove rnm ents o f m e m ber states sho uld take cognizance o f the tra in in g , a p titu d e and ta le n ts o f professional a cto rs, singers and dancers and it is recom m ended th a t these ta le n ts be p u t to use in th e fie ld o f social services. R egarding c u ltu ra l exchanges, these sho uld be based u p on a u th e n tic na tio n a l p ro d u c tio n s rather th a n p ro d u c tio n s w hose exchange value is m e rely th e re covery o f costs and thu s u tiliz e d to displace th e w o rk o f d o m e stic artists. It was also resolved t o : w o rk o u t in te r n a tional m in im u m standards w ith respect to su p le m e n ta ry or residual p a ym ents to p e rfo rm e rs fo r th e sale o f program m es to a fo re ig n c o u n try , - and to s u b m it p e titio n s to th e G ove rnm ents o f those co u n trie s w here a rtis ts have to su ffe r fro m oppression, d is c rim in a tio n , and in frin g e m e n t upon a rtis tic fre e d o m , urging a s o lu tio n to these pro b le m s, and to

fo u n d a d o c u m e n ta tio n and records ce n tre fo r such de cla ratio ns o f s o lid a rity . The Congress also stressed the im p o rta n ce o f th e R om e C o n ve n tio n fo r th e P ro te c tio n o f P erform ers, P roducers and Broadcasters, urging all co u n trie s to r a tify it so th a t it can be revised to in clu d e cable te le visio n . Regarding u n e m p lo y m e n t p ro b le m s - d u rin g discussions on various m o tio n s , delegates fro m B rita in w arned against having to o m any dram a schools fo r fear o f cre ating p o ols o f u n e m p lo y m e n t. A m e rica n E q u ity (U .S .A .) have con clu ded a survey w h ic h covers a span o f 28 years, show ing th a t d u rin g th a t p e rio d 85% o f th e ir m em bers earn less th e $ U S 5 ,0 0 0 a n n u a lly , and 50% are c o m p e lle d to w o rk o u tside th e in d u s try . I.T .I. E D IT O R W A N T E D . Th e present E d ito r o f th e IT I N e w sle tte r w ill b e .a w a y fo r six m o n th s fro m th e end o f Decem ber. W o u ld any person in te re ste d in ty p in g ,e d itin g and c o lla tin g in fo rm a tio n fo r th is p u b lic a tio n , cop in g w ith th e correspondence and ge nera lly caring fo r th e A u s tra lia n C entre, (w h ic h is situa ted in th e E liza beth an T h e a tre T ru st B u ild in g at K ings Cross,) f o r tw o days a w eek please w rite to : D r. M arlis T h iersch, P.O. B o x, 137, Kings Cross NSW 2 0 11. June C o llis, I.T .I. E d ito r

__________________

C A N B E R R A R EPERTORY A T T H E A T R E 3

FOUR PLAYS FOR THE PRICE OF THREE FOUR PLAYS ONLY $10.00 L E S L IE W A L F O R D co m m e n ts: The Sun Herald O cto ber 31st 1976 "T h e greatest fu n and the b rig htest n ig h t I have en jo yed since m y re tu rn hom e was at the K ila ra 6 8 0 C offe e T heatre. Y o u have th e re , on y o u r d o o rs te p , an e n te rta in m e n t I believe to be second to none in the w o rld ; New Y o rk , Paris, L o n d o n , d o n 't have its equal in th e b rillia n c e , th e panache, the h u m o u r, th e liveliness o f its m im e. John H o w itt, w h o created the little th e a tre ten years ago is rewarded w ith fu ll houses and a laugh a second ever since - his ta le n t is w ild and un iq u e and a to ta l d e lig h t. The cast o f fiv e is be yo n d m y praise - P ETE R P A R K IN S O N , LO U IS E H O W IT T , D A V ID F O S T E R , C H E R IE POPP A N D D A L L A S LEW IS. JO H N H O W IT T as host makes the w h o le n ig h t a p a rty and at th is T e n th A n n iversary we were showered w ith all th e elem ents even to th e tin w histles and balloons. A N D R E A was the re in fin e fo rm - she's a fan to o - as I c e rta in ly am o f th is great a ttra c tio n . In fa c t, I th in k John H o w itt is th e fu n n ie s t man in A u s tra lia , and he m im es it a ll." K IL L A R A 6 8 0 C O FF E E T H E A T R E 60 P acific H ighw a y K illa ra Reservations 4 9 8 - 7552

KILLARA 680 COFFEE THEATRE 680 PACIFIC HIGHW AY, K IL L A R A .

PHONE 498-7552

S U B S C R IP T IO N S CLO SE F E B R U A R Y 2 4 th

1. ‘A TOAST TO MELBA’ by la ck H ib b e rd . D irecte d by Ross M cG rego r O pe ning perform ance T h ursd ay 1 7 th F e bruary, closing M arch 12 th .

2. ‘CHIDLEY’ by A lm a de G roen. D irecte d by Joyce M acfarlane O pe ning pe rform ance T h u rsd a y 31st M arch, closing A p ril 2 3 rd .

3. ‘THREE SISTERS’ by A n to n C hekh ov - an a d a p ta tio n . D ire cte d and adapted by Ross M cG regor O pe ning pe rform ance Thursday 1 2 th M ay, closing June 4 th .

4. ‘HOW DOES YOUR GARDEN GROW’ by Jim M cN e il. D irecte d by Ross M cG rego r O pe ning perform ance T h u rsd a y 23 rd June, closing July 1 6 th .

Subscriptions open December 1st. Send cheque fo r $1 0.00 to : Canberra R e p e rto ry S ociety, T h eatre 3, E lle ry Crescent, A C T O N , A .C .T . 2601 For m ore details phone 0 6 2 -4 7 4 2 2 2 10 am to 4 pm M on to F ri.

Page 46 Theatre-Australia Dec-Jan, 1976/7

ttWwmtteoeS

AMERICAN LINE UP

B ro a d w a y's N ew Season In 55 B.C. th e R om an th e a tre was in e xtre m is. R oscius was dead and so was th e art o f actin g . The a rt o f w ritin g go od plays had die d w ith Terence over a c e n tu ry e a rlier. Thus, w ith o u t th e substance o f a rt, o r an audience th a t dem anded it (o r even recognized it w hen th e y saw it) , th e th e a tre catered to th e vulga rian hordes, to th e jaded palates o f th e P hilistines. T he stage gave its e lf up to a th le tic s and sexual excess. T here was no real d is tin c tio n made be tw een c o m edy and tra ged y on th e one ha nd, and g la d ia to ria l co m b a ts, e x e c u tio n s , and th e e x h ib itio n o f sexual acts (e.g. th e F lo ria la ) on th e o th e r hand. T y p ic a lly th e a tre a rc h ite c tu re is m ost grandiose w hen th e re is least to p e rfo rm (th e S ydne y Opera House?), and in 55 B.C. w hen th e re was n o th in g to p e rfo rm , P om pey b u ilt a th e a tre to h o ld 8 0 ,0 0 0 people. It was th re e stories high and was su p p o rte d b y 16 0 c o lu m n s . The firs t flo o r was b u ilt o f m a rble, th e second glass, and th e th ir d g ilde d w o o d . T h e lo w e rm o s t co lu m n s were th ir ty -e ig h t fe e t h ig h , and placed betw een th e m w ere 3 ,0 0 0 bronze statues. In th a t same year C icero a tte n d e d a p e rfo rm a n c e in th a t th e a tre , and w ro te a b o u t it in a le tte r to a frie n d : " ... any fee lin g o f cheerfulness was extin g u ish e d by the spectacle of such m a gnificence ... B u t w h a t pleasure can it p o ssib ly be to a man o f c u ltu re , w h e n e ith e r a p u n y hum an being is m angled b y a m o st p o w e rfu l beast, o r a s p le n d id beast is tra n s fix e d w ith a h u n tin g spe ar.'' Is th is m eant t o be an a p t in tr o d u c tio n to an a rtic le on the A m e ric a n stage o f 1976 A .D .? The a u th o r o b v io u s ly th in k s so, b u t th e reader w ill have to decide fo r h im s e lf a fte r he reads on a b it. F irs t, ho w e ve r, it m u st be p o in te d o u t th a t w hen one speaks o f th e A m e ric a n th e a tre he is re a lly ta lk in g a b o u t th e N ew Y o rk th e a tre . T his is tru e in spite o f th e fa c t th a t th e re is fa r m ore th e a tric a l a c tiv ity o u t in th e â&#x20AC;&#x153; p ro v in c e s " th a n in th e Big A p p le , as N ew Y o rk C ity likes t o call its e lf. P rob ably th e m ost vig o ro u s o u tp o u rin g o f pro d u ce d dram a in th e U n ite d States comes fro m th e m a n y hu n d re d s o f u n ive rsities and colleges th ro u g h o u t th e c o u n try . T here is h a rd ly an in s titu tio n o f higher , learning in th is c o u n try th a t does n o t have a dram a d e p a rtm e n t, and h a rd ly a d e p a rtm e n t th a t does n o t p ro d u c e at least fo u r " m a jo r " p ro d u c tio n s each year. W hen th e A m e rica n T h eatre A s s o c ia tio n a n n u a lly p o lls te r tia r y in s titu tio n s to fin d out w h a t th e y are p ro d u c in g , th e y ty p ic a lly m ail o u t over 1,6 00 qu estiona ires. T h us I am ta lk in g a b o u t some 6 ,0 0 0 p ro d u c tio n s p la y in g to an audience

A C horus A B WEINER, formerly Associate Professor of Theatre at the University of New South Wales, is Professor of Theatre at the State University of New York at Albany. He is the author of three books and numerous articles, mainly on Shakespeare. He has also published several articles on the 19th-century Sydney stage. George Geoghegan, one of Australia's first playwrights, thanks him from the grave for having restored his tarnished reputation. In his spare time Dr Weiner directs plays, his most recent being a production of Streetcar Named Desire this past April in Melbourne.

th a t num bers in th e m illio n s . B eyon d th is th e re are som e dozens o f re giona l, profession al com panies in m a jo r cities. T h e y con sid er them selves p ro fession al because th e y pay th e ir personnel m o n e y, b u t in A m e ric a profession al means o n ly New Y o rk . If y o u h a v e n 't w o rk e d in th e N ew Y o rk th e a tre y o u h a v e n 't w o rk e d in th e profession al th e a tre . O ccasio nally a p ro v in c ia l a c to r w ill m ake a success in N ew Y o rk , and som etim es a regional p la y w ill be p ro d u ce d in N ew Y o rk . B u t th e general ru le o f th u m b is th a t unless you have acted in th e N ew Y o rk th e a tre y o u are an am ateu r. F in a lly , th e re are lite ra lly tho usan ds o f " C o m m u n ity T h e a tre s ," com panies com prised o f th e local c itiz e n ry w h o do it fo r love, o r w h a te ve r. No one e xce p t th e ir frie n d s and re la tio n s pays any a tte n tio n to th e m . So there is o n ly N ew Y o rk , and to N ew Y o rk I shall address th is a rtic le .

The b la c k Oz â&#x20AC;&#x201D; The W iz

T o c o m p lic a te m a tters even fu r th e r the re are th re e d is tin c t levels o f th e a tre in N ew Y o rk : B ro a d w a y, O ff-B ro a d w a y , and (m ira b ile d ic tu ) O ff-O ff-B ro a d w a y . B ro a d w a y is o f course th e th e m ost im p o rta n t o f th e th re e , and it is g e nera lly w h a t one th in k s o f w hen and if he th in k s o f th e N ew Y o rk stage. I t is big, g la m o u ro u s, and expensive. O ff-B ro a d w a y is a p h e n o m e n o n th a t began in th e 1950s w hen th e cost o f p ro d u c tio n o n B ro a d w a y began to rise b y g ia n t leaps, w hen a sho w had to ru n successÂ f u lly fo r six m o n th s ju s t to break even. W hile O ff-B ro a d w a y houses w ere ge n e ra lly in the G re enw ich V illa g e area o f M a n h a tta n , to d a y th e y are a ll ove r th e c ity , in c lu d in g B ro o k ly n . It was, and perhaps s till is, a ju n io r version o f B ro a d w a y. The houses are sm a lle r and m ore o u t-o f-th e -w a y , th e plays are o fte n (b u t n o t alw ays) o f greate r in te lle c tu a l sig nifica nce, the a c to rs ' salaries lo w e r, and tic k e ts cheaper. In th e late 60s, ho w e ver, w hen in fla tio n and the tra d e u n io n s began to fo rc e p ro d u c tio n costs to a fig u re th a t can o n ly be described as a s tro n o m ic a l, O ff-O ff-B ro a d w a y was b o rn . E c o n o m ic a lly O ff-B ro a d w a y m oved to w here B ro a d w a y had been, and (u p to a p o in t) O ffO ff-B ro a d w a y o ccu p ie d th e p o s itio n fo rm e rly held by O ff-B ro a d w a y . The p rin c ip le value o f O ff- O ff B ro a d w a y is as a "s h o w c a s e " fo r actin g and w ritin g ta le n t; th e q u a lity o f p ro d u c tio n is fa r to o uneven to have any o th e r value. W ith th is o v e rv ie w o f A m e rica n th e a tre th e reader w ill rig h tly co n clu d e th a t th e re is a great deal going o n , and th a t th is a c tiv ity can o n ly be a signal o f great he a lth . T h a t, ho w e ver, is mere illu s io n . It is ra th e r lik e a tu b e rc u la r p a tie n t, s h o rtly b e fo re he succum bs to th e disease, w h o su d d e n ly fin d s w ith in h im se lf an in o rd in a te sexual v ig o u r and a nice, h e a lth y g lo w on his cheeks. A ll o f these s y m p to m s are m a nifeste d in one s h o rt s tre tc h o f West 4 4 th S tree t, th a t f i f t y yards o r so be tw een S h u b e rt A lle y and 8 th A venu e. T h is is perhaps th e very c e n tre o f th e N ew Y o rk th e a tre d is tr ic t. A t th e co rn e r o f S h u b e rt A lle y and 4 4 th S treet is th e S hub ert T h e a tre . D o n o t be deceived. T h is is n o t th e chic and expensive East Side. T his is th e th e a tre d is tr ic t, th e West Side, d o w n and d ir t y . T w o s h o rt b lo c k s a w a y, d o w n 8 th A venu e, and you are on 4 2 n d S tree t, th e "S in C a p ita l" o f the U n ite d States. The s tre e t is so neon th a t yo u can read a B ible at m id n ig h t. T h is is such a fo u l s tre e t th a t even de cent w hores d o n o t fre q u e n t it; th e tastes o f th e denizens o f 4 2 n d S tree t do n o t run to a n y th in g as h e a lth y as w h o rin g . A

Theatre-Austral¡a Dec-Jan, 1976/7 Page 47 M ovie m arquee th ro b b in g w ith 2 0 ,0 0 0 w a tts o f e le c tric ity pro c la im s its latest d e le c ta tio n : W et Pussies. W hile (on a good n ig h t, b u t n o t to n ig h t) M elpom ene is d o in g her th in g 75 yards aw ay on 4 4 th S tree t, here th e re is n o th in g b u t th e ab solute dregs o f 2 ,0 0 0 years o f c iv iliz a tio n , ly in g in th e stre et, leaning u p against b u ild in g s , p ro p o s itio n in g in fr o n t o f p o rn o houses; groups o f b la ck cats jiv in ' u n til th e ir f ix arrives, pim p s, pushers, a d d ic ts , vacant stares re fle c tin g dopero tte d brains. A n expensive car stops ( a senator o r m o vie star inside?), an unheard con versatio n w ith som eone w h o w alks over fro m th e c u rb , a p ro p o s itio n o f g o d -k n o w s -w h a t is m ade, to sell o r b u y a th in g , a service, a person ... Name it, i t ’s th e re and it's fo r sale. T h is is B roa dw ay. T h is is the ce n tre o f th e A m e ric a n th e a tre . "T h e re 's a b ro k e n he art fo r every lig h t on B ro a d w a y ." E nough, enough o f 4 2 n d S tree t. Le t us re tu rn to 4 4 th , a ro u n d th e co rn e r. A t th e M ajestic th e re is The W iz a b la c k versio n o f the W iza rd o f O z; at th e B o o th is F o r C o lo u re d G irls W ho Have C onsidered S u ic id e W hen the R a in b o w Is E n u f; th e S h u b e rt is sho w in g the h o tte s t sho w in to w n , A C horus L in e . In spite o f th e fa c t th a t tic k e ts are selling f o r $U S 17, th e y are a lm o s t unavailable. A fte r an a rc h e o logical e x p e d itio n b y means o f th e tim e m achine th e St. James dug up M r F a ir L a d y , "T h e W o rld 's Greatest M u s ic a l!" A n d a t last b u t c e rta in ly n o t least is A Texas T rilo g y by Preston Jones, p la y in g a t th e B ro a d h u rs t. The C ritic s have declared it th e m o st e x c itin g d ra m a tic show in N ew Y o rk , and so I shall re tu rn to it and discuss it a t som e leng th. N o r d o th in g s im p ro v e m uch o f f 4 4 th S tree t. I o ffe r here a represe ntative sam ple o f w h a t is p la yin g at o th e r B roa dw ay houses: C a lifo rn ia S u ite , y e t a n o th e r N e ill S im o n c o m e d y ; Chicago w ith Gw en V e rd o n (a m u s ic a l); Equus - T o n y Perkins is back a fte r having been replaced fo r a season b y E liza beth T a y lo r's fo rm e r husband; G od spell is s t ill g rin d in g aw ay, fo rm e r husband; G od spell is s till g rin d in g aw ay, as is Grease. W o u ld a n yone believe me if I said th a t O h ! C a lc u tta has been revived? A nd P ip p in ? W ell, th e y are, and so is T hreepenny Opera, b u t th a t at least is a classy sho w and deserves p e rio d ic revivals. So, y o u see, 4 4 th S tre e t, is q u ite re prese ntative o f w h a t is going on in N ew Y o rk : H are bra in com edies, lig h t m usicals, and revivals o f shows th a t do n o t deserve to be revived, in s h o rt, live te le v is io n . As I am w ritin g th is (th e last w eek o f O cto b e r) th e re is n o t a single classic o n B ro a d w a y, and w ith th e e x c e p tio n o f A Texas T rilo g y n o t a single serious piece. W hat's new? A u s tra lia n s w h o have n o t been to N ew Y o rk fo r a co u p le o f years w ill be surprised to see large num bers o f w elldressed, m iddle-class b lacks am ong th e theatre-goers. Just a year ago a b la c k the atre -go er was a ra rity on B ro a d w a y, b u t s u d d e n ly th e y are appearing in s tre n g th . W hy? Th ere has been a sudden b u rgeo ning o f b la ck p ro d u c tio n s (n o t to be con fused w ith "B la c k T h e a tre " w h ic h is m ilita n t, d id a c tic , and re v o lu tio n a ry ). M uch o f it is ju st th e tire d o ld w h ite m iddle-class garbage dressed up in blackface. There is a n o th e r new p ro d u c tio n o f P orgy a n d Bess. Clive Barnes o f th e N e w Y o rk Times loved it. I have n o t seen th is p ro d u c tio n n o r w ill I; th e m ost c h a rita b le w o rd s I have fo r P orgy a n d Bess is th a t it is a d isho nest bo re. ("B ess, y o u ' is ma w o m a n n o w " - G o d !) I have m e n tio n e d tw o o th e r black p ro d u c tio n s : The W iz and C o lo u re d G irls . . . I t sounds in c re d ib le b u t th e re is aiso a black G uys a n d D olls. A n o th e r m usical is B u b b lin g B ro w n S ugar , and M e a n d Bessie, a b o u t Bessie S m ith , has m usic in it. One revival — Grease gives us a b la ck a c to r p la y in g th e o rig in a l w h ite

lead. A n d fo r th e s p iritu a l th e re is a pla y a b o u t M a rtin L u th e r K in g , / Have a D ream . A n d if a ll these goodies are n o t s a tis fy in g , w e are prom ised fo r la te r o n in th e season a m usical about Josephine B aker, and A B ro a d w a y Musical, w h ic h is a b la ck musical a b o u t p ro d u c in g a b la ck m usical. D uh tim e s de y is achangin. Perhaps th e clearest in d ic a tio n th a t B roa dw ay is in e x tre m is is th e ve ry fa c t th a t A Texas T rilo g y has ra th e r set th e to w n , and indeed th e c o u n try , on its ear. A Texas T rilo g y was w ritte n by a n e w co m er to B roa dw ay Preston Jones, and was d ire c te d b y A la n S chneider, perhaps A m e rica 's m ost respected d ire c to r. Perhaps p a rt o f th e reason it was so praised is th a t A m erica has ju st discovered th e S outh (th anks to J im m y C arter,) and A Texas T rilo g y is a bona fid e S o u th e rn w o rk . Perhaps th a t is s om ething fo r A m erica ns to get e x c ite d a b o u t, b u t b e yo n d th a t th e w o rk is u n re m a rk able. B u t if one is h u n g ry enough, as a p p a re n tly the N ew Y o rk c ritic s are, one smacks his lips on a d r y , stale cru st. A Texas T rilo g y is com prised o f th re e fu ll-le n g th plays: L u A n n H a m p to n L a v e rty O be rlander, The La st M e eting o f the K n ig h ts o f th e W h ite M agnolia, and The O ld e st L iv in g Graduate. B u t th e N ew Y o rk c ritic s say th a t th is is an im p o rta n t w o rk , and su re ly th e y are h o n o u r able men. Jones has a very good ear fo r th e rh y th m s o f speech, and he has nice c o m ic sense. He has n o t, ho w e ver, as is th e case w ith so m any successful p la y w rig h ts to d a y , m astered th e a rt o f m a kin g a dram a w ith a b e ginnin g, m id d le , and end. L ik e P in te r his s k ill is in w ritin g good d ialo gue , and as w ith P in te r, a lth o u g h perhaps a b it less, one has th e fe e lin g th a t Jones does n o t k n o w in th e b e ginnin g h o w th e play w ill even end. The tr ilo g y is u n d o u b te d ly e n te rta in in g , y e t a ll to o o fte n Jones' h u m o u r degenerates in to one-line rs, good on e-line rs but nonetheless mere appendages lik e : a w om a n discussing her husband's sexual a b ility - " H e c o u ld n 't get it up w ith a b lo c k and ta c k le " ; a w o m a n describing life in a caravan - "E v e ry tim e m y husband w o u ld fa r t m y eyes w o u ld sting fo r three d a y s "; o r, de scribing a pious person "S he's as h o ly as B illy G raham 's m o th e r." These are s im p ly gags designed to get a cheap laugh, as opposed to w ritin g characters w h o are in trin s ic a lly fu n n y . These plays are tranches de vie, th e k in d o f s tu ff th a t W illia m Inge was w ritin g fifte e n years ago, and th e tro u b le w ith a slice o f life is th a t th e y are usu a lly c u t a t ra n d o m and it is no t easily d e te rm in a b le w hence came the slice. None o f these plays begins at a p a rtic u la r m o m e n t o f crisis in th e hero's life , and w hen the p la y is over no p a rtic u la r obstacle has been overcom e, n o th in g has been solved. L u A n n L a v e rty O b e rla n d e r e x e m p lifie s th is . In A c t I she is s im p ly Lu A n n H a m p to n , a seventeenyea r-old high-school stu d e n t, a m indless cheer leader w hose o n ly attractiven ess is th a t she has a n o rm a l seventeen-year-old exuberance fo r life . In A c t II she is a tw en ty-seve n-yea r-o ld "b e a u ty te c h n ic ia n ," already a b it faded. Her firs t husband, L a v e rty , has deserted her and th e ir da ughter. In a cheap bar she is w ooe d and w on by C o rk y O berland er. In A c t III she is the th irty -s e v e n -y e a r-o ld w id o w o f O be rland er. Her da ughter is n o w seventeen and displa ys the same m indless v ita lity th a t her m o th e r had in A c t I. A fo rm e r high-school sw eetheart is passing th ro u g h B ra d le y v iile and he calls on Lu A nne . She glim pses "w hat m ig h t have b e e n " and th e n he leaves. Lu A n n 's m o th e r dies. C u rta in . W hat w ill becom e o f Lu A n n ? W ho

B u rto n in Equus

P h o to : Van W illia m s

know s? A n d exce pt fo r th e fa c t th a t she is a fe llo w h u m an, w h o cares? B u t R oscius is dead and th a t is a clear in d ic a tio n to me o f th e dem ise o f th e New Y o rk stage. T his p ro d u c tio n had e v e ry th in g going fo r it : m o n e y, successful and in flu e n tia l producers, and one of A m e rica 's m ost successful d ire c to rs , y e t w ith a single e x c e p tio n th e y co u ld n o t shake to g e th e r a cast o f b e tte r -than-average actors. Jones was a fo rm e r a c to r and a p p a re n tly know s enough a b o u t th a t c ra ft to w rite ju ic y parts; th e tr ilo g y has m any firs t-ra te roles, b u t o n ly Fred G w yn n e was equal to it. Y o u m ay recall Fred G w yn n e , a fo rm e r H arvard d iv in ity s tu d e n t (!) , fro m those d re a d fu l te le visio n shows. The M u nsters and Car 54 W here A re You. In th e trilo g y he plays C olonel K in c a id , a shell-shocked. W o rld W ar I veteran in The Last M e eting and The O ldest L iv in g Graduate. H aving seen h im act o n ly on those te le visio n m asterpieces, I was p o s itiv e ly shocked to w itness a b r illia n t a cto r. In th is p ro d u c tio n no one came w ith in a Texas m ile o f h im , and th a t is sad. T here are very fe w o u ts ta n d in g actors le ft o n th e N ew Y o rk stage. B u t as N ew Y o rk ta x i d rive rs have been heard to say, " n o t to w o r r y . " As th e U n ite d States saved E urope in her m o m e n t o f need, so E urope is com in g to o u r aid n o w . Scheduled to open th is season are: P in te r's N o M an's La nd w ith R ichardson and G ielgu d, O therw ise Engaged w ith T o m C o u rte n a y, A n n a C h risty w ith Liv U llm a n , The R e c ru itin g O ffic e r w ith Vanessa Redgrave, a new Germ an play called P o o r M u rd e re r w ith Maria S chell, The in n o ce n ts, w ith C laire B lo o m , and The C herry O rch ard w ith Irene W o rth . I'm embarrassed.

Page 48 Theatre-Australia Dec-Jan, 1976/7

A SENSE OF INVOLVEMENT PETER WILKINS was born in Adelaide in 1945. A trained teacher, B.A. Dip. T. (Speech & Drama), who has worked with Theatre 62 since its inception in 1975. He has extensive experience in both the teaching and theatre fields.

"T h e T .I.E . progra m m e s u p p o rte d th e n o tio n th a t th e a tre exp erien ce and in v o lv e Â m e nt has to be harnessed e d u c a tio n a lly to p ro vid e a lte rn a tiv e tea ching m e th o d s ." T his re action b y a teacher to a program m e p e rfo rm e d b y th e fiv e te a c h e r/p e rfo rm e rs o f th e T h eatre '6 2 T h e a tre -in -E d u c a tio n Team encompasses an awareness o f th e s ig n ific a n t ro le th a t T .I.E . is able to p la y in th e schools and th e c o m m u n ity . H ow eve r, in n o v a tiv e expression o f th is ro le is clo s e ly b o u n d to th e in d iv id u a l a s p ira tio n and con cepts o f team m em bers and a fe rv e n t b e lie f th a t th e a tre enables an e x p lo ra tio n o f hum an values and social issues th ro u g h d ra m a tic p re s e n ta tio n w h ile e d u c a tio n can best be described as a process o f le arning by exa m ple and p ractice. I t is th e u n ific a tio n o f these tw o fu n d a m e n ta l p rin c ip le s th a t has becom e th e tra d e m a rk o f th e w o rk do ne b y th e T .I.E . Team d u rin g its firs t tw o years o f existence. A n id e a lis tic c o m m itm e n t to a p h ilo s o p h y o f th e a tre -in -e d u c a tio n has lit t le relevance unless i t can be ju s tifie d and proven b y th e type s o f program m es th a t th e team devises. In itia lly , th e fiv e m em bers w h o w ere selected to be on th e team agreed th a t it was im p o rta n t to devise program m es th a t w o u ld he ighten th e social awareness o f th e secondary school

students w ith w h o m th e y w o u ld be w o rk in g , and in some w a y enable th e m to becom e a c tiv e ly invo lve d in th e progra m m e so th a t th e y c o u ld n o t o n ly react fre e ly to th e s tim u lu s th a t th e a tre c o u ld p ro v id e , b u t also express th e ir o w n a ttitu d e s in such a w a y th a t th e y c o u ld s ho w con cern fo r th e social issues and learn fro m th e s itu a tio n s th a t th e team created in p e rfo rm a n ce and fro m th e o p in io n s th a t th e ir peers expressed d u rin g m o m e n ts o f open in v o lv e m e n t. The W h o /W h y /W h e re /W h a t/ S h o w o f social awareness illu s tra te s th e s ty le in w h ic h th e team has chosen to present its p a rtic u la r p h ilo s o p y o f T h e a tre -in -E d u c a tio n , by w h ic h stud ents m ay becom e e x tre m e ly in vo lve d in th e issues th e y see presented, and concerned fo r th e various characters w ith w h o m th e y m ay discuss various personal pro b le m s re la ted to the social issue w ith w h ic h a p a rtic u la r pro g ra m m e m ay deal. Because th e a tre -in -e d u c a tio n is such a c o m m itte d and personal co n c e p t, we have fo u n d it v ita l th a t program m es sh o u ld be devised b y team m em bers and in c o rp o ra te th e various sk ills th a t in d iv id u a l team m em bers possess. It w o u ld be v ir tu a lly im po ssible to fin d all th e s k ills th a t T .I.E . dem ands in one in d iv id u a l, w h o c o u ld be a p e rfo rm e r, teacher, w rite r, dancer, m u sicia n , a rtis t, m im e a rtis t, gym nast and stage m anager, n o t to m e n tio n a h ig h ly e ffic ie n t and d ip lo m a tic a d m in is tra to r as w e ll. N onetheless, we have fo u n d i t n o t o n ly essential, b u t e x tre m e ly e x c itin g th a t as m any o f these a ttrib u te s as possible sh o u ld be e vid e n t in a team o f fiv e . T h e y are im p o rta n t q u a litie s th a t are necessary if a social awareness

E lspeth A ngus, J u lia S tokes, P eter W ilkin s, R o b y n C allan, J o h n Lo w . p rogra m m e is to e x c ite stu d e n ts so th a t th e y w ill be a u to m a tic a lly stim u la te d to such an e x te n t th a t th e y w a n t to becom e invo lve d in th e issues th a t are raised. "H e llo . W e're th e T h e a tre -in -E d u ca tio n Team . I'm Peter. I'm E lspeth . I'm R o b y n . I'm J u lia . I'm J o h n . T o d a y w e 're going to present a progra m m e o f M arriage. In th e fir s t h a lf o f th e p ro g ra m m e y o u 'll see six d iffe re n t couples b e fo re th e y get m a rried and w e 'll be asking yo u to m a rk p ro b le m s th a t y o u th in k th e y m ay face w hen th e y get m a rried on th e sheets th a t y o u w ere given as y o u came in . In th e second h a lf o f th e progra m m e w e w ill give th e p ro b le m s th a t y o u selected to th e couples and y o u w ill be in v ite d to ta lk w ith th e m and advise th e m o n th e ir p ro b le m s ." A n d n o w , on w ith M arriage -G o -R o u n d . Th e fir s t h a lf o f th e progra m m e is a p e rfo rm a n ce o f th e s h o rt scenes w ith breaks be tw een each scene w hen stud ents m ay b r ie fly ta lk a b o u t typ e s o f people th e y have seen, and m a rk pro b le m s on th e sheets. The in vo lve m e n t is esse ntially passive, and th e re is no dem and to becom e a physical p a rtic ip a n t. Because the issue is re le vant to stud ents, th e y are eager to select p roblem s. T h a t is as fa r as th e y w ish to becom e in vo lve d a t th is p a rtic u la r stage. The second h a lf o f th e progra m m e opens w ith a m arriage service w h ic h is interspersed w ith d ivo rce s ta tistics, b e fo re th e p roblem s are given to th e tea m m em bers to im provise. A fte r each im p ro v is a tio n , stu d e n ts are th e n in v ite d to discuss th e pro b le m s and possible so lu tio n s w ith th e team m em bers, w h o re m ain in ch a ra cte r th ro u g h o u t th e e n tire discussion. It is at th is p o in t th a t th e m arriage o f th e a tre and e d u c a tio n s tim u la te s th e greatest in vo lve m e n t. As fa r as th e audience is concerned th e characters are real, even th o u g h one male m e m ber o f th e team plays a ll th e m ale roles. B u t it is im p e ra tiv e th a t th e team m em bers re m a in f I n c h a ra cte r so th a t th e audience can re a d ily id e n tify w ith th e characters, the s itu a tio n and th e p ro b le m s th a t e xist in the m arriage. B y th is stage, th e stud ents have been inte reste d b y th e issue o f m arriage; th e y have a p precia ted th e h u m o u r and dram a o f the p e rfo rm a n c e ; th e y have v o te d on w h e th e r marriages w ill be successful o r unsuccessful in each case, and th e y have selected th e ir o w n p ro b le m s fo r th e couples. N o w th e y are able to discuss w ith those couples and advise th e m . The process o f in vo lve m e n t has been a gradual one, and th e degree o f in v o lv e m e n t has developed d u rin g th e course o f th e tw o h o u r program m e. B y th e end o f th e p ro g ra m m e , stu d e n ts have been a lm o s t u n co n scio u sly encouraged to respond to p ro b le m s th a t th e characters face and learn a b o u t th e s o lu tio n s th a t m ay be available to people w h o face ce rta in d iffic u ltie s in m arriage.

Theatre-Australia Dec-Jan, 1976/7 Page 49

T h ey have le a rn t by exa m ple and pra c tic e in response to a sim ple, b u t in v o lv in g , th e a tric a l experience. The process o f in v o lv e m e n t is largely in d e fin a b le . It is achieved b y a c c id e n t o r e x p e rim e n ta tio n . It is accom panied b y c on stant re-evalu ation , team discussion, f le x ib ilit y and feedback fro m stu d e n ts and s ta ff. M arriageG o -R o u n d o ffe re d a fo rm a t w h ic h was im m e d ia te ly successful, b u t o th e r program m es on m igrants and w o m e n 's ro le in soc ie ty u n d e rw e n t m any changes and a lte rn a tiv e fo rm a ts be fore we c o u ld be m o re, if n o t to ta lly satisfied w ith the sense o f in v o lv e m e n t th a t these social awareness program m es w ere capable o f achieving. "W e came to y o u r place, w here y o u had prom ised to lead us to w a rd s a w o rth w h ile and e x c itin g experience - w h ic h y o u c e rta in ly d id !" It is w ith c e rta in tre p id a tio n th a t m any stu d e n ts a rrive fo r a f u ll d a y's a c tiv ity a t th e T .I.E . Team 's base. Theatre '6 2 , an in tim a te , w e ll-e q u ip p e d , y e t u n s o p h is tic a te d th e a tre in th e A d e la id e su b u rb o f H ilto n . B efore th e E d u ca tio n D e p a rtm e n t leased the th e a tre in J u ly , 19 75, th e T .I.E . Team fe lt its e lf re s tric te d b y program m es th a t c o u ld be done o n ly in schools. The social awareness program m es, a n tholog ies and dram a w o rk s h o p s w ere o ffe rin g new experiences to m any schools, b u t th e tea m was s till a c u te ly conscious o f th e fa c t th a t stu d e n ts w ere n o t being given th e am ple o p p o r tu n ity to e x p lo re th e m o st s ig n ific a n t aspect o f T h e a tre -in -E d u c a tio n "le a rn in g by

large chess bo ard o n th e stage flo o r in th e m id d le of th e th e a tre . A fte r th e usual in tro d u c tio n R o b y n invite s th e m to rem ove th e ir shoes and com e o n to th e flo o r w here eve ryb o d y jo in s in a m o vem en t w o rk s h o p , w h ic h is sim ple and e n jo ya b le . By no w , th e fe e lin g o f tre p id a tio n has alre ady d im in ished s lig h tly , and a n o th e r tea m m e m ber divides th e m in to tw o team s, and e xp la ins th e rules o f th e game th e y are a b o u t to p la y , in th is case Macsnakes an d Lady Ladders. (Each team m ust spin th e W heel o f F o rtu n e . The team moves along th e bo ard th a t n u m b e r o f squares. If th e y land o n a fa ir square, th e y m ust choose one o f a n u m b e r o f characters th e y have been given and ju s tify his o r her a ctio n s in th e p la y , M acbeth as fa ir. If th e team lands on a fo u l o r d a rk square, th e y m ust ju s tify th e a ctio ns as fo u l. In itia lly th e y are given te n m in u te s to devise a s h o rt im p ro v is a tio n w h ic h m ust in some w ay invo lve a ll m em bers o f th e team . These scenes are th e n presented to each o th e r, and discussion fo llo w s b e fo re th e w heel is spun fo r th e n e x t scene.

th e a tric a l fa c ilitie s th e y are called u p on to use to make th e ir scenes w o rk d ra m a tic a lly and th e m a tic a lly . T h e y are learning b y d o in g , and th e y are learning to g e th e r. Just as w e learn fro m each o th e r as a Team , so to o w e are a tte m p tin g to he lp th e m learn as a team . Y e t again, stud ents have becom e u n w ittin g ly invo lve d , and th ro u g h th is in vo lv e m e n t created som ething , w h ic h is u n d e n ia b ly th e ir o w n . N a tu ra lly enough, fo rm a ts , program m es, aims and p h ilo so p h ie s are alw ays changing. Theatre and E d u ca tio n are tra n s ie n t, according to th e socie ty and th e people w h o live in it. T h a t is th e challenge fo r T h e a tre -in -E d u c a tio n and a challenge o n w h ic h any cre ative T .I.E . Team should th riv e . As th e needs o f stud ents in secondary schools o r c o m m u n ity groups w ith w h o m we also w o rk change, so m ust o u r approach to th e m e thod s w e e m p lo y to in volve people in T h e a tre -in -E d u c a tio n . The T h eatre '6 2 T h e a tre -in -E d u c a tio n Team o f S o u th A u s tra lia is ever aware o f th e need fo r change, w h ic h is th e ve ry life b lo o d o f o u r existence. As a re su lt o f th is p h ilo s o p h y , we

M em bers o f the team act as judges and advisors. Each spin o f th e w heel m ay in tro d u c e new rules. F o r exa m ple th e y m ust use sound and lig h tin g effe cts. T h e y m ust in clu d e a m im e sequence. T h e y m ust o ffe r a m o d e rn in te rp re ta tio n o f th e scene. Or th e y m u st show th e w h o le play as fa ir o r fo u l, e ith e r tra d itio n a lly o r as a m o dern con cept. La ter costum es, props and basic sets m ay be used, and m em bers o f the teams becom e responsible fo r th e tech n ica l side o f th e prese n ta tio n . The tea m , as judges, m ay im pose various penalties if th e approach has n o t been ju s tifie d , o r if c e rta in tech n ica l re quire m en ts have n o t been fu lfille d . The firs t scene is ge nera lly he sitant, b u t as the day develops, stud ents becom e m ore aware o f th e dem ands, b o th th e a tric a l and in te rp re ta tio n a l. W o rk in g to g e th e r as a team , the y e xp lo re th e te x t as lite ra tu re and th e a tre , and by c ritic is in g each o th e r th e y de velop an aw are ness o f th e dem ands o f the play and the

w o rk as a co o p e ra tive w ith in the tea m , a lth o u g h u ltim a te ly responsible to th e E d u ca tio n D e p a rtm e n t. We have no leader o r figu rehe ad, because th is tends to represent fo r us, a t any rate, a certain rig id ity , w h ic h we as in d iv id u a ls w ish to avo id . As a tea m w e have com e to respect each o th e r's various sk ills , and assume th a t the essence o f leadership w ill s h ift a c c o rd ing to th e various s k ills th a t need to be expressed at any given tim e . T h is very co o p e ra tive elem ent tends to make us re ly gre a tly o n each o th e r, and de velop as a team th e ty p e o f T h e a tre -in -E d u c a tio n w h ic h we are a tte m p tin g to achieve. O n ly by o u r deep and c o m m itte d sense o f invo lve m e n t in o u r o w n w o rk and th e fu tu re o f T h e a tre -in -E d u c a tio n in th is c o u n try can we hope to fo s te r th a t same sense o f invo lve m e n t in im p o rta n t social issues o r ed u ca tio n a l achievem ents am ongst th e stud ents and c o m m u n ity groups o f S o u th A u stra lia .

d o in g ". The a q u is itio n o f T h e a tre '6 2 b y th e S o u th A u s tra lia n E d u c a tio n D e p a rtm e n t fo r the T h e a tre -in -E d u c a tio n Team o ffe re d a new d im e n s io n to th e process o f in v o lv e m e n t, w h e re b y stud ents c o u ld p ra c tic a lly p a rtic ip a te in a learning s itu a tio n , and be p e rsona lly responsible fo r th e ir o w n cre ative endeavours. Because o f th e fo rtu n a te tra n s itio n to a base o f its o w n , th e Team was able to p u t in to pra ctice a progra m m e w h ic h had been devised at th e outset b u t never trie d d u rin g the firs t six m o n th s o f the tea m 's existence. A t last, P layday became a v ita l p a rt o f th e team 's re p e rto ire . The team believed th a t stud ents, w h o were s tu d y in g a ce rta in te x t in th e classroom , w o u ld becom e fa r m ore inv o lv e d in th e te x t as a piece o f L ivin g T h e a tre if th e y w ere given th e o p p o r tu n ity to a c tiv e ly p a rtic ip a te in th e m a tic in te rp re ta tio n s o f the s c rip t, and th ro u g h im p ro v is a tio n o r m in im a l use o f th e actual te x t present th e ir o w n scenes, th a t c o u ld enable th e m to c o m m u n ic a te th e ir a ttitu d e s to w a rd s th e characters, events and them es o f the play. As alw ays, it is necessary to p ro v id e a fo rm a t th a t w o u ld s tim u la te the im a g in a tio n and encourage in v o lv e m e n t b y th e students, m a n y o f w h o m m ay have had lit t le o r no d ra m a tic exp erien ce, and some o f w h o m m ay never have been to a th e a tre . Hence the tre p id a tio n . " A re we going to see a p e rform ance o f M a c b e th " A re w e w a tc h in g a rehearsal?" " Is it a le ctu re on M a c b e th ? " " I hope we d o n 't have to a c t" . F o r sen io r secondary stud ents and stu d e n ts o f te r tia ry in s titu tio n s th e sense o f in v o lv e m e n t m ay be frig h te n in g . F o r th is very reason th e fo rm a t o f th e P layday becomes e x tre m e ly im p o rta n t. The d e v e lo p m e n t o f in vo lve m e n t fro m a basic in tr o d u c tio n to a fa r m o re co m p le x and th e a tric a l c o n c lu s io n to the d a y's a c tiv ity needs to be c a re fu lly n u rtu re d . As th e stud ents e n te r, th e y are aware o f a

Page 50 Theatre-Austral ¡a Dec-Jan, 1976/7 available to th e w o rk s h o p s ta ff. The designs fo r th is p ro d u c tio n bought in te rn a tio n a l acclaim . Can A u s tra lia n designers lo o k fo rw a rd to m o re o f these o p p o rtu n itie s fr o m th e new J.C. W illia m s o n m anagem ent?

DESIG NERS DIFFICULTIES Alan Lees

ALAN LEES is the Head of Design at N. I D A , the Secretary of the Designer's Association forthe Performing Arts, and a free-lance designer.

T w o m a jo r to p ic s have been discussed b y m any designers in A u s tra lia in recent m o n th s ; - w o rk s h o p fa c ilitie s and the im p o rte d designer. M any are c ritic a l, b u t perhaps b o th designers and m anagem ents need to face th e p ro b le m and fin d a s o lu tio n to g e th e r. Design is n o t ju s t th e fin a l p ro d u c t as seen on stage, b u t a c o n c e p t th a t is, one w o u ld hope, pe rfe cte d in th e w o rk s h o p s as a team e ff o r t betw een th e designer and th e w o rk s h o p s ta ff. P erfected in th e w o rk s h o p ? T o o o fte n th is is n o t th e case; n o t th a t th is is alw ays th e fa u lt o f m any o f o u r c ra fts m e n , b u t m o re o fte n th a n n o t it is th e lack o f exp erien ce and o p p o r tu n ity to w o rk w ith new te ch n iq u e s and m a terials, th e lack o f te c h n ic a l assistance fro m overseas sources, and a degreee o f s h o rt sightedness b y some m anagem ents. When one lo o k s a t overseas design te c h n iq u e s and

P art o f the O ld T o te W orkshop, A le x a n d ria .

designers, one in v a ria b ly lo o ks to th e w o rk s h o p s w h ic h p ro d u ce these p ro d u c tio n designs as sets, costum es and p ro p e rtie s ; w o rk shops w ith m a ny resources u n k n o w n in A u s tra lia . We are s till in th e age o f w o o d and canvas; fibreglass is s till in its v irg in years as fa r as th e to ta l e x p lo ra tio n o f its th e a tric a l uses is con cerne d; p ro je c tio n is alm o st none x is ta n t and su ita b le e q u ip m e n t is n o t even re a d ily available in A u stra lia . H o w m u ch o f th e blam e lies n o t o n ly w ith th e m anagem ents p la y in g safe, b u t also w ith th e designers? B o th o fte n leave to o m u ch to chance, w ith late decisions and a lack o f pre pla n n in g . T h e a tre is a fte r all a business; we m ust all approa ch it as such. F o r m a ny years, m ost o f th e p ro d u c tio n s fro m J.C. W illia m sons have been design copies o f th e overseas o rig in a l, usu a lly m o u n te d in A u s tra lia w ith o u t an y d ire c t in vo lve m e n t by th e o rig in a l designer, and re b u ilt in o u r local w o rk s h o p s fro m p h o to g ra p h s and sketches. It is w o rth n o tin g th a t one o f th e exce p tio n s to th is p o lic y was C am e lot, designed b y John T ru s c o tt, th e n liv in g in M e lb o u rn e and

The O ld T o te T h e a tre C o m p a n y in S ydney is aim in g a t a balance be tw een re sid ent and guest designers and overseas designers and d ire c to rs . As w e ll as tw o resident designers, th e re have been guest designers fro m S ydney M e lb o u rn e and A delaid e d u rin g 1 9 76, and plans fo r th e f ir s t season o f 1977 reveal a sim ila r balance. H ow o fte n does th is inte rstate exchange o f designers o c c u r; w hen was th e re a guest designer a t th e Q ueensland Theatre C o m p a n y o r at th e N a tio n a l T h e a tre in Perth? Th e S o u th A u s tra lia n T h eatre C o m p a n y has y e t to a n noun ce its plans, b u t w ill b rin g an English designer to A dela id e fo r a p e rio d o f six m o n th s in 1 9 77. The M e lb o u rn e Theatre C o m p a n y, w ith fo rw a rd th in k in g , has in recent tim e s given o p p o rtu n itie s to y o u n g designers to w o rk w ith in th e c o m p a n y s tru c tu re and to d e velop th e ir a b ilitie s as designers w ith small w o rk s h o p p ro d u c tio n s and in p a rtic u la r at th e G ra nt S tree t T h eatre. H o w m a ny o p p o rtu n ities are given b y o th e r com panies to you ng designers as design assistants? F o r th e 1 9 76 A d e la id e Season a t th e Festival C entre, The A u s tra lia n O pera m o u n te d three pe rform ance s o f A lb a n Berg's W ozzeck and im p o rte d tw o designers fro m E ngland, T im o th y O 'B rie n and Tazeena F irth . W ith tw o trip s each to A u s tra lia f o r th e p ro d u c tio n , th e co m p a n y have sets fo r th e opera designed in such a w ay th e p ro d u c tio n w ill n o t f i t any o th e r A u stra lia n th e a tre . A re S ydne y o r M e lb o u rn e audiences ever to see th is expensive " im p o r t " p ro d u c tio n ? A n d are th e in te rn a tio n a l designers any m ore p ra c tic a l th a n some o f o u r local designers? T h ere are a n u m b e r o f opera designs th a t have been com m issione d fro m designers th a t have never reached fin a l p ro d u c tio n - th e A id a

P h o to : O ld Tote

Theatre-Australia Dec-Jan, 1976/7 Page 51 o f 1 9 7 2 /7 3 ; th e S tefanos La zaridis Carm en and th e John S to d d a rt P atience o f 19 76. It is said th a t th e estim ated cost o f these p ro d u c tio n s w e n t w e ll b e y o n d a ll fin a n c ia l bounds. A n d ju s t h o w " n e w " w o u ld these new p ro d u c tio n s have been. Was th e Lazaridis C arm en a close c o p y o f his 1 9 70 L o n d o n C oliseum p ro d u c tio n and th e S to d d a rt Patience fro m his co n ce p t fo r th e 1975 L o n d o n p ro d u c tio n ? Is th is re a lly h o w " o r ig in a lâ&#x20AC;? designers and m anagem ents are th in k in g ! A n d th e " n e w " p ro d u c tio n o f Cosi fan T u tti last Jan uary w ith w o n d e rfu l set designs b y H e n ry B ard on, in c o m p le te and b u t a pale c o p y o f his 1 9 68 L o n d o n p ro d u c tio n . H o w im p o rta n t is it th a t a re la tiv e ly new and e xp andin g c o m p a n y w ith th e p o te n tia l o f Th e A u s tra lia n O pera m o u n t copies o f overseas p ro d u c tio n s . We k n o w , it has been pro ve d , th a t th e y are capable o f m uch m ore. W hen one lo o ks a t th e im pressive lis t o f p ro d u c tio n s fro m The A u s tra lia n B a lle t, th e re is b u t s lig h t evidence o f w o rk s designed in th is c o u n try C inde rella in 1972 was th e firs t and last fu ll leng th b a lle t designed b y a resident A u stra lia n designer. B o th The A u s tra lia n Opera and The A u s tra lia n B allet have engaged a n u m b e r o f e x p a tria te designers over th e past fe w years. M any o f o u r designers w o n d e r if, to w o rk in these tw o fie ld s in A u s tra lia , th e y need to leave th e c o u n try and re tu rn o n high er fees, all expenses p a id , as " in te rn a tio n a l guests". B u t are o u r A u s tra lia n designers w h o w ish to design fo r th e n a tio n a l com panies, prepared to gain and give exp erien ce b y designing fo r th e sm aller b u t e q u a lly im p o rta n t state com panies? A re o u r m anagem ents prepared to a tte n d these p ro d u c tio n s b y state com panies, to seek and s u p p o rt A u s tra lia n a rtis ts o r are th e ir po licie s tru e ly " in te rn a tio n a l" ? The excuse th a t overseas d ire c to rs m ust w o rk w ith overseas designers is a th in case fo r m a jo r im p o rta tio n . T he A u s tra lia n Opera have successfully m o u n te d p ro d u c tio n s in th e past w ith A u s tra lia n designers and overseas d ire c to rs . So w h a t are A u s tra lia n m anagem ents lo o k in g fo r in designers; any " in te r n a tio n a l" name to p r in t in th e ir progra m m e ; a fash ionab le " d e c o ra to r" w ith overseas o r local con n e c tio n s ; o r a to p designer w h o w ill leave be h in d m ore th a n ju s t a fe w sets and costum es, a designer w h o w ill in some w a y give a w o rth w h ile e x p e rÂ ience to w o rk s h o p and audience alike. H o w m any designers, w h e th e r resident o r overseas, are prepared to spend th e long and o fte n lo n e ly ho urs, da y a fte r da y w o rk in g w ith o u r w o rk s h o p c ra fts m e n and fin d in g b e tte r tech nique s? H o w m a ny designers are capable or even inte reste d in being m o re th a n "d e c o ra to rs "? We m u st im p o rt designers th a t b rin g new ideas to s tim u la te o u r p e rfo rm in g arts, b u t th e y m u st be th e best in th e w o rld - po ssib ly Josef S voboda fro m Prague, R o b e rt O 'H earn fro m N ew Y o rk , o r R alph K o lta i fro m L o n d o n . We m u st have m ore A u s tra lia n designers tra v e llin g i f necessary, to w o rk w ith o u r im p o rte d guest d ire c to rs . We m ust also lo o k to th e e x p o rt o f o u r b e tte r design ta le n ts on an exchange basis as w e are d o in g w ith great success w ith m any opera singers. W ith th e tre m e n d o u s fin a n c ia l presures facin g a ll o f th e arts, h o w m u ch o f th is presure c o u ld be eased b y less o r m ore selective im p o rta tio n ? Th ere are m a ny q u estions th a t we all m u st ask. We m ust q u e s tio n ourselves and o u r m anagem ents. We m u st all decide w here o u r p rio ritie s are th e th e fu tu re o f the A u s tra lia n P e rfo rm in g A rts .

A u s tra lia n O pera's Lakm e D esigned b y A u s tra lia n D esm ond D ig b y. O ld T o te's Love fo r Love designed b y A u s tra lia n A la n Lees.

P h o to : A .O . P h o to : O ld Tote

Page 52 Theatre-Australia Dec-Jan, i 976/7

M o st o f m y career has been spent w ith professionals; b u t one reaches a stage in life ... is it m id d le age? ... w hen y o u th in k : all rig h t, I've had th e o p p o r tu n ity as a profession al o f w o rk in g w ith m arvellous pe ople w h o 'v e ta u g h t me a heck o f a lo t; it's tim e to s ta rt passing a lit t le o f it on. B u t n o t to o th e r p ro fession als? I w o u ld n 't dream o f try in g to teach p r o f essionals. Heavens above, th e y 're tra in e d , th e y k n o w as m uch as I do . I've chosen to pass o n w h a t I'v e learned to th e e n th u s ia s tic am ateu r. S y b il T h o rn d ik e said th e w o rd a m ateu r s im p ly m e ant som eone w h o loves w h a t th e y do . Som e profession als are am ateurs in th a t sense to o - th e y love w h a t th e y do. H o w w o u ld y o u d e fin e , the a m a te u r b e y o n d th a t?

o r characterise,

It's very easy fo r th e profession al ... it's so rt o f the in th in g ... to sneer at th e am ateu r a cto r. I fin d th a t th e borders betw een am ateurism and p rofession alism are g e ttin g m ore and m ore grey. Perhaps th a t's because w h e n I was s ta rtin g o f f in S ydney a lo t o f th e lit t le the atre s w ere a c tu a lly a m a te u r - in o th e r w o rd s th e p r o f essional a c to r w o rk e d o n th e little th e a tre stage fo r no m o n e y , fo r th e love o f his c ra ft. He earned his liv in g in ra d io and in d u lged h im s e lf o n th e stage. It d id n 't m a tte r w h e th e r y o u go t paid fo r it o r n o t. Y o u gave o f y o u r best alw ays and y o u existed u n der th e d is c ip lin e s o f th e a tre - th e hard rehearsals and all th e rest o f it. W hen I go in to th e a m a te u r th e a tre to d a y I s till see e x c e lle n t pe rform ance s, and I see tre m e n d o u s ly d e d ic a te d people. People fo r instance w h o are e m p lo y in g me n o w so th e y can learn as m u ch as th e y can a b o u t th e c ra ft o f a ctin g . I take m y ha t o f f to th e m fo r th e w o rk th a t th e y do . Less and less n o w d o y o u fin d th e p ro fe s sional a c to r in A u s tra lia going to w o rk s h o p s . It m ig h t be p u ttin g a cat in am ong pigeons, b u t I fin d th e A u s tra lia n a c to r a lit t le b it on

BRINGING h PROFESSOR ROBERT LEVIS, professional director working with an amateu

ROBERT LEVIS is a director/actor with an extensive list of professional credits here and abroad. More recently his work has been with amateur groups — as an adjudicator at Festivals; as a visiting director; as a leader of workshops; and he has recently been appointed Artistic Director of Newcastle's amateur Repertory Club for six months. Theatre-Australia speaks with Mr Levis about this preference.

th e lazy side. The a m a te u r to o ? N o, no , no. I fin d th e re 's been a resurgence o f th e a m a te u r s p irit. M ore and m o re groups are ta k in g advantage o f such organisa tions as th e A rts C o u n c il and th e A u s tra lia C o u n cil w h o he lp pay a profe ssio n a l's fee so th e p r o f essional can go o u t and c o n d u c t w o rksh o p s o r d o a p ro d u c tio n . A d ju d ic a tio n s , to o , fo r D ram a Festivals... th e standard is g e ttin g high er each year. W ith c o n s tru c tiv e c ritic is m being given to th e a m a te u r his w o rk is im p ro v in g - and audiences are b e n e fitin g fro m th a t. G e n e ra lly speaking, I th in k th e professional does have one th in g in his fa v o u r: he has had m o re exp erien ce and tra in in g . If, b y going to an a m a te u r g ro u p a profession al can give th e m th e chance to realise th a t th e y 're on the rig h t tra c k , to b o ls te r th e ir c o n fid e n c e in them selves ... if n o th in g else happens, th a t's a very p o sitive th in g fo r th a t g ro u p to get. It's lik e th a t m agic w and o r secret recipe th a t some pe ople th in k acto rs m ust have. W hen I firs t w e n t to th e R oyal Shakespeare C om p any I th o u g h t, G od , th e re m u st be some

secret th a t makes th e m so great. B u t, w o rk in g w ith th e m , I realised its ju s t hard w o rk and ab so lu te d e d ic a tio n and c o n c e n tra tio n . O th e r w ise, th e y 're hu m a n , no m agic w and or s p rin k lin g o f fa ir y du st. So, if a professional can go to an a m a te u r g ro u p and get th e m to realise th a t - O K , th e y are o n th e rig h t tra c k ... all it requires is a little b it m o re fro m th e m . Y o u 've h a d a l o t o f e xp erien ce in w o rk sh o p p in g w ith am ateu rs - y o u have, fo r instance, a vacation class n e x t J a n u a ry in S ydne y. W e ll, o f course, y o u skim th e surface as fa r as any te ch n ica l tra in in g is concerned. T h ere 's very little one can d o in a fo r n ig h t’s d ram a scho ol. B u t one o f th e im p o rta n t th in g s is to encourage th e en thusiasm th a t is the re, and he lp fo s te r th e desire th a t pe ople have to learn so m e th in g a b o u t th e c ra ft o f actin g. T h ey are diverse g roups? In e v ita b ly . M o s tly people in th e ir fin a l year o f high scho ol w h o 'v e d o ne som e high school plays. T h e y are w o n d e rin g w h a t is in volve d in b e com ing a profession al a c to r ... a case o f p u ttin g th e to e in and te stin g th e b a th w ate r. Th e second g ro u p w o u ld be th e teachers th o se w h o have the jo b o f th e n go in g back and tea ching dram a to th e ir stud ents. One th in g th a t has surprised me is th a t a lo t o f teachers have no fa ith in th e ir c h ild re n 's c a p a city to use th e ir im a g in a tio n s. I th in k because o f T V , because o f o u r "m o d e rn s o c ie ty ", th e im a g in a tio n w e a ll s ta rt o u t w ith becom es s tifle d , a tro p h ie d , dries up ... so we can get th e case o f a tea cher w h o s im p ly fo rg e ts th a t an eigh t yea r o ld , a te n year o ld c h ild has s till go t a re m a rka b le im a g in a tio n . S tude nts, teachers ... h o w d o y o u ta ilo r the w o rk s h o p to f i t d iffe r e n t needs? O ne trie s to d o w h a t one can. There's also th e ho u se w ife w h o com es along, and the a m a te u r fro m th e d ra m a tic s o cie ty w h o w ants to get a little m o re tra in in g o r guidance. I alw ays sta rt o f f b y saying I c a n 't teach a n y th in g a b o u t a c tin g ; b u t I t r y to create an a tm osph ere w h e re b y people can learn som e th in g fo r them selves. It is said th a t actors are b o rn , n o t m ade. I th in k th a t's a b so lu te ly tru e . B u t m o st people are ... b o rn , th a t is. A n d I th in k eve ryone has g o t th a t ta le n t to act. Y o u 'v e o n ly g o t to w a tc h a five year o ld c h ild - heavens above, th e y 're m a rvellou s ... th e a b ility to th r o w them selves in to a s it u a tio n , to believe u tte rly in w h a t th e y 're do in g fo r th a t le n g th o f tim e - and th e n th e y 're called in fo r tea and im m e d ia te ly th e y sw itc h back fro m t h a t level o f fa n ta sy in to re a lity . W e've all g o t th a t ta le n t, w e 're all b o rn w ith it. B u t w h a t happens u n fo rtu n a te ly is th a t various th in g s are d riv e n o u t o f us: w e 're fo rc e d to p u t u p ba rriers, p ro te c tio n s against so cie ty. So th e w o rk s h o p process as I see it is to t r y to get back some o f th a t ta le n t, relearn some o f th e

Theatre-Australia Dec-Jan, 1976/7 Page 53

ÍHE LS y, talks to Theatre Australia

th in g s we used to have w hen w e w ere c h ild re n . A n d ho w d o y o u teach people to fin d o u t a b o u t them selves to sta rt w ith ? T h a t is, I th in k , th e fir s t step. F in d o u t a b o u t y o u rs e lf - h o w you o p erate, h o w you react to c e rta in s itu a tio n s ... be very a n a ly tic a l a b o u t y o u r e m o tio n s , a b o u t w h a t y o u can d o w ith y o u r body. T h e re are c e rta in s e n s itiv ity exercises th a t make pe ople aware o f th e ir bodies and th e ir re actions. Some people, fo r instance, com e in w ith a fear o f being to u c h e d - th e y get very nervous a b o u t it. We t r y to break d o w n a lo t o f th e in h ib itio n s in a ge ntle w a y . We t r y to make th e m a little b it m o re to le ra n t o f o th e r people's be h a vio u r. A n a c to r's g o t to de velop s e n s itiv ity to w a rd s o th e r pe ople ... and some o f th e exercises are designed to w a rd s th is . We also t r y to delve in to c h a ra c te ris a tio n being aw are h o w o th e r pe ople w o u ld react, s p e cific characters. It's p r e tty s u p e rfic ia l, w h a t yo u can teach in a fo r tn ig h t, b u t at least th e stu d e n ts, say, can get a c e rta in taste o f w h a t w o u ld be in s to re fo r th e m if th e y w a n t to be professionals. W hat a b o u t y o u r n e w jo b - s ix m o n th s as A r tis tic D ire c to r w ith th e a m a te u r N ew castle R e p e rto ry C lub? People say to m e: "W h y go to N ewcastle? W hy w o rk w ith an a m a te u r co m p a n y? Y o u c o u ld be in L o n d o n , y o u c o u ld be in A m e rica , y o u c o u ld be d o in g th is , y o u c o u ld be d o in g th a t ..." I chose th is because I w a n t to d o it. I fin d it e x c itin g . I fin d i t a challenge. It's an established g ro u p and a v ery

The c o m p a n y o n stage fo r A rsen ic and O ld Lace

successful one. It w o u ld be very easy fo r th e m to s it back c o m p la c e n tly and say w e 're d o in g very w e ll th a n k y o u ... w h y sh o u ld we t r y to im prove o u r standards. The fa c t th a t th e y re a lly w a n t to and are going to th e tro u b le w ith o u t a great g ra n t fro m a n y b o d y : o u t o f th e ir o w n fu n d s - o f e m p lo y in g me to he lp , is an in d ic a tio n , th a t th e re 's a s p irit th e re , th a t th e ir he art's in th e rig h t place. Y o u r b r ie f is to pu rsue an a lre a d y esta blished p o li c y ...? Yes, n o w , I realise th e y have a p o lic y th a t's ... y o u c o u ld call it m id d le -o f-th e -ro a d , conserv a tive , w ith regard to choice o f plays. T h a t d o e s n 't w o rry me, because I love th e a tre and I fin d all fo rm s e n te rta in in g . I ad ore Shakespeare b u t I love p a n to m in e , French farce, w h o -d u n its, d ra w in g -ro o m com edies ... F ra n k ly , I w o u ld n 't be d o in g any d iffe re n t plays here if th e re w ere no p o lic y re s tric tio n s , because I believe th e a tre sh o u ld serve its audience. W hen I w e n t to A lic e Springs, I d ire c te d D o n 's P a rty and it was a great success; b u t I w o u ld n 't dream o f d o in g D o n 's P a rty here fo r th is p a rtic u la r S o c ie ty , because I ju s t d o n 't th in k th e ir audience w o u ld lik e it. A n d w h y s ho uld I insist o n d o in g , say, R id e A cross Lake C onstance, w h ic h w o u ld con fuse - and does con fuse - a lo t o f people, s im p ly because it's a p la y I w o u ld lik e to d o - and so a lien ate a lo t o f th e m em bers? Whereas I c o u ld d o A b s u rd Person S ingula r, w h ic h I e n jo y ju s t as m uch as C onstance...... I d o w a n t to do c lu b n igh ts here - w e've planned a b o u t seven o f th e m - w here w e can do m ore e x p e rim e n ta l plays and a ttra c t perhaps some m ore a d ventu rou s people, broaden th e ir o u tlo o k ... th a t, I th in k , is p a rt o f m y jo b . One p lan ts seeds, and fro m th a t all sorts o f th in g s can gro w . Y o u 'll be ta k in g a ll th e d ire c tin g jo b s - the fo u r p ro d u c tio n s , the seven c lu b nigh ts, the w orksh ops - w h ich in y o u r absence w o u ld 'v e been take n by a m a te u r d u b m em bers .... Yes. I'm having open rehearsals. Every rehearsal w ill be open to all m em bers to a tte n d . A n u m ber o f th e g ro u p 's p o o l o f d ire c to rs have alre ady expressed th e desire to act as m y stage manager, o r assistant, o r o n the tec h n ic a l cre w - so th a t th e y w ill be able to a tte n d every rehearsal and learn as m uch as th e y can fro m th e w a y I go a b o u t d ire c tin g .

P h o to : New c. Rep.

A n d I'm n o t suggesting m y w a y is th e o n ly w a y - I 'l l o ffe r a lte rn a tive s to th e m : w e can do th is o r we can d o th a t ... b u t I chose th is , fo r w hatever reason. H o p e fu lly th a t w ill be h e lp fu l to th e m . I'm ve ry conscious o f being p u t o n th e line here as a professional d ire c to r. C a n 't yo u im agine people co m in g along o n th e fir s t n igh t o f th e fir s t p ro d u c tio n saying: n o w , is it going to be as good as th e standard w e u su ally get? If it's up to stan dard. I 'll be ha p p y — d o n 't k n o w th a t I w a n t to achieve any m o re th a n th a t w ith th e fir s t p ro d u c tio n . B y th e fo u r th - it m ay be a classic o f som e k in d - I w ill t r y to do th e p ro d u c tio n in a w ay th a t w ill be s till relevant to th e c o m m u n ity , w ill be a lit t le b it d iffe re n t, p ro vid e a lo t o f e n te rta in m e n t ... and m aybe p la n t some o f those seeds fro m w h ic h w ill g ro w o th e r th o u g h ts , open up new d ire c tio n s fo r th e g ro u p ... I d o n 't w a n t to set o u t to p rove th a t I'm a b e tte r d ire c to r th a n th e locals. T h a t's n o t th e p o in t at all. B u t I hope b y th e end o f th e six m o n th s th a t th e fa c t th a t a profession al has been here has given th e g ro u p an added im pe tus, given m o re p o w e r to th e voice w ith w h ic h th e y alre ady speak to th e c o m m u n ity . I hope th a t m ay prove som e th in g a b o u t w h a t th e professional - and th e a m ateu r - has g o t to o ffe r. M A K E -U P H IN T N O . 5. - F R O M L E IC H N E R OF LO N D O N Suggested Basic R eq u ire m e n ts fo r M ID D L E -A G E D M A N

Shadows with highlights above Shadow Eyeshadow on lids only Line eyes with No 78 Spot- Lite pencil Shadow Highlight top of cheekbone Cheek colouring Shadow Shadow with highlight above Shadow with highlight above Shadow with highlights at sides

T his is a m a ture face, s till w ith som e y o u th fu l features. Facial c o lo u rin g rem ains plea santly w a rm and alive. F o u n d a tio n : C o lo u rin g sho uld be selected according to ty p e e.g.. F o rm C no. 3% w ith a lit t le n o . 9 gives a lig h t, n o rm a l s k in to n e ; F o rm C no. 4 Vt gives a rugged, o u td o o r t in t , w h ile no. 6 w ith a little no. 8 o r no . 9 gives a h e a lth y w arm t in t w ith a s lig h tly sa llo w u n dertone . S had in g: F o rm C no. 16 Deep B ro w n m ixed w ith F o rm G no. 25 C rim so n Lake, creating po ols o f shadow accentuated w ith h ig h lig h ts , n o t hard lines. H ig h lig h ts : N o .5 is m o st e ffe c tiv e a lth o u g h n o .2 0 (w h ite ) m ay be necessary un der stong lig h tin g . Cheek c o lo u r: F o rm G no. 25 C rim so n Lake, som e tim e s also blended w ith F o rm C no. 9 L ip s : W hen c o lo u r is necessary, a p p ly no. 9 lig h tly and o u tlin e fa in tly w ith no. 2 5 , C rim so n Lake. E yes: Use "s h a d in g " m a terial (F o rm C no. 16 and F o rm G no. 25) at in n e r c o rn e r o f eyeh o llo w , o r Fo rm G no. 32 o n eye lid s. Lin e eyes along lin e o f lashes w ith n o . 78 W ax E ye b ro w Pencil (o r long w o o d e n p e n c il), using same p e n cil, if necessary, in s o ft, fe a th e ry v e rtic a lly in c lin e d lines o n e ye brow s, w here an occasional to u c h w ith a grey w o o d e n pencil m ig h t be advantageous. H a ir: S lig h tly grey use w h ite o r 1t. grey ha ir po w d e r spa ringly streak ha ir a t te m ples etc, w ith w h ite grease p a in t o f o th e r w h ite cosm etic. P o w d e r: w ith Rose o r B ro w n ish B lendin g P ow der - pat w e ll in and dust o f f w ith c o tto n w o o l. C o p y rig h t.

Page 54 Theatre-Australia Dec-Jan, 1976/7

CAPITAL OPERA David Gyger

C anberra, a p p a re n tly , is ju s t th e rig h t sort o f c o m m u n ity to a c co m plish m iracles v irtu a lly o ve rn ig h t in the eso teric fie ld o f grand o p era: if th e standard achieved in its N ovem ber p ro d u c tio n o f V e rd i's / / T ro v a to re can be m a in ta in e d , th e fu tu re o f th e fle d g lin g opera co m p a n y in th e n a tio n a l c a p ita l w o u ld seem to be all b u t assured, despite th e g rim e c o n o m ic c lim a te on th e arts fro n t. C anberra Opera was fo u n d e d o n ly six years ago un der a d iffe re n t name, and d id n o t m o u n t its fir s t s u b s c rip tio n series u n til th is year. I firs t en co u n te re d its w o rk a t th e M usica V iva S pring Festival o f 19 74, w hen it m o u n te d M a lco lm W illia m s o n 's The R ed Sea fo r a co u p le o f a fte rn o o n perform ance s in th e 1200-seat C anberra T h eatre, and d id tw o "m in i-o p e ra s " in th e fo y e r o f th e th e a tre a fte r evening co n ce rts; and I also saw its p r o d u c tio n o f V e rd i's La Traviata in June 19 75. It was clear th a t all these p ro d u c tio n s w ere th e w o rk o f a n e w ly -fo rm e d g ro u p o f e n th u s iastic am ateurs - th e re w ere to u c h e s o f p ro fe s siona lism , b u t one c o n tin u a lly had to make allow ances fo r p ro d u c tio n and m usical failin g s . A ll w ere o f a standard ro u g h ly com para ble w ith th e w o rk o f m o st o f th e m in o r S ydne y opera com panies, w ith the im p o rta n t d iffe re n c e th a t The R ed Sea and Traviata w ere p u t o n in th e b ig, h a rd -to -m a n a g e , C an b e rra T h e a tre w h ich has a d if f ic u lt aco u s tic fo r op era, as even th e A u stra lia n O pera has fo u n d . A n d , o f course, a fu lly profession al stage area, w ith th e in b u ilt c a p a c ity to s w a llo w alive am ateur-

scale p ro d u c tio n s . It is m o st he arte ning to be able to re p o rt n o w th a t C anberra O pera has o b v io u s ly learned a go od m a ny lessons fro m its past fa ilin g s. The recent T ro v a to re p ro d u c tio n was cheap (less th a n $ 2 0 0 cash o u tla y , by re pute , in term s o f scenery etc) b u t n o t nasty, th e costum es m o s tly b o rro w e d . The available resources w ere o b v io u s ly c o n c e n tra te d on th e heart o f th e m a tte r: m usical and d ra m a tic q u a lity . A n d th e gam ble, if such it was, paid o ff. A ll y o u need fo r I I T ro va to re , it has been said, is th e fo u r best singers in th e w o rld , and th e re is m o re th a n a grain o f tr u th in th e c la im : even if c o n v o lu tio n s o f th e b iza rre p lo t are w o rth y o f G ilb e rt and S u lliva n at th e ir w o rs t, th e score lite ra lly teem s w ith V e rd i's genius at its m o st ly ric a l, and fa m ilia r arias, duets and trio s fo llo w hard th e on e u p o n th e o th e r. A n d even i f Canberra c o u ld n 't get the fo u r best singers in th e w o rld to f i l l th e m ain roles, it m ustered enough ta le n t to p ro d u ce a good fe w m o m ents o f th e s p in e -tin g lin g vocal e x c itm e nt th a t pervades th is opera and engulfs all th e p e tty o b je c tio n s a b o u t its in h e re n t fa u lts in a to r re n t o f sound. T h a t o n ly on e o f th e fo u r p rin c ip a ls is a resident o f C anberra is irre le v a n t: a ll exce pt te n o r R on Stevens w ere d ra w n fro m o u tside th e ranks o f th e p rin c ip a ls o f th e n a tio n a l opera c o m p a n y , and th e ir to ta l e ff o r t was o f a ca lib re to s tim u la te e x c ite m e n t and in te re st in opera am ong th e u n in itia te d ra th e r th a n p u t th e m o f f th e a rt fo r m fo r life , as th e 19 75 Traviata m ig h t w e ll have done.

W iM M ìiiiÈ m li,

'- iN

I ¡¡# ¡1

■

Lesley S te n d e r (D e lila h ) a n d John M a in (Sam son) in R ockda le's Samson and D elilah

I fo u n d th e pe rform ance s o f th e tw o m ale leads m ost im pressive, b u t th is was p a rtly due to the fa c t th a t I had p re v io u s ly seen b o th in th e same roles and th e re had been so m u ch im p ro v e m e n t in th e in te rim . S teven's M a n rico fo r S yd n e y's suburban R o ckd a le c o m p a n y in N ovem ber 1 9 72 was very m u ch in a fo rm a tiv e stage; it was a p p a re n t rig h t fro m his firs t ( o f f stage) phrase th a t his C anberra one was going to be fa r and aw ay th e m ost ly ric a l piece o f singing I have ever heard fro m h im . He was d ra m a tic a lly s tro n g , as usual, b u t fo r th e firs t tim e had achieved a v e lve ty sm oothness o f to n e th a t om ens great th in g s fo r his fu tu re . S im ila rly , b a rito n e N eville W ilk ie , th e C o u n t d i Luna o f th e n ig h t, sang w ith assurance and achieved fa r m o re d ra m a tic c re d ib ility tha n in th e Q ueensland pe rform ance s I have seen h im in ove r th e past fe w years (as G e rm o n t in Traviata, th e t it le ro le in R ig o le tto , and di Lu na a t th e 1974 In n is fa il F e stival). It is hard, to say th e least, to understand w h y th e A .O . has a llo w e d W ilk ie to languish in its cho rus fo r a co u p le o f years even if it does have an ove r ab undance o f fin e p rin c ip a l b a rito n e s: a y o u n g ta le n t such as his s im p ly m ust be a ffo rd e d th e o p p o r tu n ity to de velop th ro u g h th e challenge invo lve d in cre ating new and m a jo r roles over a p e rio d o f tim e . T w o o th e r m a jo r c o m p o n e n ts o f th e 1974 pre-C hristm as T ro va to re at In n is fa il, c o n d u c to r Joh n C u rro and m e z z o -c o n tra lto D oro thea Deegan, also appeared in th e Canberra p ro d u c tio n . Miss Deegan's A zucena was v o c a lly sound o n b o th occasions, th o u g h n o t q u ite as fu ll-th ro a te d and m e lo d ra m a tic a lly p o w e r fu l as one w o u ld have lik e d ; b u t she was b a d ly made up and wigged in th e Canberra p ro d u c tio n and fa ile d at a n y stage to establish th e illu s io n th a t she was re a lly th e g yp sy hag her ch a ra cte r dem ands. Joan R ich a rd 's Le onora was pleasing if n o t q u ite o f th e d ra m a tic and vocal c a lib re o f th e o th e r p rin c ip a ls : r ig h tfu lly , th o u g h , C anberra O pera prefers to use resident p rin c ip a ls w herever possible, and a ffo rd th e m th e o p p o r tu n ity to de velop th e ir ta le n t ra th e r th a n im p o rt m a rg in a lly s u p e rio r ou tsiders. The lesser roles w ere q u ite w e ll cast fro m th e ranks o f th e local co m p a n y , p a rtic u la rly Jo h n G a rlic k as F e rra n d o ; and th e en orm o us ch o ru s (4 8 m em bers) p ro d u ce d some very nice sounds — and even managed som ehow to m u ste r m o re m en th a n w o m e n , a m a io r acco m

Theatre-A u stra l ¡a Dec-Jan, 1976/7 Page 55 p lish m e n t in am ateur circles. It is a th o ro u g h ly sensible s o lu tio n to th e pe rennial p ro b le m o f sm a ll, u n s k ille d voices to com pensate w ith num bers fo r th e in h e re n t lack o f in d iv id u a l vocal po w e r. A n d C u rro g o t some ex c e lle n t sounds fro m his 37 - piece orchestra, w it h o u t - at least m ost o f th e tim e — a llo w in g th e m to d ro w n o u t th e ir colleagues on stage in a th e a tre w here th e orch e stra alw ays has an u n fa ir advantage due to a s tru c tu ra l acoustic p ro b le m . Franco Cavarra's p ro d u c tio n was s tra ig h t fo rw a rd and sensible and Peter C ooke's des igns n o th in g less th a n b r illia n t in th e ir s im p lic it y and effectiveness a t such lo w c o s t: a series o f v e rtic a lly hanging ropes to m a rk the lim its o f th e stage a c tio n w ere au gm ented b y a n u m b e r o f sm all pieces o f scenery flo w n fro m above th e stage to d iffe re n tia te th e eight scenes o f th e opera. Props w ere k e p t to a m in im u m , m a kin g scene changes m o s tly a q u e stio n o f pushing b u tto n s . T h o u g h th e m o on in A c t I Scene 2 sw ayed d is c o n c e rtin g ly th ro u g h th e a c tio n , all w ere v is u a lly e ffe c tiv e and some — in p a rtic u la r, th e huge cross and tr ip a r tite g o th ic w in d o w o f th e c lo is te r o f A c t II Scene 2, each se ctio n te n a n te d b y an e n orm o us candle — w ere s tu n n in g ly e ffe c tiv e . R ockda le's p ro d u c tio n , a w eek e a rlie r, o f Saint-Saen's Samson a n d D e lila h was also a th o ro u g h ly re w a rdin g evening, even if i t d id n o t rise q u ite so fa r up th e ra m parts o f se m i-p ro ffe sio nalism . W ith in th e e x tre m e lim ita tio n s o f th e R ockda le T o w n H all, D oug K ingsm an's scenery was m o st e ffe c tiv e w here it m a ttere d m o st - th e collapse o f th e te m p le at th e end w hen th e rear corners o f a g ia n t ta p e s try , suspended ove r th e stage area, w ere released at th e v ita l m o m e n t so it sw ung v e rtic a lly to w a rd th e audience and th e lig h ts s u d denly d im m e d so the cho rus c o u ld o n ly vaguely be seen fie ld in g th e huge false p illa rs to preserve th e m fo r fu tu re p e rform ance s and a vo id g e ttin g c lo n k e d on th e head. Th e tw o c e n tra l characters sang b e a u tifu lly a lth o u g h Lesley S tend er's D e lila h was a tr ifle slow o f f th e m a rk and her big A c t I aria lacked som e o f th e im p a c t it id e a lly o u g h t to have. Jo h n M ain was n o th in g less th a n s tun ning as Samson, reasserting his rig h t to be deemed am ong th e very to p ranks o f A u s tra lia 's resident te n o rs despite some years o f s e m i-re tirm e n t. H o p e fu lly it w ill n o t be long b e fo re he is seen on th e stage o f th e O pera House w ith th e n a tio n a l co m p a n y . Th e o th e r m a in role, th a t o f th e high p rie s t, was w e ll fille d b y S ydney's u b iq u ito u s sub urba n b a rito n e R oger H o w e ll. Samson a n d D e lila h is in m any w ays an ideal cho ice fo r an op era co m p a n y o f lim ite d

resources, such as R o ckd a le : it is a m u sica lly w o rth y piece w ith o n ly th re e (one c o u ld al m ost say tw o ) roles o f im p o rta n c e ; ap art fro m the d e n o u e m e n t, it poses no p a rtic u la r staging problem s. It was a p ity , th o u g h , th a t th e " w ild ba cch a n a le " o f th e last act d id n o t com e closer to th e " r i o t o f vo lu p tu o u s n e s s " th e p lo t sum m ary in th e progra m p ro m ise d : th e b a lle t was a c u rio u s p o t-p o u rri o f Balinese te m p le dance, g y m n a stic cartw heels and calisthenics w ith th e g irls ly in g o n th e ir backs and w rig g lin g th e ir toes a b o u t; th o u g h th e gentlem e n o f the chorus, som e o f w h o m are no longer in th e firs t o f y o u th , o b v io u s ly slavered over every m o m e n t o f it. A n d th e orchestra, u n der th e b a to n o f C edric A s h to n , was to o o fte n b e lo w its o w n best fo r m — p a rtic u la rly th e strings, w h ic h w ere q u ite n o tic e a b ly o f f p itc h at tim e s. Such fa u lts d e tra c te d fro m th e un d e n ia b le excellence o f th e m a jo r pro ta g o n ists; and th e C anberra experience proved such m usical w ayw ardness need not necessarily be to le ra te d even in sem i-professional opera. The Cameo G ro u p gave S ocio-V oce , Op. 1 by M aureen C a llin a n , its firs t perform ance s at the m usic ro o m o f th e S ydne y Opera House in m id -N ovem ber. I t was th e second h a lf o f a program presented w ith th e assistance o f th e A u s tra lia C o u n c il, th e fir s t h a lf o f w h ic h (a p o o rly planned and no m o re th a n ad equa tely presented c o n c e rt o f d e c id e d ly second-rate 2 0 th -c e n tu ry m usic) is best fo rg o tte n . S oc io -V o c e was a fa ir ly b rie f fo ra y in to th e realms o f o ff-b e a t vocal sound w ith a m in im a l c la im to be regarded as opera o r m usic th e a tre ; a pro m is in g enough s itu a tio n was set up, b u t n o th in g de velope d. As p a rt o f an oth e rw ise m ore m e a ty evening, it m ig h t have been an inte resting w o rk s h o p exercise. A fa r m o re re w a rdin g evening was pres ented d o w n s ta irs at th e S e ym o u r C entre, S ydney U n iv e rs ity , e a rly in O c to b e r, b y th e Mused P erfo rm a nce Ensem ble w hen m usic th e a tre w o rk s b y Ross E dw ards and A lan H o lle y w ere p e rfo rm e d in close liaison w ith the Dance C o m p a n y (N .S .W .). Its m o st in te re s tin g th ir d was E dw ard's K a n -to u k II, w h ic h made superb use o f th e venue, was never less th a n inte re stin g vis u a lly and som etim es s h a tte rin g d ra m a tic a lly ; b u t even th e tw o H o lle y w o rk s . S o m e th in g - A Piece M is t ¡tie d , and The U n d y in g H o le , b o th showed con s id e ra b ly m o re prom ise in th is area th e n th e Cameo a tte m p t. The re sult was a d e m and ing evening w h ic h was fa r fro m de v o id o f cre ative s tim u la tio n and a rtis tic re wards.

ADVERTISE IN

Theatre -A ustralia to reach a unique yet diverse market Rates available on request from

Theatre Publications Ltd., 7 President Place, New Lambton Hts., N.S.W., 2305

Performing Arts Year B ook

of Australia The latest addition to the Showcast publication list, the Year Book, is a collation of all productions during the previous year in Australia in Theatre, Film and Television. Designed to be kept as a permanent reference book, this is a hard-cover highquality publication, containing details of each production, such as writer, director, designer, cast, venue, dates of perform ance or screening. After the first edition 'T h e 1976 Year Book", other facets of the performing arts such as recordings, radio and docu mentaries w ill be included. Published annually

in February/March.

Price: $20.00 THEATRES PLEASE NOTE Theatre A u stra lia is collating the material for the theatre section of the Performing Arts Year Book of Australia. Professional companies, Amateur comapnies, T.I.E. Teams, please send information of 1976 programme including all above-mentioned inform ation to: Theatre Publications Ltd., 7 President Place, New Lambton Heights, N.S.W. 2305.

Page 56 Theatre-Austral ¡a Dec-Jan, 1976/7

FRIENDS AND PALACES Helen van der Poorten A H andful o f Friends, B y D avid W illia m s o n , C u rre n cy Press L td , 19 7 6 . R ecom m ended re ta il p rice $ 3 .0 0 Picture Palace A rchitecture in Australia, Ross T h o rn e . S un-A ca dem y series, 19 76. R e c o m m ended re ta il p ric e : $ 7 .9 5 . A t th e present tim e th e re is lit t le p o in t in adding to th e nu m erous c ritic a l c o m m e n ts we have read re c e n tly o n D avid W illia m s o n 's A H a n d fu l o f Friends. B u t it is pleasant to see th a t C urrency Press has risen s o m e w h a t tr iu m p h a n tly fr o m a recent th e a tre o f liq u id a tio n to p u b lis h W illia m s o n 's p la y in th e clear and u tte rly readable w ay w e associate w ith th e ir p u b lic a tio n s . I have c o m m e n te d b e fo re th a t fo r readers it m ay be m o re in te re s tin g to have the illu s tra tio n s o f p e rfo rm a n c e d is trib u te d th ro u g h o u t th e te x t, b u t C u rre n c y 's fir s t d u ty is no d o u b t to th e acto rs w h o w ill, it is ho ped, make th e m o st use o f these plays. In a b rie f in tr o d u c tio n , d ire c to r R o d n e y Fisher considers th e th e m a tic concerns o f W illia m s o n as w e ll as a fe w o f his o w n concerns. He discusses th e n o tio n th a t th e A u s tra lia n a rtis t belongs to an oppressed m in o r ity , and w h ile I w o u ld n o t q u e s tio n th is , it seems to me b e tte r w hen he leaves th is sub je ct fo r W illia m s o n 's w o rk its e lf. His c o m m e n ts on the p la y w rig h t's h a b it o f p ro b in g th e "la y e rs o f s u b te rfu g e " in his cha racte r gives a new d im e n sio n to W illia m s o n c ritic is m . Professor Ross T h o rn e te lls us in his in tro d u c tio n to P ic tu re Palace A rc h ite c tu re in A u s tra lia th a t as a c h ild he was as fascinated b y th e in d ire c t lig h tin g and th e plaster tro u g h s o f S yd n e y's Ly c e u m T h e a tre as he was by

S n o w W hite. In m any ways his e n te rta in in g and in te llig e n t b o o k is a tr ib u te to th e p ic tu re palaces th a t so riva lle d th e film s th e y w ere b u ilt to c o n ta in . A d iv e rtin g b o o k fo r th e beach and a serious one fo r a rc h ite c tu re , a rt and th e a tre students, T h o rn e 's b o o k is a larg ely p ic to ria l s tu d y o f A u s tra lia n cinem as. He is q u ic k to p o in t o u t th a t p ic tu re theatres are n o t s u b s ta n tia lly d iffe re n t fro m live th e a tre b u ild in g s, b u t ap art fro m te llin g us th a t m o st o f th e big c ity cinem as catered also fo r live p ro d u c tio n s , he n a rrow s his s tu d y to cinem as as b u ild in g s fro m th e fir s t decade o f th is c e n tu ry to the beginnin g o f W o rld W ar II. Ross T h o rn e traces th e orig in s o f p ic tu re palaces to " R o x y " R o th a p fe l's a tm o sp h e ric e x p e rim e n ts o n his p a tro n s in pre-W orld W ar I U .S .A ., th e n lo o k s at e a rly A u s tra lia n cinem as, m any o f th e m o p e n -a ir ones, b e fo re tu rn in g to his c h ie f concerns, th e escapist fantasies, th e "c a th e d ra ls o f m o tio n p ic tu re s " w h ich c u lm in a te in S yd n e y's S tate th e a tre . His w it t y s ty le enables h im to cove r som e o f the d e co ra tive excesses in th e M o o rish , H in d u , c u b is t and a rt deco styles o f some theatres. I especially lik e d his co o l d e s c rip tio n o f "P ro te c tiv e lionesses w ith lig h t-b u lb eyes (w h ic h ) guard th e p ro s c e n iu m " o f one th e a tre . In his in tr o d u c tio n , e xte n sive ly and relev a n tly illu s tra te d , perhaps T h o rn e 's m ost in te r esting sectio n relates to th e B u rle y G r iffin C a p ito l Theatre in M e lb o u rn e . He exam ines some s im p lis tic d e s c rip tio n s o f th e th e a tre as being in a rt deco and c u b is t styles, and uses th e d e ta il o f th e th e a tre to illu s tra te th e dangers o f using such term s to o lo o se ly. Since T h o rn e 's inte rest in d e c o ra tio n is p re d o m in a n t in th is b o o k , a rt stu d e n ts w ill fin d especial value in his m a jo r illu s tra tio n s , w h ic h are o fte n related to de velopin g d e co ra tive styles and tastes. A r t nouveau sten cils o n a 19 29 th e a tre raise some in te re s tin g q u estions, and in any case some o f th e pic tu re s are b re a th ta k in g ly extravag ant. M y fa v o u rite is one fro m an " a tm o s p h e ric " cinem a d e corated in th e H in d u sty le , w ith go ld en elep han ts ra m p a n t s u p p o rtin g a go ld en id o l as a p a rt o f th e general d e c o ra tio n . T he d e tails fro m the atre s, m e tro p o lita n and p ro v in c ia l, are exa m ined in te rm s o f changing s ty le , and Ross T h o rn e c le a rly makes th e p o in t th a t A u stra lia 's p ic tu re palaces deserve fa r m o re a tte n tio n fro m b o th artists and scholars. It is to be hoped th a t such a b o o k w ill help pre ve n t fu r th e r m ayhem d e m o litio n o f these 2 0 th C e n tu ry tem ples o f p o p u la r e n te rta in m e n t.

SYDNEY CHOREOGRAPHIC INSTITUTE (DIPLOMA COURSE) COMMENCING FEBRUARY 7th, 1976. F u ll-tim e Course fo r senior stud ents in dance and dance c o m p o s itio n . C u rric u lu m includes B a lle t, M usic A p p re c ia tio n , Dance N o ta tio n , Jazz, Pas De D eux, M o dern Dance, C haracter Dance, R ep e rto ry , Dance C o m p o s itio n , H is to ry o f Dance, T h eatre and A llie d A rts . O n ly a lim ite d n u m b e r o f stud ents can be accepted. For in fo rm a tio n con cernin g a u d itio n s , e n ro lm e n ts and fees, o r classes fo r c h ild re n a t ju n io r levels w rite G errard S ib b ritt, D ire c to r, S .C .I., P.O. B ox 3 1 0 , B R O A D W A Y , N.S.W. 2 0 0 7 .

N ext M on th : Text and Production Casebook of ALM A DE GROEN'S C H ID L E Y

an n McDo n a l d COLLEGE OF DANCING (EST. 19 26) Classes and P rivate T u itio n — B a llro o m , L a tin A m e rica n , O ld T im e , S ocial, T h e a tric a l, M o d e rn , Jazz and Classical. B a lle t (R .A .D .). E xa m in a tio n s in a ll fo rm s and G old and S ilver M edal tests, i f re quire d:

57 EDWIN STREET, CROYDON (next to Railway Station) Phone 798-8409

theres no business like...... SHOWBUSINESS BOOKSHOP YORK HOUSE BASEMENT ARCADE 294 LT. COLLINS STREET. MELBOURNE 3000 PHONE (03) 63 7508 H uge selection o f scripts fr o m : English T h ea tre G u ild , D ram atists Play S ervice, Evans Bros. S am u el F re n c h , Faber, C u rre n c y — M e th u e n , D ra m a tic Pub. C o. We c arry T h e a tre A u s tra lia . A f t e r D a rk , D ance M agazine, Plays & Players, D an ce & Dancers, Film s & F ilm in g , S te in ’s T h e a tric a l M a k e -u p , L e ic h n e r M a k e -u p . Special a tte n tio n to M ail O rd e r C ustom ers.

CONTACT VIN FOSTER FOR PROMPT ATTENTION

THE DANCERS AGENCY (A Division of Hambly Management)

There is now an agency operating EXCLUSIVELY for dancers and choreographers. For enquiries or hire: Greg Radford (02) 660-1674 1 0 - 4 p.m. Monday to Friday

48 Derwent Street, Glebe N.S.W. 2037