Theatre Australia 1(7) February-March 1977

la v iv i'

Feb/M arch 1977

Steve J. Spears G a rry M cD on ald

THE SEYMOUR CENTRE S Y D N E Y ’S NEWEST E N T E R T A IN M E N T CENTRE FOR THE PERFORMING ARTS CORNER C L E V E L A N D STREET & C IT Y ROAD • three live theatres • cinema • gallery • bars • restaurant • rehearsal studios • m ulti-level car park

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24 hour booking service: 692 3711 all other enquiries: 692 0555 General Manager & Licensee: Christopher Frost

24-hour booking service: 692 3711 • a l l other enquiries^ 9 2 0555 • three live thea cinema Grace

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gallery bars • restaurant • rehearsal stuai G regory’s Map 6 — C10

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ISSN 0 3 1 3 -2 0 8 0

CoverjGarry McDonald as Mo in Steve J. Spears' Young Mo. Page 24. Photo: Peter Holderness.

AUSTRA LIA 'S N A TIO N A L PERFORMING ARTS M AG AZIN E _ _ _ Feb-March 1977

CONTENTS

Io E D I T O R I A L ...............................................................................................................................\ i .

I •

■ -3

T H E A T R E G U I D E ...................................................................................................................................

$

Q U O T E S A N D Q U E R IE S .......................................................................................... ........................ . .6 L E T T E R S T O T H E E D I T O R .............................................................................................................................6 S P O T L I G H T ...........................................................................................................................................................8 M usic Theatre F o ru m W illia m S hou bridg e ................................................................................... 8 R ic h a rd B radshaw , P upp etee r R oger P u lv e r s ............................................................................... 10

Alan J. Lerner (centre) at the Music Theatre Forum. Page 8. Photo: Gordon Clarke.

R E V IE W S R oos Roger Pulvers ..............................................................................................................................11 The G reatest C ircus on E a rth G arrie H u tc h in s o n ...................................................................... 13 The Game o f Lo ve a n d Chance Jack H ib b e r d .............................................................................15 The Tw enties a n d A l l T h at Jazz R a y m o n d S tanley ............................................................... 16 The G olden O ldies Bruce W illia m s ................................................................................................... 16 The Sea R ichard F o th e rin g h a m .......................................................................................................... 18 O ld K in g Cole, M y F a t F rie n d M ichael M o r l e y ..........................................................................19 Caucasian C halk C irc le Rex C r a m p h o r n e .......................................................................

The S u rp ris in g S oprano D avid G yger ............................................................................................ 21 Treasure Islan d A lis o n J o n e s .................................................................................

Y oung M o K a th e rin e B r is b a n e ......................................................................................................... 22 H o w Does Y o u r G arden G ro w ? C o llin O 'B r ie n ............................................................................37

20 22

P L A Y S C R IP T In tro d u c tio n R ich a rd W h e r r e t t ..........................................................................................................24 Young M o A c t 1 Steve J. S p e a r s ....................................................................................................25 A U S T R A L IA N C U R R E N T S G a rry M c D o n a ld In te rv ie w B a rry E a t o n ......................................................................................... 33 P erth F e stival R o u n d -u p C liff G illa m ............................................................................................ 34 A rts F o r To w n a n d C o u n try G aenor T h o m a s .............................................................................44 N a tio n a l P o lic y A a rn e N e e m e .............................................................................................................45

M o : Review, playtext, director's introduction,interview. Begins Page 22.

T H E A T R E O R G A N IS A T IO N S H ole in the W a ll: C o m p ro m is in g U pw ards M argot L u k e .........................................................38 A n U n lik e ly B irth p la c e A la n C a s s e ll................................................................................................38 T H E A T R E B U IL D IN G S B e h in d Closed D o o rs C o llin O 'B r i e n ............................................................................................... 42 F IL M , T E L E V IS IO N , R A D IO S y m p a th y F o r A C hairm an Stan M a r k s ............. ........................................................................... 47 IN T E R N A T IO N A L L e tte r fro m L o n d o n A la n S e y m o u r ............................................................................................... 48 BALLET A T ry in g O u t P e rio d W illia m S h o u b r id g e ......................................................................................50 OPERA S u m m e r Season D avid G y g e r ............................................................................................................. 52 I.T .I. N E W S ............................................................................................................................................................54

The Perth Scene. Begins Page 34.

ON TAP F ilm s B arry L o w e ................................................................................................................................. 55 B ooks Helen van der P o o r t e n .............................................................................................................56 T H E A T R E —A U S T R A L IA is pu b lish e d b y T h e a tre P u b lic a tio n s L td ., 7 President Place, N ew L a m b to n H eights, N ew S o u th Wales 2 3 0 5 (T el 04 9 5 2 5 9 7 6 ) on the 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., b y Theatre P u b lic a 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 o tc h (A 'asia) L td ., M E L B O U R N E S Y D N E Y . P rin te d b y N ew ey & B e a th P ty .

L td ., 10 B e lfo rd S t., B roa dm ea dow , 2 2 9 2 N ew castle N.S.W. W h ils t every care is ta ke n o f m a n u s c rip ts an d visual m a te ria l s u p p lie d fo r th is m agazine, th e p u b lish e rs a n d th e ir agents acce pt no lia b ilit y fo r loss o r damage w h ic h m a y occur. U n s o lic ite d m a n u s c rip ts a n d visual m a te ria l w ill n o t be re tu rn e d unless acc o m p a n ie d b y a s ta m p e d addressed envelope.

O p in io n s expressed in signed artic le s are n o t necessarily those o f th e E d ito rs.

The pu b lish e rs acce pt no re s p o n s ib ility f o r advertisem ents p la c e d in th is m agazine fo r w h ich fin is h e d a rt-w o rk is n o t supplied. © 1977 T h eatre P u b lic a tio n s L td . ’ M a x im u m recom m ended re ta il price o n ly Prices subject to change w ith o u t no tice.

Dance

Company

(N.S.W.)

Page

50.

Page 2 Theatre-A ustraH a Feb-M arch, 1977

Q

THE OLD TOTE THEATRE COMPANY SEASON TWO 1977 A SEASON OF 10 PLAYS, RICH IN V A R IE T Y AND D R A M ATIC EXC ITEM ENT -

3 Plays at the Drama Theatre, Sydney Opera House 3 Plays at the Parade Theatre, Kensington 4 Plays at the Seymour Centre, City Road.

\ THE OLD TOTE TH E A TR E COMPANY - SEASON TWO 1977 Please send me an obligation-free brochure fo r the above season. / wish to be included on the O ld Tote's regular m ailing list.

NAME: Mr. Mrs. Miss.............................................................................................................................................................................................

A D D R E S S :...................................................................................................................................... P O S TC O D E :..............................................

P H O N E :............................................B U S IN E S S :...............................................................................................................................................

M ail this form to : The Subscriptions Manager, The Old Tote Theatre Company, P.O. Box 1, Kensington, N.S.W. 2033.

______________________________________________ _______________________________________________________

J

Theatre-A u s tra l ¡a F eb-M arch, 1977 Page 3

Comment.

As we go to press, the most heavily publicised show business ventures are the Edgley circus and the Elizabethan Theatre Trust sponsored tour of two plays: The Two o f Us and Pleasure o f His Company.

Each venture is presented in terms of its international stars—and probably the preliminary campaigns splashed around enough money to make sure of at least break-even box office.

For Edgley's circus this seems fair enough. We don't get enough of them in the flesh—and our own Bullens (who have a slice of the action as well) and Ashtons will probably benefit indirectly anyway.

If it is really successful, it should help feed the current swell of pop­ ular theatre; after all something does seem to be happening on that front. The top music halls in most states are turning people away; Steve Spears is currently exploiting the sawdust and tears razzamataz of vaudeville with Young Mo in Sydney; everyone seems to be doing Hibberd's song and gag Toast to Melba; and one of the A.P.G.'s greatest successes, The H ills F a m ily Show is now on the road in a three state tour just as their Soapbox, acrobatics with music, has.

Edgley's circus both relates to our current scene and is a commercial non-competitor with it.

The other—John Thaw and Sheila Hancock in Michael Frayne's The Two o f Us and Stanley Holloway and Douglas Fairbanks Jnr (Douglas who?) in The Pleasure o f His Company is something very different. We've just seen a big promotional splurge on Peter O'Toole's Dead-Eyed D icks . . . and now this. Why? Surely it would take no casting genius to get two locals for the Frayne two-hander who could, with a similar promotional camp­ aign, turn this rather ordinary actors' vehicle into a success? Why, then, does a body that has done so much for the development both of art forms and artists in this country—The Trust—choose to throw its money into importing?

The Trust is a public body disbursing public funds. This venture is an unequivocally commercial one. If it is viable then it should be on a commercial not (even partially) a subsidised basis. If it fails why should the Australian taxpayer foot any of the bill? Public money for the arts is, in te r alia, to allow a local industry the right to fail; that failure should somehow be identifiable with the national interest. It is hardly the case here.

EDITO RS: Robert Page, Lucy Wagner.

A GREAT DOUBLE BILL FOR 1977 Douglas Fairbanks Jr. David Langton

John Thaw Sheila Hancock

THE PLEASURE OF HIS COMPANY

THE TWO OF US

T '~ s t? t t h - 1 N e v Y f ’ r o ' * i r ' i n ^ - t v 1

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It all seems like a trip into the past: those tired tours that set the clock back each time they came and went, pandering to a general misgiving that ours could never be as good as theirs.

No one begrudges Sheila Hancock, Stanley Holloway, Douglas Who II their chance to work on our stages. But if there's a lot of promotional money around, it would do our local industry much more good to spend it on our own talent—talent which if properly sold would fill theatres every bit as effectively as imported equiv­ alents.

If, for the ad-man, the more glamorously packageable artist is the one from elsewhere—then why not push interstate tours? The revival of John Bell's Much A do at Nimrod this year is something other states would be clamouring to see if only they knew. And no doubt each state could think of at least one show that would fit that sort of bill.

The problems of the performing arts in the West—and that has our chief focus this issue—are the problems of Australian in micro­ cosm . . . except that so vast a state as W.A. can hardly be called a microcosm. The size and remoteness of the state, the gulf between city and country, present difficulties that are not peculiar to the West. What is interesting—and Collin O'Brien's highly urbane reviews over the past six issues have also shown this to be so—is that Perth shows all the signs of a burgeoning local culture that is yet part of the national mainstream. At the moment they too are having a festival, and it's one where East (Popular Theatre Troupe, Old Tote, A.P.G.) is easily mixed with West.

ASSISTANT ED ITO R : Bruce Knappett

R EPRESENTATIVES: Sydney - Sue Manger (02) 456-2068

Melbourne - Raymond Stanley (03) 419-1204 Brisbane - Don Batchelor (07) 269-3018

A D V IS O R Y BOARD John Bell Graeme Blundell Ellen Braye Katharine Brisbane Vivian Chalwin Gordon Chater

John Clarke W.A. Enright Lynda Gray Jack Hibberd Ken Horler Garrie Hutchinson Robert Jordan

Perth - Joan Ambrose (092) 94-3369 Adelaide - Michael Morley (08) 275-2204

Philip Mason Stan Marks Jake Newby Phil Noyce Raymond Omodei Philip Parsons Diana Sharpe

Theatre Publications Ltd gratefully acknowledges the financial assistance of the Arts Grants Advisory Committee of South Australia, Queensland Cultural Activities Department, the University of New South Wales Drama Foundation, the Victorian Ministry of the Arts, and the assistance of the University of Newcastle

A D V E R T IS IN G AGENTS: TREW EEKE D U R N FO R D ASS. North Sydney, Telephone: (02) 92-0247

Ken Southgate Raymond Stanley Elizabeth Sweeting John Timlin Tony Trench Guthrie Worby Richard Wherrett

Page 4 T h e a tre -A u s tra lia F e b-M arch, 1977

A U S T R A LIA N OPERA Canberra Theatre (49 1723) M adam B u tte rfly (P u ccin i) in Ita lia n : M ar 3, 8, 1 1 ,1 5 , P roducer, Jo h n C o p le y ; designers, M ichael S te n n e tt (costum es) and H enry B ardon (sets); c o n d u c to r. C arlo Felice C illa rio . L a m b e rto F u rlan or R o b in D ona ld as P in k e rto n ; J e n n ife r B erm ingham as S u z u k i; R ona ld M aconaghie o r Jo h n Pringle as Sharpless; M ie tta Sighele as B u tte rfly .

L a km e (D elibes) in F rench : M ar 4, 9, 12, 16 P roducer, N orm an A y r to n ; D esigner, D esm ond D ig b y ; c o n d u c to r, Peter R o b in s o n . Joan Carden as La km e; A nson A u s tin o r H e n ri W ild e n as G erald; R o b e rt A llm a n as N ila k a n th a ; R osem ary G unn as M a llik a ; Graeme E w er as H a d ji, L y n d o n T e rra c in i o r P ieter van de r S to lk as F re d e ric k .

C arm en (B iz e t) in F rench : Mar. 5, 10, 14, 17 P roducer and designer, T o m L in g w o o d ; c o n ­ d u c to r, Russell C han nell. M argreta E lk in s as C arm en; Isobel Buchanan as M icaela; R on Stevens o r R eginald Byers as D on Jose; R a y m o n d M yers as E scam illo.

NEW SOUTH WALES: ACTORS COMPANY (660 2503) 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 S h o w

by Ray B iechler and D e rry Blazer, d ire c te d b y R o d n e y D elaney (to M arch 5).

N o rm a n d A h m e d and R o y 's C lub S how s, by A le x B uzo, d ire c te d b y R odn ey D elaney (fro m M arch 17).

The C aretaker, by H a ro ld P inter, schools p ro ­ d u c tio n (fro m M ar 21 ).

A U S TR A LIA N OPERA (26 2976) Sydney Opera House (2 0588) Opera T h e a tre : L a B ohem e (P u ccin i) in Ita lia n : Feb 19 (m a t) 2 1 ,2 3 , 26, (eve) P roducer, D avid N eal; designer, T o m L in g w o o d ; c o n d u c to r, Russell C han nell. R o b e rt A llm a n o r Joh n P ringle as M a rc e llo ; L a m b e rto F u rla n o r A nson A u s tin as R o d o lfo ; N eil W arren S m ith as C o llin e ; G regory Y u rs ic h as S chaunard; Joan Carden as M im i;E te la P ih a o r E liz a b e th F re tw e ll as M usetta.

M adam B u tte r fly (P u c c in i) in Ita lia n : Feb 12 (eve) P roducer, Joh n C o p le y ; designers, M ichael S te n n e tt (costum es) and H e n ry B ardon (sets); c o n d u c to r, C arlo Felice C illa rio . R o b in D ona ld as P in k e rto n ; J e n n ife r B erm in gha m as S u z u k i; Jo h n P ringle as Sharpless; Leona M itc h e ll as B u tte rfly .

The M agic F lu te (M o z a rt) in E nglish: Feb 22, 24 , 26 (m at) P roducer, Jo h n C o p le y ;d e s ig n e r, Jo h n S to d d a rt; c o n d u c to r, Peter R o b in s o n . R o b e rt G ard as T a m in o ; R onald M aconaghie as Papageno; R honda Bruce as th e Queen o f th e N ig h t; Isobel Buchanan as Pam ina; Graem e E w er as M o nostatos; G ra n t D ic k s o n as th e Speaker; C liffo rd G ra nt as S arastro; C y n th ia Jo h n s to n as Papagena.

C arm en (B iz e t) in F rench : Feb 25.

P rod ucer and Designer, T o n L in g w o o d ; c o n ­ d u c to r, Russell C hannell. Lo ne K op p e l W in th e r as M ichaela; R on Stevens as D on Jose; M argreta E lk in s as Carm en; R a y m o n d M yers as E scam illo.

A lb e r t H e rrin g (B ritte n ) in E nglish: M a rch 13 (in presence o f Queen E liza beth II).

P roducer, Jo h n C ox, rehearsed by D avid Neal; designer, R oger B u tlin ; c o n d u c to r, W illia m R eid.

Nance G ra n t as La dy B illo w s ; Lesley S to n d e r as F lo rence Pi ke; R honda Bruce as Miss W o rd s w o rth ; L y n d o n T e rra c in i as S id; Graem e E w er as A lb e rt H e rrin g ; J e n n ife r B erm in gha m as N a n cy; Rosina Raisbeck as M rs H erring.

A U S T R A LIA N TH E A TR E , Newtown (51 3842) The T rip w ritte n and d ire c te d b y V in c e n t W ren (fro m M ar 5).

A U S T R A LIA N T H E A TR E FOR YOUNG PEOPLE (699 9322) A Toast to M e lb a, b y Jack H ib b e rd , d ire c te d by R a y m o n d O m o d e i, designed b y Y oshi Tosa. (on to u r o f 16 centres in n o rth and n o rth -w e s t N ew S o u th Wales, Feb 21 to M ar 19).

N o te : S a tu rd a y m o rn in g y o u th th e a tre resumes F e b ru a ry 12 a t N .I.D .A .

B ALM A IN BIJOU (827 3652) W o n d e rw o m a n , b y Reg L ive rm o re , d ire c te d b y Peter B atey (c o n tin u in g ).

BONAPARTE'S T H E A TR E RESTAUR­ A N T (357 2555 or 357 2596) Cruise o f a L ife tim e , b y R on Frazer and J o h n M a c K e lla r (fro m Feb 19).

BONDI P A V IL IO N TH E A TR E (30 7211 or 29 8335) The T ra in in g R un, b y M e rvyn R u th e rfo rd , designed and d ire c te d b y M ax C ullen (to Feb 26 ).

The H ills F a m ily S how , b y th e A u s tra lia n Per­ fo rm in g G ro u p , T o u rin g p ro d u c tio n fro m Pram F a c to ry , M e lb o u rn e , (fro m M ar 10).

DANCE COMPANY OF N.S.W.(358 4436) Sydney Opera House Glim pses (M u rp h y /M a rg a re t S u th e rla n d ); Sequenda V II (M u rp h y /B e rio ) M irage (L eigh W a rren/T ang erine D ream ) Deserts (S o k o lo v / Varese) (M arch 1—5).

Theai BALLET

OPE

FE B R U A R Y ' M A R IA N STR EET (498 3166) S o m e th in g 's A fo o t , based o n A gath a C hristie 's Ten L it t le Niggers, devised b y James M cD o n a ld , D avid Voss, R o b e rt G erlack and Ed L in d e rm a n n ; d ire c te d b y A la s ta ir D u n ca n ; m usical d ire c to r, B everly M cM ahon ; c h o re p g ra p h y b y K aren Jon son. (c o n tin u in g ).

M A R IO N E TT E TH E A TR E T R A L IA (357 1200)

OF

AUS­

R oos, w r itte n and d ire c te d b y R ich a rd Bradshaw (schools to u r o f N ew castle fro m Feb 28).

R oos and Hands, devised b y th e c o m p a n y and d ire c te d by R ich a rd B radshaw (at O range Fes­ tiv a l, M ar 30 -3 1 ).

THE M IN E R V A (358 1221 or 358 1222) The M in d W ith the D ir ty M an, b y Jules Tasca, d ire c te d by E rnie S arracino. (to M ar 12).

MUSIC H A L L T H E A T R E R ES TA U R A N T (909 8222) The Beast o f Belgrave Square, w ritte n and d ire c te d b y S tanle y Walsh designed b y T o m L in g w o o d . (to M ar 5).

L u s t fo r P o w e r: P erils a t P a rra m a tta , w ritte n and d ire c te d b y M ichael B o d d y , (fro m M ar 12).

MUSIC L O F T T H E A T R E R ESTAU RA NT (997 6585) In the F a m ily W ay, w ith th e T o p p a n o F a m ily and Lee Y o u n g (to Feb 12).

Once M o re W ith F eeling, b y Peggy M o rtim e r and E nzo T o p p a n o , d ire c te d b y Peggy M o rtim e r, (fro m Feb 16).

NEW T H E A TR E (519 3403)

C a lifo rn ia S u ite , by N eil S im o n , d ire c te d by Hayes G o rd o n , (c o n tin u in g ).

Causasian C halk C ircle , b y B e rto lt B re ch t, d ir ­ ected b y D avid Cisek, (to M ar 19).

S m ugglers B ew are ! b y E leanor W itc o m b e , d ir ­ ected b y K ay N ich o ls (Sats o n ly to Feb 26 ).

GENESIAN (827 3023)

NEW ARTS TH E A TR E , Glebe (660 3922)

ENSEMBLE (929 8877)

T h ark, b y Ben Travers, d ire c te d b y K evin Jackson (to Feb 26 ).

She S toop s to C onquer, b y O liv e r G o ld s m ith , d ire c te d b y E liza b e th Sarks, designed b y C atherine L lo y d , (fro m M ar 12).

G ILB E R T & S U L L IV A N SOCIETY Sydney Opera House (2 0588) Opera T h e a tre : The G o n d o lie rs (G ilb e rt & S u lliv a n ) M ar 17, 18, 19. (m a t & eve).

P rod ucer, B rian P h illip s ; m usical d ire c to r and c o n d u c to r, B ransby B yrne . R o b e rt H a th e rle y as th e D uke o f Plaza T o ro ; M ary B lake as the Duchess o f Plaza T o ro ; R o slyn Dansie as Casilda; D am o n Beck as L u iz ; W illia m M u rra y as th e G rand In q u is ito r; Jo h n W irth as M arco; R oger H o w e ll as G iuseppe; D oreen M o rro w as G ia n e tta ; Petah B urns as Tessa.

IN D EP E N D E N T (929 7377) T ill Bed Us D o P art, b y Lo u is Ife , d ire c te d b y R ichard B roo ks (c o n tin u in g ).

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 c te d b y Ray A in s w o rth (c o n tin u in g S a ts o n ly ).

K IL L A R A (498 7552)

680

COFFEE

THEA TR E

M e m orie s—A T rib u te to Ten Years, devised b y Jo h n H o w itt (to M ar 30 ).

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

N IM R O D (69 5003) U psta irs: Y oung M o , b y Steve J. Spears, d ire cte d b y R ich a rd W h e rre tt, (to M ar 5).

Travesties, b y T o m S to p p a rd , d ire c te d b y K en H o rle r. (fro m M ar 11).

D o w n s ta irs : T e n t S h o w P agliacci, b y T im G o o d in g , presented b y C om m edia della C ara m ello; (to Feb 19).

In n e r Voices, b y Lo u is N o w ra , d ire c te d by John B ell, (fro m Feb 25).

OLD TOTE (663 6122) D ram a T h eatre, O pera House: The P lough an d the S tars, b y Sean O 'C asey, d ire c te d b y Hugh H u n t, designed b y A n n e Fraser, (fro m Feb 23) Parade T h e a tre : The F a th e r, b y A u g u st S trin d ­ berg, d ire c te d b y Euan S m ith , designed by D ouglas Heap, (to M ar 2 9 ).

ST JAMES PLAYHOUSE (232 8570) The P ro b le m , by A . R. G u rn e y, d ire c te d by Peter W illia m s (w e e kd a y lu n c h tim e exce pt T h ursd ays to Feb 2 5 ).

N e x t, b y Terra nce M c N a lly , d ire c te d by Peter W illia m s (w ee kday lu n c h tim e exce pt Th ursd ay fro m Feb 28 ).

T h e a tre -A u stra lia F eb-M arch, 1977 Page 5

i Guide.

HEATRE

? M ARCH SEYMOUR CENTRE (692 0555) Y o r k : G old berg and S o lo m o n (fro m M ar 16)

STABLES THEA TR E (311111) The L ife o f L a d y G odiva b y R o n a ld Tavel, p r o ­ duced b y the T h eatre o f P overty and In te lle c t (F eb 9 - M a r 6 ).

W hile the B illy B o ils W ith Leonard Teale (M ar 819).

P layhouse: S ch o o l fo r Scandal b y S heridan, d ir ­ ected b y C o lin George (fro m M ar 5).

Festival T h e a tre : G iselle w ith th e A m e rica n B allet T h e a tre (to Feb 27 ).

Jeune B a lle t de France C ote d 'A z u r (M ar 1-4).

SHERIDAN T H E A TR E (267 3751) Revenge b y H o w a rd B re n to n (A d e la id e T h e a tre G ro u p ; Feb 25 to M ar 19).

T H E A TR E R O Y A L (231 6577) |

The Tw o o f Us, b y M ichael Frayne, d ire c te d b y P a tric k Lau. (to M ar 12).

The Pleasure o f H is C o m p a n y , b y Samuel T a y lo r assisted b y C ornelia O tis S k in n e r; associate p ro ­ ducers, F re d e ric k J. G ibson and B ernard Jay. (fro m M ar 15).

R A D IO D RA M A, A.B.C. O n FM R a d io , 8 .3 0 p.m .

Shakespeare p la ys: A n th o n y a n d C leopatra (F eb 14 ); Measure f o r Measure (F eb 2 1 ); The

TASMANIA THEA TR E R O YA L (34 6266) The S o u n d o f M u sic b y Rogers & H am m erste in, d ire c te d by Jo h n U n ic o m b ; cho reographer.

S u n n y Jose; designer, Sue Russell. (Opens M ar 18). Tasm anian T h eatre Co. & Theatre R o y a l L ig h t Opera.

W inters Tale (F eb 28 ).

VICTORIA

I

r I

QUEENSLAND

A R E N A TH E A TR E

ARTS T H E A TR E (36 2344) N o o n d a y D em ons and L e o n a rd o 's L a s t S u p p e r b o th b y Peter Barnes (U n iv e rs ity Players; to M arch 5).

W ho's A fr a id o f V irg in ia W o o lf b y E dw ard A lbee d ire c te d by George R o b e rts (fro m M arch 1 0 th ).

C AM ER ATA T H E A TR E (36 6561) T o m by A le x B uzo d ire c te d by D oreen W ilson (F eb 18 to M arch 13).

HER MAJESTY'S (221 2777) Same Tim e N e x t Year b y Benard Slade d ire c te d b y G o rd o n H u n t (to Feb 2 6 th ).

The 2 0 's a n d A l l T h at Jazz, a m id n ig h t show (to M ar 5).

LA BOITE (36 2296)

I

B u lls h o t C ru m m o n d b y Messrs House, Shearman etc; d ire c te d b y R od W issler (F eb 18 to M ar 19).

QUEENSLAND (221 3861)

T H E A TR E

COMPANY

F o r Years / C o u ld n 't W ear M y B la ck b y A n th o n y S h a ffe r, d ire c te d b y Joe M a cC o lum (to Feb. 26 ).

TW ELFTH N IG H T (52 5889) The M a tin g Game b y R o b in H aw do n, d ire c te d b y G ilb e rt S p o ttis w o o d (to Feb 26).

SOUTH AUSTRALIA SOUTH A U S T R A LIA ARTS TH E A TR E (87 5777) B eginner's L u c k b y N o rm an Barasch & Carol M o o re d ire c te d b y Cecil Reed (F eb 26 to M ar 5)

A.M.P. TH E A TR E (51 0451) L o ve 's a L u x u r y b y P axton & H o y le (P ro d u c tio n b y th e N om ads fro m Feb 17-26)

F E S T IV A L CENTRE (51 2292) Space: The H ills F a m ily S h o w (APG T o u rin g p ro d u c tio n , to Feb 26)

The G olden O ldies, b y D o ro th y H e w e tt,d i b y Graeme B lu n d e ll (to Feb 2 0 ).

LA M AM A (347 6085) N o W orries b y C liff E lle n, d ire c te d b y Bruce K e rr, and N o rm a n d A h m e d b y A le x B uzo, d ire c te d b y M a rk Callan (to M ar 6).

LAST LAUGH (419 6226) C rackers a t the Savoy w ith th e B usby B erkeleys (to Feb 2 6 ).

Sleezeee a cabaret m usical b y L o u is N o w ra and Sarah de Jong, d ire c te d b y D a rry l W ilk in s o n (fro m M ar 1).

MELBOURNE (645 1100)

TH E A TR E

COMPANY

A th e n e u m T h e a tre : The S ch o o l fo r Scandal, b y S heridan, d ire cte d b y Ray L a w le r (fro m M ar 15).

Russell S tre e t: The D o ll trilo g y by R ay La w le r, d ire c te d b y Joh n S um n er (in re p e rto ry to Feb 19).

The F a ll G uy b y Lin d a A a ro n so n , d ire c te d b y M ic k R odger (fro m M ar 2 9 ).

S t M a rtin s: The Game o f Lo ve a n d Chance b y M a riva u x d ire c te d by M ic k R odger (to M ar 5).

PLAYBOX TH E A TR E (63 4888) Hats, b y and w ith C o le tte C h a lle n o r (fro m Feb 24 ).

M ann and

R on

A U S T R A LIA N B ALLET (335 1400) Palais T h e a tre : The S leeping B eauty, T c h a ik ­ o v s k y - e d ite d b y Jo h n M arius Pet ipa, reprod uced b y Peggy van Praagh, d e c o r and costum es b y K e n n e th R o w e ll (F eb 23 to M ar 1).

Eugene O negin, a b a lle t b y Jo h n C ran ko based o n a poem b y P ushkin, M usic b y T c h a ik o v s k y , arrang e d /o rch e stra te d b y K u rt-H e in z S tolze, C horeog rap hy Jo h n C ran ko re prod uced b y A n n e W o o llia m s ; scenery and costum es b y Jergen Rose (M ar 5-11).

A U S T R A LIA N OPERA Princess Theatre (662 1355)

P

HOOPLA PRODUCTIONS (41 4415 Grant Street Theatre:

M adam e B u tte r fly (P u ccin i) in Ita lia n : Mar. 24, 26 . 29.

P ro d u ce r, Joh n C o p le y ; designers, M ichael S te n n e tt (costum es) and H e n ry B ard on (sets); c o n d u c to r, C arlo Felice C illa rio . M ie tta Sighele as B u tte r fly ; L a m bero F u rla n o r R o b in D ona ld as P in k e rto n ; R o n a ld M aconaghie o r J o h n P ringle as Sharpless; Lesley S tender o r J e n n ife r B e rm in h a m as S u zu ki.

L a k m e (D elibes) in F re n ch : M ar 25 , 30 P roducer, N orm an A y r to n ; designer, D esm ond D ig b y ; c o n d u c to r, Peter R o b in so n .

Joan C arden o r R hon da Bruce as La km e; H enri W ild e n o r A nson A u s tin as G erald; R o b e rt A llm a n as N ila k a n th a ; M argreta E lkin s as M a llik a ; Graeme E w er as H a d ji; Jo h n P ringle o r L y d o n T e rra c in i o r P ieter van de r S to lk as F re d e rick.

A U S T R A LIA N (9347 7133)

PERFORM ING GROUP

Its Cingalese fo r L ig h t'n in g Y ' K n o w b y Steve Mastare, d ire c te d b y Paul H a m p to n (fro m M ar

10 ) .

COMEDY TH E A TR E (663 3211) G reek R eview (Feb G reek R e v ie w (F eb 25 to M ar 13).

The Tw o o f Us, by M ichael F rayne, d ire c te d by P a tric k Lau (fro m M ar 15).

C A U LF IE L D ARTS CENTRE (529 4355) The A l l A u s tra lia n Pub S how , devised and d ire c te d by D on M ackay (Feb 18 & 19).

ST M A R TIN S TH E A TR E (654 4000) (see also M .T .C .).

L e ading L a d y, w ith J ill P errym an (fro m M ar 12).

T O TA L TH E A TR E (662 4991) L e t M y People Com e b y Earl W ilso n J n r. d ir ­ ected by Peter B atey (c o n tin u in g ).

WINDSOR REGIS (51 6979) The N aked V ica r S h o w b y T o n y S a ttle r and G ary R ile y (to Feb 2 8 ).

Son o f N aked V icar, b y Messrs S a ttle r and R ile y (fro m M ar 1).

WESTERN AUSTRALIA HOLE IN THE W ALL (81 2403) H a p p y E n d b y K u rt W e ill and B ert B re ch t, d ire c te d b y Joh n M ilso n (to M ar 5).

A S oldiers Tale b y S tra vin sky (L a te n ig h t show , fro m Feb 2 0 ).

OCTAGON (80 2440) Its Cingalese fo r L ig h t'n in g , Y ' K n o w b y Steve Mastare (A .P .G . to u rin g p ro d u c tio n ; fro m Feb 22 to M ar 5 ).

PLAYHOUSE (25 3344) The P lough a n d the Stars b y Sean O 'Casey d ir ­ ected b y H ugh H u n t (O ld T o te to u rin g p ro ­ d u c tio n to Feb 19).

The M iser b y M o lie re d ire c te d b y A a rn e Neeme (fro m Feb 2 4 ).

CONCERT H A LL Jeune B a lle t de France, C ote d 'A z u r (F eb 21 to 26 ).

H AYM AN T H E A TR E , W .A .I.T . (68 5511) A M id s u m m e r N ig h t's D ream b y Shakespeare d ire c te d by D avid A tte n b r o o k e ( F e b 1 7 to M a r6 ) t

Page 6 Theatre-A ustraU a Feb-M arch, 1977

PLAYW RIGHTS' APPEAL "S in c e th e A u s tra lia n C o u n c il tu rn e d d o w n a g ra n t last N ovem ber fo r th e annual N a tio n a l P la yw rig h ts C onference in C anberra n e x t M ay, th in g s have tu rn e d firs t g lo o m ie r th e n b rig h te r.

The E liza beth an T h eatre T ru s t, stunned b y th e ir o w n go vernm ent cut-backs, retren ched o u r a d m in is tra to r. D ism ayed at th e th o u g h t o f th e C onference being abandoned, h a lf a dozen th e a tre people came fo rw a rd w ith guarantees and su p p o rt; and w ith new courage we presented a revised bu dget to th e T h e a tre B oard in January.

A t th e tim e o f going to press it appears we have th e $ 8 ,2 0 0 fo r w h ic h we asked, cove ring salaries fo r th e A rtis tic D ire c to r, A d m in is tra to r and fo u rte e n actors.

F u rth e r m o ney has com e in fro m state grants (e xcept N .S .W .); b u t even on o u r sta rv a tio n bu dget we s tilln e e d $ 1 3 ,0 0 0 in p riv a te d o n a tio n s .

Business organisations are being lo b b ie d ; we need p r o o f th a t th e th e a tre profession is w ith us. T he con fere nce c o m m itte e is v ery g ra te fu l to H ila ry Linstead o f M. & L. fo r her b a ttle c ry on o u r b e half. M. & L. have already p u t th e ir o w n m o n e y on th e lin e ."

K a th e rin e Brisbane.

(See L e tte rs b e lo w —E d)

PUTTING THE STAMP ON THE ARTS "S ince M elba made her d e b u t in opera at Brussells in 18 87. A u s tra lia n artis ts have w o n in te rn a tio n a l acclaim in th e P e rfo rm in g A rts .

A n d I am especially d e lig h te d w ith th is series o f stam ps issued o n 1 9 th Ja n u a ry , 1 9 77, and d u rin g

SYDNEY

ly p r r e s \

FES TIV A L THEATRE

"T h e pro b le m s in g e ttin g c e rta in th e a tre com panies to p a rtic ip a te in th e S ydne y Festival came a b o u t because some fu n d s w ere unsecured cured u n til th e beginnin g o f D ecem ber. We d id w a n t th e Q .T .C . to go in to th e T h e a tre R o y a l, and th e A .T .Y .P . in vo lve d , b u t th e y w a n te d a co n ­ tra c t b e fo re th e end o f N ovem ber, w h ic h fo rce d us, re lu c ta n tly , to le t th e m go.

"T h e m o n e y d id com e th ro u g h and indeed we spent in excess o f $ 6 0 ,0 0 0 on th e a tre and dance. Som e, lik e th e N im ro d w ith Y oun g M o and Treasure Isla n d w ere backed fin a n c ia lly , o th e rs such as th e one-m an show s o f C olleen C liffo rd and A le x A rc h d a le w ere p ro m o te d w ith ad vertising. " B u t a w h o le strin g o f th e a tre groups were in c lu d e d , fro m y o u th groups to puppeteers, and o f course we d id present th e In te rn a tio n a l M usic F o ru m , so th e a tre w a s n 't, in m a ny senses,ignored.

A n d we are n e g o tia tin g no w fo r th e Q .T .C . to v is it the n e xt Festival in 1978?

S tephen H a ll, D ire c to r S yd n e y Festival

ROYAL WATERWORKS "T h e Queen w ill m ake a speech and w ill th e n s w itc h on the fo u n ta in s at th e so u th e rn end o f th e plaza th a t w ill send w a te r flo w in g d o w n th ro u g h a series o f ponds. . . to w a rd s the P lay­ h o u s e ."

Des C o rco ra n , occasional actin g P rem ier, S .A . on th e M arch 2 2 n d o p e n in g o f th e H ajekdesigned plaza, the fin a l stage o f th e $ 2 0 m A d e la id e Festival C entre.

M.T.C. NOT A LL T H A T BAD " I e n jo y w o rk in g w ith th e M e lb o u rn e Theatre C om p any. C e rta in ly I d o n 't w o rk fo r it fu ll tim e : I d o n 't w a n t to do th a t fo r any o rg a n isa tio n . . . one day I 'll do an a rtic le fo r y o u ,a real c ry fro m th e he art o n being a free-lance d ire c to r in th is c o u n try !

"T h e c o m p la in ts th a t th e M .T .C . is huge and m o n o p o lis tic are in some respects tru e , b u t I d o n 't k n o w th a t it's such a bad th in g . It is im p o rt­ a n t to have at least tw o re a lly big com panies w h e re y o u can get all th e b a ck-u p and expertise y o u need to do c e rta in shows. " A n d speaking as a d ire c to r, th e k in d o f te c h n ic a l b a ck-u p one gets at th e M .T .C . is firs t rate; it's n o t alw ays as good elsew here! M oreover, I've p u t up ideas to th e c o m p a n y —o f shows th a t I've w a nted to d o —and ju s t as m a n y have been accepted as rejected. " W ith a co m p a n y lik e the O ld T o te . . . th e y in v ite a d ire c to r to do a p ro d u c tio n , p resum a bly because he's a recognised d ire c to r, and the n th e y 're n o t interested in w h a t th a t d ire c to r has to say a b o u t cho ice o f p la y . T h a t seems to me an in co n siste n cy.

"T h e n , w ith the atre s lik e th e Pram F a cto ry and N im ro d : th e y have th e ir o w n pe ople and th a t, in th e m a in , is th a t. S um n er a t th e M .T .C . has been p r e tty ad ventu rou s a b o u t g e ttin g new pe ople in ."

M ic k R odger, free-lance d ire c to r.

Performing Arts

f

i

mTEItS TO

># 60

fl th e Festival o f S y d n e y , fe a tu rin g th e P e rfo rm in g A rts , in p a yin g tr ib u te to o u r m any fin e and ta le n te d a rtis ts in D ram a, Opera, B a lle t, R adio F ilm s & T e levision.

A u s tra lia has fe a tu re d fam ous A u s tra lia n s since H enry Lawson 1949, M elba 1961, B anjo Paterson 19 69, A d a m L. G o rd o n 1970, Dame M ary G ilm o re & Marcus C larke 19 73; A u s tra lia Asia m o tifs w ith Japanese " N o h " p la y o f th e Im p erial C o u rt; The D is p la y created b y S ir R o b e rt H e lpm an; a singer o f th e Classical Chinese Opera.

V ariou s po stm arkers in c lu d e M o om ba Fest­ ival, M e lb ourne 19 69-7 6. Since th e P h ila te lic Sales C entre opened 1971 the S y d n e y O pera House was used and is being used fo r each new issue. H enry K endall M e m oria l Park 1973. T hen tw o special po stm arkers w ere issued o f The S ydne y S y m p h o n y O rch estra ,and th e A u s tra lia n B a lle t, w hen th e Opera House opened 1973.

As one o f m y m a ny hobbies, I have managed to c o lle c t a large n u m b e r o f Stam ps fro m a round th e W o rld p e rta in in g to th e P e rfo rm in g A rts .

M y c o lle c tio n is called P h ila te lic W o rld , M usic & T h e a tre in M in ia tu re . I am en deavouring to a n n o ta te it as a h is to ry o f th e A rts w ith stam ps, and give geographical, h is to ric a l, a rtis tic and personal ba c k g ro u n d o f th e artis ts p o rtra y e d on these m a rvellou s m in ia tu re s th a t are so ta k e n fo r granted?

M a rg u e rite G. M c N e ill.

Dear E d ito rs, W ith d ra w a l o f A u s tra lia C o u n cil s u p p o rt fo r o u r N a tio n a l P la yw rig h ts C onference th is year is a serious b lo w w hen th e fle d g lin g local in d u s try desperately needs s u p p o rt at a basic level.

N o one w o u ld q u e s tio n its im p o rta n c e in th is respect, b rin g in g to g e th e r w ith th e a tre p r o ­ fessionals, w rite rs , d ire c to rs , acto rs, agents and pu blishers, fo r n e a rly tw o w eeks intensive w o rk ­ shopping and discussion.

M. & L. C asting suggest th a t all readers o f th is m agazine c o n trib u te fin a n c ia lly to get th e C onference on th e road again. P e rh a p sd o n a tio n s/ cheques c o u ld be sent care o f T h e a tre A u s tra lia Y o u rs sin ce re ly, H ila ry Linstead, M . & L. Casting.

K ings Cross.

Though the A u s tra lia C o u n c il has given some m o n e y (see above) there is s t ill a $ 1 3 ,0 0 0 s h o rt­ fa ll an d we w o u ld be h a p p y to pass on d o n a tio n s to th e C onferen ce c o m m itte e . T h ey s h o u ld be m ade o u t to th e A u s tra lia n N a tio n a l P la y w rig h ts C onference, w ho no d o u b t w ill issue receipts.

E d ito r.

Dear E d ito r, In y o u r Q uotes and Q ueries c o lu m n in V o l. 1 No. 3 o f Theatre A u s tra lia , Joh n S m yth e , re fe r­ ring to th e S tatis G ro u p 's p ro je cts on S ylvia P lath and Peer G y n t, states q u ite false ly th a t " . . . th e A .P .G . c o lle c tiv e . . . is being less th a n su p p o rtiv e o f its s e lf-w ille d o ffs p rin g b o th on fin a n c ia l . . . and id e o logical . . . g ro u n d s ." We

w ish to p o in t o u t fir s tly th a t th e o rig in a l 3tasis p ro je c t had a d e fic it o f $ 9 ,0 0 0 w h ic h was m et fro m A .P .G . fu n d s. S eco n d ly, to u rin g the S ylvia P lath sho w was seen as a possible w a y o f o ffs e t­ tin g th e d e fic it o f th e new Peer G y n t p ro je c t, w h ic h w ill s till have a d e fic it o f at least $ 2 ,0 0 0 , and th a t also w ill be m et fro m A .P .G . fun ds. It sho uld be clear fro m th is e x p e n d itu re o f $ 1 1 ,0 0 0 th a t the A .P .G . has given sub stantia l s u p p o rt to th e Stasis G ro u p , at least e q u iva le n t to th a t given to o th e r A .P .G . a ctivitie s.

Y o u rs sincerely M argaret C lancy fo r th e A .P .G . E xecutive D ear E d ito rs, In th e C hristm as issue, K a th a rin e Brisbane states th a t th e B lack T h e a tre in R e d fe rn opened a year ago w ith The C akem an. T h is is in c o rre c t.

The Cakem an was p ro d u ce d b y B ob Maza in Jan uary 1 9 7 5 , it was n o w b y m y re cko n in g , Jan uary 1977.

It's a b it hard to see w h a t K a th a rin e Brisbane means b y saying th e th e a tre has com e a long w a y. In 1 9 75, th e audience was larg ely b la ck, th e pla y had guts and was in v o lv in g : in Dec­ em ber 1 9 7 6 , acco rd in g to y o u r re vie w er, th e audience was all w h ite , th e pla y was ro ugh b u t in v o lv in g , th e b la c k actors had g ro w in g e xp e r­ ience, th e w h ite actors w ere gutsy.

W hy d o e s n 't Theatre A u s tra lia in v ite some­ one in vo lve d in th e B lack T h e a tre fo r a c o m m e n t o n th e g ro w th o f th e ir e x c itin g , raucous b ra in ­ c h ild ?

S in ce re ly, S a lly M o rris o n K e w , V ic to ria

Theatre-A u s tra l ¡a Feb-M arch, 1977 Page 7

IQUERIES/ | ’

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LOCAL FARE FORQUEENSLAND '''F o r th e fir s t tim e ever, plays w r itte n b y Q ueenslanders w ill d o m in a te th e s u b s c rip tio n season o f a Brisbane T h e a tre . T hree o f th e seven plays fo r th e firs t 1977 s u b s c rip tio n season at L a B o ite , M ilto n , w e re w ritte n by Q ueenslanders— and tw o o f th e plays are prize -w inne rs.

H eading th e lis t o f Q ueensland plays is J ill Shearer's d o u b le -b ill. The K ite and The B o a t w h ic h have ju s t w o n th e U tah-C airns ce n te ra ry fir s t p rize o f $ 1 ,0 0 0 and go ld m e d a llio n .

T he o th e r p riz e -w in n in g play caused a fu ro re w hen it was firs t pro d u ce d b y th e same th e a tre c o m p a n y in 19 31. It was George D ann's In B e a u ty i t is F in is h e d w h ic h w o n a p rize o f 50 p o unds at th e tim e —a prize a tta c k e d b y S m ith 's W eekly as being aw arded to a "s o rd id dram a o f in te r-b re e d in g o f alien races.”

T h e th ir d p la y is b y th e w o m a n w h o , am ong o th e r th in g s, makes th e in te rv a l f r u it cake fo r La B o ite , Mrs Lo rna B ol. Her pla y T re a d m ill is a tru e s to ry set in th e 19 4 0 's a b o u t th e problem s o f being a w om a n.

"T h e Q ueensland plays are o n ly th e begin­ ning o f a big Queensland push. We plan to do m o re th in g s Queensland and to use o u r th e a tre to m irr o r Queensland s o c ie ty , in c lu d in g c o n te m ­ p o ra ry p o litic s . W atch o u t Season II 1977 at La B o ite ."

Rick Billinghurst, A rtistic D irector, La B oite, Brisbane.

O G ILV IE ON THE LOOSE " I t is a fee lin g o f re lie f and release: a fte r fo u r years o f sixtee n hours a da y I feel t o t a lly and w o n d e rfu lly in lim b o .

"O n e o f th e reasons I le ft A d e la id e was to get th e chance to m ove in o th e r d ire c tio n s . M ost o f m y life seems to have been con necte d w ith regional com panies lik e th e S .A .T .C . and th e M .T .C .. A n d th e A d e la id e c o m p a n y is re ally a n o th e r exam ple o f w h a t th e M .T .C . and th e O ld T o te have been d o in g all these years—a m ore ob vio us exa m ple even. Th ere 's perhaps m o re v a rie ty in M e lb o u rn e audiences: at th e S .A .T .C .

I was re a lly fee lin g th e re s tic tio n o f having to w o rk hard preparing plays fo r such a c o m fo rta b le class. A n d th e y re a lly d ic ta te w h a t succeeds in A delaid e. T h e greatest ad ve n tu re th e audience had ove r th e last co u p le o f years was E q u u s — w h ic h I th o u g h t a load o f m id d le class crap. " A c tin g again in th e c h ild re n 's show O ld K in g C ole was a real jo y . I h a d n 't been on stage fo r tw o years, and th e ro le suite d p e rfe c tly — w ith th e tra in in g I'd had as a c lo w n . A n d th a t experience o f being an a c to r made me th in k o f all th e w ro n g th in g s I've d o ne in th e rehearsal ro o m as a d ire c to r—so m a ny th in g s I've said to actors th a t m u st have m eant s im p ly n o th in g to th e m ! " I w a n t to use 19 77 to d o very little w o rk ; th e re 's L u c re z ia B org ia fo r t h e A u s tra lia n O pera b u t I 'd o n 't have any o th e r fix e d plans. I w a n t tim e to lo o k b o th ba ckw a rd and fo rw a rd , and I w a n t th e fre e d o m ju s t to do a lo t o f th in k in g ."

George Ogilvie. Form er A rtistic D irector, South Australian Theatre C om pany.

DEPOLITICISING QUEENSLAND

FILM

i r \

"Q u eensla nd plans to set u p a F ilm B o a r d like S o u th A u s tra lia , lik e N ew S o u th Wales . . . . and i t has w o rrie d a fe w o f us th a t it c o u ld be p o litic a l in its o p e ra tio n o r e ffe c t.

We w a n t to guarantee th a t excellence is fo s te re d : the re's a lo t o f gutsy w o rk going on u p here, som ething w h ic h m ig h t n o t be recog­ nised.

So w e 're se ttin g u p a F ilm In s titu te : a g roup o th e r th a n th e B oard, a d e p o litic is e d g ro u p w h o can speak w ith an a u th o rita tiv e vo ice , give awards, co n d u c t sem inars . . . . a g ro u p w h o can make people aware d o w n -s o u th o f th e high standards up here—and sho w fo r instance th e re 's no need to im p o rt a cre w i f s h o o tin g in Queens­ land * Jon Dawson. Assessor Experim ental Film Board

BENJAMIN IS BEST Stephen S o n d h e im , A la n J. L e rn e r and Hal P rince, over fo r th e m usic th e a tre fo ru m saw (see p. 8) The E lo c u tio n o f B e n ja m in F ra n k lin re ce n tly. " I t 's th e best p la y I've seen all y e a r—I never th o u g h t I w o u ld have com e 1 3 ,000 m iles to see such a p la y ."

Stephen Sondheim

DIANE HERE FOR PREMIERE TW

THE EDITOR Dear S ir, M o om ba 's Festival o f T h e a tre is going fro m s tre n g th to s tre n g th in its general acceptance am ong a m ateu r theatregoers and th e general p u b lic .

I t began as a one-act fe s tiv a l and a fte r a break developed in to a n in e -n ig h t season o f fu ll-le n g th plays fo r a m ateu r groups. T h e event to o k a great leap fo rw a rd last year w h e n it was held in a profession al th e a tre fo r th e firs t tim e .

The Festival organisers came o u t o f th a t one w ith a sm all p r o fit as th e result o f near-capacity attendances each n ig h t. A n d long b e fo re th e 1977 event was a n noun ced, th e organiser was in u n d a te d w ith so m a n y requests fro m groups to ta ke p a rt th a t a se le c tio n c o m m itte e had to sit d o w n and te n groups w ere chosen to co m p e te .

F o r th e firs t tim e p riso n g ro u p at P entridge, Mess H all Players, w ill be ta k in g p a rt. F o rm e rly k n o w n as Players A n o n y m o u s , th e g ro u p has ste a d ily developed in q u a lity , and gra d u a lly th e ir a n o n y m ity has been d ro p p e d . It was hoped th a t th e Mess H all Players w o u ld ta k e pa rt " o u ts id e " w ith th e rest o f th e c o m p e tito rs , b u t p riso n a u th o ritie s tu rn e d th e request d o w n , and th e g ro u p w ill stage its p ro d u c tio n in " A D iv i­ s io n " a t P entridge as a S unday m a tinee, and fes­ tiv a l tic k e th o ld e rs w ill be able to a tte n d . Several h u n d re d o f th e p u b lic n o rm a lly a tte n d th e g ro u p 's regular p ro d u c tio n s at th e gaol. T h e Fes­ tiv a l e n try is N ig h t o f the A u k .

T he M o om ba festiva l arose w hen th e annual V ic to ria n Dram a League one-act festiva l w e n t in to abeyance because o f d w in d lin g inte rest.

C u rio u s ly enough, fo llo w in g th e g ro w in g success,

plans to revive its o w n festiva l la te r in 1977.

Joan Blair, Organiser. Moom ba Theatre Festival

Dear S ir, I was c atch ing up on m y reading o f Theatre A u s tra lia and in p a rtic u la r re fe r to B ill R e d m o n d 's a rtic le in th e O c to b e r/N o v e m b e r issue. I agree w ith a great deal o f w h a t B ill has to say a b o u t th e lack o f basic tra in in g to p ro v id e good te c h ­ nicians fo r th e fu tu re , how ever I sho uld p o in t o u t to all readers o f y o u r fin e m agazine th a t a lth o u g h J.C. W illia m s o n Theatres is n o w no long er in th e business, th e fo rm e r em ployee s o f th is org a n is a tio n are n o w leasing th e premises and ru n n in g th e ir o w n businesses, th u s m a in ta in ­ ing th e exp e rtise w h ic h is available in so fe w areas in A u s tra lia .

'T h e F irm Scenery M akers', u n d e r th e d ire c t­ io n o f Ivan C a ln in , s till p ro d u ce scenery and props and 'S cenic S tu d io s ' u n d e r Ross T u rn e r and Paul K a th n e r handle a great v a rie ty o f w o rk and indeed p ro v id e a service on th e a tre p ro d u c t­ ion w h ic h is un equa lled in th is c o u n try . I t is th e w o rk o f th e people in these tw o com panie s th a t k e p t th e stan dard o f p ro d u c tio n s a t J.C. W illia m s o n Theatres so high fo r so long and I feel it sho uld be k n o w n th a t th e y have c o n tin u e d th e ir good w o rk .

Y o u rs f a ith fu lly , John Robertson South Y arra, V icto ria

D iane C ile n to is in her A u s tra lia n ho m elan d to set up th e w o rld p re m ie re o f F o r Years / C o u ld n 't Wear M y B lack b y A n th o n y S haffer.

Th e title was to be W idow s Weeds (as a nnoun ced in last m o n th 's Q & Q) b u t th e y have reverted to th e o rig in a l. T h e a tre -A u stra lia w ill be fe a tu rin g an in te rv ie w w ith b o th D iane and A n th o n y S h a ffe r in th e n e x t issue. " I came o u t w ith a re co rd in g o f th e p la y b y th e G re enw ich T h e a tre actors, and all th e cuts, fo r Joe M a cC o lum w h o w ill be d ire c tin g it here.

I w ill be d ire c tin g it at G re e n w ich la te r in th e year and hope fo r a tra n s fe r to th e W est End. " I'v e seen som e o f th e rehearsals, w h ic h lo o ke d very en coura ging , and T o n y is co m in g o u t (he arrived 31st J a n u a ry —E d.) to be in on th e fin a l stages and fo r th e o p ening on F e b ru a ry 9 th . " M y o th e r reason fo r being here is th e school w e 're op ening fro m A p r il 2 4 th a t th e fa rm I have b o u g h t N o rth o f Cairns. O u r aims c a n 't be exp la in e d in a sentence, b u t it's d e fin ite ly no t some k in d o f n u d is t c o lo n y as some o f th e press have im p lie d . " M y long te rm plans in A u stra lia ? Y o u 'd b e tte r fin d o u t a b o u t those d u rin g th e in te rvie w ?

Diane Cilento^

Page 8 T h e a tre -A u s tra lia F eb-M arch, 1977

There's been a growing need within our theatrical community for ameeting ground for people interested in writing musicals— somewhere to discuss the methods involv­ ed; the problems of creation and product­ ion; the very future of the medium itself.

P R O D U C T IO N S The G olden O ldies seems to have d is pe lled any G ra n t S tree t (M e lb o u rn e ) gre m lin s and is p la y in g to good houses. A n a tio n a l to u r seems on th e cards. H oorah fo r H oop la.

B ig Toys, so th e w o rd goes, is th e t it le o f the n e x t P a tric k W h ite p la y fo r th e T o te (S y d n e y ), w ith Jim S harm an again d ire c tin g . Seems lik e a classic a u th o r/d ire c to r re la tio n s h ip in th e D e x te r/ W esker, H a ll/P in te r m ode.

Tarantara, th e G & S m e dley, has had a stu n n in g success w ith seven weeks at M arian S treet (S ydney) and fo u r weeks at th e T h e a tre R oyal (S yd n e y). M arian S tree t's fo llo w -u p is S o m e ­ th in g 's A f o o t a m usical s p o o f o f A gath a C hristie 's Ten L it t le Niggers.

T h e A u s tra lia n P e rfo rm in g G ro u p are ta k in g th e ir to u r o f The H ills F a m ily S h o w to S ydne y's B ond i P avilion w here it w ill fo llo w M e rvyn R u th e rfo rd 's pla y The T ra in in g R un w h ic h has done w e ll.

P LA C ES T h e A .T .Y .P ./O ld T o te A rm id a le p ro je c t w ill be in s itu th is m o n th . T he U n iv e rs ity o f N ew England are lending the group a van. A c c o m m o ­ d a tio n is a p ro b le m because th e c o m p a n y mas­ c o t, a huge S c o ttis h de erh o u n d b e lo ngin g to Barbara D ennis, is tra v e llin g w ith th e m .

A m in i P la y w rig h t's C onference? As a Festival p re lim in a ry in P erth, "Plots and Plans" is a fo u r day w o rkin g -a n d -sh a rin g sem inar focussing on w ritin g fo r c h ild re n . A m o n g s t those in volve d is A ndrew Ross, re c e n tly w ith M .T .C ., n o w at P erth's Playhouse.

The West End? A fte r fifte e n years in th e lunch tim e th e a tre fie ld , and th e n some to u rin g e x c u r­ sions in to S ydne y's vast w este rn suburbs, th e Q Theatre is ta k in g up a hom e base in P e nrith and laun ching in to evening p resentation s o f fu lllength shows. T h e ir firs t progra m m e o f fiv e plays (Engaged, W hat the B u tle r Saw, A H a rd G od, L o c k up Y o u r D aughters a n d The E n te r­ ta in e r) w ill each p la y P e n rith fo r tw o weeks, th e n a w eek each in B a n k s to w n and P arram atta.

Th e H u n te r V a lle y T h eatre C om p any, a fte r th e long struggle o f th e ir firs t season in N ew castle, have w o n th e fig h t fo r s urviva l. S tate and federal grants m ake 1977 lo o k a m u ch (re la tiv e ly ) rosier prospect.

PEO PLE Carole Raye is t i l l p la y in g to fu ll houses in C a lifo rn ia S u ite at th e Ensem ble.

Brian Thom pson, w h o w o rk e d o n S u p e rsta r lo o ks lik e ly to be th e designer fo r The Best o f L io n e l B a rt musical in L o n d o n .

Cameron A llen, w h o w ro te th e o u ts ta n d ing score fo r S u m m e r o f Secrets, is d o in g th e m u sic fo r N im ro d 's T w e lfth N ig h t d ire c te d b y John Bell.

Kim Carpenter is to be th e designer.

M artin Phelan, A n n H ad y , B etty Lucas, Elizabeth Chance, M artin Vaughan and Brendan Lunney are o f f to th e Perth Festival w ith th e T o te 's p ro d u c tio n o f The P lough a n d th e Stars.

M o re m o v e m e n t: Ruth Cracknell, Ron Falk, Brian James and Kevin Miles to th e S o u th A u s ­ tra lia n T h eatre C om pany.

Norm an Hetherington and his pu ppets are ta k in g p a rt in '7 7 Leap, a th re e day p e rfo rm in g arts festiva l " f o r yo u n g people o f all ages" at th e S e ym o u r C entre in S ydne y fro m F e bru ary 2 4 th .

Hence th e International Music Theatre Forum o rig in a te d and organised b y Ms A m y M cG rath and held as p a rt o f th e Festival o f S ydne y at th e N.S.W . C o n se rva to riu m fo r one w eek in J an uary.

Th e F o ru m in v ite d a n u m b e r o f professionals fro m E ngland and A m e rica . T h e ir b rie f was to com e and te ll us o f th e ir experiences and to give p ra c tica l advice o n th e c o n s tru c tio n o f The M usical.

THE MASTERS A L A N J A Y L E R N E R , lyricist (P a in t Y o u r W aggon, M y F a ir L a d y etc; collaborator w ith Loewe, Previn, Bernstein, W eill); HARO LD P R IN C E , producer (B roadw ay— F id d le r on the R o o f, W est S ide S to ry etc.— and H o llyw o o d —D am n Yankees, P yjam a Game etc.); S T E P H E N S O N D H E IM , com poser/lyricist (A F u n n y T h ing H app ene d o n the Way to the F o r ­ u m , C o m p a n y, A L it t le N ig h t M u sic . . .); IR V IN G B A U E R , playw right, Broadway playdoctor; S T O N E W IT N E Y , Broadway co-director and stage manager; AND MORE.

International Musical l last month because of a theatre.

W IL L IA M SH O U BRI forum, and of the need THE CLASSES T h e re w ere open sem inars and th e re were masterclasses th ro u g h o u t th e w eek. A t none w ere th e re ever less th a n a h u n d re d people in a tte n d a n ce —local w rite rs , ly ric is ts , com posers, d ire c to rs , cho reog rap hers; pe ople w h o have been in volve d w ith th e m usical in A u s tra lia fo r a long tim e .

A fterw ards; "T h e re was a great fe e lin g o f fru s tra tio n and im p a tie n ce in e v id e n c e fro m th e people in v o lv e d " (P rince ); T h e A u s tra lia n M usic C entre w ill act as a re p o s ito ry fo r lib re tto s , scripts, ly ric s , sheet m usic and tapes; and it w ill keep a list o f names so th a t people lo o k in g fo r c o lla b o ra to rs can locate o th e r inte reste d in d iv id u a ls ; A de cisio n th a t th e re w ill be o th e r F o ru m s — n o t so large perhaps, b u t sessions w here people can present m a te ria l, have it p e rfo rm e d and c ritic is e d .

THE PROBLEMS W h y was th is art fo rm in such a depressed state in A u stra lia ? Some blam ed th e lack o f sub­ sid y; oth e rs p re va ilin g sn o b b e ry against such a "b a s ta rd is e d " fo r m as th e m u sica l; and oth ers d o u b te d w h e th e r A u s tra lia c o u ld even create a great m u sica l—it was a p e c u lia rly A m e rica n fo rm .

T o th is last grip e, b o th Le rner and Prince c o u n te re d th a t A u s tra lia had ju s t th e same lack o f c u ltu ra l tra d itio n s , th e same e le c tric and p io n e e rin g s p irit, th e same p o w e rfu l energy th a t helped create th e h y b rid art fo r m o f th e m usical in A m e rica . T h e y saw we n o w had a u n iq u e voice and m a nner in o u r p la y w rig h tin g ; th e days o f a d is tin c tiv e " A u s tra lia n m u s ic a l" c o u ld n o t be fa r o ff.

P rin c e : S ubsidy is no w necessary. Its th e o n ly w a y m a te ria l can be w o rk e d on and developed.

C reators o f m usicals sho uld have th e same rig h t as p la y w rig h ts to fa il. A n d th e m usical is m ore expensive; m o re people are invo lve d . A musical depends on u n d e rsta n d in g c o lla b o ra tio n s .

A V oice . Th ere 's a te rrib le the m -a nd-u s sno bbery in th e A u s tra lia n A rts scene. F ro m th e v ie w p o in t o f O ffic ia l R e c o g n itio n p a rtic u la rly , th e m usical is lo o ke d d o w n on as in fe rio r to dram a, b a lle t and opera.

B auer (b e w ild e re d ): In A m e rica the re's very little subsidy fo r a n y o f th e d ra m a tic arts. Perhaps th a ts to th e ir d e trim e n t . . . b u t w h a t does exist is th e fin a n c ia l b a ckin g o f big business.

W itn e y : Its a m a tte r o f salesm anship. If th e p ro d u c t is good enough, it can be sold.

MUSIC

T h e a tre -A u stra lia Feb-M arch, 1977 Page 9

guls came together in Sydney rld-wide shortage o f product in musical

|

¡¡E reports on this unique and pioneering Australian musicals.

G eneral D e m u r: Business houses here a re n 't inte reste d in s u p p o rtin g th e u n k n o w n . T h e ir m o n e y goes to th e big e s ta b lis h m e n t—Opera, B a lle t. . . .

The P anellists (as o n e ): Its s till a m a tte r o f sales­ m a nship!

One B ob E llis : A u s tra lia d o e s n 't have th e sort o f audiences to sustain a th e a tre o f big musicals.

A u s tra lia n s a re n 't inte reste d in th e a tre . T h e y 're inte reste d in s p o rt.

(W itn e y : So are A m e ric a n s ) A u s tra lia 's B ruce B a rry : W ell th e n , w h a t a b o u t th e Leagues C lub C irc u it. . .

A CHORUS LINE " A C horus L in e was created b y people w h o w a n te d to say som e th in g a b o u t th e ir personal experiences. It began w ith a g ro u p o f people ta lk in g in to a tape. . . .p u ttin g d o w n th e ir life

histo ries, th e ir fears and fru s tra tio n s ; th e ir personal hopes. T h e y d id n 't go in to it w ith the o v e r-rid in g in te n tio n o f m a kin g a big m usical to go im m e d ia te ly o n to B ro a d w a y, w ith cast album s and film c o n tra cts. It was a p o w e rfu l personal in v o lv e m e n t th a t generated i t ' ' (S o n d ­ heim ).

"T h e sm all m usical is viable . . . W hat is needed is a w o rk s h o p s itu a tio n ." (P rince) "O n e d o e s n 't w rite a m usical a b o u t con cepts, one w rite s a b o u t p e o p le " (L e rn e r) S o n d h ie m 's masterclass on ly ric w ritin g was o f e n orm o us in te re st. He stressed th a t ly ric s w ere n o t p o e try —th e y are made to be sung. Be clear, and banal if necessary; fo r one sho uld never make an audience sweat ove r lyrics.

He ta lk e d o f songs th a t speed th e s to ry along and songs th a t are c o m m e n ta ry o n ly . B u t he d e m o n s tra te d th e re m u st alw ays be a reason fo r th e song.

H a ro ld Prince's masterclass on d ire c tio n p o in te d o u t h o w th e best songs all have th e m a t­ erial in th e m to fa c ilita te th e ir staging; th e y d ic ­ ta te th e ir o w n m a nner o f pre se n ta tio n .

A n d so o n ; in to closer and closer d e ta il. The p r o p o r tio n o f d ialo gue to th e w h o le ; w h e th e r and w h y dia lo g u e , a song, o r a dance ro u tin e best s uits th e c o n te n t o f a p a rtic u la r scene; th e cues fo r songs; th e re la tio n s h ip be tw een song and cha racte r, be tw een ly ric and m usic. . . .

P rin c e : A m e rica n m usicals expressed a c e rta in a m o u n t o f th e A m e rica n s p irit . . . b u t th e y also discovered, fo rm u la te d , m o u ld e d , th a t s p irit.

Put a name to it. B u t, w hatever else, th e im p o rt­ an t th in g is th a t y o u r show s say som et a n t th in g is th a t y o u r show s say som ething m e a n in g fu l to an A u s tra lia n audience. D o n 't w rite w ith a beady eye fix e d on B ro a d w a y o r th e West End. S o n d h e im : Beware o f ty p in g y o u r cre a tio n s on th e A m e rica n style . D o n 't lo o k overseas fo r a ffir m a tio n o f A u s tra lia n ta le n t.

P rin c e : W hat m a tters is y o u r firs t au d ie n ce —and th a t w ill be an A u s tra lia n one.

FIN A LE T he w eek was c lim a xe d b y a c o n ce rt in th e S e ym o u r C entre. I t was a m agical evening, and standing ro o m o n ly . S o n d h e im sang songs fro m his shows. Local a rtis ts sang som e fro m Le rner's shows and th e re w ere tw o songs fro m o rig in a l A u s tra lia n m usicals. T h e y stood up w e ll;th o u g h it was p a in fu l to n o te h o w m a ny people never even kne w those musicalse even kne w those m usicals existe d. T h e A u s tra lia n negativism all over again? T h e hope is th a t the M usic T h eatre F o ru m changed a fe w pe ople's a ttitu d e s and gave o th e rs th e heart to go on w o rk in g . B u t th is event m u s tn 't e xist in a vac­ uu m . It m ust be fo llo w e d up. " A m usical depends on u n derstand in g c o lla b o ra tio n s " (P rince ) T h a ts w h a t we m ust d o n o w ; co lla b o ra te .

A U S T R A LIA N DOUBT A nagging q u e s tio n recurre d th ro u g h the sessions—th e A ustralian-ness o f a m usical.

Th e D o u b t: because o f th e in flo w o f d iffe re n t c u ltu re s and e th n ic groups in to A m e ric a , it had a w id e sp e c tru m o f m usical styles to w o rk on and ad apt; A u s tra lia d o e sn 't.

L e rn e r A . J. (am azed): We all use th e same notes d o n 't we?

P rin c e : Y o u d o n 't have to use A u s tra lia n h is to ry to m ake an A u s tra lia n m usical. I t is n 't necessary to w rite a b o u t The O u tb a c k o r Ned K e lly . T h a t's p a ro c h ia l. Th e fa c t th a t its w ritte n in A u s tra lia b y an A u s tra lia n and show ing signs o f a d is tin c t­ ive A u s tra lia n m ode o f a tta c k —th a t makes it A u s tra lia n .

(A u d ib le re lie f. A p p la u se ) D iscussion o fte n cam e back to th e D iscovery o f th e A u s tra lia n S oul . . . o r s p irit, o r psyche . .

A V oice: We m ust w a it fo r it to be created.

A n o th e r V o ic e : I f w e d o th a t w e 'll w a it fo r b lo o d y ever.

L e rn e r: W ell, w rite a b o u t th a t.

HEATRE FORUM

Stephen Sondheim

Page 10 T h e a tre -A u stra lia F eb-M arch, 1977

RICHARD BRADSHAW — Puppeteer

W hen I chide d h im once on being a K e n tu c k y C o lo n e l—w h ic h is tru e , by th e w a y —he said, "Y e s. A n d som eday I 'll call m y sho w C o lo n e l Bradshaw 's K e n tu c k y F ra y e d P u p p e ts !" T h is is ty p ic a l o f his sense o f h u m o r: in a w o rd , p o in te d .

W hen he gave his b e n e fit show fo r th e Play­ w rig h ts C onference a year ago, he an nounced inte rval by saying, "W e ll, ladies and ge ntlem e n, I'd say 'tu r n o n th e lig h ts ' b u t please d o n 't c o n ­ fuse illu m in a tio n w ith e n lig h tm e n t". T h is was an ob vio u s reference to th e Lib e ra l P arty's slogan th a t ushered as in to o u r present D a rk Age. N o w he is back fro m a m o n th -lo n g to u r o f Japan. The to u r was sponsored b y th e fam ous Japanese p u p p e t the atre P U K and in c lu d e d his shadow plays and pieces such as S uper K angaroo, A lf, C ircus, and oth ers. B u t w h ile he is m ost w e ll k n o w n as a shadow pu ppeteer, his latest w o rk is in solid p u p p e try . As Head o f th e M a rio n ­

e tte T h eatre o f A u s tra lia he is ta k in g o u r n a tio n a l p u p p e t th e a tre in to all new d ire c tio n s . " I 'm try in g to exte nd g ra d u a lly th e audience u p w a rd s ," he said. " R oos, fo r instance, has m ore appeal fo r sen io r p rim a ry o r secondary to o ; even fo r ad ults. T ry in g to create a co m p le te fan tasy is n o t, n o w , I feel, th e preserve o f pu ppets. Leave th a t to c a rto o n s, film s , and such. Illu s io n is w h a t we w a n t to create. I f th e ch a ra cte r is strong enough, it's in te re stin g to see h o w fa r yo u can go to s ho w th a t it's ju s t a p u p p e t."

In th is w ay he th in k s in pu re th e a tric a l term s.

T here is no d is tin c tio n here be tw een p u p p e t and live a c to r; fo r he a tte m p ts to create an image, o r illu s io n o f re a lity , all th e m o re sta rk because th e audience kno w s h o w it is being created.

People are d u lle d to violen ce on th e screen, fo r exa m ple. B u t w h e n , at th e end o f Hands, th e p o p star is a c tu a lly p u lle d ap art, we k n o w th e tee nyboppers are g e ttin g w h a t th e y re a lly dream ed o f! " T o c o n tin u e along tho se lines . . . a con sist­ en t stro ng cha racte r is w h a t is im p o rta n t—n o t necessarily a b e a u tifu l s c u lp tu re d p u p p e t. Ideas and characters, th e tw o th in g s a p u p p e t pla y has to have. H ands starts o f f w ith gloved hands and g ra d u a lly in tro d u c e s p u p p e ts —rod puppets, strin g pu ppets, fin a lly a large p o p star w o rk e d b y th re e puppeteers w h o sings th e song 'H ands O ff'. In a n o th e r piece, one hand is a co w 's udders and a fte r it is m ilk e d it picks up th e pail and w alks o f f ! In a s k it a b o u t a spider, w hen th e tw o hands w h ic h fo r m th e spider are h it w ith a karate c h o p , th e y separate and w a lk o f f in op p o site d ire c tio n s !"

In his shadow p u p p e try to o , he is so aware o f th e grotesq uerie o f pu ppets, o f th e p o te n tia l fo r b la c k h u m o r in th e m . O fte n his h u m o r

by Roger Pulvers borders on th e co sm ologica l.

"R o o s, o f course, is d iffe re n t, because we are using ha nd-h eld pu ppets. N o w a m a jo r p ro b ­ lem w ith th is k in d o f p u p p e t is th a t th e y are d if f ic u lt to w a lk. W ith o u r w allab ie s, th e y d o n 't have to w a lk ; th e y hop. So th e y are ideal cre at­ ures fo r th is k in d o f p u p p e t."

A n o th e r fe a tu re o f his p u p p e try : each p u p p e t is p e rfe c tly suite d to its in trin s ic character. " I th o u g h t o f T V , to o , w hen I devised the blue costu m e fo r th e pu ppeteers and the ba ck­ g ro u n d . T h e y use ch ro m a -k e y no w and th is can e lim in a te th e b lu e fig u re s a lto g e th e r against a s im ila r b a ckg ro u n d . Plans fo r th e fu tu re ?

H m m m . Yes, a pe rm a n e n t p e rfo rm in g hom e fo r th e M a rio n e tte T h e a tre in a ce n tra l c ity lo ca tio n .

In fa c t, I'd say th a t th e chances are fa ir ly good th a t we m ig h t have th is b y th e m id d le o f th is year. T h a t w o u ld be o u r co m p a n y o f fo u r puppeteers plus m e and g m anager/stage d ire c to r.

T h is w o u ld mean less to u rin g and a re p e to ire o f shows to d o . B y th e m id d le o f th is year w e w ill have fo u r shows th a t can be d o ne b y fo u r p u p ­ peteers. M y aim m o re th a n a n y th in g is to do shows fo r ad u lts, b u t we have to sta rt b y e x te n d ­ ing th e range o f present shows firs t. N o w I'm so bogged d o w n by a d m in is tra tiv e p roblem s. I resigned so m a ny tim e s last y e a r!"

T h e re are s till obstacles in a c o u n try w here p u p p e try is n o t ta ke n serio usly b y m o st th e a tre people. Y e t R ich a rd B radshaw 's range o f ta le n t— fro m th e high c o m ic to th e grotesque th ro u g h every con ceivable ty p e o f p u p p e t—is greater th a n th a t o f alm o st any o th e r A u s tra lia n p la y ­ w rig h t, d ire c to r, o r a c to r I can th in k o f. In A m e ric a he m ay be a C o lon el, b u t fo r me, here, he is no less th a n o u r S hadow M in is te r fo r th e A rts !

a tribute to the A.P.G. Jack Hibberd A Stretch of the Imagination Barry Oakley Bedfellows A Lesson in English (Double Bill No. 1) John Romeril I Don’t Know Who To Feel Sorry For The Floating World David Williamson The Removalists Don’s Party (new film edition) Three Plays: The Coming of Stork — Jugglers Three — What If You Died Tomorrow The Department A Handful of Friends today better than ever Currency Press Pty. Ltd. Australia’s drama publisher distributed by Cambridge University Press (Aust.) Pty. Ltd., Melbourne and Sydney

Theatre-A ustraU a Feb-M arch, 1977 Page 11

THE M A R IO N E TT E TH E A TR E OF A U S T R A LIA

ROOS Roger Pulvers

ROOS devised and directed by Richard Bradshaw. Drama Theatre Sydney Opera House, N S W Opened 3 ¡.77.

I t is n o t o fte n th a t A sian th e a tric a l in v e n tio n s are successfully a d opte d in th e w est. N o w th e M a rio n e tte T h e a tre o f A u s tra lia , in w h a t a m ounts to a re d e fin itio n o f th e re la tio n s h ip betw een p u p p e t and o p e ra to r, have d o n e it. A n d th e y 'v e done it n a tu ra lly , and w ith a s ty le o f th e ir ow n.

T h e y've made it w o rk .

It is a tim e w hen m any p u p p e t theatres a round th e w o rld are w rap ped in b u n ra k u . In th is sense, th e use o f ho oded figu res v is ib ly h o ld in g pu ppets in n o t u n trie d in the w est. T h e Swedes, w ith th e ir am azing p u p p e t th e a tre (w h ic h is f u lly state s u p p o rte d ) have d o n e it. B u t th e M a rio n e tte T h eatre o f A u s tra lia 's use o f vis ib le op erators is m o re th a n ju s t a b o rro w e d device. It fits in p e r­ fe c tly w ith the message o f th e s to ry th a t, sadly, th e fa te o f anim als is in th e hands o f m an.

T h e show begins w ith in tro d u c tio n s . First o u t is O cker th e Q u o k k a , " a ll th e w ay fro m W .A ." O cker is w a ry o f th e ho oded fig u re be hind h im . "F ie keeps fo llo w in ' me a ro u n d . W here's his fa c e ? " he says. Th e o p e ra to rs are all dressed in ba by blue, b e fo re a blue b a c k d ro p . O cker refers to his o p e ra to r as "a great big blu e b lo b ." T his im m e d ia te ly calls a tte n tio n to the presence o f th e puppeteers. It is a wise th in g to d o fo r au d­ iences w h o are n o t used to seeing th e m on stage.

It is do ne very un se lfc o n s c io u s ly . B u t it is also wise th a t it is n o t m e n tio n e d again. T h e audience w ill fo rg e t th a t th e y are th e re .

O cke r is fo llo w e d b y R ita and R at K angaroo and a s n o o ty Banded Hare W a lla b y , th e fo rm e r, w ith ra tte d ha ir a k in d o f M oonee Ponds m a r­ sup ia l, and the la tte r a po uched pom and c o n ­ fid a n te o f governors-general!

T h en in lum b ers Big Red, operated by three pu ppeteers, one o f w h o m m a nipula tes his scra tcher! Red wears a c o rk -rim hat, carries a swag, and is a kangaroo o f very fe w w ord s. In th is cha racte r, as in O cker, R ichard Bradshaw 's su p e rla tive h u m o r strike s. Big Red sings a Lawson b a lla d , "F re e d o m on the W a lla b y ."

A fte r a tree kangaroo fro m n o rth e rn Queens­ land flie s in on a vine lik e the da ring y o u n g man on th e fly in g trapeeze, we are in tro d u c e d to a fa m ily o f parm a w allabies. T h is w a lla b y was th o u g h t e x tin c t in A u s tra lia u n til very re c e n tly .

We w o n 't ask ho w a w a lla b y species m acropus p a rm a g o t an uncle w h o 's a koala named U ncle

BIG RED the swagman kangaroo fro m Roos operated b y three puppeteers. . .a com bination o f 'Black Theatre', Bunraku, and ro d puppetry.

P ho to : Douglas Thompson.

A lb e rt! O ld A l, fu rth e rm o re , has a m o n k e y on his ba c k : he sho ots pure resin o f e u c a ly p t d a ily by chew ing on gum leaves!

A n y w a y , U ncle A lb e rt advises W e lb y th e b o y w a lla b y th a t he sho uld fly to N ew Zealand on R oyal A lb a tro s s A irlin e s to fin d a m ate (in th is case, b io lo g ic a lly speaking). So W elby goes o f f to R ota rua. He is m e t by tw o k iw is w h o p e rfo rm a haka in a lo v e ly , vigorous, p u p p e ty w ay. These k iw is are held b y rods con necte d to th e legs, a llo w in g fo r some fa n cy le g -w o rk. It is a n o th e r exam ple o f the b r illia n t a d a p tio n b y th e M a rio n ­ e tte T h e a tre o f s u itin g the p u p p e t to the role.

A fte r being w arn ed b y a paranoaic kakapo a b o u t the m an fro m th e zoo, W elby meets up w ith the dam a w allabies, a c tu a lly parm a w a ll­ abies sent to New Zealand 100 years ago b y G ov. G rey. T h e y , along w ith k o o ka b u rra s, live on K aw au Island in N ew Zealand. B u t in rushes th e H a irb re a th -H a rry v illa in to snatch W e lb y and his po uched p a ra m o u r to th e S ydney Z o o . W elby is, in a w o rd , h o p p in g m ad. H o w W elby is re­ u n ite d w ith his fa m ily and h o w th e evil m an fro m th e zoo tu rn s o u t to be a regular guy a fte r all is th e s to ry o f Roos.

T here are so m a ny in n o v a tio n s th a t w o rk w ell in th is p la y . W hen a jo e y com es o u t o f mama w a lla b y 's tu m m y we k n o w we are seeing th e k in d o f b e a u tifu l th e a tric a lity th a t o n ly puppets can m aster. Th e lig h t b lu e hoods and b a ckd ro p , to o , n o t o n ly p ro vid e cover; th e y are a fin e c o n tra s t to the bro w n s and reds o f th e anim als. The voices o f th e o p e ra to rs were alw ays clear and separately id e n tifia b le , som e th in g th a t is e x tre m e ly im p o rta n t in th is genre.

T here is, to o , a great deal o f ro o m fo r exp an­ sion. There is th e space above th e ta b le , in the " s k y " , w h ic h can be used. B u n ra k u is in th e air.

A rod is called fo r, I feel, w hen th e w a lla b y flies a kite . T he o p e ra to r's hand so close to th e k ite spoils th e illu s io n . A n d the tab le is s till to be w o rk e d o u t e ffic ie n tly . It appears th a t the o p e r­ ators are n o t sure w h a t to do w ith a p u p p e t once it's o f f th e ta b le b u t s till visible. Th e ta b le should be th e le n g th o f th e stage.

A u s tra lia n no w has one o f th e tw o o r three best p u p p e t the atre s in th e w o rld in th e M a rio n ­ e tte T h e a tre o f A u s tra lia . T h e ir th e a tre is, perhaps, th e m ost stark, in n o va tive , and impress­ ive d ra m a tic in s titu tio n w e have in th is c o u n try .

Page 12 Theatre-A ustraH a Feb-M arch, 1977

Theatre-A u s tra li a Feb-M arch, 1977 Page 13

M IC H A E L EDG LEY IN T E R N A T IO N A L , BULLEN BROS, KELLOGG'S 1°

ojy

THE GREATEST CIRCUS O N EARTH Garrie Hutchinson I

1

I *

I 1

M ichael E dgley's latest 'a ttr a c tio n ' (th a t's w h a t th e y 're called ) is du bbed The G reatest Circus o n E arth. D oubtless y o u w ill have no tic e d th a t th e R in g lin g B ro th e rs ' B arn um & B ailey o u t f it trie d to sto p th e m using th is no m e n c la tu re , c la im in g it was to o close to th e tim e ho noured fo rm u la "T h e G reatest S how O n E a rth ''. If th e tr u th be k n o w n , th e re is o n ly one circus on e a rth , th e artis ts being p e rip a te tic em ployees o f o ld established firm s . T h is is as it s ho uld be. The w o rld sho uld have th e o p p o r tu n ity o f seeing pe ople w h o have spent th e ir lives p e rfe c tin g som e very strange, m in ia tu ris t acts. Th e excep­ tio n s to th is in te rn a tio n a l w a n d e rlu s t are th e h o n o u re d a rtis ts o f th e S oviet U n io n and C hina w h o p re fe r to tra ve l in n a tio n a l groups. A t least th e ir go vernm ents p re fe r it th a t w ay.

T h is c o lle c tio n scores w ith six acts o u t o f n in e te e n : n o t a bad percentage. I t makes th e n ig h t w e ll w o rth th e p ric e —p ro v id e d y o u b u y a seat w here you can see. Som e o f th e o th e r acts are w o rth seeing fo r th e ir w eirdness if n o th in g else.

C ircus is one o f th e o ld e s t fo rm s o f th e a tre , and one th a t has re m ained m o re o r less the same since th e firs t neande rth al learned h o w to jugg le.

Th ere 's no d o u b t th a t A u s tra lia n s , lik e th e rest o f th e w o rld , are fascinated b y strange, o fte n dangerous skills developed to a de ath d e fy in g degree. Even bad jugglers w an d e rin g around parks and streets are c o m p u ls iv e ly w atch able.

Part o f th e reason I suppose is th a t it is easy to te ll th e m a sterfu l fro m th e a w fu l, th e measure o f success n o t being a s u b je c tiv e fee lin g o f being " a ffe c te d " b u t w h e th e r th e fo o l fa lls o ff th e rope. D eath in th e circus is a present possib­ ilit y , if ove rplaye d b y th e actors.

A t its best, th o u g h , c ircu s does inspire a cer­ ta in a m o u n t o f s p ir itu a lity : lik e m o u n ta in c lim b in g , o r Shakespeare. Y o u can have y o u r o rd in a ry actors fo o lin g a ro u n d w ith jugg ling, tu m b lin g , tra p e z in g , w ire w a lk in g o r balancing; give me T h e G reat D oval w a lk in g on s tilts on his high w ire any day. T h a t's n o t to say th a t circus te ch n iq u e s, lik e m a ny ideas fro m th e 'sim p le th e a tre ' o f co m m e d ia , pageant, procession, p u ppets and so on have n o t in filtra te d th e A u s ­ tra lia n th e a tre . T h e y have. A c u rre n t exa m ple is th e h ig h ly p o p u la r and reasonably s k ilfu l Soap­ b o x C ircus fro m th e A u s tra lia n P e rfo rm in g G ro u p . Here circus te ch n iq u e s plus propaganda and jug m usic are used to great e ffe c t. B ut h o w ­ ever good as jugglers those people are, it is n 't th e same as th e m agic achieved b y a m aster lik e R u d i S ch w e itz e r. It m ay o n ly be a level o f sup erlative s k ill and p ra c tic e , b u t his hat tric k s give me a sense o f th e im possible. T h a t fo r me is th e essence o f it. The achievem ent o f th e im po ssible, n o t necessarily, b u t u su ally o f the de ath d e fy in g k in d .

In th e last fe w years, w ith th e fa s h io n a b ility o f televised O ly m p ic gym nastics, we have been able to see th a t tu m b lin g as an a r tfu l s p o rt is m u ch fu r th e r advanced th a n m any o f its circus e xp o n e n ts w o u ld have us believe. The w o rk o f Eastern E uropean gym nasts makes m a ny o f the

stu n ts o f acrobats pale in com pariso n. C on­ s eq uently m uch in th is circus along these lines was second ra te —especially th e B o ich a n o vi T ro u p e d o in g a fiv e person high p y ra m id o f f spring boards, and th e b o rin g M e chkaro vi T r io do in g balance beam tric k s . T h e ir folkishn ess is easily outclassed by th e m e m o ry o f Nadia C o m a n ic i, th e R um a nian g ym n a stic h e roine o f M o n tre a l.

On th e same level, o th e r tric k s w ere mere copies o f tra d itio n a l Chinese acrobatics, seen here in th e fo rm o f th e K w ang C how A c ro b a ts a fe w years ba ck. W here th e D uo K r is to ff sent a la d y up a t h ir t y fo o t pole balanced on her pa rtne rs sh o u ld e r, th e K w ang C how s sent m a ny.

W here Les Castors d id fo o t jugg lin g on u p h o l­ stered leather chairs, th e Chinese juggled huge urns on th e ir backs.

T h e best acts, th e tra d itio n a l circus acts, sur­ passed these triv ia l inte rlude s. N o t th a t th e y w ere th e m ost t r iv ia l—th e re was D aisy B entos w h o poses tw e n ty fe e t o f f th e g ro u n d hanging b y her h a ir, and L illy Y o k o i w h o d id b ic y c le tric k s on a go ld plated b ike .

T h ere was Rogana, Baroness o f Balance, w h o c lim b s a w o b b ly ladder balancing a tra y w ith fu ll w in e glasses on th e h ilt o f a sw o rd , w hose t ip is balanced on th e t ip o f a dagger, and w ear­ ing very little . T h is is de ath d e fy in g to a m a jo r degree, I suppose. One s lip and the sw ord w o u ld skew er th e la d y. T here w ere th e fly in g Terrels, a tr io o f sexy trapeze artists w h o do some sim ple tric k s to th e tu n e o f disco m usic. Best tr ic k is a trip le som ersau lt, b u t it happens to o q u ic k ly to cause m uch e x c ite m e n t.

I've m e n tio n e d R u d i S ch w e itze r, a te r r ific jugg ler, especially w ith hats. He alm o st makes th e m ta lk . A n d th e n th e re is th e m ajestic ta le n t o f th e G reat D oval, a high w ire w a lk e r o f genuine genius. He is re a lly th e o n ly one w h o gives a scent o f w h a t has been a ttra c tin g a d u lts to the circus fo r m ille n ia , w h a t made B lo n d in an in te r­ n a tio n a l hero, w h a t makes w ire w a lk in g magic.

He in fa c t d id n 't d o his celebrated headstand on th e w ire , b u t he d id s k ip , ju m p , nearly fa ll, and w a lk on s tilts . T h e y say he can hang b y his toes, and I'm happy to believe he can w a lk on air. He makes it all w o rth w h ile .

T here are o th e r acts, and all to g e th e r th e y m ake up a fin e circus, one w o rth going o u t o f y o u r w a y to see. H a p p ily th e re are o n ly a fe w a n im al acts, in c lu d in g fo u rte e n very frie n d ly lions. T h e day o f th e tra v e llin g m enagerie and fre a k show has th a n k fu lly gone, leaving th e c ircu s to th e c re a tio n o f am azem ent in w illin g ad ults. T h is is th e last th e a tre w here th e sus­ pension o f d isb e lie f is fo rc e d b y skills y o u can see and measure.

T h is c ircu s is on th e w ay to m y ideal o f an a d u lt circus, w here a select g ro u p o f acto rs pe r­ fo rm th e im po ssible in a te n te d te m p le fo r th e b e n e fits o f m u ltitu d e s o f us pedestrians. T he ne xt th in g I w ish is th a t M ichael E dgley m ig h t realize we a re n 't te r r ib ly inte reste d in seeing his w ed d in g p h o to s in th e progra m . He o u g h t to be m o re h u m ble.

The B o ic h a n o v i Troupe.

Page 14 T h e a tre -A u stra lia F eb-M arch, 1977

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postage)

4

Name:

43

Address:

43

Postcode:................. 4 3 •J® Special Student Concession for High School students and students of priv-«J$ ate ond public music or dramatic classes.

School/Class: ....................................................................................

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Theatre-A ustraU a F eb-M arch, 1977 Page 15

MELBO URNE TH E A TR E COMPANY

THE G AM E OF LOVE A N D CHANCE

THE GAME OF LOVE AN D CHANCE by Pierre de Marivaux.

St Martin's Theatre, Melbourne Victoria Opened 1 1 .¡.77.

Director, Mick Rodger: Designer, Tony Tripp Sylvia JANICE FINN; Lisette, CATHERINE WILKIN; M. Orgon, EDWARD HEPPLE; Mariox, MERVYN DRAKE; Dorante, SIMON CHILVERS; Arlequin, LEX MARINOS.

I have alw ays detested latecom ers in th e th e a tre . So it was w ith great m o rtific a tio n th a t I s lu n k some fifte e n m in u te s late in to th is p ro ­ d u c tio n . M y g u ilt, how ever, soon evaporated.

F ir s tly , th e re existed a ca rn iva l, indeed a raga­ m u ffin and m o st un-S t. M a rtin 's -lik e atm osphere in th e a u d ito riu m . Th e c a llo w adolescents o f D in g le y East and A ir p o r t N o rth seemed to have tu rn e d o u t in fo rc e , cre ating a m ilie u n o t u n lik e th a t o f an Ita lia n p ic tu re show w here lo u d c o n ­ ve rsa tio n , q u ip s , burps, m in o r b a rte rin g and the m a stica tio n o f sweets p ro v id e a ric h social d iscord.

S econ dly, th e firs t fifte e n m in u te s had p a te n tly been spent in a p lo t-e re c tin g e x p o s itio n easily co m preh end ed a fte r a b rie f span in the seat.

M y im m e d ia te im p u lse was to dash o u t, snap u p a fe w cans at the lo ca l, jo in in th e spo rt. A glance a round to ld me th a t th is was n o t to be. I sat am ong the sedate and c iv il. T h e fra b jo u s P h ilistin e s w ere up th e back, and fu rth e rm o re th e y w ere e n jo y in g themselves, n o t b o u n c in g o f f th e th e a tre —the silences w e re th o s e o fd is g ru n tle d e n n u i, th e shouts o f g o o d -n a tu re d m o c k e ry ; all in all apt responses to th e proceedings.

The Game o f L o v e a n d Chance is a sim plem in d e d p rim o d ia l French farce o f th e eig h te e n th c e n tu ry adapted and titiv a te d up in to th e early p a rt o f th is c e n tu ry b y d ire c to r M ic k R odger.

Th e a u th o r, Pierre C arlet de M a riva u x, a card and de nizen o f Parisian lite ra ry salons, achived n o t­ able success as a p la y w rig h t. T h is exa m ple o f his w o rk is one o f those m is ta k e n -id e n tity fro lic s th o t tn hoiAiitrhpH end m anacled th e th e a tre fo r

Le x M a rinos, C ath erine W ilk in .

Jack Hibberd

cen turies, in s u ffe ra b le in all hands exce pt th e rare genius lik e Shakespeare w h o at his best ba thed the genre in an iro n ic m o ral lig h t.

A d m itte d ly th e m ista ken id e n titie s (tw o ser­ vants p re te n d in g to be m istress and m aster re spectively) are deliberately set up , d isp la yin g a h e a lth y to u c h o f c y n ic is m , instead o f it being an accident. A gain th e pla y m ig h t seem to be exposing th e m a sk-like and mere ro le -p la yin g tenuousness o f social s ta tio n . A n earnest M a rxist m ig h t even see in it an a tte m p t to sa tirize and derogate class ba rriers. Deep d o w n , ho w e ver, it is ju s t a n o th e r en nerva ting ro m a n tic F rench tra c t o n th e o m n ip o te n c e o f tru e love—am ong m em ­ bers o f th e same social caste. As such itp a le s beside th e w o rk o f B eaum archais w h o p r o fo u n d ly shocked his audiences w ith in s u b o rd in a te ser­ vants, a p re -re v o lu tio n a ry s p irit th a t indu ced da P onte and M o za rt to w rite th e ir m asterpiece The M arriage o f Figaro.

As co m e d y The Gam e o f L o ve an d Chance possesses none o f th e e x p o n e n tia l in trica cie s and remorseless logic o f a Feydeau. Th e fa c t th a t fo r his tim e M a riva u x d a rin g ly w ro te in prose and n o t th e stale verse o f th e hacks means little now.

Plays are o n ly rem em bered f o r th e q u in tessen tial freshness and e la s tic ity o f th e ir d ra m a tu rg y , regardless o f te m p o ra l fa sh io n and no n -fa sh io n , fo r th e ir e n d u rin g c a p a city to s tu p e fy o u r c o n ­ te m p o ra ry im a g in a tio n s. T h a t is w h y so fe w plays survive, and all th e o th e rs m u st be th o r ­ o u g h ly m o dern ized o u t o f th e ir d o c ile to p ic a lity .

T h e p e rils o f M ickR o d q e r'sse a rch -a n d -re sto re

p o lic y are m u ltip le - th o s e a tte n d a n t u p o n th e eso teric, th e q u a in t and novel. I'm sure th e re are a d m ira b le th in g s in the a c tiv ity , b u t he m ig h t end up scra tching c h o o k -lik e over w ell-p ecked g ro u n d . M ore im p o rta n tly , it sh o u ld be asked: w h a t is th e c o n te m p o ra ry a d a p ta b ility o f these desperate and even escapist unearthings? The Game o f Lo ve and Chance, despite its new tw o c e n tu ry la te r French p o lish , rem ains a p e rio d piece. Because it is so fra g ile and in su b sta n tia l, any re costum in g o f th is M a riva u x pla y w ill o n ly w eigh it d o w n ; cosm etics on a corpse. T h e a d a p t­ a tio n needs to pro d u ce an u tte r ly new play.

The p ro d u c tio n is s ch e m a tica lly c lu tte re d w ith an ew business-device fo r nearly every scene, y o u name we have i t : c ro q u e t, b o a tin g , ro lle r skates, p u n ch in g bag, m ah-jong, m o to r-c y c lin g , a ta n d e m , b a ttle d o re and s h u ttle c o c k etc. Th e m ore g u llib le m em bers o f th e audience seemed tic k le d p in k b y th is parade o f a n tiq u e recre­ atio ns. F o r such a p le th o ra o f scenic business, m o m ents o f genuine co m ic in te re st w ere a larm ­ in g ly fe w and fa r be tw een: th e chosen business ge nera lly had an a w kw a rd and ino rg a n ic re la tio n ­ ship w ith th e d ra m a tic m a terial at hand, para­ d o x ic a lly d ilu tin g th e th e a tric a lity o f th e characters. Y e t in th e end M ic k R odger s approach is p ro b a b ly th e best: p lo n k these ch a tte rin g and fa tu o u s skeletons in a pictu re sq u e and d iv e rtin g landscape.

Th e actors, as y o u can im agine, had a struggle on th e ir hands. O n ly S im o n C hilvers, th a t th o ro u g h b re d o f th e M .T .C . stable, managed to tr o t th ro u g h th e evening w ith re q u isite dead-pan verve, th o u g h even his s e n s ib ility seemed taxe d b y th e avalanche o f c o rn . Le x M a rinos, at least sp o ra d ica lly b ro k e o u t o f his C hico M a rx pe r­ sona, a role th a t appears to have ha unte d h im over th e years, and looke d s p le n d id ly at one w ith th e un ctu o u s and fa cile valet A rle q u ín . The oth ers, to th e ir c re d it, gave it all th e y had. The actresses especially, w h o displa yed u n w a rra n te d fid e lity to th e ir re a liza tio n s o f th e t w i t t y fem ale stereotypes th a t th e p la y boasts.

In th e end, I fo u n d it a p r e tty d is a p p o in tin g n ig h t,la c k in g s ty le ,g rita n d incisiveness, n o tw ith ­ standing th e le v ity and p r e d ic ta b ility o f th e m a te ria l. I fe lt q u ite a lo t o f s y m p a th y fo r th e galahs up th e back, w h o m u st have w o nd ere d w h a t the hell th e y w ere d o in g the re, w a tch in g all th is fe lin e foppishness in 1977.

P h o to : D a vid Parker.

Page 16 T h e a tre -A u s tra lia F e b -M a rc b , 1977

THE 2 0 ’s A N D ALL THAT JA Z Z Raymond Stanley

THE 20's AND ALL THAT JAZZ. Arena Theatre. (opened 21.1.77). Conceived, written, directed and performed by John Diedrich, Caroline Gilmer. & John O'May. Musical Director, Michael Tyack. Choreographer, Jillian Fitzgerald.

A p o tte d bio g ra p h ic a l m usical, G ershw in, centred a ro u n d th e A m e ric a n co m p o se r and using his m usic, opened at S o u th V arra's A rena T h e a tre at th e end o f O c to b e r 1975. It was th e b ra in -c h ild o f John D ie d rich and Jo h n O 'M a y , w h o p e rfo rm e d in it w ith C aro lin e G ilm e r and N ata lie M osco, w ith a sm all orchestral a cco m p­ a n im e n t. Presented o n ly at m id n ig h t on F rid a y s and S aturdays, th e local c ritic s d id n o t w a n t to k n o w a b o u t it. Soon th o u g h , b y w o rd o f m o u th , th e sho w became a c u lt and th e re w ere some w h o in th e end c o u ld boast o f having seen it 18 tim e s!

In F e b ru a ry 1976 th e m in i m usical, having undergone c e rta in revisions, was tra n s fe rre d to th e T o ta l T h e a tre w here it was g ru d g in g ly rev ie w e d b y th e c ritic s w h o , m iffe d at having missed o u t b e fo re , w ere n o t ove r-en thusia stic. (C u rre n t m a in lin e M e lb o u rn e review ers d o n o t appear to be keen on musicals a n y w a y !) T h e re w ere plans a fo o t to ta ke th e show to S ydne y, C anberra and A delaid e la te r th a t year. In s u rm o u n ta b le c o p y ­ rig h t d iffic u ltie s on th e G ershw in m usic arose, how ever, and the sho w can never be revived.

Th e same team is n o w at w o rk again, tu r n in g th e ir a tte n tio n to A m e ric a in th e tw e n tie s . It is a very d iffe re n t ty p e o f e n te rta in m e n t, and in-

J o h n O 'M a y, C a ro line G ilm e r & J o h n D ie d ric h .

deed fa lls in to no set ca te g o ry, perhaps b ranchin g o u t on an o rig in a l line o f its o w n ^ In tim a te revue, m a ybe, is th e nearest d e s c rip tio n one can give i t — b u t la cking any to p ic a lity .

Th e th re e p e rfo rm e rs —D ie d ric h , O 'M a y and G ilm e r (M osco having re tu rn e d to A m e ric a )—have d o ne a great deal o f research, devised and scripted th e w o rk them selves, as w e ll as s e lf-d ire c tio n .

Th e result m ig h t w e ll have been a cock-eyed a ffa ir. M ira c u lo u s ly it ho ld s fir m ly to g e th e r in m ost d e partm ents.

The b la c k and w h ite settin g is an A m e rica n bar in th e 20 's, co n s tru c te d in fr o n t o f th e stage, w ith staircases on e ith e r side. Thus th e re is a p e rfo rm in g area above th e bar, o n th e stairs, and in f r o n t —w ith th e audience on th re e sides. The orchestra is situ a te d at th e back o f the stage.

S tools are p ro p p e d up at th e b a r; the re also is a ta b le w ith a cou ple o f chairs to one side. A ll useful props.

In n in e ty n o n -sto p m in u te s th e tr io presents its version o f th e 20 's. D u rin g th a t tim e m ore th a n 70 tunes are gone th ro u g h , m o s tly ever­ greens b u t occa sio n a lly an u n fa m ilia r one in te r­ spersed. Dance rages o f th e p e rio d are presented: th e R acoo n, B lack B o tto m , V a rs ity Drag and C harleston. As w e ll as co m e d y th e e n te rta in ­ m e nt has m o m e n ts o f pathos. T h ere are cam eo scenes w h ic h p in p o in t w h a t was happening in A m e ric a at th a t tim e ; accented are such th in g s as p r o h ib itio n and m a ra th o n da ncing. One q u ic k fir e segm ent rushes th ro u g h th e decade focu sing on newspaper headlines.

V a ry in g th e c o n te n t as m u ch as possible, and h ig h lig h tin g th e tr io 's versatile ta le n ts, com e im p e rso n a tio n s o f a black-faced A l Jolson , Chev­ a lie r, E anny B rice, Helen M o ra n , N oel C ow ard and Eddie C a n to r. One h ila rio u s ite m features in flic k e rin g lig h ts th e exaggerated a ctin g o f s ile n t film s ; a n o th e r focuses on th e inadequacy o f film id o ls ' voices at th e ad vent o f sound.

Each is p ro vid e d w ith one sto p -th e -sh o w m o m e n t. F o r Jo h n D ie d ric h it is a m o vin g m o n o ­ logue as F a tty A rb u c k le re la tin g w ith great s in c e rity th e tru e fa cts o f th e Rappe a ffa ire , w h ic h do n o t alw ays co in c id e w ith th e generally pu b lic is e d d is to rte d versions. C a ro lin e G ilm e r plays on th e heart strings w ith her rendering o f D o ro th y P arker's s h o rt s to ry One M ore. A n d Jo h n O 'M a y , w h o e a rlie r stops th e sho w as b o u n c in g po p-eyed E ddie C a n to r singing " H o w 'Y a G onna K eep 'E m D o w n on th e F a rm ? "g iv e s an e x c e rp tfro m S c o tt F itzg e ra ld 's Crazy Sundays.

O pening c o ld , th e show gave no sign o f firs t n ig h t nerves; n o th in g seemed to go w ro n g , lig h t­ ing cues w ere rig h t on tim e , one co u ld n o t have hoped fo r a n y th in g s m o o th e r. O b vio u sly the re w ill be revisions o f th e c o n te n t: f o r t h is review er atle ast some o fth e e a rlierca m eo sketches seemed a little w eak and po in tless. B u t th is is a m in o r q u ib b le . Th e cast w o rk u tte rly as a tea m , w ith no one seeming b e tte r th a n th e oth ers. M e n tio n should be made o f th e h ig h ly e ffic ie n t ha rd­ w o rk in g fo u r-p ie ce orchestra u n d e r th e d ire c tio n o f ta le n te d you ng p ia n ist M ichael T y a c k .

T h is tim e a ro u n d D ie d ric h , O 'M a y and G il­ m er are n o t w o rry in g a b o u t c ritic s . T h e y k n o w th e y have a ready-m ade audience fro m th e ir last show. If anyone likes to review th e show , o k a y — b u t th e y are n o t p u ttin g o u t feelers in th is d ir ­ e c tio n . T h e y stress th e sho w is o n ly being per­ fo rm e d fo r 14 pe rform ance s, and th e re is no w ay th e y w ill e xte n d th e ru n . No w a y th e y w ill tra n s­ fer. N o w ay? W e ll......................... !

Footnote: W here b u t A u s tra lia w o u ld a g roup re-create a p e riod aw ay fro m th e ir ow n c o u n try ? B u t w h a t was happening in A u s tra lia at th a t tim e ? D id it have enough o f its ow n id e n tity w o rth sho w in g on th e stage? T h e tunes w o u ld have to be A m e rica n an yw a y. A n d does the m a te ria l s till e xist fro m w h ic h to research?

HOOPLA PRODUCTIONS

THE

GOLDEN

Bruce Williams

THE GOLDEN OLDIES by Dorothy Hewett. Grant Street Theatre, Melbourne, Victoria. Opened 18.¡ 77. Director, Graeme Blundell: Designer, Peter Corrigan.

Robbie, Nora, MARION EDWARD: Esme, Ellie, MAGGIE MILLAR

The firs t o f th e oldies is th o ro u g h ly s tu ffe d : an e ffig y on her de athb ed, receiving her d a ily enema fro m th e ever-so-breezy d is tr ic t nurse ( " D o a jo b b ie fo r R o b b y ") w h ile Mrs A ., the o ld ie 's da ug h te r, w hines and rem em bers and calls to M r A .. M r A ., a n o th e r e ffig y , spends ten years d ra m a tic tim e reading in th e n e x t ro o m , leaving his w ife to waste and p in e u n til scene th re e , w hen she in her tu r n becom es th e old ie .

Breezy R o b b y th e n tu rn s in to th e da u g h te r's keeper as w e ll, th is tim e in th e guise o f a house­ keeper w h o absconds w ith th e lin e n , b u t tu rn s up to w eep b u cke ts at th e graveside. In th e last scene w e see th e in h e rito r, Mrs A .'s da ughter E llie , lic k in g ove r th e relics o f these tw o gener­ a tio n s o f repressed, p e tit-b o u rg e o is fe m in in ity .

T h is is H e w e tt c o u n try , th e s u ffo c a tin g in te rio r o f "a n A u s tra lia n m id d le class v illa " , w here th e men have lost w hatever in te re st th e y m ay have had, w h ile th e ir w o m e n struggle w ith d e p riv a tio n , tr y in g to fin d w h a t w e n t w ro n g am ongst th e iro n in g boards, th e o ld p h o to g ra p h s, th e echoes o f C rosby and C o m o all th a t shellac a llu re fo r w h ic h th e y 'v e tra ded th e ir lives. Th e tw o ladies we see on stage are th e b e w ild e re d and d e p rive d , w h o m death is fo rc in g in to search. O ffstage is H e w e tt's b itc h goddess, th e v ita l, am oral " t r u t h t e lle r " w h o has lived o u t her im pulses, revelled in c h ild re n and lovers, and is th e re fo re , to th e v illa -w o rld , a standing re proa ch. Her name th is tim e is Rebecca.

T h e y w a n t her ba ck, because her tu rb u le n c e w o u ld ra ttle loose tho se Venetian b lin d s th a t shroud th e set. Mrs A ., th o u g h lo a th in g her absent da u g h te r's w antonness, aches fo r som ething o th e r th a n th e re m o te care p ro vid e d b y her sec­ o n d da ughter. F o r D r E llie , sister Rebecca has been th e in to le ra b le (y e t rid ic u lo u s ) shadow ove r her life . B u t b o th ladies are d isa p p o in te d .

Rebecca has k ille d herself. Even un b o u n d e d im pu lse, it seems, c a n 't release th is fa m ily fro m th e curse o f em ptiness. A t th e end o f th e play, we see E llie , in spite o f her ha tred , v a in ly calling to th e dead Rebecca w h ile a stu ck re cord m ocks her e ffo rts .

It's a p la y fu ll o f c ra ft and co n triv a n c e , using slides, scrim s and a c o m p le x a rra y o f songs to c h a rt th e course o f m e m o ry . Y e t in scale, o f course, it's fa r sparer th a n H e w e tt's ea rlier w o rk ( The C hapel P erilous, fo r e xa m ple) w h ic h showed a gargantuan love fo r th e resources o f th e th e a tre

T h e a tre -A u stra lia Feb-M arch, 1977 Page 17

OLDIES

!

and a p o s tiv e ly D ickensian w illin gne ss to m u lti­ p ly and d iv id e w h o le packs o f characters. T h is p la y has th e sparer, fo rm a l c o n tro l o f The T a tty H o llo w S to ry , and it takes th a t pla y 's pre o c c u ­ p a tio n w ith sp lin te re d s u b je c tiv itie s even fu rth e r.

C le a rly, it's going to be hard to do . Having created th is closed, self-absorbed w o rld , H e w e tt also requires a ce rta in a m o u n t o f d ire c t address fro m actors to audience. B o th Maggie M illa r and M a rio n E dw ard seemed u n c o m fo rta b le at these m o m ents. T o add to th e a c to r's tro u b le s , th e a m o u n t o f in te ra c tio n be tw een th e m is d o w n to a m in im u m . The pla y is com posed o f a series o f in te rru p te d m o nolog ues, and w here d ia lo gue does o c c u r, its s u b te x t is, to say th e least, obscure. T hen th e re 's th e p ro b le m o f h o w an a c to r engages w ith m a te ria l so inte nsely p riva te . M a rio n E dw ard , w h o had m u ch th e easier task as th e nurse and housekeeper, breezes and flu te s aw ay w ith m uch panache—and som e­ th in g m o re, a sense o f th e s tu b b o rn ordinariness fo r w h ic h these desperate o ld dears are all v e ry w e ll. On Maggie M illa r falls th e b u rd e n o f th e p riv a te m e m ories, and a lth o u g h she was c o n ­ s is te n tly w o rk m a n lik e , th e p a rt de m anded (perhaps im m o d e ra te ly ) a deeper c o m m itm e n t w h ic h she was ra rely able to give. I lik e d the snapping te n a c ity o f Jier o ld ie , and in th e last scene, w here I fe lt th e w ritin g was tou ch -a n d -g o , she managed very w e ll the rh y th m o f sudden fe e lin g d is p u tin g the surface e ffic ie n c y o f D r E llie .

N onetheless, th e last scene d id lose m o m e n ­ tu m . Th e cries to th e absent Rebecca c lin c h e d n o th in g . A n d o f course, th e y w e re n 't m eant t o — th is is n 't a play in w h ic h issues are resolved o r b ro u g h t to fr u itio n . D o ro th y H e w e tt has been w o rk in g in th is tra c t o f fa m ily land since (at least) her long poem Le gend o f a Green C o u n try .

In these last, incre asing ly in tim a te plays, she has tu rn e d aw ay fro m th e d e fin a b le even to th e s h iftin g w o rld o f m e m o ry . She no w w o rk s inside o u t, th e sub je ctive flo w o f her cha racte rs' feelings strives to ta ke shape in d ra m a tic a c tio n . F o r a p la y w rig h t, th is is a p e rilo u s m id d le g ro u n d , som ew here betw een im ita tio n (o f w ha te ve r k in d ) and the fu llb lo w n s y m b o lis m she once used.

T h e re are precedents in late S trin d b e rg , a fe w h in ts in plays lik e Landscape and S ilence, b u t fo r such p riva te un d e rta kin g s, th e re are, in the end, o n ly p riv a te shapes. W hatever has been exo rcised fo r H e w e tt in The G old en O ldies (and e xo rcism is w h a t it feels lik e ) the audience is sw irle d along in th e fantasia to be le ft at the end w ith no o p tio n b u t to go back up th e stream o f m e m o ry in search o f th e ir o w n o rd e r.

Plays can be made o u t o f happenings, o r o u t o f th in g s fa ilin g to happen (as in B e c k e tt) b u t

Maggie M illa r (Esme) a n d M a rio n E d w a rd (R ob bie). it's ris k y to desert th e cate gory a lto g e th e r. Th e fe w happenings in The G old en O ldies m e re ly p u n c tu a te th e lines o f m e m o ry , fa n ta sy, co m ­ p la in t, reverie. A ll th e d e te rm in a n ts o f th e cha racte rs' lives lie in th e past. T h e ir present is o c cu pied b y clearing o u t th e ir p sych ic lu m b e r ro om s, (an image made e x p lic it in th e last scene as E llie pic k s over th e litte r ) . T h e audience is e n title d to ask fo r som ething m ore th a n the analogy w ith everyone's experience, since the re is an u n s a tis fyin g a rb itra rin e ss a b o u t th e p a tte rn th a t seems to em erge: E llie and her m o th e r, I if edeniers, opposed to th e absent Rebecca, w h o a ffirm s life at the cost o f all th e decencies. I say th is p a tte rn is a rb itra ry because th e life denied and a ffirm e d is som ehow never fe lt to be a d if f ic u lt o r a rd u o u s—n o t even an engrossing process. It's all over, a fte r all. The p la y's b la ck h u m o u r keeps e v e ry th in g a t a distance. T h a t o p ening image, fo r exa m ple, o f th e d is s o lu tio n

P h o to : P e te r H end rie. o f th e o ld ie ; we ta k e it as lig h tly as a passing c a rto o n . T he co n sta n t d e b u n k in g and u n d e r­ c u ttin g d o n 't have enough to w o rk against, so th a t at tim e s I fe lt th e s p irit o f th e pla y to be co ld and dism issive: w o m e n 's life as a spectacle o f helpless chaos; all im pulses ru n n in g in to a sw am p o f bad fa ith .

T h is is th e second pla y in H o o p la P ro d u ctio n s firs t season. T h e c o m p a n y is a m o st w elcom e a d d itio n in a to w n w hose th e a tric a l o p tio n s have d e clin ed in recent years. G o ld e n O ldies was a brave and w o rth w h ile cho ice . It gives M e lb ourne audiences o n ly th e ir second chance to see the w o rk o f som eone w h o , d e spite m y personal m isgivings, is u n d o u b te d ly a p la y w rig h t w h o dem ands a tte n tio n , and w hose s k ill (w itness th e m o n o lo g u e w ritin g in th is p la y) c o n s ta n tly increases. L e t's hope th e e xo rcism has been successful, so th a t D o ro th y H e w e tt can leave these sh ru n ke n devils to co o l fo r a w h ile .

Page 18 Theatre A u s tra lia Feb-M arch 1977,

BRISBANE REPERTORY TH E A TR E

THE SEA

Richard Fotheringham

THE SEA by Edward Bond La Boite Theatre, Brisbane, Queensland.

Opened 21.i.77. Director, Designer, DavidBell.

Willy Carson, PETER MURPHY; Evens, GIL PERRIN; Hatch, MICAEL McCAFFERY; Hollarcut, EUGENE GILLFEDDER; Vicar, DAVID BELL; Carter, LES EVANS; Thompson, WESLEY WALKER; Louise Rafi, BEV. LANGFORD; Rose Jones, NATALIE KAYE; Jessica Tilehouse, EILEEN BEATSON; Mafanwy Price, GILLIAN HYDE; Jilly, SHIRLEY LAMBERT; Rachel, DAPHNE ANDERSON; Davis, RHEE HOLLYER; Ladies, MARGARET DARLING, RHEE HOLLYER; Understudies, RHEE HOLLYER, LEWIS NORMAN

I am alw ays re spectfu l in th e presence o f th e cre ations o f E dw ard B ond , fo r his is a c on sid er­ able in te lle c t. I w e ll rem em ber B ingo (a b o u t Shakespeare's late r life ) at th e R oyal C o u rt in L o n d o n , and h o w th e E liza beth an S cholars des­ cended u p on a p la y w h ic h traversed th e ir sacred te r r ito r y o n ly to emerge at th e end o f long and te d io u s reviews w ith th e c o n c lu s io n th a t M r.

B ond had done his h o m e w o rk very c a re fu lly indeed.

The Sea crosses no special sancturaries o f know ledge, b u t it to o ta x e s o u r in te lle c t. A read­ ing o f Lo renz and A rd re y on agression, M arx and th e e x is te n tia lis ts on th e n a ture o f m an, E ric

F ro m m on th e fascist m e n ta lity , and Ivan lllic h on s e lf-c e rtify in g elites w o u ld all seem a p p ro p ­ riate, fo r E dw ard B ond w rite s using th e ir co n ­ cepts a b o u t violen ce and th e n a ture o f socie ty.

It was I th in k M ax W eber w h o d e fin e d the state as being th a t g ro u p w h ic h had a m o n o p o ly on organized violen ce in a given te r rito r ia l area. Mr. B ond creates in each o f his plays th e violence o f m en alienated w ith in an oppressive s o cie ty, and th e ph ysica l re pre se n ta tio n o f th e ir d e stru ctive n e u ro tic fu r y is c o ld ly sho w n as th e p ro d u c t o f th e po w e r re la tio n sh ip s w ith in th a t society.

If th a t reads a little lik e th e absurd p ro ­ no uncem ents o f th e c ritic s in T o m S to p p a rd 's The Rea/ In s p e c to r H o u n d , I can o n ly plead th e A p la y , B ond 's o w n prefaces (p a rtic u la rly th a t to L e a r), and th e c u rre n t e x c e lle n t La B o ite p ro ­ d u c tio n in m y defence. It is o n th e surface a sim ple enough s to ry ; a b la c k co m e d y o f events in an isolated E nglish coastal village in East A n g lia in 1907. A y o u n g man W illy Carson staggers o u t o f th e sea c ry in g o u t th a t his frie n d is d ro w n in g . T w o men hear his cries; b u t one, (th e recluse Evens) is to o d ru n k to help, and th e o th e r (th e to w n dra p e r and p a rt-tim e coastguard H atch) accuses h im o f being a spy, a servant o f forces n o t m e re ly fro m over th e c h a n n e l b u t fro m th e village, n o ta b ly th e g ra n d ilo q u e n t queen o f th e to w n Mrs. R a fi, th e dead m an's fiancee Rose, and the im pressionable y o u n g w o rk in g men w h o have sw allow ed H atch's th e o rie s a b o u t co n ­ spira cy, fo re ig n menaces, and e x tra -te rre s tia l influences.

Th e p la y progresses fro m th e d ro w n in g to th e w o rk in g s o f th e village s o cie ty, to th e discove ry o f th e b p d y , th e scattering o f th e ashes, and W illy and Rose's eventual d e p a rtu re fro m th e to w n .

T he s to ry is given a broad edge o f co m e d y by Mrs. R a fi's th e a tric a l rehearsals, a tra g ic u n d e r­ c u rre n t b y th e re p re se n ta tio n o f H atch 's d o w n ­ w ard slide to h o m ic id a l madness, and an h is to r­ ical d im e n sio n by th e o m n ip re se n t b o o m in g o f guns fro m th e ne arby a rm y reserve as the E d w ard ian age prepares its e lf fo r th e re trea t fro m M ons. A ll th e e le m e n ts a re c a re fu lly selected and honed, fo r be hind th e s to ry lies a rigo rou s p h il­ os o p h y o f s o cie ty, an a p p re c ia tio n o f social violen ce, and a b e lie f th a t stu d y o f a m icro co sm fro m th e past can illu m in a te th e w o rk in g s o f the s o c ie ty o f to d a y .

Thus in Mrs. R afi we have b o th a v illa g e ty ra n t and a p ic tu re o f fa d in g g lo ry o f th e B ritis h em p ire in th e years b e fo re th e F irs t W o rld W ar.

She reigns in absurd g lo ry in her little isolated

village, in d iffe re n t to th e m a rc h o f tim e y e t aware o f it , conscious o f her age and o f co n ce p ts lik e th e cash nexus w h ic h she refuses to com e to te rm s w ith . In th e d ra p e r H atch and his fo llo w e rs we have a stu d y o f th e fo u n d a tio n s o f th e fascist m e n ta lity . Obsessed w ith o rd e r and precision, w ith un p a id b ills and q u a n titie s o f c lo th . H atch is a p ro d u c t o f the in d u s tria l re v o lu tio n , o f Samuel Sm iles and th e gospel o f se lf-h e lp ; to r ­ tu re d b y his dependence on th e w h im s o f Mrs. R a fi and th e cou nter-pre ssure o f th e B irm in g h a m m a n u fa ctu re rs; unable to cope w ith change and th re a te n e d b y th e u n k n o w n . His con sp ira cy th e o rie s fin d ready credence am ongst Mrs. R afi's servants, fo r th e y are d e b ilita te d b y th e la b o u r w h ic h she requires o f th e m . H atch 's m ental b re a k d o w n in th e f if t h scene, acco m plishe d w h ile a tte m p tin g to m e tic u lo u s ly c u t vast q u a n titie s o f blu e velvet in to precise th re e yard lengths, is a piece o f w ritin g and p e rfo rm a n ce I s h a n 't easily fo rg e t.

A g ainst these are arrayed th e characters o f resistance and hope. Evens lives b y th e beach, sees and is n o t fo o le d b u t is incapable o f p o sitive a c tio n . He is wise enough to advise th e tw o y o u n g p e o p le ,W illy and Rose, to leave th e village ("T h e re 's no hope h e re ") and to re je ct his sol­ u tio n o f s to ic is o la tio n also. T h e pla y concludes w ith the va scilla tin g Rose agreeing to leave w ith W illy . W here th e y go, and w h a t k in d o f hope th e re is, B ond does n o t te ll us. B u t it is a small v ic to r y nevertheless; a refusal to be sucked in, a refusal to stand aside. S om ew here, th e re is hope fo r d ro w n in g men.

T h e p ro d u c tio n a t La B o ite is a g e nuine ly o u ts ta n d in g one. T w o ce n tra l pe rform ance s, those o f Bev L a n g fo rd as Mrs. R a fi and M ichael M c C a ffre y as H atch , w ere p a rtic u la rly fin e ; and G il P errin's Evens and Peter M u rp h y 's W illy Carson also cau ght th e essential q u a litie s o f th e ir roles. It te s tifie s y e t again to th e he a lth o f the La B o ite o rg a n is a tio n ; to th e w isd o m o f th e ir p o licie s o f tra in in g yo u n g pe ople in every aspect o f th e p re s e n ta tio n o f a pla y and th e ensemble c o m m itm e n t th is has engendered; and to th e ir a b ility to stand on th e ir re cord o f good w o rk and so d ra w to th e ir ranks experienced and ta le n te d acto rs and d ire c to rs w h o fo r one reason o r an­ o th e r are earning th e ir salaries ou tsid e th e p ro ­ fession.

I fe a r ho w e ver th e ir de cisio n to ta ke o u t a q u a rte r o f th e seats and pla y on a th ru s t stage area was n o t to t a lly u n co n n e cte d to th e ir e x p e c t­ a tio n s th a t The Sea w ill n o t be a co m m e rcia l success. I hope th e y 're w ro n g , b u t it m ust be a d m itte d th a t B ond makes fe w concessions to p o p u la r view ing .

It's a p ro b le m th a t u ltim a te ly lim its the effectiveness o f his a rt. B ond h im s e lf is c o m m itt­ ed to re v o lu tio n a ry change, th o u g h n o t in the accepted M a rx is t sense. He has w r itte n plays fo r, and re cited his verse at. C am paign fo r N uclear D isa rm a m e n t R allies and th e S harpeville mass­ acre c o m m e m o ra tio n . B u t in a p la y lik e TheSea he trie s to express th ro u g h a p e rso n a lly k n o w n re a lity (he lived in East A n g lia as a c h ild d u rin g W o rld W ar T w o ) th e violen ce o f th e species h o m o sapiens he h im s e lf sees as being b e n t on se lf-d e s tru c tio n b y n u c le a rh o lo c a u s t. U ltim a te ly I th in k th e message is to o devious, to o detached.

I w o n d e r ho w m a n y o f th e ap precia tive audience (w h o in c lu d e d representatives o f a u ra n iu m m in in g c o m p a n y ) made any c o n n e c tio n betw een th e events in th e play and th e ir ow n lives. F o r in essence the message th e play was o ffe rin g to th e m u n d e r th e c lo a k o f m e ta p h o r was th e same message th a t B ond a rtic u la te d d ir ­ e c tly at the C N D ra lly : M adm en, peace!

Y o u w h o bend iro n b u t are a fra id o f grass.

Peace!

Theatre A u s tra lia F eb-M arch, 1977 Page 19

SOUTH A U S T R A LIA N T H E A TR E COMPANY

OLD K IN G COLE A D E L A ID E FE S T IV A L CENTRE TRU ST & SAS C H A NN EL 10

M Y FAT FRIEND Michael Morley M Y FAT FFUEND by Charles Lawrence. The Playhouse, Adelaide Festival Centre, Adelaide, South Australia.

Opened 20.¡.77. Director, Christopher Brown; Designer, Shaun Gurton.

Henry, BILL FARLEY; Vicky, PAULA WILCOX; James, JOHN MURPHY; Tom, MICHAEL KENT.

O ld K in g C ole, th e S .A .T .C .'s end o f year p ro d u c tio n fo r 1976, showed h o w e ffe c tiv e th e proven c o m b in a tio n o f new v ig o u r (in th is case R oger C hapm an's) w ith o ld values (la c k o f p re ­ te n s io n , w o rk m a n lik e pe rform ance s, a tte n tio n to d e ta il) can be. B ille d as a C hristm as show and d ire c te d p r im a rily at a y o u n g e r audience, it nevertheless o ffe re d ad u lts m u ch m o re th a n th e p rospect o f tw o h o u rs ' th e a tre w h ic h had to be en dure d ra th e r th a n e n jo y e d .

C h ild re n 's T h e a tre w h ic h hopes to appeal to a d u lts has a d if f ic u lt p a th to tre a d : it has to a cco m m od ate w h a t m ig h t at firs t appear to be c o n flic tin g dem ands. H o w to be fu n n y w ith o u t being tw ee o r in fa n tile : h o w to present a p lo t and characters in a w ay w h ic h shows th e a u th o r's in te llig e n t c ra fts m a n s h ip w ith o u t th e te m p ta tio n s o f in te lle c tu a liz in g o r ta lk in g d o w n to the larger p a rt o f th e audience? Few recent d ra m a tis ts have addressed them selves successfully to th e p ro b le m th o u g h R o b e rt B o lt's The T h w a rtin g o f B aron B o llig re w s till seems to me one o f th e m ost e n te rta in in g and honest a tte m p ts . O ld K in g Cole is n o t in th a t class, b u t it is streets ahead o f the e ffe te frip p e ry and leering v u lg a rity o f Lindsay K em p 's M r. P unch, th e o th e r c h ild re n 's show presented in Th e Playhouse th is year.

Th ere are fe w traces o f th e nursery rh ym e O ld K in g C ole in th is s c rip t—a p a rt fro m the fa c t th a t th e king is m e rry and has fid d le rs .T h e setting is fa iry -ta le c o n te m p o ra ry , th e characters a m ix ­ tu re o f the u n lik e ly and th e recognizable, and th e s to ry -lin e fo llo w s an at tim e s c on fusing course be tw een a seedy o ffic e , W em b le y and th e K in g 's palace. B u t th e re are s u ffic ie n t ingredie nts in th e p lo t to h o ld the a tte n tio n o f the you nger m em bers o f th e audience: w ill the w eed y bad h a lf-w it B aron get th e good princess, o r w ill th e a th le tic handsom e and to ta lly d im w itte d C y ril w in her hand? A lo n g th e w a y th e B aron W add e n lists th e help o f tw o b u m b lin g ja cks-o f-alltrades to he lp h im w in th e various contests (staged at W em b le y) in w h ic h he p its his u n d e r­ sized fra m e and disorganized b ra in against th e splended p h ysiq ue and e m p ty head o f th e p o s tu rin g C y ril. These scenes, w ith George O g ilvie and F ra n k G allacher as th e w ell-m eaning b u t m u ddle-hea rted c o n n iv in g con spirato rs, p ro vid e some o f th e fu n n ie s t m o m ents, to g e th e r w ith th e fin a le , w h ic h features an e lab ora te and p re p o ste ro u s ly ove r-c o m p lic a te d plan to kid n a p C y ril b e fo re he can m a rry th e d a ffy s c h o o lg irlprincess. O f course, even th e olde st m em bers o f th e audience can see th a t th e choice betw een C y ril and T h e B aron as a p a rtn e r fo r th e Princess is a case o f th e fry in g pan and th e fire , and e v e ry b o d y is ha ppy w hen th e a ttra c tio n s o f

OLD KING COLE by Ken Campbell. The Playhouse, Adelaide, South Australia. Opened 28.xii.76. Director, Roger Chapman; Designer, Anna French.

Faz, FRANK GALLAGHER; Twoo, GEORGE OGILVIE; Baron Wadd, LESLIE DAYMAN; Sports Commentator, PATRICK FROST; Cyril, ANDREW CLARK; Old King Cole, JOHN DICK; Old Queen Cole, JUDE KURING; Princess Daphne, LYNDEL ROWE.

T w o o and his ove rcoat stocke d w ith goodies prove irre s is tib le .

In th is H arpo M a rx ro le George O g ilvie succeeds in stealing th e s h o w : his sense o f c o m ic tim in g was alw ays sure, th e business was never ove rdon e, and on th is evidence, th e re are several m em bers o f th e S .A .T .C . w h o c o u ld learn fro m his a tte n tio n to d e ta il. F ra n k G allach er was less ha ppy as th e supposedly

George O gilvie as T w o o a n d F ra n k G allach er as Faz.

b rig h te r Faz, b u t a p a rt fro m some fla t m o m ents in itia lly , th e tw o w o rk e d w e ll to g e th e r. G ood c o n trib u tio n s also fro m Les D aym an as th e B aron and L y n d e ll R ow e as D aphne and a pa r­ tic u la r ly neat send-up o f one o f those B ritis h T .V . spo rts co m m e n ta to rs fro m P a trick F rost in the W em b le y scene. T h e one c ritic is m o f th e p ro ­ d u c tio n as a w h o le w o u ld be th a t th e a tte m p ts to in vo lve th e audience in th e pe rfo rm a n ce seemed on the firs t n ig h t b o th haphazard and ra th e r u n c o n v in c in g . B u t th is c o u ld w e ll have been re c tifie d as th e season progressed. Final v e rd ic t fro m m y tw o yo u n g e r co-critics? "B e tte r th a n M r. P unch , G ilb e rt and S u llivan and S n o w W hite. Th e k id n a p scene was best and it was fu n n y w hen T w o o sprayed d is in fe c ta n t on th e lo llip o p , and it was great to see th e real lady fro m M an A b o u t The H ouse (Paula W ilc o x happened to be in the firs t n ig h t audience).

T h a t re action is n o t, as it m ig h t appear, an irre le va n t a n ecdote: fo r it's clear fro m the sell­ o u t season o f M y F a t F rie n d th a t th e re 's a fa ir percentage o f o ld e r A d e la id e theatre-goers w h o th in k the same w ay. It show ed co m m end able en terp rise on the p a rt o f th e T ru s t to th in k o f fillin g the th re e the atre s in th e Festival C entre over th e h o lid a y season. A d m itte d ly , th e q u a lity o f one o f the o ffe rin g s —th e unspeakable th in g w ith the s o ft-d rin k t it le ( I'm n o t giving th e m any m ore fre e c o p y )—was th e po orest I've seen an yw h ere ; b u t M y F a t F rie n d goes some w ay to restoring one's fa ith in th e a b ility o f th e m an­ agerial side to select an un sham e dly co m m e rcia l p ro d u c t w h ic h is n o t an in s u lt to th e inte llig ence.

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

Page 20 Theatre A u s tra lia Feb-M arch, 1977

B ill F a rle y (H e n ry ), J o h n M u rp h y (James) & Paula W ilc o x (V ic k y ).

Charles Laurence's p la y had a deserved suc­ cess w ith th e p u b lic and m o st o f th e c ritic s w hen it ran in L o n d o n in 1972-3. A n d a lth o u g h it w o u ld be encouraging to fin d th e T ru s t p r o m o t­ ing m o re recent plays th a t m ig h t f i t w h a t I ta ke to b e th e irc r ite ria —w h y n o t so m e th in g b y M ichael F ra y n , M ax B ennet, o r A la n A y c k b o u rn e ? —at least M y F a t F rie n d shows th a t some o f th e o fte n despised q u a litie s o f th e co m m e rcia l and w e llmade p la y are s till e ffe c tiv e . F o r m ake no m is­ ta k e : M y F a t F rie n d is n o t 's ig n ific a n t', no r does it address its e lf to real problem s.

Its o rig in s in th e M augham -C ow ard ty p e o f lig h t co m e d y, (w h ic h o cca sio n a lly veers to w a rd s a m ore b itte r vie w o f hum an re la tio n sh ip s) are ob vio us. B u t th e p la y is none th e w orse fo r th a t.

A t th e same tim e , ho w e ver, and irrrlike M aug­ ham 's and C ow ard's w o rk , some o f th e ch a ra cte r­ iz a tio n — p a rtic u la rly th a t o f James and T o m —is s ke tch y and u n c o n v in c in g . B u t th e re is one splended ro le , and in th is p ro d u c tio n it receives an a p p ro p ria te ly high-revving pe rfo rm a n ce .

It m ay be Paula W ilc o x 's presence th a t has sold th e p la y to A d e la id e 's audiences. N everthe­ less—and w ith no disrespect to h e r— th e star o f th e show is u n d o u b te d ly B ill F a rle y as H enry, th e lo n g -te rm cam p fla tm a te o f V ic k y , th e fa t frie n d o f th e title . She runs a ra th e r seedy b o o k shop in H am pstead (a ccordin g to th e s c rip t, b u t n o t to th e agressively ove r-ela borate set) and in te r m itte n tly ba ttle s w ith her w e ig h t and her tw o fla tm a te s —H enry cam p, cau stic and con­ sciously cu te , and James, s to lid , cerebral and Scots, w ith a fla ir fo r c o o k in g and a p in in g to w rite thfe great S c o ttis h novel.

We are asked to accept th a t no-one fancies V ic k y ^ -a prem ise w h ic h c le a rly places unreasonble dem ands on any m ale's a b ility to suspend (dis-) b e lie f, w ith Ms. W ilc o x lo o k in g de le ctable even w hen padded. B u t th a t's th e nub o f the

NEW TH E A TR E

CAUCASIAN CHALK CIRCLE Rex Cramphorne

Th ere was a tim e w h e n , in re la tio n to O ld T o te p ro d u c tio n s o f B re c h t, I was tro u b le d b y th e inap pro priateness o f th e pla y s ' in te n tio n s in a snug com m e rcia l/su b sid ise d c o n te x t. I la te r th o u g h t th a t th is was, perhaps, a lit t le naive

Stan Ross, P h ilid a Barle, H a rly O 'N e ill, Jam ie Stevens.

THE CAUCASIAN CHALK CIRCLE by Bertolt Brecht. New Theatre, Sydney New South Wales. Opened 15.¡.77.

Director, David Cisek; Designer, David Hull.

w hen I read o f th e B e rlin e r Ensem ble's present­ a tio n o f The Caucasian C halk C ircle in Paris in 1 9 56: 'M y fir s t im pression was o f p e trifie d am azem ent at th e a m o u n t o f m o n e y involve d.

From East B e rlin B re ch t has tra n s p o rte d dozens

P h o to : G ary M o lo n e y .

p lo t, because we th e n have to accept th a t the experience o f one n ig h t w ith T o m , an itin e ra n t o il-e ngine er, fin a lly p ro m p ts V ic k y to go on a crash d ie t. A las, w hen he re tu rn s, it emerges th a t he re a lly o n ly fancies fa t w o m e n : b u t b y n o w V ic k y has " fo u n d her real s e lf". T o ld like th a t, it sounds a b it hard to take , and th e p lo t is c e rta in ly cre a ky and c o n triv e d . B u tth e w ritin g is sustained and w it t y th r o u g h o u t—e xce p t fo r a d re a d fu lly lo w scene a fte r th e in te rv a l, w h ic h is n o t saved b y some p o nderous d ire c tio n —and B ill F a rle y m akes th e m o st o f th e best lines w ith o u t fa llin g ba ck on cheap e ffe c ts o r som e o f th e selfin d u lg e n t cavo rtin g s seen re c e n tly in The Play­ house. T h e re w ere one o r tw o stum bles, b u t th e y can be safe ly p u t d o w n to firs t-n ig h t nerves, as can occasional lapses in th e tim in g . Paula W ilc o x is at her best in th e fir s t h a lf—engaging, and w ith good a tte n tio n to th e ph ysica l in cid e n ta ls o f the role. B u t th e new, slim V ic k y seems very m uch o f a piece—no pu n in te n d e d —w ith th e o ld , fa t V ic k y : and y e t th e s c rip t and vie w o f th e cha r­ acter suggest a som ew hat changed, m o re b r ittle c h a ra c te riz a tio n .

Perhaps th e d ire c to r is a t fa u lt here: th e p ro ­ d u c tio n does n o t realize e ffe c tiv e ly th e som e­ w h a t d iffe re n t te n o r o f th e tw o acts, and the ove ra ll te m p o needs lo o k in g a t. T h e set is—as one has u n fo rtu n a te ly com e to e x p e c t—glossy, c h ic and in a p p ro p ria te . A n d th e roles o f James and T o m are best passed over in silence. It's B ill F a rle y ’s evening. I d id n 't see K e n n e th W illia m s in th e o rig in a l p ro d u c tio n ; y e t a lth o u g h the re are some o b vio u s W illia m s-d e rive d tou ches, th e p e rfo rm a n ce is very m u ch F a rle y's o w n , eschewing th e line in o u tra g e o u sly arch d e liv e ry th a t W illia m s has made his o w n , y e t is som etim es ap t to ove rdo. It's q u ite the m o st po lish ed and in te llig e n t p e rfo rm a n c e I've seen in an A u s tra lia n p ro d u c tio n all year. o f im p re ssio n isticse ttin g s, h u ndre ds o f costum es, a new re vo lvin g stage fo r th e S ara h-B ern hardt, a new c u rta in , and seve nty-six a c to rs —scarcely m o re th a n h a lf o f his p e rm a n e n t c o m p a n y .'

(K e n n e th T y n a n , C u rta in s, Longm ans, 1961, p .3 8 9 .) I am even m o re co n vin ce d o f it n o w th a t I have seen B re ch t p e rfo rm e d in th e p e rfe c tly su ita b le c o n te x t o f N ew T h e a tre , b y a cast o f tw e n ty -s ix m o s tly a m ateu r acto rs, in m in im a l settings. The 'a lie n a tio n 'th a t re s u lts fro m p a u c ity o f p e rfo rm a n ce and design skills does n o t c o n tr i­ b u te to B re ch t's cherished V e rfre m d u n g s e ffe k t— o n ly to a k in d o f n u m b in g o f th e vie w e r's sens­ ib ilitie s w h ic h does, fin a lly , begin to a ffe c t his p e rc e p tio n o f th e p la y 's in te n tio n s .

I th in k th a t th e p ro d u c tio n at N ew T h eatre (d ire c to r D avid Cisek, designers D avid H u ll and Lin d a M c L a u g h lin ) is m o u n te d w ith th e best in te n tio n s —care has been ta ke n to present th e sorts o f p ro d u c tio n values, th e sorts o f settings, th e sorts o f te ch n ica l devices—lik e th e use o f masks fo r th e s u b o rd in a te cha racte rs—th a t one understand s to have been used by B re ch t, b u t th e re sult is n o t epic s im p lic ity o r B reughelian fid e lit y o f d e ta il o r Boschian n ig h tm a re c la r ity — b u t smallness, dullness, w oodenness. I am re lu c t­ an t to w rite so ha rshly o f w h a t is, I recognize, a h u m b le and w e ll-m e a n t p ro d u c tio n in a largely a m a te u r th e a tre , b u t I w ish to m ake th e p o in t th a t, som ew hat to m y o w n surprise, means are p ro b a b ly even m o re im p o rta n t th a n in te n tio n s , even in th e p e rfo rm a n c e o f B rech t.

I t w o u ld n o t be possible to w rite even sum ­ m a rily o f a p e rfo rm a n c e o f The Caucasian C halk C ircle w ith o u t m e n tio n in g th e tw o great roles th a t B rech t has cre ated : G rusha and A zd a k. I th o u g h t Jane A h lq u is t's G rusha was good in th e area o f q u ie t s to icism b u t ra th e r s o ft and senti­ m e ntalised , th a t R ob Steele's A z d a k was com m e n d a b ly v iv id and real, and th a t n e ith e r o f th e m sh o u ld have been called u p o n to sing.

T h e a tre -A u stra l ¡a F e b-M arch, 1977 Page 21

G E O FFR EY S. BELL (in conjunction with THE F E S T IV A L OF S YD N EY )

THE SURPRISING SO PRANO David Gyger THE SURPRISING SOPRANO compiled by and featuring MICHAEL ASPINALL. Tenor, PAUL FERRIS; Piano accompaniment, DAVID ANDREWS.__________________

Th e S urp rising S oprano, he calls h im s e lf; and describes his m ore-or-less o n e-m a n—o r w o m a n , if y o u p re fe r—show as "a n u n expected re cital o f arias fro m opera, o p e re tta and o r a to r io ." He is vaguely com para ble to th e inde scriba ble A nna R ussell, th o u g h th e sweep o f his satire is a good deal w id e r and his approach to his m a terial m ore o b v io u s ly sch o la rly .

M ichael A s p in a ll is his name, and he is a d e b o n a ir, kno w le dge able yo u n g E nglishm an o ff stage; a stu d e n t o f vocal te ch n iq u e s and styles w h o has pu blished a rticle s on P attie and Melba and vocal o rn a m e n ta tio n in R ossini's m usic, and w ritte n cadenzas fo r such no ted singers as M o n tse rra t Caballe. His sho w , w h ic h had a th ree-w e ek run S y d n e y 's S e y m o u r C entre in Ja n u a ry, has th e skeletal shape o f a serious V ic to ria n soiree; b u t it is fleshed o u t b y a staggeringly versatile array o f devices to send up h im se lf and th e ge nre—som etim es s u b tly , som e­ tim e s coarsely. B etw een num bers, he explains w h a t he is a b o u t in a c u ltu re d b a rito n e speaking vo ice w h ic h is a good deal m o re evocative o f a u n iv e rs ity le c tu re rth a n a profession al e n te rta in e r.

The biggest p ro b le m he seemed to have in establishing a th o ro u g h -g o in g ra p p o rt w ith S ydne y audiences was th a t m o st o f th e m w e re n 't fa m ilia r enough w ith w h a t he was sending up to apprecia te fu lly th e s ub tleties o f his m u sicia nship and c o m ic fla ir.

W isely, A sp in a ll presented th re e d iffe re n t program s in his S e y m o u r C entre season fo r it was p r e tty clear, on re tu rn vis its a fte r th e w e llatte n d e d p rem iere, th a t his c o m m itte d S ydne y p u b lic was small (th o u g h it was also th o ro u g h ly e n th u sia stic). The basic fo rm a t o f all th re e p ro ­ grams was id e n tic a l :a little o p e ra a n d a n occa sio n­ al safari in to th e h a llo w e d p re c in c ts o f S chub ert Heder and th e F rench a rt song; a lo t o f songs o f m o n u m e n ta l t r iv ia lity seem ingly chosen, as o fte n as n o t, fo r th e a b s u rd ity o f th e ir ly ric s .

A sp in a ll has to be able to sing, o f course, to b rin g o f f his w ic k e d ly accurate satire o f the p reten sio ns o f singers and songs at all; and his p e rfo rm a n ce is alw ays close enough to th e real, serious th in g so the send-up achieves m a x im u m im p a ct. He glares at the acco m pan ist d u rin g an excessively s ho w y in tr o d u c tio n o r in te rlu d e ; h u rrie s h im a lo n g w hen he's ru n n in g o u t o f b reath o n an exte nde d n o te ; w arbles a little to o sm u gly; changes vocal register ju s t a t r if le to o o b v io u s ly , sw o o p in g in to the de pths o f a chest to n e w ith th e k in d o f sem i-astonished facia l expression th a t is seen all to o o fte n in serious re citals b y a rtis ts w h o are ju s t a little to o pleased w ith them selves o r ta k e them selves to o serio usly.

T h e fa s c in a tio n o f A s p in a ll's recitals arises fro m his acute p e rc e p tio n o f th e triv ia w h ic h s u rro u n d th e actual singing: his a b ility to exaggerate fla w s in vocal te c h n iq u e , p la tfo rm

im periousness, a rtis tic self-in dulg ence ju s t enough so th e y are fu n n y w ith o u t being offe n sive o r unrecognisable. The vie w e r m u st be th o ro u g h ly a tte n tiv e to th e p e rip h e ry o f th e p e rfo rm a n ce if he is to get th e m o st o u t o f it; even th e n o t o v e rly spacious Everest T h e a tre at th e S e ym o u r C entre is alm o st to o large to a ffo rd A s p in a llth e in tim a c y his act dem ands.

B u t th e re is a good deal o f pleasure to be de rived fro m his p e rform ance s even if one does n o t apprecia te all th e m ost su b tle innuendoes: indeed, po ssib ly th e greatest s tre n g th o f his art is th a t it operates on several levels at once. One m ay re quire an in tim a te kno w le d g e o f th e fo ib le s o f p re te n tio u s lie d e r singers to apprecia te fu lly th e h u m o r in a p a rtic u la r tw itc h o f an e ye b ro w o r c ro o k o f th e fin g e r o r o f sub tle change o f vocal tim b re , b u t the absurd tr iv ia lity o f some o f th e V ic to ria n song ly ric s he has unearthed speaks fo r its e lf, his m e lo d ra m a tic version o f S ch u b e rt's " E r l K in g " is a splen did to u r de fo rc e th a t

requires o f an audience no special kno w le dge o f th e Heder syn d ro m e . O cca sio n a lly, p a rtic u la rly in his send-up o f th e se lf-in dulg ence o f o p e ra tic sopranos m angling w e ll-k n o w n big m o m ents in th e standard re p e rto ry , A s p in a ll b e co m e sp re d ictable and a little tr ite , ju s t no w and the n he slips ju s t enough o u t o f ch a ra cte r so one rem em bers he's s m an in drag and an elem ent o f high cam p creeps in to the p e rfo rm a n ce ; b u t such lapses are rare.

B o th th e p e rfo rm e rs w h o assisted A sp in a ll in his S ydne y season deserve favo rab le , if b rie f, m e n tio n —th e vete ran p ia n ist D avid A n d re w s o f th e S ydne y C o n se rva to riu m , and th e yo u n g te n o r Paul Ferris, w h o has ju s t re tu rn e d to A u s­ tra lia a fte r a s tu d y s o jo u rn in L o n d o n . A ndrew s, w e ll k n o w n to S ydne y aria c o m p e titio n a d dicts as a ra th e r stern, som etim es even fo rb id d in g acco m pan ist, disp la ye d a real fla ir fo r good h u m o r and self send-up in his appearance w ith A s p in a ll: his tra n s c rip tio n o f th e G avo tte fro m M ig n o n , in th e firs t and th ir d program s, was a p a rtic u la r little gem o f its o w n . Ferris's voice has m a tured im m ensely in th e past fe w years; he has developed a plea singly ly ric a l lig h t te n o r th a t should stand h im in good stead w hen he jo in s th e Opera in th e near fu tu re . A n d he was a th o r ­ o u g h ly adept stra ig h t m an fo r A s p in a ll's antics in duets fro m Saint-Saëns' Samson a n d D e lila h , and the fin a le fro m P o n c h ie lli's L a G ioco nda.

D espite th e ir e ffo rts , th o u g h , A s p in a ll's show lingers in the m in d fo r his personal v e rs a tility and charm , his h ila rio u s ly accurate if s lig h tly overstated m u ltitu d e o f costum es and his ob vio us enthusiasm fo r th e m usic he p e rfo rm s : in th e very best sense th is is a one-m an show .

U n fo rtu n a te ly , theatregoers in o th e r States were de prived o f th e o p p o r tu n ity to see A s p in a ll th is tim e ro u n d ; it is to be hoped he w ill re tu rn soon and receive w id e r exposure.

Page 22 Theatre-A u s tra li a Feb-M arch, 1977

N IM R O D TH E A TR E for THE F E S T IV A L OF S YD N EY

N IM R O D T H E A TR E for THE F E S T IV A L OF S Y D N E Y

TREASURE ISLAND Alison Jones

Treasure Is la n d was staged late in J a n u a ry b y a happy in s p ira tio n on a genuine island: R odd Island, in one o f th e w este rn reaches o f S ydne y H a rb o u r and re a c h e d o n ly b y asp e c ia lly cha rtered fe rry . A m o st agreeable se ttin g , th o u g h u n fo r t­ u n a te ly , since n o th in g is p e rfe c t, on one o f th e flig h t paths to Mascot.

I t was b ille d b y th e N im ro d T h e a tre as “ a ra ttlin g great a d ventu re s to ry fo r all th e f a m ily " ; and such, on th e w h o le , it was, th o u g h I was s tru c k , as o fte n at c h ild re n 's th e a tric a l p ro d u c t­ ions, by the high p r o p o rtio n o f pre-schoolers and th e tap e rin g o f f in th e o ld e r age groups. T h is is alw ays a p ity , since so m uch o f c h ild re n 's th e a tre has a degree o f s o p h is tic a tio n w h ic h can o n ly be ap precia ted by those over five.

It is d if f ic u lt to cover " a ll th e fa m ily " , b u t Treasure Is la n d w e n t as near as possible to do in g so. T h e re was some restiveness am ong th e very sm all fr y , b u t even th e y fo u n d s o m e th in g to e n jo y in th e m o re o b v io u s b lo o d and th u n d e ry b its and th e occasional c o m ic tou ches, w h ile th e o ld e r age-groups, in c lu d in g th e parents, c o u ld e n jo y th e u n fo ld in g o f th e s to ry .

Long Joh n S ilve r, w ith his one leg and his p a rro t (in th is case a sulph ur-creste d c o c k a to o ) is a fa m ilia r, a lm o s t m y th o lo g ic a l fig u re , th o u g h m any o f us w o u ld be hard p u t to it to give a clear a cco u n t o f th e s to ry . F in d in g m y s e lf in th is p o s itio n , I re-read th e b o o k to refresh m y m e m o ry and was c o n s e q u e n tly v ery aware o f th e d iffic u ltie s faced b y Ken H o rle r in a d apting an o cca sio n a lly ra m b lin g , re fle c tiv e ta le w h ic h ranges over a w id e geographical area.

The a d a p tio n was generally very successful, m aking th e m o st o f th e in h e re n tly d ra m a tic n a ture o f S tevenson's in d iv id u a l scenes and keeping m ost o f his d ialo gue , b u t c u ttin g some b its and ad ding oth ers. T h e o ve rall te n d e n c y was to w a rd s e x te rn a liz in g th e n a rra tiv e and speeding it up. In his role o f p ro d u c e r, H o rle r, w ith the assistance o f e ffe c tiv e designs b y L a rry E astw ood, made p a rtic u la rly good use o f th e te rra in , m o vin g fro m the in n (an e x is tin g b u ild ­ ing) to th e ship, (suggested b y th e b rid g e —some fo r rigging and some fo r b e lo w decks area), and th e n ce to th e island, m a in ly represented b y th e stockade. A ll, o f course, w ere vis ib le at once, and th e actors w ere a llo w e d to range o u ts id e these s p e c ific areas—n o ta b ly up and d o w n a very h a n d y ro c k y slope (ju st th e th in g fo r desperate ha nd-to -h a n d fig h tin g ) and even am ong th e g ro u n d lin g s , w hose ears seemed s lig h tly im p e rille d b y th e cutlass-w aving o f Long Jo h n and his re b e llio u s pirates.

Th e basic s to ry was adhered to m o st fa ith ­ f u lly , and th e a d d itio n a l m a terial ge nera lly in keeping. (T here w ere some od d e x c e p tio n s : w hen S ilve r o ffe rs Jim H a w kin s, the b o y hero, a b it o f a raw fish and J im declines on th e ground s th a t he is n o t allo w e d to eat betw een meals, it

TREASURE ISLAND by Robert Louis Stevenson, freely adapted and directed by Ken Horler; designer, Larry Eastwood.

Jim Hawkins, IVOR BARNARD; Black Dog and Israel Hands, BILL CHARLTON; Billy Bones and Tom Morgan, DENNIS SCOTT; Blind Pew and Benn Gunn, BRUCE SPENCE; Anderson, GEOFF PARRY; George Merry, DERRICK CHETWYN; Squire Trelawney, RON GRAHAM; Dr Livesey, ROBERT ALEXANDER; Tom, Dan and Dick, RALPH COTTERILL; Long John Silver, HUGH KEAYSBYRNE; Captain Smollett, PETER ADAMS.

b u t th is was a m in o r lapse.)

Th e best use o f added m a te ria l was on bo ard sh ip , w here sea-shanties, led b y a pleasant faced sailor, w h o la te r d is a p p o in tin g ly tu rn e d o u t to be a b a d d y , and a s to rm at sea, g o t th ro u g h an o th e rw is e d if f ic u lt voyage in th e m o st agreeable w ay. T here was m u ch raising and lo w e rin g o f th e yard arm , a p ra ctice I suspect n o t p a rtic u la rly n a u tic a l; b u t in th e absence o f sails, it p ro vid e d a c tio n and added som e e x c ite m e n t by sw inging a ro u n d n a s tily in th e sto rm .

T h ere was p le n ty o f a c tio n in th e cutlass, p is to l and c a n n o n d e p a rtm e n t, every o p p o rtu n ity being seized to have h a nd-to-ha nd a ctio n .

P a rtic u la rly ap plaud ed was th e fa ll o f th e tre a c h ­ erous Israel H ands fro m th e rigging in to th e sea.

B u t th e large-scale m a yhem b u ilt in to th e s to ry was n o t a llo w e d to o m u ch p ro m in e n ce . Th e c ru e lle r side o f S ilve r's ch a ra cte r was played d o w n and his g e n ia lity and p la u s ib ility p laye d u p (th o u g h it is d o u b tfu l i f any cap tain w ith eyes in his head w o u ld re a lly have been ta ke n in b y h im ) and all ve ry w e ll p o rtra y e d b y Hugh K eays-B yrne, w h o handled th e p e rilo u s ly uneven g ro u n d and changes o f lo c a tio n w ith ad m ira b le s k ill, w o o d e n leg, b e a u tifu lly hom e-m ade c ru tc h and all.

Stevenson h im s e lf co m p la in e d w hen w ritin g th e s to ry th a t he fo u n d it d if f ic u lt to present pira tes w ith o u t bad language. In presenting th e m on th e stage K en H o rle r fo u n d no such d i f f i ­ c u ltie s . I d id n 't d e te c t a n y th in g stro nge r th a n a "b ig big D ." , b u t th e pira tes w ere able to make up fo r th is b y b lu s te rin g and sh o u tin g and lo o k ­ ing ge nera lly v illa in o u s and b y in o ffe n s iv e b u t pictu re sq u e phrases lik e "as s tro n g as th e guts o f a dead c a tfis h " and " I ’ ll stove in y o u r b lo c k ­ house lik e a paper b a g ."

In th e inte rests o f u n d e rs ta tin g th e sin iste r q u a litie s o f th e a d ventu re, th e eeriness o f atm osphere and th e a ir o f b ro o d in g and fo re ­ bo d in g w ere playe d d o w n —th e y w o u ld , in any case, have been a lm o st im po ssible to represent on such a b rig h t sun ny o u t-o f-d o o rs lo c a tio n .

A n d (no d o u b t to avo id o ffe n d in g th e m ost de lica te se n sib ilitie s), I was d iv e rte d to hear th a t w hen grog was ord e re d fo r all hands w hen the island was sighted, a special o rd e r was given fo r " lim e ju ic e fo r M r H a w k in s ".

M y fa v o u rite cha racte r o f a ll, even above Long Joh n S ilve r, was " p o o r Ben G u n n " (b eaut­ ifu lly realized b y B ruce Spence) m a roon ed on the island fo r th re e years, capering up and d o w n the ro c k lik e th e m o u n ta in goats he had been eating, and u tte rin g m aniacal cackles. It was Ben G unn w h o fo ile d th e pirates, having dug u p th e treasure in his spare tim e w h ile w a itin g to be rescued. M y one m a jo r q u ib b le w ith th e ad a p t­ a tio n was th e revealing o f th is p o in t so e a rly, th e re b y m a kin g th e fin a l digg ing up a b it o f an a n ti-c lim a x .

YO U N G M O Katharine Brisbane

THE RESUSCITATION OF THE LITTLE PRINCE WHO COULDN'T LAUGH AS PERFORMED BY YOUNG MO AT THE HEIGHT OF THE GREA T DEPRESSION OF 1929 by Steve J Spears. Nimrod Theatre Upstairs, Sydney New South Wales Opened 21 i 77. Director, Richard Wherrett; Designer, Vicki Fetscher; Choreographer, Pamela Gibbons; Original Compasition, Musical Director, Roy Ritchie; Piano and arrangements, Marlene Dale Mo (Roy Rene), GARRY McDONALD; Heckler, Lisa (Mrs Sherlock), Queenie Paul, GLORIA DAWN; Sadie Gale, Kitty Sluice, Mary Lou, Dolly Davis, SUE WALKER; Rabbi, Sir Harold van der Sluys, Professor of Comedy, WILLIE FE N NELL; Mr Sluice, Bones (Sherlock), Stiffy (Nat Phillips), JOHN GADEN; Mrs Sluice, Patron, MARLENE DALE; Barman (Ben Fuller), Lawyer, Workman 1, JOHN McTERNAN; Dream Dolly, Workman 2, Critic, GARY COSHAM; Joe, ROY RITCHIE.

I am le ft w ith no d o u b tth a t The R e suscita tion o f th e L it t le P rince W ho C o u ld n 't La u g h as P er­ fo rm e d b y Y oung M o a t the H e ig h t o f the G reat D epression o f 1929 (fro m no w on to be k n o w n as Y oun g M o ) w ill be a great success fo r N im ro d T h eatre. I t is a fu r th e r c o n firm a tio n o f th e fa c t th a t th e N im ro d began as, and rem ains, an a cto r's th e a tre .

L o o k in g ba ck, it is th e acto rs th a t b rin g m e m orie s o f all those prem ieres to life —M ichael B o d d y in Biggies, D on C rosby in The R em ovalists; th e mad team o f th e R o y M u rp h y S h o w , in c lu d ­ ing Jo h n C la y to n , Ja cki Weaver and M a rtin H arris; G lo ria D aw n in A H a rd G o d ; E liza beth Chance in K o o k a b u rra ; Peter C a rro ll as the C h ristia n B ro th e r;J o h n G a d e n in Travesties—and, o f course, th e in im ita b le G o rd o n C hater in The E lo c u tio n o f B e n ja m in F r a n k lin —to name a fe w jo y s a t ra ndom . Th e N im ro d has been fo ste r m o th e r to a good m a ny w rite rs in its six years o f life ; b u t th e m o st successful seasons have been tho se w h ic h th e actors have m ade th e ir ow n.

A n d so th e re is no d o u b t th a t th e casting o f Y oun g M o w ill ensure its success. In essence it is a no stalgic jo u rn e y fo r those w h o rem em ber R o y Rene, o u r m o st fam ous c lo w n , and those w h o w ish th e y had such m em ories. D ire c to r R ich a rd W h e rre tt has made th e event a se n ti­ m e ntal jo u rn e y also fo r th e fans o f G lo ria D aw n and G a rry M cD o n a ld . A n d th e y get th e ir m o n e y's w o rth .

G lo ria D aw n, v o c a lis t, vau devillean and actress, lo n g -tim e queen o f th e S yd n e y stage, was s tru c k d o w n d u rin g her lu m in o u s p e rfo rm ­ ance in G yp sy in 1 9 75 b y an a p p a re n tly te rm in a l illness. A g ainst all odds she has survived, by p ra y e r and d e te rm in a tio n , and survived m ira c u l­ o u s ly to h o o f it again and sing o ld num bers like "H a rv e s t M o o n " w ith a new, golden m e llo w q u a lity . F ro m an e ld e rly h e ckle r in th e opening scene she tra n s fo rm s in to a so u b re tte in satin and

T h e a tre -A u stra lia Feb-M arch, 1977 Page 23 again in to a n o th e r fam ous fig u re o f v a u deville Q ueenie Paul.

It is n o t a to w e rin g p e rfo rm a n c e b u t it is one in her w arm , relaxed, fa m ilia r s ty le and one su rro u n d e d b y th e tra p p in g s o f vau d e ville th e a tre w h ic h has been hom e m ost o f her life .

T h e fa ct th a t she is th e re at all makes G lo ria D aw n's pe rfo rm a n ce great. E q u a lly fo r tu ito u s is th a t o f G arry M cD o n a ld . A fin e , fe b rile c o m ic a c to r has d e v e lo p e d th ro u g h his a lte r ego N orm an G u n sto n , his in d iv id u a l brand o f in s a n ity . He re tu rn s to the th e a tre w ith a new assurance, th e n o w -fa m o u s face o f N o rm a n h a p p ily h idd en b e h in d M o's s till m o re fam ous c h a lk m ask; and w ith a new liq u id ease o f m o vem en t and a w arm , c o n s p ira to ria l frie n d s h ip w ith his audience. His re in c a rn a tio n o f M o —the w a lk , th e s ib ila n t J ew ­ ish accent, th e com p u ls iv e , aggressive pra ctica l jo k in g —is un ca n n y.

B u t th e sober reason w h y Y oung M o has reached N im ro d 's stage at all is, o f course, because its a u th o r is, in th e w o rd s o f the p ro ­ gram m e, “ A u s tra lia 's c u rre n t big h i t " a fte r the success o f The E lo c u tio n o f B e n ja m in F ra n k lin .

Steve J. Spears is an e c c e n tric and h ig h ly ta le n te d yo u n g w rite r w h o has happened in to S ydne y at th e rig h t tim e : a tim e w hen th e a tric ­ a lity had fa lle n in to disuse in th e w ake o f alm o st universal d o m e s tic co m e d y ; and was being re­ tu rn e d to fa v o u r b y E ric Dare's new k in d o f sensation lik e th e Lind say K e m p c o m p a n y and Reg L iv e rm o re 's shows.

B e n ja m in F ra n k lin co m b in e s outrageous th e a tric a lity w ith a new substance—elusive and con fused perhaps b u t d e m o n s tra b ly flesh and b lo o d . Y oun g M o ¡san e a rlie r piece w h ic h playe d successfully in A dela id e in 1975 and late r had a b rie f season in S ydne y. R e g re tta b ly I c a n n o t com pare th e p e rform ance s: th e re are some w h o say th e y pre fe rre d th e firs t and regret th e passing o f sections o f th e s c rip t in th e second h a lf. C er­ ta in ly I fo u n d th e second h a lf u n s a tis fa c to ry .

The reservations I had w ere m uch th e same as tho se I expressed a b o u t Jack H ib b e rd 's A Toast to M e lb a —th a t I w anted m o re a b o u t th e m e t­ a b o lism o f th e a rtis t.

Y oun g M o begins w e ll w ith th e re s u rre c tio n o f R o y Rene fro m his c o ffin , fo llo w e d b y anec­ do tes in revue s ty le a b o u t his e a rly life , his stage d e b u t and his p a rtn e rs h ip w ith N at P h illip s ( S tiffy ) . By in te rv a l th e show is fa ir ly b o u n c in g .

B u t in th e second h a lf th e b o tto m falls o u t o f th e tra m p o lin e . R o y is le c tu re d a b o u t, jo k e d a b o u t, im m o rta lis e d on a pedestal. B u t th e man h im s e lf is le ft w ith m a d d e n in g ly lit t le to do. In th e H ib b e rd piece M elba was at least th e cen tre o f th e a c tio n and her life was absorbing. O f M o's life and cha racte r we see very little d e m o n s tra te d ; o f th e a rt th a t made all A u tra lia love h im —alm o st n o th in g at all.

T h ere w ere, as w e k n o w n , c o p y rig h t problem s a b o u t M o's m a te ria l; and it was th is co m e d y m a te ria l so m any m em bers o f th e audience w ere e xp e ctin g to hear, th a t w o u ld u n lo c k fo r the m th e secret o f M o's p a rtic u la r genius. W ith o u t it th e show rings h o llo w —and G arry M cD o n a ld 's splen did pe rform ance .

T h e m o st p e c u lia r aspect o f th e s c rip t, p a rt­ ic u la rly in th e second h a lf, is th e lack o f d ra m a tic a c tio n . It sparks in to life o c c a s io n a lly , fo r exa m ple in a re c o n c ilia tio n in doggerel betw een S tiffy and M o. B u t m o st o f th e ac tio n seems to have ta ke n place elsewhere and we are le ft w ith th e post m o rte m . R o y Rene was, acco rding to legend, exasperating to his colleagues, d e lig h tin g in p ra ctica l jokes, sho ckin g b e haviou r, pre ju d ic e and, acco rding to his bio g ra p h e r Fred Parsons, a to ta l lack o f sense o f h u m o u r. T here was in h im th a t m agical m ix tu re o f the c h ild lik e and the sin gle -m ind ed eg otist w h ic h is as m uch endem ic to th e great a rtis t as his ta le n t.

Y oun g M o is a pleasant and ingenious e n te r­ ta in m e n t w ith a d e lig h tfu l cast in c lu d in g th e fo rm id a b ly ta le n te d Sue W alker, Jo h n Gaden as S tiffy , W illie Fennell and Jo h n M cT ern an. B ut it is also d e eply u n s a tis fa c to ry at th e m ore im p o rta n t level. T he p la y is a nostalgia t r ip fo r those in th e k n o w , those w ith o u t exp erien ce o f th e fam ous c lo w n learn very little . F o r me th e great d is a p p o in tm e n t lay in th e fa c t th a t Mo

em bodies a k in d o f h u m o u r th a t is de e p ly A us­ tra lia n and o w ed n o th in g to th e fo re ig n in­ fluences c o m m o n place to d a y in o u r te le visio n h u m o u r. Th e R e suscita tion o f R o y Rene m ig h t have done s o m e th in g to redress th e balance and re m in d us o f a tim e w hen we w ere m o re un se lf­ co n scio u sly ourselves, at least am ong th e A us­ tra lia n s Mo kn e w , th a n fo r th e m o st p a rt we have been since.

Page 24 T h e a tre -A u s tra lia Feb-M arch, 1977

The resuscitation of The Little Prince W ho Couldn’t Laugh as perform ed by

YOUNG MO

a t the height of the G re a t Depression of 1929 introduced by Richard Wherrett and k n o w n o th in g o f w h y its life in S ydne y was so b rie f. B u t I do k n o w , since having read th e ir versio n, i t was a very d iffe re n t p la y —ro u g h ly f i f t y pe rce n t was q u ite new m a te ria l. Th e version I had responded to , and w h ic h is p u blished here, is th e o rig in a l version, w ith changes made d u rin g th e course o f o u r rehearsals. T h e a u th o r in his opening notes, a d m its it is a ske le to n and invites "fle s h in g o u t '', b u t in fa c t th e changes we made w ere n o t ra dical. 'T h e o rig in a l th re e act fo rm became tw o acts, and songs and dances w ere added, some to re fle c t M o's

Richard Wherrett

(Photo: Gregory Weight)

I firs t read The R e suscita tion o f . . . and The E lo c u tio n o f . . . s im u lta n e o u s ly , ju s t ove r a year ago. A t th a t tim e I was m o re keen to p ro d u c e M o th a n B e n ja m in , p a rtly because I was already c u rre n tly rehearsing a one man pla y (R o n B la ir's M ad, Bad, a n d D angerous to K n o w ) and fe lt d is in c lin e d to fo llo w it w ith a n o th e r, b u t also because I responded very m u ch ju s t to th e fu n o f it, having m o st re c e n tly been in volve d w ith a co u p le o f w o n d e rfu l heavies, R ic h a rd I I I and A S tre e tc a r N am ed Desire. F o r th a t is very m u ch ju s t w h a t M o is—fu n , an e n te rta in m e n t.

As it tu rn e d o u t, th e C irc le C om p any had th e rig h ts, and indeed proceeded to m o u n t th e ir very successful A delaid e p ro d u c tio n in S ydne y.

We w e n t ahead w ith B enjam in. T h e y are as e x tra o rd in a rily d iffe re n t fro m each o th e r as th e y are in tu r n fro m o th e rs o f Steve Spears' w o rk s , such as th e y e t u n p e rfo rm e d K in g R ic h a rd and W o u ld n 't I t J u s t M ake Y ou Weep. T h o u g h it w o u ld be tru e to say th a t M o has o rig in s in an established genre o f d o c u m e n ta ry na rrative (L egend o f K in g O 'M a lle y and Flash J im V a u x ), the a u th o r's d is tin c tiv e o rig in a lity lies in th is a b ility to w rite so d iffe re n tly fro m play to p la y .

I d id n 't see th e C ircle's p ro d u c tio n o f M o ,

added, some to re fle c t M o 's ea rly career in V a u d e v ille , and oth ers p u re ly to he ighten narra­ tiv e m o m e n t, such as th e rehearsal ten sions p rio r to th e firs t S tiffy and M o op e n in g , and th e death o f N at P hillip s.

I was th irte e n w hen R o y Rene d ied , and can ju s t rem em ber hearing h im on ra dio. In th a t his de ath o c c u rre d tw o years b e fo re te le visio n came to A u s tra lia , th e re exists little re cord o f h im on film , so th a t m any people have no visual m e m o ry o f M o, w h ile a you ng ge nera tion are lik e ly n o t to k n o w o f h im at all.

O u r special p ro b le m th e re fo re was h o w to realise his sta g e -cra ft—his tim in g , his m ugging, his d e liv e ry , his e x tra o rd in a ry voice and w a lk .

S trik e M e L u c k y , th e one fe a tu re film he m ade, is th e m a jo r e x c e p tio n , and was invalu able to us and G a rry M cD o n a ld in p a rtic u la r in recreating th a t te c h n iq u e . In th e course o f th a t research I have com e to understand w h y his fam e and success spanned fo r t y years.

Y oung M o traces th e firs t fifte e n o f those years. In 1929 Mo was at th e h e ig h t o f his stage career, and th a t date ro u g h ly m arks a tu rn in g p o in t in his life , his m arriage to Sadie Gale and the death o f S tiffy , N at P h illip s. F o r th e p la y is also very m uch a b o u t N at and his re la tio n s h ip w ith R o y , w ith an a tte m p t to analyse w h y M o's fam e lives on and n o t S tiffy 's . Was N at P h illip s the means b y w h ic h R o y Rene's special ta le n ts were realised. W hat makes a star? W hat makes fam e endure? In life we do n o t k n o w w h a t is going to happen n e x t; in a p la y we m u st n o t k n o w . One o f the p a rtic u la r strengths o f Y oung M o is its a b ility to surprise, its co n s ta n t changes o f d ire c tio n and v ie w p o in t and m o o d , n o t th e le a s to f w h ic h is th e e x tra o rd in a rily n o n -th e a trica l (a lth o u g h th e a tric a l because e x tra o rd in a ry ) last section in w h ic h th e above q u estions are raised.

F o r the rest, th e surprises are achieved via the e x p lo ita tio n o f a ga m ut o f th e a tric a l tric k s in a play a b o u t th e th e a tre . Its fo rm is " r o u g h " . Its c o n te n t is a man w hose u n e x c e p tio n a l off-stage life was m a tched b y an e x c e p tio n a l onstage achievem ent. T h is is w o rth rem em b erin g and re-experiencing.

STEVE J. SPEARS STEVE J. SPEARS is Australia's current big hit as a playwright. His 'The Elocution of Benjamin Franklin', premiered by Nimrod and starring Gordon Chater with Richard Wherrett directing, is now in its sixth month of performances, quite some feat for a straight one-man play here. 1977 will see a nationwide tour of the play as well as productions in New York and London by impressario James Hammerstein, and a further Nimrod tour to New Zealand, Hong Kong and Japan.

Twenty-four year old Steve has been a professional writer for three years. Stud, a horny, nude historical rock show was produced in Adelaide in 1973 and was followed a year later by the original racist vaudeville hit Africa at the Pram Factory. Young Mo was premiered in its first version at the Adelaide Festival Centre in 1975. Radio 2JJ broadcast his Eliza Q and he is currently working on a screenplay for the South Australian Film Corporation. Steve will shortly be writing for seven episodes of a new Garry McDonald show for TV's Channel 2.

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A d d r e s s : ......................................................................................................... ................................................................................................... P ost C o d e : G if t fr o m ( i f a p p lic a b le ) : .................................................................... ..

I enclose c h e q u e /P .O . f o r $ 1 5 .0 0 f o r o n e y e a r's s u b s c rip tio n s ta rtin g w ith ....................... (m o n th ) issue sen t t o (o v e r)

T h e a tre -A u stra lia F eb-M arch, 1977 Page 33

The resuscitation of The Comic M o W h o M a d e Everyone Laugh as perform ed by

garry

McDo n a ld

a t the height of the g re a t recession of 1977 For the past few weeks Garry McDonald has been living with ghost of one of Aust­ ralia's best loved performers, Roy Rene— Mo. Th e m em ories o f M o are m a n y and varied to tho se w h o saw o r heard h im w o rk . W hen Steve J. Spears' p la y Y oung M o opened at th e N im ro d T h e a tre in late J an uary, it was a fte r m u ch re­ w ritin g o f th e o rig in a l s c rip t. Plus a lo t o f hard w o rk fro m a ta le n te d cast, G a rry , G lo ria D aw n, W illie F e nne ll, Sue W alker, ju s t to m e n tio n a few .

I ta lk e d to G a rry in th e fin a l w eek o f rehear­ sals a b o u t th e d if f ic u lt task o f p la y in g th e great c o m ic . W hen o rig in a lly ap proached, G a rry was

very keen to d o th e p a rt to get aw ay fro m his N o rm a n G un ston image, a lth o u g h he was no great fan o f M o's at th e tim e .

"J o h n Bell loaned me a Mo record w hen we w ere do in g Measure fo r Measure, b u t he d i d n 't ' impress me v ery m u c h ," says G a rry . T h a t was r several years ago.

Having decided to accept th e role G a rry 's p re p a ra tio n began w ith a lo o k at th e o n ly film M o ever made S trik e m e L u c k y . G a rry came to m y hom e to see th e film w ith th e d ire c to r, R ich a rd W h e rre tt. I rem em ber none o f us raved a b o u t it at th e tim e . " I was a b it astounded at th e f i l m , " recalls G a rry . " I th o u g h t, oh G o d ! B u t it was a shame th a t o u r choreog rap her, Pamela G ibb ons, d id n 't see it th a t day. It ju s t rushed over m e—it was to o m u ch in one h it. T h e n we c o u ld n 't get th e film again u n til last w eek. I t was a lo t m ore h e lp fu l th e second tim e a ro u n d ."

by Barry Eaton D espite th is G a rry feels th a t seeing th e f ilm and lis te n in g to M o's records have o n ly been m in im a lly h e lp fu l to his p re p a ra tio n .

O verall has it been a hard grin d? " Y e s —p a rtic u la rly in th e fir s t w eek o f rehear­ sal, w h ic h I resented. It was C hristm as and I re ally w o u ld have prefered having th e tim e w ith m y kids instead o f w o rk in g m y rin g o ff. A fte r th a t it g o t b e tte r ."

H o w d id y o u get in to th e ro le in th e early stages? " A l l th ro u g h rehearsals I was liste n in g to tapes o f M o, m im ic in g his voice. I had been t r y ­ ing to get a co p y o f Fred Parson's b o o k , A M an C alled M o, and fin a lly g o t one h a lf w ay th ro u g h rehearsals."

Was th is a help?

"Y e s , because in a w ay I ju s t h a d n 't c o tto n e d on to th e cha racte r. I'd heard all these stories a b o u t h im . I kn e w w h a t an ego he had and I c o u ld n 't shine to h im . W hen I read th e b o o k I saw M o in a new lig h t. It was re a lly w ritte n w ith great love. T h en w e saw the film again last w eek w hen th in g s w ere bogged d o w n a b it and it h e lp ­ ed a lo t . " In w h a t w ay? " I d id n 't realize h o w broad M o 's w a lk was.

M y m o vem en ts have been re s tric te d b y T V and film w here th in g s have to be played d o w n . I realized I w a s n 't being big enough and a fte r spending a sleepless n ig h t th in g s w o rk e d o u t w e ll at rehearsals n e x t da y. It made me realize h o w fa r I c o u ld g o ."

H o w fa r does G a rry get in to M o's character?

"W e ll, it's re a lly o n ly in th e fir s t h a lf o f th e play th a t it's a M o im p e rs o n a tio n . I've re a lly o n ly g o t to do M o in a fe w scenes and th e n a fte r th a t its a s o rt o f ble n d o f w h a t he m u st have been lik e in real life and w h a t we k n o w o f h im ."

Having G lo ria D aw n and W illie Fe nne ll in th e cast has been a great he lp to G a rry. T h e y b o th w o rk e d w ith M o and o f course have m any stories to te ll a b o u t h im .

"E v e ry s to ry yo u hear a b o u t M o, his ego com es th ro u g h . T h e o th e r characters w ere o n ly th e re to feed h im lines so th a t he c o u ld get th e laughs. In m y ch a ra cte risa tio n o f Mo offstage all I have trie d to d o is h ig h lig h t his arrogance and cock-su red ness."

W hat a b o u t y o u r appearance? " I have dye d m y ha ir in a semi pe rm an ent rinse and I'm th in k in g o f fillin g in th e h a irlin e w ith b la c k m ake up. I 'll see a b o u t th a t a n y w a y ."

The make u p itse lf?

"O h very sim ple . W ill A n d ra d e sent me a sam ple o f M o's m ake up. A s tic k o f L e ich ner b la c k and a s tic k o f w h ite ."

G a rry fre e ly a d m its to 'p in c h in g ' some o f his business fro m o th e r great com ics. " I w e n t to see The G reat D ic ta to r last nig h t to p in c h a fe w th in g s fr o m t h a t," G a rry a d m itte d .

" O f course th is is w h a t M o used to do . H e'd p in c h fro m every co m ic . T h en w hen som ebod y p inch ed th a t b it fro m h im he'd say—th e d ir t y m u g !"

G a rry th in k s all th is very am using and n o t at all un p ro fe ssio n a l.

"W h y n o t, I do i t , " he laughs. " I m ean even M o's name was pinch ed fro m a French c lo w n a p p a ra n tly and his make up fro m an A m e ric a n c o m ic ."

T h e re are some th in g s th a t G a rry c a n 't m aster. " I c a n 't do all those fa lls and th in g s M o d id , because he was tra in e d in vau deville. Those fe llo w s used to be able to do te r r ific th in g s w ith th e ir bodies. M in d yo u we d o n 't have th e ca llin g fo r it n o w a d a y s ."

" O f course M o was very vulga r in m a ny o f his sketches and once g o t a lo t o f laughs w ith a large salam i. I am w o rk in g on th a t at th e m o m e n t."

M y m in d had a q u ic k boggle at th a t!

"M a n y o f th e old S tiffy and M o s kits w ere te r r ib ly v u lg a r," G arry c o n tin u e d , "a lth o u g h M o never regarded th e m as su ch .”

M o was re now ne d fo r his s p lu tte r w h ic h o fte n led to some w e t m o m e n ts on stage and p a rtic u la rly in his film . G a rry also has some pro b le m s here, o r m ore precisely th e o th e r cast m em bers d id ! " I'v e had to sto p w o rry in g a b o u t th a t because it happens, "la u g h s G a rry . " I was do in g th is very to u c h in g scene w ith Jo h n G aden, I looke d d o w n and th e re w ere tw o blo b s o f s p it on his eye­ b r o w s !"

So fo r tho se w h o get a fr o n t ro w seat—yo u have been w a rn e d !

Page 34 Theatre-A ustraU a Feb-M arch, 1977

*■■ * * *

Perth Festival Round-u mm r> m sm n t-m in m I# 8-

U niversity Theatre

McNeil Review

i

and Country

Histo

tnt»

Festival Round The 1976 Perth Festival was re m arka ble fo r th e n u m b e r o f overseas com panie s w h ic h added th e ir ta le n ts to those o f local and eastern states p e rfo rm e rs d u rin g P erth's annual c u ltu ra l orgy.

We had th e Negro Ensem ble C o m p a n y and the L ittle T h eatre o f th e Deaf, as w e ll as a b r illia n t d o u b le b ill o f S o u th A fric a n p la ys—S izwe B anzi is D ead and The Island. By c o n tra s t, d ra m a tic fare o ffe re d fo r th e 1977 Festival, th e S ilver Jub ile e year, w ill be b y com panies to ta lly A u s­ tra lia n . T h e new Festival D ire c to r, D avid B le n kin so p , has com e up w ith a progra m m e fo r th e dram a w h ic h c o u ld be te rm e d 'th e A u s tra lia n w ay w ith th e E uropean classic'. Plays by Shakespeare, M o lie re , T. S. E lio t, Sean O'Casey and B rech t w ill be p e rfo rm e d , w h ile pa rochia l enthusiasm s w ill be catered fo r b y th e A .P .G . w ith a pla y a b o u t Phar Lap, and by Leonard Teale's one-m an show W hile the B illy Boils.

The o b lig a to ry Festival Shakespeare w ill again be p ro v id e d b y W .A .T .C . d ire c te d by D avid A d d e n b ro o k e , w h o gave us last year's 'g a la c tic ' Tempest. T h is yea r th e co m p a n y w ill present A M id s u m m e r N ig h t's D ream , b u t w ith th e a d d itio n o f an o rig in a l ro c k m usic score by Perth m usician T im H ood . In some ways th e D ream seems an o d d ch o ice , given th a t th e '7 6 Festival fe a tu re d Joh n M ils o n 's p ro d u c tio n o f The Faery Queen w h ic h , as everyone kno w s, is Shakespeare's D ream fleshed o u t w ith su p e re ro g a to ry masque scenes and m usic by P urce ll. In fa c t, A d d e n b ro o k e has been p la n n in g to p ro d u c e th e D ream fo r some years, and o n ly held back in '7 6 because The F a e ry . Queen was scheduled. Th e 1977 Festival has given h im his o p p o r tu n ity , and it is u n lik e ly th a t c o m p la in ts a b o u t d u p lic a tio n w ill arise, given th e ra d ic a lly d iffe re n t approach w h ic h A d d e n b ro o k e plans.

The p la y w ill be p e rfo rm e d in an e n v iro n ­ m e nt suggesting th e tra d itio n a l th re e -rin g circus w ith Puck, to be played b y Edgar M e tcalfe, as ringm aster. A fiv e piece ro c k ba nd, s itu a te d in fu ll view o f the audience in a band b o x over the m ain rear en tran ce to th e ring, w ill acco m pan y the p e rfo rm e rs at vario us p o in ts in the play.

Cliff Gillam

has been chosen in o rd e r to co m b in e b o th the cho ral and th e d ra m a tic societies o f the U n i­ ve rsity in one w o rk , as o ccu rre d in last year's The F a ery Queen, p e rfo rm e d in th e N ew F o r­ tu n e . I t is re g re tta b le th a t th e o p en-a ir New F o rtu n e w ill n o t be used d u rin g th is Festival, b u t M ilson has sound reasons fo r staging his p ro ­ d u c tio n in the p ro sce n iu m arched new D o lp h in .

L ik e th e N ew F o rtu n e , th e D o lp h in possesses an e x c e p tio n a lly b ro a d and deep stage o f variable levels w h ich th e d ire c to r w ill e m p lo y to heighten d ra m a tic m o od and to present th e tableau e ffe ct o f th is very ritu a liz e d p la y. B u t th e D o lp h in also p e rm its an in tim a c y be tw een th e audience and B ecket w h ic h is ra rely possible in an o u td o o r or cath edral p ro d u c tio n , w here th e in tric a te po le ­ m ic o f th is re lig ious dram a is o fte n e ith e r lost in aco ustic o d d itie s , o r needs to be so pu n ctu a te d th a t th e na rrative lacks v ita lity . S ta rrin g Peter C a rro ll, w h o m m ost o f us saw w ith d e lig h t in The C hristia n B ro th e rs, th e p re se n ta tio n p ro m ­ ises to be a p o w e rfu l success.

M usic plays a m ore p ro m in e n t p a rt in anothe r p ro d u c tio n by J o h n M ils o n —a seldom p e rfo rm e d

P har Lap & Flu gh ie T e lford .

P h o to : H e ra ld & W eekly Times.

A d d e n b ro o k e is an a d m ire r o f th e Polish c r itic Jan K o tt, and fin d s h im s e lf very m u ch in accord w ith K o tt's vie w o f th e D ream as one o f th e m o st d a rk ly e ro tic o f Shakespeare's plays.

He hopes, in th e c o n te x t o f the tinse l g la m o u r o f his circus settin g (designed by th e a tre a rc h ite c t Peter P arkinso n, w h o also created th e superb 'space-age' settin g o f last year's Tem pest), to b rin g o u t e le m e n ts o fth e play fre q u e n tly avoided by th e 'gossamer and gentle ly ric is m ' school.

O f lesser re n o w n , b u t s till classic o f th e tw e n tie th c e n tu ry , is T. S. E lio t's M u rd e r in the C ath edra l, d ire c te d b y Joh n M ilson . T h is play

w o rk o f B re ch t, H a p p y End. T h e score b y K u rt W eill is sp a rklin g , b u t th e p la y is n o t s im p ly a m usical. W ritte n in 19 29, th e a c tio n takes place in a Chicago o f 1 9 1 1 : B rech t saw in th a t pe riod th e height o f a c o n flic t be tw een th e hum an in d iv id u a l and th e o v e rw h e lm in g , am orphous forces o f c ity o rg a n iz a tio n . B y 1929 B rech t and W eill w ere w e ll aware th a t th e struggle was over, and the title o f th e ir pla y sh o u ld n o t be taken to o lite ra lly . T o em phasize such loss o f id e n tity th e acto rs' faces w ill be masked by w h ite m ake­ up ; it is seco n d a rily a co n ve n ie n t m e th o d o f d o u b lin g up w ith a cast o f ten w hen th e scrip t has some tw e n ty parts.

The O ld T o te T h e a tre C o m p a n y brings us Sean O 'C asey's The P lough a n d the Stars, w hich th e m a tic a lly has m u ch in c o m m o n w ith Brecht, as we realize w hen C o rp o ra l S to d d a rt asks us, " . . . a m an's a m an, an 'e 'as to fig h t fo r 'is c o u n try , 'a s n 't 'e ? ". D ire cte d b y th e d is tin ­ guished Hugh H u n t, and fe a tu rin g th e various

Theatre-A ustraU a F e b-M arch, 1977 Page 35 ta le n ts o f R on H a d d ric k , M a rtin Phelan and M a rtin V aughan, th is p ro d u c tio n at th e P lay­ house T h e a tre w ill c e rta in ly be as p o p u la r as th e M e lb ourne T h eatre C o m p a n y's 1976 o ffe rin g , K id Stakes. A n d th e set, so im p o rta n t in m uch o f O'C asey, w ill be designed b y th e illu s trio u s A n n e Fraser, w h o was responsible fo r b o th set and costum e in last year's R ay L a w le r dram a.

A t th e Playhouse, The N a tio n a l T h e a tre C om p any w ill c o n trib u te M o lie re's The M is e r to th e a rm o u ry o f classic plays. H ow ever, d ire c to r A arn e Neeme w ill n o t p ro d u c e th e p la y in th e classic French s ty le o f th e C om edie Française, all su b tle nuance and b r it tle elegance. He feels th a t A u stra lia n actors are n o t ge nera lly c o m fo r t­ able w ith such a s ty le , and w ill th e re fo re b rin g o u t those elem ents in th e pla y m ore congenial to th e em erging A u s tra lia n acting s ty le , no urishe d b y th e con v e n tio n s o f 'ro u g h th e a tre '. These elem ents are, o f course, th e traces o f th e C om m edia d e ll'A rte w h ic h linger in b o th c h a r­ a cte r and a c tio n in M o lie re 's p la y , fo r all its verve and so p h is tic a tio n .

The Playhouse has fo llo w e d its usual p ra c tic e o f im p o rtin g a name English a c to r fo r its Festival p ro d u c tio n , and th is year Jo h n Le M e s u rie rw ill pla y the lead role o f H arpagon. Designer A n n e French, fo rm e rly w ith th e S o u th A u s tra lia n T h e a tre C om p any, has o p ted fo r a costu m e w h ic h w ill b rin g o u t th e P antalone o rig in s o f H arpagon and the re w il be a h in t o f H a rle q u in in M a itre Jacques, to be playe d b y D ennis M ille r.

Th e set w ill consist o f a ce n tra l b o x re m in is c e n t o f a Punch and J u d y s ta ll. A p a rt fro m Le M esurier, th e small p e rm an ent co m p a n y at th e P layhouse w ill be sup plem e nted by guests fro m th e local th e a tre scene, in c lu d in g Eileen C o lo c o tt as Frosine, a character w h o m A arn e envisages as " v e r y m uch a H e llo D o lly ty p e ” .

ing o f fa ir ly lig h tw e ig h t e n te rta in m e n ts , fo r w h ic h exaggerated claim s o f 's ig n ific a n c e ' have been made. It is to be hoped th a t th e ir Festival c o n trib u tio n w ill be s u ffic ie n tly p o te n t to balance th e heavy dose o f E uropean c u ltu re o th e rw ise o ffe re d , a lth o u g h th e p u b lic ity b lu rb 's p rom ise o f "a crazy m ix tu re o f social realism and spe ctacular fa n ta s y " c o n ta in s a h in t o f th e c o m p a n y 's fre q u e n t te n d e n c y to self-in dulg ence.

We m u st hope fo r a success because o th e rw ise th e fla g -ca rryin g w ill be le ft e n tire ly to Le onard Teale.

Teale w ill be presenting a one-m an sho w in th e new dram a ce n tre o f M o u n t La w le y Teacher's College. Called W hile the B illy B oils and based o n th e la te r years o f H enry Law son's life , th e show w ill be larg ely a series o f readings fro m some o f Law son's b e tte r k n o w n bush stories, strung to g e th e r b y Teale's im p e rs o n a tio n o f th e aging Law son, d ipso m an iac and s e lf-p ity in g .

Le onard Teale's vast exp erien ce and special kno w le dge o f A u s tra lia n cha racte r and fo lk lo r e sho uld ensure an e n jo ya b le evening's e n te rta in ­ m e nt.

L e o n a rd Teale.

E bullien ce, to o , can be exp ected fro m the A .P .G .'s c o n trib u tio n , a new pla y b y a new w rite r, Steve Mastare. Based on one o f th e m ore cu rio u s o f th e m y th ic creatures lodged in A u s­ tra lia n race m e m o ry , th e racehorse Phar Lap, a n d title d It's Cinghalese fo r L ig h t'n in g , Y 'K n o w , the play w ill be pro d u ce d on th e th ru s t stage o f the U n iv e rs ity 's O ctagon T h eatre.

The A .P .G . have p ro b a b ly been th e m ost s ig n ific a n t in itia to rs o f a s p e c ific a lly A u s tra lia n style o f actin g, d ra w in g he a vily on m u sic hall and 'ro u g h th e a tre ' tra d itio n s . The G ro u p 's c o m m itm e n t to " th e d e v e lo p m e n t o f a tr u ly indigenous th e a tre , s tro n g ly ro o te d in th e c o m m u n ity and dealing w ith th e m y th s and realities o f life in A u s tra lia ", w h ile laudable in its e lf, has to o o fte n led in th e past to th e devis­

In sum th e n , th e '7 7 Festival, a lth o u g h la c k ­ ing th e s tim u la tin g e ffe c t o f overseas com panies, o ffe rs th e prospect o f a varied and ge nera lly w hole som e th e a tric a l d ie t. A t least th e re are no o u trig h t dogs am ong th e proposed plays (and even the m ost c h a rita b le o f c ritic s m u st have fe lt last year's P inero farce. The M a gistrate, and th e 'm u s ic a l' The C u rre n cy Lass belonged in th is ca te g o ry). As to horses, we m ust w a it and see.

I t seems theatregoers can lo o k fo rw a rd , on th e basis o f in fo rm a tio n alre ady available, to some liv e ly debate on th e re la tive success o f th e tre a t­ m ents planned fo r A M id s u m m e r N ig h t's D ream and The M iser. F in a lly , it is in te re stin g to no te th a t co m e d y , spectacle and song seem to o u t­ w eigh th e m o re serious fare, and fo r a Festival, perhaps, th is is as it sh o u ld be.

The National Theatre Company

1977season 4 The Playhouse

Perth. w.a The Greenroom

ASHES by david rudkin 22nd April— 14th May

THE MISER by moliere With special guest artist John Le Mesurier 24th February— 19th March THE DEPARTMENT by david Williamson 24th March— 16th April

OTHERWISE ENGAGED by simon gray 2nd June—25th June

YESTERDAYS NEWS by jeremy seabrook and the joint stock theatre group 17th May—28th May

ABSENT FRIENDS by alan ayckbourn 21st April—14th May

TREATS

by Christopher hampton 30th June—23rd July

GOING HOME by alma de groen 1st July—23rd July

D IR E C T O R : AARNE NEEME. A D M IN IS T R A T O R : TONY YOULDEN. Y O U T H D IR E C T O R : ANDREW ROSS. D E S IG N E R S ANNA FRENCH, JAS CARTWRIGHT. P U B L IC IT Y : TERRY GLASER. C O M P A N Y A C T O R S : ALAN CASSELL, DENNIS MILLER, IAN NICHOLS, IAN SCOTT, CAROLE SKINNER, LEITH TAYLOR, LESLIE WRIGHT. Y O U T H T E A M : MARY HAIRE, JOHN RAYMENT. G U E S T A C T O R S : EILEEN COLOCOTT, GEOFF GIBBS, IVAN KING, PETER ROWLEY, PIPPA WILLIAMSON.

Page 36 T h e a tre -A u s tra l ¡a Feb-M arch, 1977

“An overwhelming sight... this, without question, must be the most innovative, the most daring, the most dramatic and in many ways, the most beautiful home constructed for the lyric and related muses in modem times”. MARTIN BERNHEIMER — Los Angeles Times.

Julie Anthony Winifred Atwell Claudio Arrau The Australian Opera The Australian Ballet Leonard Bernstein and the New York Philharmonic Orchestra Kerry Biddell Dave Brubeck and the Darius Brubeck Ensemble June Bronhill Carol Burnett The Bee Gees Cilia Black

Don Burrows and George Golla Stephen Bishop Pat Boone & Family Diahann Carroll Richard Bonynge Tim Conway Barry Crocker Carlo Felice Cillario Concentus Musicus Vienna Bette Davis Edward Downes Dean Dixon Birgit Finnila The Fires o f London David Frost Dance Company (N.S.W.) Daly-Wilson Big Band Jon English Arthur Fiedler

Johnny Farnham Merce Cunningham and Willem van Otterloo German Bach Soloists Dance Company Roy Orbison R olf Harris Lorin Maazel and the Des O ’Connor Colleen Hewitt Cleveland Orchestra Ray Price Hiroyuki Iwaki and the Musica Viva Australia Pacific Brass Quintet NHK Symphony Orchestra Moscow Chamber o f Los Angeles Paul Hogan Orchestra Cliff Richard Sir Robert Helpmann Anna M offo Helen Reddy Kiri Te Kanawa Don McLean Joan Sutherland Kamahl Herbie Mann Sextet Sherbert Danny Kaye Melbourne Symphony Silver Studs Graham Kennedy Orchestra Donald Smith Gina Lollobrigida Melbourne Theatre Company James Last Neville Marriner and Toni Lamond The Academy of Radu Lupu St. Martin-in-the-Fields Don Lane Birgit Nilsson Rod McKuen Netherlands Chamber Orchestra Old Tote Theatre Company

Judy Stone Guiseppe di Stefano The Sydney Symphony Orchestra Smetana Quartet Harry Secombe The Stuttgart Ballet The Shanghai Philharmonic Society Maxim Shostakovitch Reg Varney Digby Wolfe Roger Woodward Zurich Chamber Orchestra

Listed above are some of the greats who have already appeared at the Sydney Opera House.

We hope to see you here soon.

All the best, Frank Barnes, General Manager, Sydney Opera House.

The Sydney O p era H ouse The Sydney Opera House has over 900 rooms. It has a Concert Hall which seats 2,690, an Opera Theatre, 1547, a Drama Theatre, 544 and a Music Room 419. k also has num erous areas for all form s of entertainments and exhibitions as well as facilities for conventions and catered receptions. For further informationFrank Barnes, General Manager, Sydney Opera House, Box 4274, G.P.O. Sydney 2001 NSW. Australia. Telephone 20588 Telex 25525 (Answer back: SOHT-AA25525)

T h e a tre -A u stra lia Fe b-M arch, 1977 Page 37

HOLE IN THE W A LL

H O W DOES YOUR GARDEN G R O W ?

Collin O'Brien

HOW DOES YOUR GARDEN GROW? by Jim McNeil. Hole in the Wall Theatre, Perth, Western Australia. Opened 5. i. 77. Director, Aarne Neeme; Designer, Graham Maclean.

Sam, ALAN CASSELL; First Officer, ROBERT van MACKELENBERG; Second Officer, BOB FAGGETTER; Senior Officer, IVAN KING; Mick, ROD WILLIAMS; Brenda, MARTIN JONES; Sweeper, IVAN KING; Levick, BOB FAGGETTER; Woman, HELEN HOUGH.

T o arrive at some so rt o f assessment o f J im M cN e il's H o w Does Y o u r G arden G ro w ? it is w o rth co m p a rin g it to tw o o th e r exam ples o f p riso n plays: th e R onn ie B arke r te le v is io n series P o rrid ge and G enet's The M aids in th e A le x a n d e r Hay version review ed in these c o lu m n s tw o issues ago. Indeed w hen one com es to th in k o f p ris o n dram a, th e re seems to be a Jot o f it a b o u t, such th a t one m ig h t be fo rg iv e n fo r fee lin g som ew hat c la u s tro p h o b ic as shades o f th e p ris o n house begin to close u p on th e fu m b lin g scribe.

As w ith the M cN eil pla y .P o rrid g e is g round ed in realism . H ow ever it is som etim es in danger o f su ffe rin g fro m the in h e re n t weaknesses o f s h o rt series te le vis io n pieces: giving w ay to th e g lib laugh and th e easy p a rado x ('th e re are un d e sir­ able typ e s in th is p ris o n ') and th e im p o s s ib ility w ith in th e tim e span and genre o f d e v elopin g very m u ch com passion.

One o th e r aspect o f P orrid ge m akes me uneasy. T here appears to be, ju s t be neath the surface, a ra th e r unpleasant acceptance o f im m u ta b le class d iffe re n c e —the idea p revalen t in V ic to ria 's England th a t th e re is such a th in g as th e c rim in a l classes, con sistin g e n tire ly o f re c i­ d iv is t w o rk in g class people. These are b o rn to th e re cu rre n t p riso n sentence as a w a y o f life and are th e re fo re n o t o b je c ts o f p ity o r c o m ­ passion, u n lik e the higher class v ic tim s o f m is­ fo r tu n e like Joh n S tonehouse w h o w ere never b o rn to go to p ris o n , and so are o b je c ts o f o u r p ity . Even th e m a kin g o f fo lk heroes o u t o f R ona ld Biggs and Ned K e lly has its re a c tio n a ry u n d e rto n e s, as such an a ttitu d e seems to accept th a t th e re is an inescapable them -and-us a b o u t w h o should 'd o tim e ', o r at any rate a b o u t w h o m we sho uld feel s o rry fo r w hen incarcerated.

A t th e o th e r end o f the priso n p la y scale in te rm s o f genre is th e G enet, a p o e tic p la y w h ic h fin d s its expression in s y m b o l and im ag ery, a species o f surreal vis io n . M cN e il's p la y claim s no such p reten sio n, y e t w ith in its re a lis tic genre it manages a v ision and c la rity based on c o m ­ passion and th e d e ft p o in tin g and e x p o s itio n o f th e realities o f prison life . M cN e il abjures sen ti­ m e n ta lity , preaching o r any a tte m p t to e x p la in aw ay o r apologise fo r w h a t he so c le a rly sees and reveals to us. It is realism do in g w h a t it does best.

Th e o ve rrid in g e m o tio n con necte d w ith any in s titu tio n a l existence is u n u tte ra b le b o re d o m , as a n yone w h o has in v o lu n ta r ily been in th e a rm y w ill te ll y o u (and m ay Her M ajesty fo rg iv e me, fo r I was once re lu c ta n tly one o f H er 'gen tlem e n by act o f p a rlia m e n t'). A r t d iffe rs fro m life in th is im p o rta n t respect: life m ay be b o rin g , b u t it is th e fu n c tio n o f a rt to convey

to us th e sense o f b o re d o m w ith o u t a c tu a lly b o rin g us, a d if f ic u lt fe a t w h ic h W a itin g fo r G o d o t so b r illia n tly achieves.

M cN e il also manages to co n ve y th e sense o f en nerva ting b o re d o m w ith o u t h im s e lf being b o rin g , b u t his pla y also triu m p h s in a n o th e r m a jo r respect. W ith great ta c t he manages to an atom ize m an's nesting in s tin c t, his need to set up a s a tis fy in g d o m e s tic c o n te x t, and he does so w ith in th e s p e cific w o rld o f p riso n h o m o s e x u a lity . I describe his tre a tm e n t as ta c t­ fu l because it avoids any easy ju d g e m e n t, e x p la n ­ a tio n o r special plea ding , and is revealing in a m ost e co nom ica l w a y.

T he play centres on th e handing ove r, b y a priso ner a b o u t to be p a roled , o f his cellm a te 'B re n d a ' (ne(e) George) to a nice b u t ra th e r s c ru ffy o ld e r lag. We sense—indeed we see—th a t B renda's in flu e n c e on th e o ld e r fe llo w w ill be to spruce h im up as he d id th e parolee. It is th e e q uivalen t o f w h a t we see in o rd in a ry life w hen a ra th e r d o w n -at-hee l b a ch e lo r s lip p in g in to sloven ly m id d le age m arries th e rig h t so rt o f w ife —and it w o u ld be u n fa ir n o t to no te th a t it also happens th e o th e r w a y a round .

Whereas Brenda is a ho m osexu al, th e parolee M ic k and th e o th e r p riso n e r Sam are w h a t m ig h t be called s itu a tio n a l hom osexuals. A closer read­ ing o f th e te x t s u p p o rts th is . M ic k has a w ife to w h o m he is re tu rn in g ,a n d Sam acceptsa re la tio n ­

R o d W illia m s a n d A la n Cassell.

ship som ew hat s h y ly , b u t w ith no o ve rt cam p be h a vio u r. T h e s tre n g th o f th e pla y stems in p a rt fro m th e fa c t th a t n e ith e r M ic k n o r Sam show th e least g u ilt o r re p u lsio n a b o u t co m in g to te rm s w ith th e re alities o f p riso n life , th e y accept th e status q u o w ith o u t agonising. A n d th e w h o le s itu a tio n is given added p o in t b y th e very real a ffe c tio n be tw een M ic k and B renda, b o rn o f th e ir association. T h e fin a l m o m e n t o f th e pla y has Brenda a ffe c tio n a te ly hugged sim ­ u lta n e o u s ly by b o th M ic k and Sam and carries th e stage d ire c tio n 'B renda sm iles perhaps cries, it's h a rd to say'. I t is a tru im p h a n t and ju s t c o n clu sio n to th e e x p lo ra tio n and su b tle revel­ a tio n o f th e re la tio n sh ip s w h ic h has been th e s tu ff o f th e play. O n ly very o cca sio nally do we feel th a t th e s itu a tio n s are at all c o n triv e d fo r th e od d laugh. In th e m a in th e a c tio n is cre d ib le and riv e ttin g , especially con sid erin g th e length and easy pace o f th e play.

The d ire c tio n reveals A arn e Neeme at his best, his ta c t and d e ft h a n dling a m irr o r o f th e te x t. R od W illia m s plays M ic k , th e a n ch o r o f th e a c tio n , w ith his c u s to m a ry in te n s ity o f focus, c la r ity and precision. A la n Cassell de p lo ys his g ift o f being able to c o m ic a lly u n d e rc u t a p o w e rfu l presence; he never succum bs t o — th o u g h he som etim es approaches—g e ttin g th e easy laugh, a weakness he has indu lged som etim es elsew here. M a rtin Jones' Brenda is th e best pe r­ fo rm a n ce I have seen fro m h im ; he does h o w ­ ever o cca sio n a lly fa il to m a tch the s tre n g th and c e rta in ty o f W illia m s and Cassell. In th e roles o f p riso n w ard ers e t a l Ivan K in g , R o b e rt van M ackelenberg and R o b e rt Faggetter show e xp e r­ tise and v e rs a tility .

I t was good to see A arn e Neeme in m idseason fo r m , especially as th is was som ething o f a fa re ­ w e ll fo r a n u m b e r o f us: Faggetter and W illia m s are o f f 'b a ck E ast', Ivan K in g re tu rn s a fte r th is season to th e m usic hall and I am review ing Perth th e a tre fo r Th eat re -A u s tra lia fo r th e last tim e fo r a year, as I w ill be in E ngland on s tu d y leave b y th e tim e th is issue h its th e streets. I d o hope th a t those sighs I hear are o f at least m ild d is ­ a p p o in tm e n t, n o t re lie f.

P h o to : H ole in the Wall.

Page 38 Th eat re -A u s tra lia Feb-M arch, 1977.

In December 1974, at the end of his first year as director of the Hole in the Wall Theatre, John Milson issued a questionnaire to patrons, asking among other things: Do you think the Hole, as a subsidized theatre, should present only experimental or Australian or classics or popular commercial plays or a combin­ ation of these?

The answers w ere fa ir ly p re d ic ta b le and as a result M ilson c o n tin u e d th e k in d o f tig h tro p e act faced b y th e m in o r subsidized the atre s every­ w here, o f ba lancing A u s tra lia n w ith classics and laun ching in to th e occasional d a rin g e xp erim e ntal o ffe rin g w h ic h at least p a rt o f th e audience m ig h t sw a llo w re lu c ta n tly as a dose o f c u ltu ra l m e dicine.

The p e cu lia r s itu a tio n o f th e H ole in th e to ta l Perth T h e a tre scene dem ands a fle x ib le approach to p ro g ra m m in g th a t m ig h t, in lesser hands, lead to spineless, haphazard im p ro v is a tio n . In fact, over the th re e years since M ilson to o k over, the th e a tre has managed to acq uire a d is tin c t char­ acte r, th e m ain elem ents o f w h ic h m ig h t be d e fin e d as a sure sense o f s ty le and enterprise.

W here M ilson sees a need to co m p ro m ise , he com prom ises u p w a rds ra th e r th a n d o w n : instead o f p u ttin g on a su re -fire co m m e rcia l success to balance th e b o o ks a fte r a bad season, he w ill D ire c to r, Jo h n M ilso n as Joseph K in The T rial.

P h o to : S a lly M cC on nell.

HOLE IN THE WLLL Laurence Hodge, M ic k G o lo w y n a n d M o lly W orsnop in The Les D arcy S how .

P h o to : S a lly M c C o n n e ll_______________________

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« ^ s t a n c e , 1r o m » tt||,N e w iS o u th )Na1M Dram a F o und aticih is g rta te fu lly adifirow ledged fo r tfffe T « a t r ê O rg a n is a tid M series 5 H : Ï v 1 M

A legal (but only just) drinkmg-andlistening-to-jazz club, situated in a not very nice part of town, was the unlikely birthplace of the very successful Hole in the Wall Theatre.

F rank B aden-P ow ell was a co -o w n e r o f th is m e m bers-on ly key c lu b w here yo u to o k y o u r o w n grog. T h e y u n c o rk e d it, p o u re d it in to a glass and sold it back to y o u , th is a n yw a y was w h a t was supposed to happen in o rd e r to get ro u n d th e crazy licensing laws o f 19 66. A long w ith th e sm all ro o m fo r th e c lu b was a rather nasty a d jo in in g hall w h ic h came on th e same lease: F ra n k had to p u t it to w o rk . He had a very w id e and varied th e a tric a l b a c k g ro u n d —Stage Manager at th e Playhouse, a c to r, d ire c to r and som etim es successful e n tre p re n e u r o f th e a trica l ven ture s in pubs, halls o r a n yw h e re th a t he c o u ld get people to s it d o w n and w a tc h a play.

He needed a p a rtn e r he de cid ed, som eone w h o c o u ld share th e fin a n c ia l risk. Th e new th e a tre was to be se m i-p ro fe ssio n a l—w h o could c o n trib u te a rtis tic a lly ? Joh n G ill was p e rfe c t—a successful ad vertising man w ith a love o f the atre , especially in n o v a tiv e th e a tre , and a grow ing re p u ta tio n as a d ire c to r.

F ro m th e o rig in a l con fere nce, w h ic h w ent so m ething lik e th is — F.B.P. W hat do y o u re ckon we p u t on the atre in th e hall?

J.G .

R ip p e r, lets get s ta rte d — e ve ryth in g happened as in those u n lik e ly scenes

T h e a tre -A u stra lia Feb-M arch, 1977 Page 39 lo o k fo r an u n fa m ilia r q u a lity piece instead.

(In a 19 74 in te rv ie w he expressed th is as a defensive measure against c arping c ritic s , whose in flu e n ce he ten ds to ove rrate, b u t it has proved a m o re p o sitiv e approach all ro u n d .)

A t th e beginnin g o f 19 74 th e m ap o f P erth T h e a tre had su d d e n ly ta k e n o n n e w o u tlin e s ,a n d , w ith the e xc e p tio n o f new life s tirrin g on th e campuses, th e s itu a tio n has rem ained un a lte re d .

T he m a jo r subsidised profession al th e a tre is th e N a tio n a l T h eatre C om p any a t th e Playhouse.

In 1974 it added a sm all (5 0 seat) th e a tre in w h a t had been its G re e n ro o m , w h ic h a llo w e d fo r e x p e rim e n ta l th e a tre presentation s, leaving th e m a in th e a tre free fo r "s a fe " p la ys—classics, th e less d if f ic u lt A u s tra lia n plays and th e occasional p u re com m ercia l p ro d u c t.

T h is p u lle d o u t th e rug fro m u n d e r th e H ole, w h ic h had seen its e lf as th e na tura l venue fo r a lte rn a tiv e th e a tre , th o u g h in th e years im m e d ­ ia te ly p rio r to Joh n M ils o n 's arrival it had grad­ u a lly re lin quishe d its re p u ta tio n as th e place th a t had p u t on th e once daring A m e ric a ! A m e ric a !

S tu d e n t th e a tre was languishing at th e W .A .

U n iv e rs ity , th o u g h th e W .A . In s titu te o f T e c h ­ n o lo g y w ith its T h e a tre g o ro u n d (associated w ith its th e a tre arts course) was beginnin g to f i l l th e gap, and th e ir ra th e r nebulous W .A . T h e a tre C o m p a n y (n o t to be con fused w ith th e N a tio n a l) was w eigh ing in w ith occasional ra ther grandiose p ro d u c tio n s o f the classics.

O rig in a lly Joh n M ilson 's aim had been to "b a la n ce th e d ie t " o ffe re d b y th e P layhouse. In th e course o f tim e , as th e p ic tu re grew m ore c o m p le x , th e k in d o f balance achieved was m ore in th e c o n te x t o f Perth T h e a tre as a w h o le .

A survey o f th e o u ts ta n d in g p ro d u c tio n s

d u rin g the past th re e years (b o th successes and disasters) shows th e s o rt o f n im b le fo o t-w o r k engaged in to keep up th e challenge to audiences w ith o u t e ith e r d riv in g th e m aw ay o r le ttin g th e m stagnate in cosiness.

Th e tw o m a jo r successes o f 1974 w ere W i Ide's The Im p o rta n c e o f Being E arnest and K e n n e a lly's A n A w fu l Rose. T h e firs t, an ob vio us audience pleaser, received an a d d itio n a l b o o s t fro m th e cha rm ing design. T h e H ole had ge nera lly ten ded to re ly on m a k e s h ift o r to k e n scenery, in keep­ ing w ith its " e x p e rim e n ta l" cha racte r, and p re­ sum ably argued th a t th e audience th re e fe e t away c o u ld n o t be fo o le d w ith illu s io n an yw a y.

The in tr o d u c tio n o f V ic to ria n d e co ra tive charm was th u s in its e lf a d ra m a tic co u p .

The K e n n e a lly p la y , on th e o th e r hand, caught everyone b y surprise. It was fe lt to be a p o p u la r success. K e n n e a lly was n o t e x a c tly a household name, in fa c t w hen he o ffe re d to give an in fo rm a l press con fere nce at th e th e a tre p re ­ cisely tw o c ritic s tu rn e d up. The set was severely ab stract, re lyin g on m e ta llic a lly g litte rin g cubes and planes. Th e m ix tu re o f a recognisable A u s tra ­ lian fa m ily s to ry and s lig h tly d a u n tin g religious m ystic is m , allied to a lu c id p ro d u c tio n , proved irresistable. In fa c t, i f a recipe fo r success w ere possible, th is w o u ld p ro b a b ly be it.

T he surprising fa ilu re o f H ibbe rd and Buzo's S p o rtin g D o u b le showed th a t recipes can be m isleading. It o u g h t to have been a ru naw ay success, w ith its liv e ly Oz fo lk lo r e q u a lity , b u t th e v a rie ty -ske tch fo rm a t was s till new to a u d ­ iences, w h o responded b e tte r tw o years late r to A Toast to M elba. A lso th e size o f th e th e a tre w o rk e d against th e e lem ent o f showbusiness razz-m a-tazz th e p la y needed.

The brave fa ilu re o f th e year was A lm a de G ro en's A fte r life o f A r t h u r Cravan. It caused enough c o n tro v e rs y to ensure it a place in the list o f m e m ora ble p ro d u c tio n s , b u t its fla w s w ere m a n y. The cast was u n c e rta in , n o t s u ff­ ic ie n tly experienced to ove rcom e weaknesses in th e s c rip t. Th e p la y 's e n o rm o u s ly a m b itio u s fra m e o f reference was n o t sustained b y in te lle c ­ tu a l d is c ip lin e , w h ic h m eant th a t audiences le ft pu zzle d and irrita te d ra th e r th a n s tim u la te d .

T h e u n fo rg ive a b le piece o f co m m e rcia l co m ­ p rom ise o f th e year was a guest season o f C ow en & K e rr in th e un speaka bly c o rn y n ig h tc lu b e n te rta in m e n t called S lig h tly Jew ish a n d M a d ly Gay. N o th in g co m p a ra b le tu rn e d up in th e years th a t fo llo w e d .

19 75 was d o m in a te d b y c o n te m p o ra ry A u s­ tra lia n a u th o rs —w ith seven o u t o f te n plays.

B a rry O a kle y's B e d fe llo w s easily proved to be th e m o st p o p u la r, th o u g h Peter K e n n a 's/4 H a rd G o d also im pressed. T h is p ro d u c tio n b y th e N a tio n a l T h eatre C om p any v is itin g th e H ole lo o k e d c o m p le te ly at hom e, w ith Terence C larke d ire c tin g .

B u t to o m a ny o f th e o th e r plays seemed to be in c lu d e d m e re ly fo r p a trio tic reasons—Cove's Jesters, B uzo's T om , and th e crazy half-success­ fu l On Y er M a rx. M o dern classics came to th e rescue w ith a fir s t rate revival o f Tennessee W illia m s ' Glass M enagerie and B e cke tt's H a p p y Days w ith an audacious b it o f casting against ty p e —Je n n y M cN ae, m o re fa m ilia r as a c o m e d ­ ienne.

The fa ct th a t 1976 o n ly saw tw o A u s tra lia n w o rk s m ay be seen as a d ire c t re action to th e overdose o f 1975, o r a fee lin g th a t th e N a tio n a l

i CO M PR O M ISIN G UPWARDS

M a rg o t Luke

l. A N UNLIKELY BIRTHPLACE

A lan Cassell

in o ld H o lly w o o d m ovies w ith everyone p itc h in g in : p a in tin g , ham m ering nails, la y in g b ric k s , c a rtin g tim b e r—and sm ilin g .

The firs t pla y was to be The K n a c k b y A n n J e lic o e —ra th e r daring in its tim e , b u t th is was to be th e k in d o f th e a tre we w ere going to d o , J o h n G ill d ire c te d , A n n Lucas, M aurice Ogden, K e vin Hodges and I made up the cast. We re­ hearsed am ongst th e chaos, set th e o p ening date and w ond ere d w h a t it w o u ld be lik e w o rk in g w ith th e audience on all sides. A fte r th e dress rehearsal we helped move in a co u p le o f dozen m ilk crates w ith cushions on to p , as th e re w e re n 't enough seats to go ro u n d . We fig u re d w e had done e ve ry th in g we c o u ld ; w ro n g ! F rank had a n o th e r idea, a sm all ro o m o f f to th e side, he de cid ed, w o u ld m ake a w o n d e rfu l G reen R o o m —b u t th e en tran ce was fro m th e w ro n g side. Th e T h e a tre had ta k e n its name fro m T h e H ole in the W all C lub, " p e r fe c t" , th o u g h t F ra n k and w ith ton s o f enthusiasm , a hell o f a lo t o f energy and a 28 p o und ha m m er he lite ra lly b a ttere d th ro u g h th e w all giving us a reason fo r th e name, an in te re s tin g e n try , and a very v ery d u s ty Green R oom .

The firs t n ig h t was superb; th e audience loved th e p la y , th e y loved th e a tre in th e ro u n d , th e y even loved th e m ilk crates. T h e y d id n 't ju s t applaud at the end, th e y rose to th e ir fe e t. The c ritic s raved, jo u rn a lis ts w ro te a rtic le s , ra d io statio ns ran in te rv ie w s , som e th in g very new had happened in Perth T h e a tre and it was w o n d e rfu l to be a p a rt o f it.

F ra n k and John to o k tu rn s at d ire c tin g w ith F ra n k ta k in g th e ne xt p ro d u c tio n . R a ttle o f a S im p le Man, w h ic h played to fu ll houses fo r

three weeks and had to be exte nde d fo r a fu r th e r tw o . Th e th e a tre created a w h o le new breed o f theatregoers fro m the a n ti-e sta b lish m e n t you ng to the R olls R o y c e —Mercedes Benz set. We d id in fa c t c o u n t several o f these fin e carriages parked one n ig h t very d e fin ite ly on th e w ro n g side o f th e tra cks.

F ro m the re on the p h ilo s o p h y o f th e th e a tre was sim ple b u t n o t easy: e x c ite th e m , surprise th e m , o ffe n d th e m i f necessary b u t never never bore the m . A ll these years la te r it is hard to p ic k the h ig h lig h ts b u t am ong th e m was th e p la y S had ow o f H eroes a b o u t th e th e n n o t long p u t d o w n H ungarian R e v o lu tio n . One n ig h t in th e m id d le o f the play a large g ro u p o f Hungarians in the audience w h o disagreed w ith th e w ay it de p icte d th e fa cts su d d e n ly stoo d up , shouted w h a t th e y th o u g h t o f it in th e ir o w n language and stam ped o u t. Th e H ole b ro u g h t back Joan B ruce fro m S ydne y to do The A n n iv e rs a ry w h ic h she hated rig h t th ro u g h rehearsals, th e n opened to rave reviews and house fu ll signs fo r fo u r weeks. A c o m p le te co m p a n y was b ro u g h t fro m A delaid e w ith d ire c to r George W haley to d o th e in c re d ib le Y o u 'll Come to Lo ve Y o u r Sperm Test. Eileen C o lla c o tt's one w o m a n pla y T u rn On the H eat by local w rite r Gerald G laskin ab o u t M a rily n M o nroe 's last n ig h t o f life . F rank's p ro d u c tio n o f Joh n G ill's play Lo ve L ife o f a C rayfish and the superb P in te r play The H o m e ­ com ing.

A fte r ne arly tw o years o f e x c itin g th e a tre Th e H ole to o k a co m p le te new tu r n , " O ld T im e M usic H a ll". Th e place was re m ode lled w ith a proscenium arch, tables and chairs. Meals w ere served and a musical show p u t on w ith a c h a ir­

man c o n tro llin g proceedings.

It's success was in sta n t. So m u ch so th a t th e a tre in th e ro u n d never re tu rn e d to th a t venue. A lo t o f actors fo u n d them selves w ith o u t a th e a tre again, b u t n o t fo r long. A m eeting o f in te re stin g people was called to fo rm a co m ­ m itte e , a ch a irm a n was elected; C ity C o u n c illo r K e ith Fram e w h o had becom e a great s u p p o rte r o f th e H ole, and a C o m m itte e o f nine was elected, m ost o f w h o m s till serve. A n e w ly b u ilt W arehouse in S o u th p o rt S treet lo o ke d lik e it w o u ld be p e rfe c t. The C o m m itte e d id th e ir sums, crossed th e ir fing ers and rented it. W ith in eight w eeks it had been tu rn e d in to a th e a tre , and opened in A ugu st 1968 w ith th e pla y A D ay in the D eath o f Joe Egg w h ic h go t great reviews b u t n o t great audiences. T h e y had to fin d us again, b u t a bigger p ro b le m loom ed.

Th e c o m p a n y we re nted o u r new th e a tre fro m was also having some fin a n c ia l problem s and w a n te d to sell th e b u ild in g . W o u ld we like to b u y it? Sure, b u t how ? A n o th e r C o m m itte e was fo rm e d , again made up o f good frie n d s o f the H ole and th e y decided to b u y the b u ild in g on a m ortgage. The th e a tre w o r ld re n t it fro m th e m and h o p e fu lly pay fo r it c o m p le te ly —one day. W ith th a t p ro b le m resolved it was back to serious th e a tre , b u t n o w w ith fa r bigger fin a n cia l re sp o n sib ilitie s, acto rs w ere paid m o re, a per­ m a nent d ire c to r was a p p o in te d and s ta ff had to be ta ke n on.

O ur re p u ta tio n b y n o w w a rra n te d a small grant fro m the W .A . G o ve rn m e n t, b u t neverthe­ less 1969 fo u n d us g e n tly slip p in g in to solvencyw hen o u r guardia n angel d ro p p e d a pla y in to

Page 4 0 T h e a tre -A u s tra lia Feb-M arch, 1977 T h e a tre C om p any was a d equa tely cove ring such m a te ria l.

The em phasis d u rin g th is year was on in te r­ n a tio n a l th e a tre w ith a stro n g ele m e n t o f ch a l­ lenge. S ta rtin g in n o c u o u s ly enough w ith th e A u s­ tra lia n musical The C u rre n c y Lass and A n o u ilh 's s ty lis h The Rehearsal, and fin is h in g w ith a b rig h t D ecem ber h o lid a y e n te rta in m e n t o f M ix e d D oubles (s h o rt plays b y c o n te m p o ra ry B ritis h w rite rs ) e v e ry th in g else was e ith e r to u g h , p ro ­ voca tive o r in n o v a tiv e . People are s till arguing a b o u t A rra b a l's The A r c h ite c t a n d the E m p e ro r o f A ssyria , w h ic h , to s o fte n th e shock, was ta c t­ fu lly playe d b e hind tra n s p a re n t c u rta in in g to distance th e audience fro m A rra b a l's m ore offe n sive fantasies. Guest d ire c to rs p ro v id e d a v a rie ty o f styles, fro m O m o d e i's spectacular H a m le t to A le x a n d e r H ay's fla m b o y a n t The M aids. T h ere was also a chance fo r local a c to r M a lco lm K e ith to t r y o u t his m im e and w ord s a d a p ta tio n s o f A n im a l F a rm and K a fk a 's The T rial. The o n ly p u re ly A u s tra lia n c o n te m p o ra ry pla y was A Toast to M e lb a, and audience response show ed th a t th e H ib b e rd s ty le was beginning to fin d acceptance.

Th e th re e m a in p roblem s facin g a th e a tre lik e th e H ole seems to be a) audience lo y a lty , b) w o rk in g w ith a changing and sem i-professional cast, c) ad a p tin g p ro d u c tio n s to th e severe ph y s ­ ical lim ita tio n s o f th e th e a tre .

The firs t p ro b le m seems to have been solved w ith a reasonable measure o f success. The n a tu re o f th e c o n tin u in g b a ttle be tw een th e c o m m itte d th e a tre d ire c to r w h o w ishes to be in n o v a tiv e , and th e b u lk o f th e audience w h o wishes to be s tim u la te d , b u t m ildly so, means th a t the re is a co n s ta n t state o f te n s io n , w h ic h th e d ire c to r

m u st keep ju s t s h o rt o f breaking p o in t.

The w o rk w ith p a rt-tim e o r inexp erie nced a cto rs has resulted in occasional exam ples o f u n fo rtu n a te casting, b u t no m o re so th a n at th e Playhouse w here th e p ro b le m is caused b y a sm all pe rm a n e n t ensem ble d e m and ing some u n ­ h a p p y b its o f casting. A t th e same tim e , th e re has been a c o n sta n t renew al, ta le n t discovered and m o vin g o n , cre ating a sense o f e x p e c ta tio n s and discove ry.

T h e ph ysica l lim ita tio n s o f th e th e a tre are, o f course, fo rm id a b le . M is ta k e n ly called " in th e ro u n d " it is, m o re c o rre c tly , a square horseshoe, w ith th e audience s ittin g a ro u n d th re e sides o f th e actin g area, close enough to to u c h th e actors and to have th e m trip p in g over th e occasional fro n t-r o w fo o t. T h is is fin e fo r plays dem and ing audience d is c o m fo rt o r p a rtic ip a tio n , b u t places con sid era ble stra in on th e im a g in a tio n w hen illu sio n s o f space are essential o r a p la y relies on th e visual appeal o f a re a listic set. P ro b a b ly the la p id a ry p ro d u c tio n s , such as Im p o rta n c e , Rehearsal, Shaw 's B a ttle o f th e Sexes and B e c k e tt's H a p p y D ays w ere m o st successful in th e ir seem ingly e ffo rtle s s ease o f fittin g in to th e th e a tre .

Th e m o st am azing o p tic a l illu s io n was h o w ­ ever R ay O m o d e i's H a m le t, w h ic h seemed to d o u b le th e stage area and had a spe ctacular duel (staged b y M a lco lm K e ith ) proceed ing w ith in inches o f th e audience.

The changing fo rtu n e s o f th e H ole in th e W a ll m ay perhaps be seen as a fa ir ly representative re fle c tio n o f th e state o f th e th e a tre and the te m p e r o f audiences as a w h o le . Its m odest sub­ sidy keeps th e w olves fro m b re aking th « d o o r d o w n , b u t at th e same tim e does n o t a llo w fo r to o m u ch d ire c to ria l self-in dulg ence. It m ig h t

N e v ille Teede in The Im p o rta n c e o f Being Ernest 1974 P h o to : S a lly M cC onnell. be seen as a p a ra d ig m o f th e c o m p ro m is e between ideal and re a lity th a t has p ro b a b ly alw ays been one o f th e facts o f life in th e th e a tre . £

HO LE IN THE WALL con».

Jo h n G ills lap: G irl in M y S oup w ith A b ig a il p la yin g her firs t p a rt in A u s tra lia .

Its success was in c re d ib le . It ran fo r som e­ th in g lik e th re e m o n th s and w h e n we fin a lly to o k it o f f w e m oved it in to th e D o lp h in T h eatre at th e U n iv e rs ity because we c o u ld n 't stop b o okings. H ow ever th e smug sm iles were soon w ip e d o f f o u r faces because a fte r th a t we s u ffe re d a re a c tio n th a t k e p t people aw ay in th e ir tho usan ds, b u t G irl had at least p u t us f ir m ly in th e b la c k .

One o f th e H o le 's p ro u d e s t boasts in the early '7 0 's was its courage in p u ttin g on A u s tra ­ lian plays. In tho se days w hen y o u d id an A u s tra lia n pla y y o u hoped people w o u ld com e o u t o f lo y a lty o r c u rio u s ity . H o w nice to re p o rt th a t the m ost successful pla y o f 1975 was B ed­ fe llo w s, and no one b o th e re d to advertise th a t it was A u s tra lia n .

A p a rt fro m d o in g very 'd iffe r e n t' plays The H ole occa s io n a lly goes v ery c o n v e n tio n a l; D ir­ e c to r Joh n Mi Ison's firs t season at th e H ole was a b e a u tifu lly p ro d u c e d version o f The Im p o rt­ ance o f B eing Ernest. T here was also Edgar M e tca lfe 's C hristm as review w ith d in n e r suits, evening gow ns and songs b y N oel C oward.

N evertheless the H ole's purpose is to be y o u n g , vigou rou s and a little radical, n o t so easy w hen y o u e n jo y grants fro m b o th Federal and W .A . G ove rnm ents. N o t th a t th e re are any strings a ttached to th e grants b u t a th e a tre , like an a c to r, m u st w a tc h fo r m id d le aged spread.

A n d w h a t does one do a b o u t it an y w a y ? W ell h o w does th is so u n d : in v ite A le x a n d e r Hay to do The M aids, in v ite A a rn e Neeme to p roduce H o w D oes Y o u r G arden G ro w and ask th e p ris­

oners o f F re m a n tle p riso n to d o a p u b lic per­ fo rm a n c e o f The C hoco late Frog. A ll th a t has happened in th e space o f th re e m o n th s . I th in k we are d o in g a lrig h t. %

N ic o lle D e sm a rch e lie r a n d Bevan Lee in A n A w fu l Rose (1 9 7 4 ) P h o to : S a lly M cC onnell.

T h e a tre -A u stra lia Feb-M arch, 1977 Page 41

STAR STUDDED ATTRACTIONS

Com edy Theatre

O Theatre Royal MLC C entre

JL King Street

Exhibition S tre e t

JOHN THAW SHEILA HANCOCK Star of TV’s “The Sweeney”

Star of TV’s “The Rag Trade"

IN

THETWOOFUS with DAVID NETTHEIM and VALMA PRATT

By Michael Frayn Directed by Patrick Lau Designed by Terry Parsons

SYD:Tue.15 Feb.toSat.12 March MELB:Wed.16 March to Sat.9 April

DOUGLAS FAIRBANKS JR. DAVID LANGTON CAROL RAYE A N D STANLEY HOLLOWAY ., : .“tip airs, Downstairs”

J>LE A $U R E o, <H IS<§M PflM Y

By Samuel Taylor with Cornelia Otis Skinner Designed By Terry Parsons Original London production directed

by Peter Dews.

^

SYD=Tue.15 March to Sat.9 April MELB Wed.13 April to S at.9 May at Theatre Royal Box Office and Agencies for "The Two of Us” first 6 days in advance. Counter Bookings — two play discount plan for first 6 days of both plays available at Theatre Royal Box Office ONLY1. NEWCASTLE: Counter bookings Civic Theatre, Party bookings and general enquiries Telephone 2 1977 (Newcastle.)

WOLLONGONG: David Jones Ltd.

COUNTER B O O K IN G S S Y D N E Y -N O W O P E N Save up to $8 when you purchase two tickets to each play.

Page 42 Theatre-A u s tra li a F eb-M arch, 1977

BEHIND CLO SED D O O RS Collin O 'B rien on the scandalous misuse o f theatre facilities at the U niversity of W estern A ustralia.

The University of Western Australia is better equipped with theatres than any other university in Australia. Since its range of theatres includes the unique New Fortune it is arguably one of the best equipped in the world. The persistent failure of the University to make anything approaching adequate use of its theatres is little short of scandalous.

In a local A B C p ro g ra m m e M o n d a y C ritic s I described th e U n iv e rs ity 's a p pare nt a ttitu d e to th e ir the atre s as a Taj Mahal c o m p le x : the desire to create b u ild in g s w h ic h are a dream b y m o o n ­ lig h t b u t w h ic h are k e p t u n su llie d b y vulgar use.

I h o n e s tly th in k th a t th e o rd in a ry c itiz e n has a rig h t to dem and o f th e U n iv e rs ity w h y it fails

A b o v e : The D o lp h in Theatre.

to use th e the atre s it has been given. A fte r all it is all o u r taxes w h ic h are used b o th to pay fo r u n iv e rs ity fa c ilitie s and to m a in ta in th e m , th e y are n o t a fre e g ift to th e u n iv e rs ity to use o r n o t use as th e y see f it .

L e t me b r ie fly su m m a ris e fo rth o s e u n fa m ilia r w ith th e U n iv e rs ity 's c o m p le m e n t o f theatres.

In th e firs t place th e re is th e O ctagon, a 700seat th ru s t stage th e a tre in th e G u th rie m o u ld , designed b y Peter P arkinson w ith some advice b y th e late m aster.T hen th e re is th e new D o lp h in , a 200-seater designed b y th e same a rc h ite c t, w h ic h has am ong o th e r fa c ilitie s a fly to w e r, a lth o u g h n o t as y e t all its fly in g e q u ip m e n t. T h is th e a tre replaces th e o ld D o lp h in (n o w used fo r rehearsal), a fin e little th e a tre fashioned fro m an engineering w o rk s h o p by th e b lo o d sweat and tears o f Jeana B rad le y, D avid B rad le y and P h ilip

B e lo w : The N e w F o rtu n e .

Parsons am ong oth ers. N e x t th e re is th e S unken Gardens, an o p e n -a ir th e a tre n o t m uch used now adays b u t once th e venue o f a n u m b e r o f fin e p ro d u c tio n s . L a s tly —and th is is w here I g rip th e arms o f th e c h a ir such th a t th e knuckles sho w w h ite beneath th e skin, I g rit m y te e th and th e veins stand o u t in p u rp le k n o ts on th e fevered b r o w —th e re is th e N ew F o rtu n e , th e o n ly the atre in th e w o rld b u ilt to th e k n o w n dim e nsion s o f an E liza beth an playhouse, th e F o rtu n e o f 1600 fo r w h ic h th e b u ild e r's c o n tra c t s till exists.

W hy are these theatres n o t a d equa tely used, e ith e r fo r teaching o r general c o m m u n ity c u ltu ra l needs? W ell, it w o u ld be nice to fin g e r a spe cific in d iv id u a l o r o rganisa tion fo r th is neglect, to say th a t so-and-so's e g o trip p in g keeps o th e r users o u t, th a t some c o m m itte e is in c o m p e te n t o r th a t th e U n iv e rs ity bu reau cracy and com m ercial ap proach to th e a tre hire are one o r o th e r to blam e. It w o u ld be nice, b u t n o t e n tire ly tru e.

So b e fo re h o m in g on on w h a t I see as th e prim e cause fo r th e neglect o f these theatres I'd like to c o m m e n t (w ith in th e laws o f lib e l) on these possible causes.

In th e firs t pace, le t us con sid er th e malice o f in d ivid u a ls. It is tru e th a t w hen a u n ive rsity refuses to ta ke th e stu d y o f dram a and the p e rfo rm a n ce o f it serio usly in th a t th e y w ill fu n d n e ith e r; u n iv e rs ity dram a o th e r th a n th a t do ne b y stud ents can easily becom e in d is tin ­ guishable fro m o th e r a m ateu r dram a. A un ive r­ s ity m ay do The M iser ra th e r th a n The M o n ke y's Paw, b u t th e u n d e rly in g ap proach o f th e p a rtic i­ pants can re m ain a m a te u r in th e p e jo ra tive sense, and th e a ttitu d e 'I m a y n o t be do in g an yth in g m yse lf, b u t I 'll make da m n sure yo u d o n 't either, yo u b a sta rd ' easily prevails.

Th e U n iv e rs ity possesses a P erfo rm in g A rts C o m m itte e a p p o in te d b y th e V ice-C hancellor.

T h a t th e y are w e ll-m e a n in g is b e yo n d d o u b t, bu t th e cre dentia ls o f som e have been at least qu e stio n a b le . T o be negative, I c o u ld name you at least th re e people in th e U n iv e rs ity whose c o n trib u tio n to dram a ove r th e years and p ro­ fessional exp e rtise w o u ld seem to m ake them ob vio us m em bers, b u t none o f w h o m have been in v ite d b y M r. Big to serve on th e co m m itte e .

On the o th e r hand I w o n d e r h o w some o f the pe ople w h o have been on th e c o m m itte e whose firs th a n d a cq uainta nce w ith the p e rfo rm in g arts is m in im a l w o u ld feel if one o r o th e r o f th e ir s c ie n tific c o m m itte e s w ere in th e hands o f, say, N evilleT eede . I surm ise—and it is o n ly a surm ise— th a t th e respective V ice-C ha ncellors o r th e ir D epu ties in choosing th e c o m m itte e have fallen fo r th a t g h a stly A u s tra lia n n o tio n th a t com ­ m itte e s o f th e arts are o n ly w o rk a b le if they consist o f people n e ith e r active n o r know ledge­ able in the p e rfo rm in g arts, th u s e x c lu d in g the bias o f in te re st. I call it th e M y th o f D isinterested Parties, p resum a bly an a n tid o te to th e spectre o f a S w arm o f S cream ing Queens.

B u t n e ith e r o f these fa c to rs is in su rm o u n ta b le b y som eone re a lly w a n tin g to get som ething do ne, especially as th e P e rfo rm in g A rts C om ­ m itte e g e n u in e ly w a n t to see th in g s happen, to save them selves em barrassm ent if n o th in g else.

M y th ir d fa c to r—the a ttitu d e to th e a tre costs— is c rip p lin g , b u t it is a s y m p to m ra th e r tha n a cause.

W hat I see as th e ro o t cause o f th e U n ive rsity's fa ilu re to a d equa tely e x p lo it its th e a trica l resources is a fa ilu re o f w ill b y the academic c o m m u n ity as a w h o le , re in fo rc e d b y th e fa ct th a t h is to ry has o ve rta ke n th e m . Le t me be e x p lic it.

A n y U n iv e rs ity w h ic h takes dram a at all serio usly w ill be concerned to do tw o things: to tre a t th e s tu d y o f dram a in a perform ance c o n te x t as opposed to tre a tin g it as a p u re ly lite ra ry genre, and also to recognise th e per-

T h e a tre -A u stra lia F e b-M arch, 1977 Page 4 3 fo rm a n c e o f dram a on its cam pus as a c u ltu ra l d u ty to its e lf as a b o d y and to th e c o m m u n ity at large.

Such a ttitu d e s are sho w n in tw o ways. In th e firs t place dram a w ill be a llo w e d to be stud ied b y stud ents w ith in a dram a d e p a rtm e n t as w e ll as w ith in th e lite ra tu re d e p a rtm e n ts , and such s tu d y c o u n te d as p a rt o f a stu d e n ts's progress.

S eco n d ly th e re w ill be a re c o g n itio n o f th e value o f professionalism b o th in th e w o rk o f th e s ta ff w h o are p ro fe s s io n a lly tra in e d , and in th e p a y m e n t o r o th e r re c o g n itio n o f professional th e a tric a l w o rk w ith in th e U n iv e rs ity . W here stu d e n t dram a is seen as n o t c o n trib u tin g to a s tu d e n t's studies (o r even, as is o fte n th e case, h in d e rin g th e m ), o r th e s tu d y o f dram a is seen as beneath th e d ig n ity o f a u n iv e rs ity ex c e p t as a pleasant and m a rg in a lly useful a d ju n c t to th e s tu d y o f dram a as lite ra tu re , o r w here any th e a tric a l w o rk b y s ta ff m em bers even w ith stud ents is n o t recognised as w o rk b u t as spare­ tim e p la ya c tin g : w here such a ttitu d e s p revail, dram a w ill be in th e m o rib u n d c o n d itio n it is in th e U n iv e rs ity o f W .A .

Th ere is no p o in t in th e U n iv e rs ity as a b o d y cla im in g it is serious a b o u t dram a w h e n , w ith all th a t b u ilt- in c ap ital in th e w ay o f the atre s, it gives Dram a a p r io r ity b e lo w R e ligiou s S tudies, P re h is to ry , E th n o m u s ic o lo g y and, I w o u ld guess, Hom e E conom ics. I am n o t k n o c k in g th e o th e r d iscip lin e s o r u n d e r-ra tin g th e m , ju s t say­ ing th a t un ive rsities p u t th e ir scarce resources w here th e ir values lie, and dram a, even w ith its head start, is n o t one o f th e m .

I suggested ea rlier th a t th e lack o f w ill to ta k e dram a seriously is lin k e d to h is to ry o v e rta k in g th e U n iv e rs ity . Let me elucid ate.

In th e heady days b e fo re T V , a fte r H itle r's W ar, dram a in W estern A u s tra lia possessed an e n tire ly d iffe re n t cha racte r to th a t o f to d a y .

DOWNSTAIRS

T here was no professional th e a tre e xce p t the od d v is itin g co m m e rcia l co m p a n y o r prestigious O ld V ic ro yal v is it. T here was a lo t o f serious and fin e am ateur and un paid profession al w o rk , b u t no local professional th e a tre in th e fu ll sense.

In those days th e U n iv e rs ity p ro vid e d a re m a rk ­ able range and q u a lity o f serious dram a, em anat­ ing largely fro m th e D e p a rtm e n t o f English.

B u t th is august p ile on th e banks o f th e Swan seems n o t to have n o tice d th in g s w h ic h have happened since. Professional th e a tre has h it P erth, and th e re has em erged n o t o n ly in N o rth A m erica b u t even in E ngland, d e p a rtm e n ts o f dram a. N o t perhaps at O x fo rd and C am bridge o ld b o y , b u t at least at some u n ive rsities o f some standing, such as B ris to l, M anchester and B irm in g h a m .

P u ttin g on m y so ciolo gical p h ilo s o p h e r's hat fo r a m o m e n t let me p u t fo rw a rd th e idea th a t co lo n ia l and ne o -co lo n ia l societies do te n d to be a generation be hind th e o ld c o u n try : we were s till standing fo r th e Queen at th e p ictu re s w hen the English w o u ld have fa lle n a b o u t at th e idea.

S im ila rly th e co n ce p t th a t dram a in th e c o n te x t o f pe rfo rm a n ce is n o t a f i t s tu d y fo r u n iv e rs ity s till prevails here. B ehind closed d o o rs (jarrah , n o t m ahogany) it is h in te d th a t w h a t w ill be ta u g h t is 'p u ttin g on m a keup and p a in tin g fla ts '.

M ore serio usly it is claim e d th a t th e u n iv e r­ s ity is no place to tra in acto rs, th e re are o th e r places such as N .I.D .A . and th e T h e a tre A rts Course at th e West A u s tra lia n In s titu te o f T e ch ­ no lo gy. Such n o tio n s c o m p le te ly f a ilt o recognise the ro le o f dram a d e p a rtm e n ts in universities.

T h e ir ro le is s im ila r to th a t o f a m usic d e p a rt­ m e nt, to s tu d y th e a rt fo rm in a d is c ip lin e d w ay in the c o n te x t fo r w h ic h it was cre ated : p e r­ fo rm a n ce . As th e m usic d e p a rtm e n t is to a c o n s e rv a to riu m , so a drama departm ent to a

F R O M 25 F E B R U A R Y

P R E M IE R E S EA S O N of L O U IS N O W R A 'S

INNER VOICES I Directed by John Bell S ta rrin g

I

school o f d ra m a tic a rt.

I keep h o ld in g up as the exa m ple o f w h a t is possible th e success o f th e U n iv e rs ity 's D e p a rt­ m ent o f M usic un der P rofessor C a llo w a y; scholastical in g e ttin g exce lle n t artists in residence and in p ro v id in g a very real service in th e p ro ­ vision o f m u sic to th e c o m m u n ity as a w h o le .

B u t no. I'm a fra id it's a case o f 'C a llo w a y w e n t th a ta w a y '.

The refusal to ta ke dram a serio usly as a dis­ c ip lin e is re in fo rc e d b y th e refusal to fu n d it in an y real sense as som e th in g w h ic h is o f value to b o th th e U n iv e rs ity and th e c o m m u n ity at large.

I t costs U n iv e rs ity users $ 1 0 0 a n ig h t fo r th e new D o lp h in and $ 1 5 5 fo r th e O ctagon. T h e y can have budgets agreed to b y th e P e rfo rm in g A rts C o m m itte e , b u t th e b u lk o f th e m o n e y goes back to th e U n iv e rs ity b y w ay o f charges. H o w can a stu d e n t b o d y c o n te m p la te do in g som e­ th in g w o rth th e e ff o r t b u t n o t b o x -o ffic e w hen a te n n igh t season starts w ith $ 1,0 00 at least fo r th e the atre ?

I t all goes back to th e tim e w hen th e U nis ity w e n t professional at ru n n in g th e the atre s, b u t n o t as fa r as w h a t w e n t on the re. We have paid managers, b o x o ffic e s ta ff, ushers, fire g u a rd , ca rpark a tte n d a n t, etc., b u t no-one w ants to pay th e people w h o d ire c t th e plays and d e liv e r th e lines. O h, and d o n 't ta ke those figures fo r th e a tre here q u o te d above as gospel. I have it o n th e best o f a u th o r ity th a t th e re are stro ng moves in high places to up th e charges. B u t no d o u b t th e P e rfo rm in g A rts C o m m itte e w ill allo ca te m ore m o n e y (less o fte n , because o f cost) to fe w e r people to do less. A n d th u s th e prevalence o f a m ateu r a ttitu d e s , p a rt-tim e c o m m itte e s and no c o n tin u in g and serious co n sid e ra tio n and fu n d in g o f dram a b o th as a d is c ip lin e and in the c o n te x t o f the c u ltu ra l life o f th e c o m m u n ity at large w ill ensure th at little or nothing happens.

Robert Alexander, Bill Conn, Bob Faggetter, Jane Harders, Tony Sheldon and Greg Zuckerman.

TAA GroupTravel savings have theatre-goers applauding Pop festivals, music concerts, opera, ballet or theatre parties, trade shows, incentive groups, jaunts to the “big game”, or whatever.

If you belong to an eligible commoninterest group, T A A offers a fat 10% Discount off regular Economy fares when 15 or more of you fly together.

Plus special baggage allowances. And T A A can arrange your accommodation, tours or rent-a-cars, too.

People who fly T A A together, save together. Call your Travel Agent or T A A to see if your group is eligible. Also ask about Off-Peak fares toothey can save you even more!

Designed by Brian Hocking

Fly the Friendly Way

Page 44 T h e a tre -A u stra lia F eb-M arch, 1977

ARTS FOR TOW N A N D CO U N TRY The Western Australian Arts Council has the job of culturally enriching the lives of people spread far and wide.

G AEN O R THOM AS explains the policies, problems, hopes and achievements of a task which ranges from funding the National Theatre to providing the sole violin for a small mining town.

"T h e W estern A u s tra lia n A rts C oun cil is a s ta tu to ry b o d y , answ erable to the (S tate) M in is te r fo r C u ltu ra l A ffa ir s ."

(W estern A u s tra lia n Year B ook. 1977 e n try .)

This is the state of dichotomy; of city and country—a small city, big country—needs and attitudes with no more in common than caviar and cucumber, all swept to ­ gether under the supportive umbrella of the Arts Council, charged to foster and encourage "the arts” throughout Western Australia.

Reduce th e p ro b le m to a m illio n . Y ou have alm o st a m illio n square m iles, on w h ic h to spread th e basic b u tte r o f ju s t over a m illio n d o lla rs fo r ju s t over a m illio n people.

G iven some k in d o f ba nk-card benevolence, a fle e t o f p e rfo rm e r-c a rry in g ju m b o jets, and an un derstand in g w ith th e A lm ig h ty th a t he w o u ld abandon th e " w e t season" in th e K im b e rle y s , it w o u ld be possible to ease th e jam o f professional perform ance s m o re d e m o c ra tic a lly th ro u g h o u t th e S tate.

M e antim e , in e v ita b ly , th e b u lk o f fin a n c ia l assistance goes to th e b u lk o f th e p o p u la tio n : in P erth. The A rts C o u n c il has a fir m p o lic y to s u p p o rt th e m a jo r m e tro p o lita n p e rfo rm in g com panie s—th e N a tio n a lT h e a tre .th e W .A . B allet C om p any, W .A . O pera C o m p a n y, and the W .A .

A rts F o u n d a tio n O rchestra. T h is s u p p o rt acco unts fo r h a lf th e C o u n c il's annual state b u dget, w ith a fu r th e r $ 1 7 8 ,3 0 0 , th is year to w a rd s sem i-professional com panies; to date.

The H ole in the W all T h e a tre , F re m a n tle A rts C entre, C h ild re n s ' A c tiv itie s T im e S o c ie ty , Perth In s titu te o f F ilm and T e le v is io n , C ra ft Asso­ c ia tio n o f W estern A u s tra lia , G ilb e rt and S ullivan S o c ie ty , Perth C ity B allet, and the A u s tra lia n Y o u th P e rfo rm in g A rts A s s o c ia tio n .

C learly, w ith th a t slice c u t fro m the cake, o n ly cru m b s rem ain fo r th e c o u n try . H ow ever,

a p a rt fro m S tate G o ve rn m e n t fu n d in g , the re is a fin a n c ia l a llo c a tio n fro m th e A rts C o u n cil o f A u s tra lia .

A n d w h ile m a jo r grants are issued a n n u a lly, w ith bursaries to tra ve l and fu r th e r s tu d y issued b ie n ia lly , th e c o u n c il co ffe rs a llo w a sm all mano e v e ra b ility f o r ye a r-ro u n d "spe cial p r o je c t" grants, guarantees against loss on pe rfo rm a n ce , in te re st-fre e loans on e q u ip m e n t, and help w ith fre ig h t charges in c o u n try areas.

These are n o t so m uch po licie s as accepted fu n d in g procedures fo r a S tate C o u n cil o n ly th re e years o ld . T h a t th is is th e ba by o f A u s tra ­ lian A rts C o u n cil is po ssib ly its saving grace.

U n p ro te c te d by b u re a u c ra tic b u ffe rs , its tw e lv e -m e m b e r c o u n c il and sm all s ta ff m u st say: "T h e b u c k stops h e re !"

P e rfo rm in g arts are expensive. E veryone needs m o re m o n e y. E veryone's need is greatest.

In th e absence o f elasticated purse-strings, a D um a s-type 'one fo r a ll' p a tte rn o f m u tu a l assistance has g ra d u a lly evolved in to p o lic y .

W ritte n in to th e state orchestra's g ra n t is th e pro v is o o f some free service to th e b a lle t.

N a tio n a l T h e a tre , Opera, and the G ilb e rt and S ulliv a n S ociety.

Perth C ity B allet C om p any is fu n d e d , spec­ ific a lly , fo r school and c o u n try perform ance s.

A n d , in th e a tre , d ire c to r/p ro d u c e r exp ertise spreads b e y o n d the professional stage. Last year, A arn e Neeme, (N a tio n a l T h e a tre ) gave fre e tim e tra v e llin g P erth to a d ju d ica te 34 a m ateu r p ro ­ d u c tio n s fo r th e R o b e rt F in la y A w a rd . Neeme's w o rk s h o p s and en couragem ent are fa c to rs in the standing and co n fid e n c e o f am a te u r groups.

In N ovem ber, 1976, th e A rts C o u n cil b ro u g h t A le x a n d e r Hay to the H ole in th e W all Th eatre, fo r G enet's The M aids, w ith a fo llo w in g Genet w o rk s h o p giving rare o p p o r tu n ity fo r am ateur, s tu d e n t and teacher groups to learn o f G enet's p h ilo s o p h y and raison d 'e tre . D avid A d d e n b ro o k e pro d u ce d Jo h n B ow en's A f t e r the R ain, fo r the Espérance R e p e rto ry G ro u p , 72 0 kms fro m

P erth . It was, re cip ients cla im , an ed ucational experience, be yo n d p ro d u c tio n and w o rksh o p re quire m en ts.

E nabling c o u n try people to e n jo y c ity per­ form an ces has proved m o re d if f ic u lt . Bus (to assist c o u n try groups w ith tra v e l) and seat sub­ sidies have o n ly been t r u ly e ffe c tiv e fo r tow ns situ a te d up to 3 0 0 km s fro m P erth. Th e m a jo r com panies, w ith to u rin g c o m m itm e n ts b u ilt in to th e ir grants, have to u re d th e state extensively, b u t, again, large sections o f th e N o rth West have been neglected, and even in accessible, a rtistica lly-e sta b lish e d areas, th e re a ctio n has, to say th e least, been e rra tic .

H ow ever, tw o near-parallel developm ents in 1 9 76 have seen a p o s itiv e pra ctica l p o lic y fo r c o u n try arts, b o th visual and p e rfo rm in g . In M arch, th e C o u n cil a p p o in te d tw o specialist o ffic e rs , K e ith S in c la ir, ( a rt/c ra ft), and Margaret G ill, (p e rfo rm in g arts). T h e ir m ain ro le has been to tra ve l th e c o u n try , liste n in g , te llin g , loo kin g , advising, assessing: liste n in g to ideas, advising on sp e cific p ro b le m s, te llin g o f A rts C ouncil b e n e fits, lo o k in g at e x is tin g am enities, assessing th e ir a d a p ta b ility to changing dem ands.

M argaret G ill has been c o m p ilin g , en route, a c o u n tr y /c ity register o f scripts, so th a t p a rtic ­ u la r pla y requests can be passed on to groups o w n in g ty p e d copies.

F o llo w in g her D ecem ber v is it to A lb a n y , its arts c o u n c il p residen t d o n a te d an a u th e n tic c o ll­ e c tio n o f H ong K ong p riso n u n ifo rm s to the N a tio n a l T h e a tre , because th a t th e a tre lends costum es, fre e o f charge, to a m ateu r groups.

R equests range fro m a p ia n o -tu n e r fo r M u kin b u d in to a re sid ent band-leader fo r Collie.

Parochial th e y m ay sou nd; fo r th e c o n tin u in g existence o f c o u n try groups, th e y are o fte n vital.

W hen a g ro u p o f C o u n c illo rs sought advice on b u ild in g a su ita b le dram a hall in G eraldto n, M argaret was able to suggest as m o del a hall in th e c o m m u n ity -o rie n ta te d w h e a tb e lt to w n o f W ongan.

In 1 9 76, Jo h n M ilso n , D ire c to r o f th e Hole in th e W a ll T h eatre a d ju d ic a te d a tth e Badgingarra Festival. P reviou sly, in th e w h e a tb e lt to w n o f D a lw a llin u , M argaret had w atch ed th re e o f the entered plays in rehearsal. T hus th e o ffic e rs not o n ly he lp c o u n try c o m m u n ic a tio n , b u t can use th e ir acq uired kno w le dge to encourage c ity per­ fo rm e rs o f all ranks in to th e c o u n try . In ten m o n th s, th e y have tra ve lle d the S o u th West, the G o ld fie ld s , the K im b e rle y s , th e P ilbara, parts o f th e w h e a tb e lt, th e S o u th East and th e U pper G reat S o u th e rn .

W hile tra v e llin g , th e y have spread th e gospel o f A rts Access, a tw o -y e a r p ilo t scheme also established in 1 9 76, subsidised b y the A rts C o u n cil, to cater a lm o st e x clu sive ly fo r c o u n try re quire m en ts. A n in itia l b ro c h u re , circu la te d state-w ide, in v ite d suggestions fo r w orksh ops, tu to rs , profession al services. T h e response, p a rtic u la rly fro m the c u ltu ra lly -s ta rv e d Pilbara, was o ve rw h e lm in g . W h ile , o ve ra ll, th e emphasis was on c ra ft, th e th ir s t f o r p e rfo rm in g arts' kno w le dge was s h a tte rin g .

F ro m th e m in in g to w n o f T o m Price, a

T h e a tre -A u stra lia F eb-M arch, 1977 Page 45

tea cher w ro te , begging fo r musical a p p re c ia tio n : " I d o u b t if th e re is o n e c h ild learning m usic here, w h o has, fo r instance, seen a v io lin , o th e r th a n in a p ic tu re o r on te le v is io n .”

One hu ndre d and f i f t y c h ild re n e n jo y e d th e re su ltin g fo u r-d a y w o rk s h o p . F o u r h u n d re d saw th e A rts Access c h ild re n s ' e n te rta in m e n ts , M a gical M arquis, and P ied Piper.

T h e Je rd a c u ttu p Players, a g ro u p c o m in g to g e th e r fro m re m ote s ta tio n s to p e rfo rm plays, sou ght professional help. T h ere was a dram a request fro m C arnarvon S chool o f th e A ir , fo r c h ild re n w ith no c u ltu ra l experience. F ro m T a rd u n , a m ission fa th e r asked advice o n lig h tin g and e q u ip m e n t. A n d fro m P ara burd oo, came th e e x u lta n t response th a t, being 1,0 00 m iles fro m P erth no longer m a tte re d ! A rts Access, w ith a sm all p e rfo rm in g u n it, and single exp erts, has reached u n tapp ed, de prived areas. T h e b e n e fit has been en o rm o u s; th e expense, o f course, a s tro n o m ica l.

M e anw hile, th e C o u n c il's c o u n try b e n e fits c o n tin u e , w ith fin a n c ia l assistance fo r b a lle t tu to rs and m usic exam iners, m usic cam ps, m usic and arts festiva ls; d ire c t grants to c o u n try arts co u n cils. B u t th e fin a n c ia l dem and is m in im a l, com pare d to th e c ity 's . The repeated call is fo r profession al service, n o t profession al p e rfo rm ­ ances. C o u n try to w n s are in d e p e n d e n tly insular, less in volve d in th e re m ote c ity s o p h is tic a tio n , m o re concerned to " d o th e ir o w n th in g ."

The firs t m e eting, (N ove m be r, 1 9 7 6 ), o f a ne w d e ve lo p m e n t c o m m itte e , co n sistin g o f c o u n try delegates and c o u n c il s ta ff, considered m a jo r co m p a n y to u rin g , and vo te d fo r o n ly one annual to u r, w ith tw o " m in i to u r s " , w h ic h m ig h t d e lib e ra te ly in volve th e local p o p u la tio n .

A second A rts C o u n c il "S ta te -W id e S y m p o ­ s iu m " , in M arch, w ill gather c o u n try represent­ atives in P erth. M eeting and hearing professional e n te rta in e rs, th e y w ill discuss fu tu re developm e nts.T hus,n eeds an d e xp e rtise b e g in to o ve rlap.

B u t one o fte n -in s u rm o u n ta b le p ro b le m is tim e . I t is the na ture o f any c o u n c il beast, th a t a p p lic a tio n s go c a re fu lly th ro u g h c o m m itte e m a ch in e ry, w h ile all in vo lve d k n o w th e help is o fte n needed to d a y , o r y e s te rd a y —b u t n o t to m o rro w .

I t is a c o m p lim e n t to c o m m u n ic a tio n and d e le g a tio n , th a t, having experienced th e c lim a tic c o n d itio n s o f th e area, M argaret G ill was able to act spe edily, w ith th e K im b e rle y s A rts C o u n c il, to send a pu pp e te e r and te x tile w o rk e r th e three th o u sa n d kms to W yndh am and K u n u n u rra in th e D ecem ber ho lid ays. E ig h ty c h ild re n , w h o w o u ld o th e rw is e have "s ta g n a te d ” in th e intense heat and h u m id ity o f the " w e t season", e n jo y e d a te n -d a y w o rk s h o p /e n te rta in m e n t.

So w h ile the m a jo r p o rtio n o f C o u n c il m o n e y goes to th e c ity , the m a jo r p o rtio n o f C o u n c il tim e goes to th e c o u n try . In e ffe c t, th e re are tw o broad po licie s; one fin a n c ia l, one p ra c tic a l; eq ual, b u t d iffe re n t. A n d , in be tw een, are th e m y ria d sup p o rte d am ateu r groups, c ity and c o u n try : opera, dram a, m usic; and th e m y ria d bu rsary ap plicants, c ity and c o u n try , fo r operas tu d y , d ra m a -tra in in g , b a lle t.

W ill K a th y Edgar, w h o m w e 'v e s e n tto S ydne y O pera C o m p a n y , over-shadow S u th e rla n d ? W ill K im W rig h t, no w re p o rtin g e n th u s ia s tic a lly fro m th e B ris to l O ld V ic . T h e a tre S choo l, becom e a new O livier?

W hat o f K a th y J a rv is ,firs t w ith th e A u s tra lia n B a lle t S ch o o l, no w w ith th e C o m p a n y ; th e a c t­ resses and m usicians s tu d y in g in th e U .K .? W hat w ill becom e o f s a tis fa c tio n , o r n a tio n a l acclaim .

In th e last re sort, it is th e c o u n c il's ro le n o t o n ly to select the stars, b u t, as o fte n as possible, in as m any ways as possible, to e n rich th e lives o f as m any people as possible.

National Policy Aarne Neeme, Artistic Director of the National Theatre, Perth, talks about the future of the company.

"A s th e S tate C o m p a n y we are responsible fo r the general he alth o f all th e a tre in th e state.

So o u r p rim a ry aim is to create a re prese ntative audience and so becom e a v ita l p a rt o f o u r c o m m u n ity .

I see a p a rtic u la r need th e n to w ean o u r audience fro m th e larg ely e n te rta in m e n to rie n ta te d th e a tre o f th e W est E nd, o f o ld English Rep, to th e m o re p ro v o c a tiv e m ain stream o f A u s tra lia n and W o rld th e a tre in th e '70's.

W e've all sorts o f aims sub sid uary to th e m ain one. It w ill sound som e th in g lik e p ro m o list, b u t I do th in k all th e fo llo w in g are being im p le ­ m ented to th e best o f o u r present resources.

F irs tly , as fa r as th e c o m m u n ity isconce rne dPresenting a v a rie ty o f fir s t class professional th e a tre at a reasonable p rice . . . We have a dual (M a in h o u s e /G re e n ro o m ) p ro g ra m m in g p o lic y so we can b o th c o n so lid a te o ld audiences and develop new ones, so we can cater b o th f o r th e G.P. and a m ore ad ventu rou s a lte rn a tive . N ow , o u r re p e rto ire is se rio usly ham pered b y th e smallness o f o u r c o m p a n y : n o t m a ny classics can be do ne w ith a basic co m p a n y o f seven acto rs—w h ic h is th e result o f th e sm all size o f o u r subsidy. So we lean to w a rd s m o d e rn dress, sm all cast, one set plays.

P rovidin g profession al services, a rtis tic and te c h n ic a l, to o th e r groups, profession al and am ateu r . . . T o ensure fu tu re grass ro o ts d e velop­

m e n t we m u st break d o w n barriers be tw een profession al and a m a te u r—c o n s o lid a te lin ks betw een th e m .

T h en th e re are o u r e d u c tio n a l a c tiv itie s —we ru n w o rk s h o p c ta s s e s a n d h a v e T .I.E . program m es, and aim to in c o rp o ra te all o u r y o u th a c tiv ity in to a y o u th c o m p a n y ; o u r to u rin g th e state re sp o n sib ilitie s; o u r F riends o f the P layhouse— a liaison org a n isa tio n betw een co m p a n y and audience. . .

S e co n d ly, as fa r as th e c o m p a n y its e lf is con cerne dB u ild in g a q u a lity co m p a n y w ith a d is tin c t id e n tity . . . P erth's is o la tio n and o u r lim ite d re­ sources m ake fo r p ro b le m s in a ttra c tin g to p actors fro m elsew here—and th a t's essential fo r th e o p tim u m d e ve lo p m e n t o f local ta le n t.

D evelo ping new p la ys—we co lla b o ra te fu lly w ith K u lja k , th e W .A . p la y w rig h t group.

In-service tra in in g schemes and th e exchange o f personnel and e q u ip m e n t w ith o th e r p ro ­ fessional o rg a n isa tio n s...............

A n d fin a lly , lo b b y in g fo r a new hom e to house th e co m p a n y fo r b o th o u r M ain House and G re e n ro o m p ro d u c tio n s ..........

T h e present P layhouse is inadequate in term s o f th e m o re in tim a te and accessible needs o f m o d e rn d ra m a , and th e greater dem ands fo r c o m fo rt (seating and a ir c o n d itio n in g ) made b y to d a y 's audiences. A n d w e w ish to c o n tin u e to make use o f o th e r u n iq u e local ven ues."

Page 46 T h e a tre -A u stra lia Feb-M arch, 1977

^

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For full programme: MOOMBA OFFICE 191 Collins Street, Melbourne Phone: 63 7111

WHAT 4.5 M ILLIO N PEOPLE ARE LOOKING FORWARD TO THIS MOOMBA . . . a good deal of variety, plenty of surprises and lots of excitement.

ABBA at the Sydney Myer Music Bowl; Dizzy Gillespie at the Dallas Brooks Hall; La Belle Helene at the Princess Theatre . ..

On the Yarra; the Bathtub Derby; the Birdman Rally; the Water Ski Revue by night . . .

In the Gardens; the Ride for Lite; the Fun Run; the Hot Air Balloon; the Magic Garden; the Craft Happening; the Outdoor Art Show . . .

On the Streets; the Mardi Gras; the Moomba Buskers; the Street Parade . . .

AND on stage, the MOOMBA FES TIV A L OF TH E A TR E : ten days, ten plays MARCH 4 - 14

Leichnen OF LONDON. AN INNOXA GROUP COMPANY

M AKE-UP FOR THEATRE, BALLET FILM and T V

For professional advice, product catalogue, prices and list of stockists in your area please telephone Sydney 930385 or w rite to: L. Leichner Pty Ltd 102 Old Pittwater Rd Brookvale NSW Australia 2100

Theatre-A u s tra lia F e b-M arch, 1977 Page 47

SYMPATHY FOR A CHAIRM AN Stan Marks

A .B .C . staffers are h o p e fu l th a t th e new c h a ir­ m an, Joh n N org ard , w ill be able to achieve some o f his aim s, especially fo r a th ree-year fu n d in g p e rio d . Producers insist th a t such a tim e w o u ld enable th e m to plan and arrange fo r fu tu re p ro ­ d u c tio n s , w ith o u t fea r o f sudden cu ts or, even m o re hazardous, having to c u rta il p ro d u c tio n s a fte r sh o o tin g has begun. C u rre n tly , p ro d u c tio n s are u n ce rta in and p ilo ts and planned p ilo ts are being po stpon ed. The T ru c k ie series is ju s t one th a t is in lim b o .

O f course, th is has reacted on actors and actresses, in c lu d in g m any w h o have been cast in plan ned p ro d u c tio n s . T h is means th a t if and w h e n th e p ilo ts and o th e r features go ahead, re­ casting w ill have to ta ke place in some cases, as th e actors w ill have take n o th e r openings. O p p o r­ tu n itie s can’t be let go in th e present e c o n o m ic c lim a te .

In a n o th e r area, the re is hope th a t m ore a tte n tio n w ill be given to p la n n in g o f news and c u rre n t a ffa irs program m es, in c lu d in g b rin g in g th e tw o closer. T h is w o u ld e lim in a te m u ch o f th e d u p lic a tio n w h ic h o fte n occurs be tw een news and c u rre n t a ffa irs program m es o r th e b a ttle to get in firs t w h ic h som etim es becomes fa rcica l to outsiders. B u t, above a ll, th e re is re­ new ed hope, how ever guarded it m ay o r m ay n o t be, th a t th e com m ission w ill e v e n tu a lly o b ta in a c o m p le te ly ind e p e n d e n t c h a rte r.

It is also in te re s tin g to no te th a t am ong m any wise A .B .C . staffers, su p p o rte rs and view ers, is a stro ng vie w a c k n ow ledg in g th e need fo r tr im ­ m ing some o f th e waste and u n b e lie v a b ly bad p ro g ra m m in g fro m th e com m is s io n . T h is goes f o r actual p ro d u c tio n s and to tim e s program m es are slated. T here also is need fo r a th o ro u g h lo o k at p ro g ra m m in g fo r c h ild re n and y o u n g people in general. There c o u ld alm o st be a new p o s itio n fo r a D ire c to r o f Y oun g Peoples and C h ild re n 's T V p la n ning — th is c o u ld be d is tin c t fro m th e regular school's program m es c o m in g u n d e r th e A .B .C .'s E du ca tio n sectio n. (In dee d, th e c o m ­ m e rcial channels m ig h t lo o k at th is area th e m ­ selves — h o w m any, if any, have an exe cu tive so le ly in charge o f T V fo r yo u n g people fro m to d d le rs to teens?)

A n o th e r area fo r A .B .C . c o n s id e ra tio n is in ju s t ho w fa r it sho uld co m p e te w ith th e c o m ­ m ercial statio ns, rem em b erin g its c h a rte r calls fo r it to educate, e n te rta in and cater fo r m in o r ity groups in p ro v id in g program m es oth ers fa il to do .

In its m usic presentation s, m o re use c o u ld be made (w ith in c o n tra c tu a l arrangem ents) fo r in te r n a tio n a l artists b ro u g h t here b y th e A .B .C . c o n ­ c e rt d e p a rtm e n t. T h ere c o u ld be m o re regular p ro g ra m m in g , w h ic h w o u ld be a llie d to its sub­ s c rip tio n and o th e r con certs, using A .B .C . state sy m p h o n y orchestras. T h is is q u ite a neglected area at th e m o m e n t. Th e m in d boggles at ho w p ro g ra m m in g c o u ld be enhanced b y the A .B .C .'s resources in th is area — a fte r all, it is tagged as th e w o rld 's largest c o n c e rt p ro m o tio n b o d y . A n d

w h a t a w ay th is c o u ld be to p ro m o te its wares, in c lu d in g to th e very y o u n g and o ld e r youngsters, th e audiences o f to d a y as w e ll as to m o rro w .

P ro m o tin g its wares is a n o th e r area fo r dis­ cussion. In o u r e le c tro n ic age, th e re appear m any areas it c o u ld u tilis e w h ic h are c u rre n tly being ignored. One hopes th a t these and o th e r A .B .C . aspects w ill be lo o ke d at, discussed and thrashed around in a w illin g -to -g e t-so m e w h e re atm osphere, n o t m erely w ith some ou tsiders and some in the com m ission try in g to push th e ir o w n barrow s and a rtis tic wishes at any cost to th e A .B .C .

The A .B .C . is a w o rth y o rg a n isa tio n , w ith some o f A u s tra lia 's best ta le n ts in a d iv e rs ity o f fie ld s . Those inside th e org a n isa tio n and o u tside (in c lu d in g o u r various p o litic a l parties) sho uld ensure all ta le n ts are u tilis e d in the best possible w ay so th a t th e view ers as w e ll as tho se involved in p ro g ra m m in g receive th e greatest satisfa ction.

In catering fo r so m a ny tastes, o p in io n s and age groupings, th e A .B .C .'s tasks are n o t easy. L e t us hope, and ensure, th e y are n o t made ha rder, b u t th a t th e y c o n tin u e to measure up to the w o rld -w id e (at tim e s, envia ble) standards the com m ission has e n jo yed.

Le t us also be ale rt fo r any inside and o u tsid e th e co m m issio n w h o are w illin g to alm o st des­ tr o y (o r h in d e r) th is w o rth y org a n isa tio n in achieving th e ir ends.

T h e re is no d o u b t th a t A u s tra lia and, espec­ ia lly , th e actin g profession w o u ld be m uch w orse o f f w ith o u t the A .B .C . A ll concerned w ith th e state o f th e A u s tra lia n th e a tre and acting profession in general, and th is includes ra dio and te le v is io n , m u st be v ita lly interested in w h a t happens to the A .B .C . w h ic h fo r m any years has been a v ita l area fo r all o u r arts, b u t especially actin g. It has assisted th e le g itim a te th e a tre d ir ­ e c tly and in d ir e c tly in m any d iffe re n t ways and been p a rt o f on e's th e a tric a l tra in in g in this c o u n try . M any are th e to p th e a tre people w h o gained co n fid e n ce and o th e r a ttrib u te s th ro u g h w o rk w ith th e A .B .C . and people con necte d w ith it. A n d , we need it n o w — ju s t as it needs us.

T h is in clud es o b je c tiv e , as w e ll as passionate, listeners and view ers.

G oo d lu c k M r. N orgard. Th ere are a lo t o f people w h o w o u ld lik e to he lp yo u feel it is n 't so lo n e ly at th e to p a fte r all.

Page 48 T h e a tre -A u s tra lia F e b-M arch, 1977

aim M'yiWHir's L im n I I M MHHMH 8

I'd lik e to m ix m y c o m m e n ts on th e E nglish th e a tre scene w ith ra n d o m re actions to Theatre A u s tra lia as m y feelings a b o u t each o f these in s titu tio n s so m e h o w feed and balance each o th e r. Th e L o n d o n th e a tre in '7 6 o n ly to o a ccu ra te ly re fle c te d th e state o f th e n a tio n . Th e subsidised th e a tre 's great G argantua, th e N a tio n ­ al T h e a tre , slum p ed lik e a huge w h ite elep han t on th e so u th ba n k o f th e Tham es, represented " p u b lic s p e n d in g " and th e vast sums eaten up b y th e n a tio n 's p u b lic services in s e c u rity , w e l­ fare, and soo n. R egional the atre s and A lte rn a tiv e T h e a tre to u rin g groups seemed lik e those region­ al a u th o ritie s w h ic h squealed th a t any fu r th e r cu ts w o u ld in h ib it o r alm o s t d e s tro y th e ir e ffe c t­ ive fu n c tio n in g , and resented th e large am ounts o f subsidy cream ed o f f b y th e great w en — th o u g h L o n d o n 's p u b lic a u th o ritie s c o n tin u e d to make th e case th a t if a n y th in g th e m e tro p o lis was under-assisted given its special, c o n tin u in g and w orse ning pro b le m s . A n d th e "in d e p e n d e n t" p u rve yo rs o f c o m m o d itie s , c u ltu ra l and c o m ­ m e rcial, d id w h a t th e y alw ays do w hen tim e s are hard: gave us m u c k and circuses. T h e m u c k m ay be said to be, w ith h o n o u ra b le exce ptions, B ritis h goods, as tr u c u le n tly styleless, s ho ddy, late-delivered, and la cking in after-sales care as ever; and th e circuses w ere th e toneless rubbish o f c o m m e rc ia l te le v is io n and th e increasingly vap id to tte rin g s o f th e c o m m e rc ia l West End th e a tre .

Indeed, we becom e m o re lik e th e R om an m o b each year. I have dism issed th e idea o f R om a n decadence e x e m p lifie d b y th e b lo o d y excesses o f th e C olosseum as a V ic to ria n p ie ty ca rrie d over in to o u r o w n age and g radua lly presented, u n e x a m in e d , as a fa c t instead o f a possible in te rp re ta tio n o f one aspect o f h is to ry .

B u t n o w I w o n d e r if th e o ld -tim e m o ra lis ts were n o t, a fte r a ll, rig h t. T h e re are signs. Th e cinem a, esp ecially, i f an accu rate in d e x o f o u r c u rre n t state o f m in d , suggests th a t we are a populace h u n g ry fo r b lo o d , p re fe ra b ly m ix e d w ith loveless and o fte n b ru ta l sex, and th a t a clean stra ight k illin g in its e lf being in s u ffic ie n t th e ingenuities o f to r tu r e and c ru e lty m u st be d e p lo y e d in ever m o re g ra p h ic d e ta il. Th ere are o th e r signs th a t it is n o t o n ly th e p u n k ro c k g e nera tion w h ic h can be called " b la n k " . A recent in c id e n t, un re­ p o rte d . A ro c k singer co m in g o u t o f th e th e a tre a fte r th e show was a tta c k e d b y a ho rde o f scream ing girls w h o b o w le d h im over, to re at his cloth es, and — in th e lite ra l, n o t th e vern­ acular sense — trie d to p u ll his c ock o ff. Had a n y o f th e m ca rrie d a k n ife th e re w o u ld no d o u b t have been a live re play o f E m p ire o f the Senses w ith th e banshees c a rry in g o f f th e ir b lo o d y sou venir. In th e event, he was rescued, very frig h te n e d , b e fo re th e y had even w ru n g an orgasm o u t o f h im . A n d was heard, w o n d e r o f w on d e rs, to express deep surprise and amaze­ m e n t. W hat d id he th in k th e y w ere th e re fo r?

His m usical ta le n t? (B arely e x is te n t). A fte r his tw o ho urs o f jig g lin g , w ig g lin g , fla u n tin g and alm o st fla sh in g , c o n scio u sly w h ip p in g up sexual h yste ria , he is "s u p ris e d " w hen th e fans a c tu a lly make an honest, no -sh it response. " H y p e "

musT

be s h o rt fo r " h y p o c r is y " - and even th e great e n te rta in e rs have n o t been im m u n e . Th e best lin e in D avid Hare's p la y on a d is in te g ra tin g ro c k g ro u p Teeth 'n ' S m iles: " J im i H e n d rix used to c o m p la in th a t incre asing ly people ju s t came, n o t fo r his m usic, b u t to fantasise a b o u t his big c o c k . Y eah, he c o m p la in e d . B u t he never s to p ­ ped w earing those tig h t p a n ts ."

R o c k , as one o f th e fe w survivin g massaudience e n te rta in m e n ts , has to be considered serio usly as p a rt o f o u r th e a tre - especially as its visual e lem ent has alw ays been stro ng. A n d as an in d e x o f th e tim e s, it does give one pause.

F o r i f p o p c u ltu re likes to in clu d e sex as one o f its elem ents and ro c k con certs are stro ng on s e x u a lity , w h a t is the u ltim a te aim assumed to be, and if it is n o t to be a k in d o f strip -sh o w , all tease and no re su lt, is n o t th e p u b lic o rg y an in ­ e v ita b le , logical and, indeed, honest d e velop­ m e n t? W ell, get to it, boys, w h a t's ta k e n yo u so long? Som e o p en-a ir festiva ls o f th e late '60s and ea rly '70s d id have som e casual p u b lic fo r n ­ ic a tin g in th e audience, as d id some a ll-rig h t ro c k and cinem a shows in th e fle a p its o f L o n d o n a fe w years ago. B u t sex on stage has been, m o s tly , s tim u la tio n b y s im u la tio n . W hen, years back, "T h e D o o rs " o ffe re d a to u c h o f flash in g and fe lla tio (real) th e y w ere p r o m p tly arrested, to encourage th e oth e rs, w h o to o k the h in t and made sure th e ir acts w ere " o n ly p re te n d ". R ock c o n tin u e s to fascinate because o f its p o p u la rity and in flu e n c e and if o v e rt s e x u a lity is n o t going (y o u sh o u ld p a rd o n the expression) to com e, w h a t w ill? Th e u n e xp e cte d and d e lig h tfu l answer seems to be: M usic. D o I im agine it o r are to d a y 's ro c k groups, lead singers and back-up in s tru m e n ta lis ts a lik e , sho w in g m o re m u s ic a lity , greater v a rie ty and inventiveness in th e ir sounds, less w ah-w ah bang-slam and tho se endless same th re e ch o rd s in th e bass? C e rta in ly some o f th e best groups are going fo r greater visual in g e n u ity and fle x ib ilit y in th e ir arrangem ents. I f o n ly one c o u ld tra n s fe r some o f th e v ita lity , v ig o u r, ho w e ver c ru d e , sexual p o te n c y , m usical and visual p o w e r in to th e s tra ig h t th e a tre . Increas­ in g ly , and against all o u r e x p e c ta tio n s o f a fe w years ago, th e legit th e a tre goes ever m o re legit.

I t m u st be, as I began b y saying, th e d o le fu l e c o n o m y , the c a u tio n , th e t im id it y , th e fe a r o f e x p e rim e n t, o r, in te re s tin g ly , th e ra tio n a lis a tio n th a t these sober tim e s are n o t th e m o m e n t to e x p e rim e n t b u t to go q u ie tly on d o in g w h a t we have been d o in g . So w h a t have we been d o in g , o r w h a t have th e y been d o in g to us?

Equus. R evived, i f th a t is th e w o rd , m odish and banal as ever. H a p p y as a Sandbag, ru m o u re d to be a m ushy nostalgia t r ip cate ring to th e en d­ less English a p p e tite fo r m em ories o f th e Second W o rld War. Anastasia. A n a -w h o ? O h ! C alcutta and no w Carte B lanche, M r. T y n a n 's latest coachp a rty sextravaganza, in w h ic h th e gags are as lim p as th e d ic ks on disp la y. (Sex, o r the pretence o f it, has com e o u t in to th e open even in S oho w here the R a ym o n d Revue Bar presents Pene­ tra tio n , a fo llo w -u p to th e ir R ip -O ff b ille d as th e u ltim a te in sexual frankness. Y e t here, as in th e lo n g -ru n n in g and ra th e r am ia ble ro m p L e t

M y People Come, all is sim u la te d , n o th in g is erect, and th e e ffe c t is a b o u t as im pressive as a banana skin w ith o u t a banana inside. Le t them e ith e r d o it p ro p e rly , o p e n ly , once and fo r all and let us all a d m it th a t is w h a t it is a b o u t, or sto p th e pretence and get ba ck to real plays re a lly and h o n e stly w ritte n so th a t at least we get som ething fo r o u r m o n e y.) W hat else?

M u rd e r a t the Vicarage o n ly tw e n ty -th re e years b e h in d th e o th e r A gatha C h ristie , The M ousetrap.

The C ircle, w ith La W ithers, a M augham revival w h ic h , acco rd in g to one c ritic , "sa ile d in m ajest­ ic a lly " fro m its p ro d u c tio n at C hichester. Ip i— T o m b i, en erge tic and c o lo u rfu l b u t a b o u t as a u th e n tic a lly A fric a n as The M ik a d o was Japan­ ese. T w o Ben Travers farces, The B ed B efore Y esterday and Banana Ridge, fo r w h ic h latter see Jim S harm an in th e C hristm as Theatre A u s tra lia . Jim 's o w n R o c k y H o rr o r S h o w s till staggers on in th e K ing's R oad; it m u st be more th a n three years since I saw it b u t according to Tim e O u t, it is "p ro lo n g in g its e lf reasonably w e ll" . J. S. is also c o lle c tin g ro y a ltie s (s till) fro m Jesus C h ris t S u p e rsta r w h ic h is d o in g a Mouse­ tra p at the Palace. Same T im e N e x t Year has M ichael C ra w fo rd to keep th e c ro w d s com ing.

O th e rw ise Engaged tra n sfe rre d to an othe r th e a tre and A le c G uinness po pped up, im p ro b ­ a b ly , in the West E nd, w ith a S w ift c o m p ila tio n Yahoo. N o Sex Please, W e're B ritis h is, b a ff lin g ly, s till at th e S tran d. W arren M itc h e ll d id a Barry H u m p h rie s w ith his one-m an T h oug hts o f C hair­ m an A lf. A u s tra lia n a u th o r Peter Y eldha m must be e n jo y in g his share o f F rin g e B ene fits, a\N b\tehall farce w ith B ria n R ix w h ic h keeps the coach pa rties ha ppy. Side b y S ide b y S o n d h e im warbles on in its w a rm , w it t y , w a y w a rd fash ion. A nd, despite d ire prophe cies w ith in th e profession, A C horus L in e d id n o t a fte r all collapse a fte r the inne r c irc le o f sh o w -biz cam p fo llo w e rs had seen it th ro u g h its fir s t fe w weeks and has played on to good business, th e E nglish cast ta k in g over in m id January.

A lth o u g h ce n tra l L o n d o n , P ic c a d illy and Soho esp ecially, are lo o k in g seedier th a n ever, we have n o t q u ite (y e t!) th e 4 2 n d St a tm o ­ sphere described b y W einer in Theatre A u stra lia C hristm as '7 6 . A n d a lth o u g h we c o m p la in about it, th a t West End lin e -u p is lo o ke d u p o n w ith some approval and en thusiasm b y m a ny visitin g foreigne rs, in c lu d in g N ew Y o rk e rs , w h o fin d , despite all, th a t th e re is a w id e r range o f plays on o ffe r here th a n in m o st citie s. T h e above list also o m itte d th e subsidised th e a tre (th e N a tio n ­ al's tw o houses, th e R.S.C. at th e A ld w y c h , the M e rm aid , the I.C .A . and th e R o ya l C o u rt). As w e ll as th e ir o ffe rin g s th e co m m e rcia l the atre th is last year has o ffe re d T o m S to p p a rd 's D ir ty L in e n , an a ch in g ly b e a u tifu l J o n a th a n M ille r p ro d u c tio n o f Three S isters and M ik e S to tt's refreshing farce F u n n y P eculiar.

A d d to these a b o u t t h ir t y Fringe theatres and h a lf as m any again lu n c h tim e venues and it c a n 't be as bad as we seem to insist it is. T h e fe e ling rem ains th a t it is d if f ic u lt fo r a serious play­ w rig h t w h o wishes to reach a large nu m ber o f th e u n co n ve rte d , ra th e r th a n f i f t y like-m inded ones already co n ve rte d b e fo re a rriva l, to get a new pla y done b y a c o m m e rcia l managem ent.

T h e a tre -A u stra lia Feb-M arch, 1977 Page 49 E cono m ics and th e state o f th e n a tio n d ic ta te m u ch o f the c a u tio n , and if we are seeing s till — and again and ag a in —th a t F iftie s fo rm u la d e lin e ated b y S harm an in Theatre A u s tra lia : " th e careers and sex lives o f the m id d le classes endlessly discussed in ro om s” , it is p a rtly because such plays are cheap to d o . O f O th erw ise Engaged one o f y o u r c o m m e n ta to rs said: "B e s t p la y o f th e year? Is th is th e best th e B ritis h can d o ? " B efore its lo w -vo ltage discussion even began, I was depressed b y th e set its e lf: th a t same o ld " ta s te fu l" liv in g ro om . T h is year's " B e s t" pla y .

D e a r D a d d y (b y D ennis Canaan) has th e same set and th e same s tru c tu re . B u t Jim has h it it. Th e 6 0 's exp e rim e n ts had a c e rta in bloodless, cosm ic callousness a b o u t th e m , w ere m o re inte reste d as he n o w suggests, in c on cepts th a n in people.

T h e people were c a ric a tu re d to make p o litic a l p o in ts . N ow adays we seem to be s e ttin g up in d ivid u a ls and searching th e ir faces and th e ir w o rd s, q u ite a n x io u s ly , f o r signs th a t we are going to survive o r, perhaps, in o u r g rim m e r m o ods, fo r signs th a t c o rro b o ra te o u r c o n v ic tio n th a t we are n o t.

Theatre A u s tra lia teaches me m u ch a b o u t th e state o f n o t o n ly the A u s tra lia n th e a tre b u t th e n a tio n a l s e n s ib ility . I no te som etim es, w ith alarm , th a t m y fo re b o d in g s a t th e firs t N a tio n a l P la y w rig h ts ' C onference w ere n o t u n fo u n d e d : th a t m any a rtic u la te people have d if f ic u lt y in a rtic u la tin g a clear, c o m preh ensib le arg u m e n t o r even a g raphic d e s c rip tio n . T he verbal in e p ti­ tu d e o f people on th a t con fere nce's p o d iu m was staggering. People w hose to o ls w ere w ord s, w hose profession o r a rt, whose very life de p e n d ­ ed u p o n th e use o f w ord s, stu m b le d along w ith " e r —w e ll—so rt o f —a h —y o u k n o w " as th e ir p rin c ip a l verbal b u ild in g b locks. M y fa v o u rite was th e q u ite seasoned w rite r and In flu e n tia l Person w h o m e n tio n e d an A .B .C . p ro d u c tio n " th a t had som ething q u ite in trin s ic a b o u t i t . " The magazine also excite s me because o f th e range o f th e a tre a c tiv ity it uncovers and th e m u lti-d im e n s io n a l im pression one th u s fo rm s .

G arrie H u tch in s o n on th e A .P .G .'s breakaw a y g ro u p in The Young Peer G y n t. K ate B risbane on th e B lack Th eatre. E arlier, th e casebook on S tephen Spears, th e d e lig h t o f W h e rre tt's dis ­ co v e ry o f G o rd o n C hater's ta le n t and presence and his re va lu a tio n , b y im p lic a tio n , o f a gener­ a tio n alm o st fo rg o tte n and, w hen rem em bered, dism issed. Th e awesome task o f w ritin g and staging th e La w le r trilo g y . (B u t it has been done b e fo re ; one cast p la y in g th re e plays in one d a y ; a p a rt fro m the R.S.C. Wars o f the Roses: th e A y c k b o u rn e trilo g y N o rm a n C onquests done on e im pe risha ble S aturday at th e G re e n w ich T h e a tre b e fo re th e c o m p a n y m oved in to to w n ; and w h a t an o v a tio n at th e end o f it, c o m e d y being exhausting to keep lig h t and alive. W ith A y c k b o u rn e , b y th e w a y , one d o e s n 't m in d th e one in te rio r set, th e m id d le class m ilie u , because one know s th a t he is going to send it up ro tte n .)

W hat m ost depresses in T.A . is th e sense o f o ld argum ents, o ld pro b le m s,e n d le ssly rehearsed.

T h e T o m M arkus case against subsidy in w h ic h , th o u g h I qu e stio n his thesis, he made some te ll­ ing c ritic is m s o f some o ld A u s tra lia n weaknesses.

Th e w earisom e business o f having to d e fe n d th e c o n c e p t o f subsidy at all. The shock at S harm an's statem ent-in-passing th a t fe w A u s tra lia n the atre s w o u ld a llo w h im th e fre e d o m to e x p e rim e n t u n c o m m e rc ia lly th a t th e C o u rt has ta k e n fo r grante d, m o n th by m o n th , show b y sho w , fo r years. S ure ly all those e x c ite m e n ts I've been reading a b o u t in T.A. are te s ta m e n t to a s im ila r s p irit in A u s tra lia n th e a tr e ? ln fa c t,fo r s o m e tim e n o w I have envied th e ease w ith w h ic h p la y ­ w rig h ts can get new plays o n , and th e gro w in g sense th a t a pla y such as E lo c u tio n o f B e n ja m in F ra n k lin can be a small b u t genuine co m m e rcia l success, in S ydney.

T o p : S tim u la tio n b y s im u la tio n . T yn an's la te st coach p a rty sextravaganza Carte Blanche.

B o tto m : D espite d ire pro p h e cie s A C horus Line d id n o t a fte r a ll collapse.

P h o to s: Plays and Players.

Page 50 T h e a tre -A u s tra l ¡a Feb-M arch, 1977

A TRYING OUT PERIOD As was mentioned a couple of issues back, the Australian dance scene is undergoing a tremendous shake up: changes of staff administration, artistic directorship—and a very grim situation in terms of money and box office income.

Th e tro u b le is n o t lim ite d to the dance scene o f course, it's happening all over th e c o u n try to p ra c tic a lly every in s titu tio n o f a rtis tic endeavour, b u t dance alw ays feels it m o re a c u te ly .

M ore a c u te ly because dance in A u s tra lia , being th e real C in d e re lla o f the arts has alw ays teetered on th e b r in k o f fin a n c ia l disaster. It s till is n 't u n d e rs to o d c o m p le te ly enough in th is c o u n try (one th a t is be co m in g incre asing ly m is­ tru s tfu l o f ph ysica l e x e rtio n and e ff o r t) ; it is th e re fo re a c o m p a ra tiv e ly m in o r in te re st and audiences have to be s tre n u o u s ly w ooe d.

A ll o f th is e x c e p tin g th e A u s tra lia n B allet o f course. T h a t in s titu tio n has alw ays managed to survive and has been th e o n ly c o n tin u o u s ly per­ fo rm in g a rtis tic am bassador o f A u s tra lia overseas.

(Y o u re a lly c a n 't te ll me th a t th e cost o f tra n s ­ p o rtin g The M e rry W id o w ho lu s-bo l us to A m erica and England is a p p re c ia b ly less expensive th a n tra n s p o rtin g say th e A u s tra lia n Opera's F ig a ro ).

T h e c o m p a ra tiv e ly new Dance C om p any

(N .S .W .) has alw aysam azed me in th a t it,d e a lin g sole ly in th e less u n d e rsto o d " m o d e r n " id io m has c o n s is ta n tly managed to keep its head above w a te r.

W ith th e B a lle t V ic to ria having re c e n tly crashed a round o u r ears and th e once disbanded A u s tra lia n Dance T h eatre ju s t n o w beginnin g to struggle to w a rd s th e lig h t, th e Dance C om p any is th e o n ly professional hope o f m o d e rn dance in A u s tra lia . A n d even here th in g s w ere ra th e r to u c h y , a fe w m o n th s ago. T h e ir last season at th e S e y m o u r C entre w ith the A n n a S okalov w o rk s w a s n 't the smash h it th e y (o r at least some o f th e dancers) had expected.

A d d e d to th a t was th e nagging fe a r th a t w ith th e d e p a rtu re o f Jaap F lie r as A r tis tic D ire c to r, th e A u s tra lia C o u n cil fu n d in g th a t fe ll th e ir w a y w hen he arrived m ig h t be ta k e n back. H a p p ily th a t h a s n 't been th e case, and the C om p any, w ith Graeme M u rp h y as th e ir new A r tis tic D ire c to r, has em barke d u p o n an a m b itio u s p ro je c t o f giving free pe rform ance s as p a rt o f th e Festival o f S ydne y as w e ll as preparing fo r th e ir fo rth c o m in g season at th e Opera House in M arch.

Graeme M u rp h y was fo r a long tim e a dancer w ith th e A u s tra lia n B a lle t and occa sio n a lly le ft

N ina V e rte n n ik o v a , M ich e le S m ith , M a rily n Le d w id g e & E le a n o r B r ic k h ill in Graeme M u rp h y 's V o lu m in a .

William Shoubridge

it to go fre e la n cin g as a ch o reog rap her. His c h o re o g ra p h y shows prom ise, w ith a d e cid edly refreshing sense o f w it and in te llig e n t design, b u t s till he is an u n k n o w n c o m m o d ity as an A rtis tic D ire c to r. W heth er he and General Manager M ichael G o o d w in w ill be able to steer th e C om p any th ro u g h th e tre a ch e ro u s fina ncial rapids th is year (le t alone generate new audience in te re st) has y e t to be seen.

Th e en deavo ur deserves success, n o t m erely because M u rp h y is A u s tra lia n , b u t because bo th he and the C om p any its e lf is d y n a m ic , young and u rg e n tly invo lve d in g e ttin g m o d e rn dance and its te ch nique s f ir m ly im be dde d in th e Aus­ tra lia n audience's a p p re c ia tio n . A lo t o f th is o f course w ill depend b o th o n th e te ch n ica l q u a lity o f th e dancers and th e s o rt o f p e rs o n a lity the y p ro je c t o u t fro m th e stage.

W hen F lie r le ft, a lo t o f th e fo rm e r dancers le ft w ith h im , some w e n t to B a lle t V ic to ria and o th e r have since gone overseas. Th e present co m p a n y has a co u p le o f o ld stalw arts in its ranks, a fe w dancers fro m B a lle t V ic to ria , some fro m o th e r state b a lle t com panie s and oth ers as y e t u n trie d o n th e profession al stage. What needs to happen n o w is fo r th e dancers to learn to w o rk co h esively to g e th e r as one g ro u p on

P h o to : D ance Co (N.S.W .}.

Theatre-A ustraU a F eb-M arch, 1977 Page 51 stage and b u ild up a fee lin g o f fa m ilia r ity in th e audiences th a t w a tch th e m .

F o r th is reason, th e pe rform ance s in th e S ydne y T o w n H all as p a rt o f th e Festival w ere a good try in g o u t p e rio d , one w h ic h w ill act as a c o n s tru c tiv e ju m p in g o f f p o in t fo r th e u p ­ co m in g M arch season in th e Opera House.

Graeme M u rp h y 's Sequenza V II (to th e B erio m usic o f th e same name) is one w o rk th a t w ill be p e rfo rm e d in th a t p e rio d . It's a c o m p le te ly th o u g h t o u t and w ell c o n s tru c te d w o rk , show ing some traces o f G len T e tle y in its ove rall design.

A sparse, insectual w o rk w ith a strange, la p id a ry fo r m a b o u t it, th e moves are o u t o f th e basic "cla ssica l” vo c a b u la ry y e t th e re are sm all dis ­ ru p tio n s , p u lls to th e side and in fle c tio n s th a t a re n 't p a rt o f th e b a lle t le x ic o n . T h e th re e dancers move in sequence (n a tu ra lly ) and th e m o ve m e n t o f each dancer a ffe c ts th e q u a lity and style o f th e others. Each e n c h a in m e n t c o n tro ls th e o th e r, fo ld upon fo ld , and d ic ta te s th e fo r m o f th e m o vem en t th a t fo llo w s . Th e piece has th e lo o k and feel o f a classical pas de tro is seen in a fra c tu re d m irr o r o r th ro u g h a d is to rtin g lense.

It was in te re s tin g to have th is piece on th e same progra m m e as N o rm a n M o riss' Pas de D eux.

Th e same sm all b u t e ffe c tiv e tw is ts to a classical style are present here to o , b u t whereas Sequenza V I I is sta rk and nervous, Pas de D e u x is langorous, b itte rs w e e t and fu ll o f regret. Perhaps th e m u sic (th e last o f M ahler's R u c k e rt songs) is a good in d ic a to r, as at one stage in those h e a rtfe lt songs th e re is a m e n tio n o f " th e tw o c h ild re n , w ith th e ir to tte rin g little games, on th e san d".

Th e ch ild re n were o f course M a hler's, and he had a m o rb id dread o f th e m d y in g (in fa c t one d id ) , and one can see th e exact m irr o r o f tho se lines in th is m eandering d u e t, its c u rlin g lines and slo w spins re m in d in g me, in its " d r o o p in g d y in g f a ll" , o f Jo h n C ran ko's B ro u illa rd s . A n d it was expressively and to u c h in g ly p e rfo rm e d .

As fo r D aniel M a lo ney's A C lear Place, danced b y Jaqui C a rroll and accom panied b y a grandiose orchestral synthesis o f M o ussorgsky's B o ris G o u d a n o v —it was anguished w ith o u t a p p a re n t reason. I'm alw ays suspicious o f dance pieces w here th e dancers fla il th e ir arm s, lo o k w re tch e d and run ro u n d the stage in aimless circles; th e w o rk s nearly alw ays are ju s t th a t: aimless.

A C lear Place was no e x c e p tio n .

T h e last w o rk on the program m e, M u rp h y 's V o lu m in a was ide a lly suited to th e m ain a u d it­ o r iu m o f th e S ydney T o w n H all. It gave th is fa r-flu n g , id io s y n c ra tic w o rk p le n ty o f ro o m to breathe and th e sight and sound o f th e en orm o us T o w n H all organ playin g th e tita n ic ch o rd s o f Legeti's piece (V o lu m in a ), gave th e p e rfo rm a n c e an e n th ra llin g sense o f dram a and m y s te ry . Le t's hope th a t w hen th e Opera House C o n c e rt H all's organ is fin a lly c o m p le te d , th e y get to p e rfo rm th e w o rk there.

V o lu m in a starts o f f w ith a v a ria tio n on th e C osm ic Big Bang th e o ry , one tig h tly h u ddled g ro u p breaking up in to solos and duets th a t w o rk in areas o f th e ir o w n . T h in g s sail en e rg e tic a lly along fo r a w h ile b u t a b o u t h a lf w ay th ro u g h it, M u rp h y seems to have lo s t his th re a d o r in s p ir­ a tio n and the b a lle t ju s t w a lk s th ro u g h to the end. Perhaps th is an in te n tio n a l s y m b o l a b o u t th e U niverse ru n n in g d o w n ; I d o n 't k n o w . It is also w eakened ( fo r me) b y a fa m ilia r h a b it o f M u rp h y 's in th e w o rk s o f his th a t I have seen, o f using his dancers as m o b ile s c ulptures, expressionless and vacant. I k n o w it's a fa v o rite fa sh io n o f choreographers to do th is these days, b u t th e greatest creators in th e m e d iu m , B alan­ ch in e , T e tle y , Van M anen etc. have alw ays placed th e ir w o rk on a recognisable hum an fo r m , w ith all its d e scrip tiv e strengths and lim ita tio n s and

A n d ris Toppe a n d J u d ith H aines in N o rm a n M o rric e 's Pas de D eux. th e ir w o rk has increased in po w e r and m e m o r­ a b ility because o f it.

A n y w a y , V o lu m in a shows p le n ty o f prom ise, and h o p e fu lly can be re w o rke d and made to cohere a little m ore. It has, at th e m o m e n t a raw energy and c ry s ta llin e lo g ic th a t w ill make th e re w o rk in g easier and leave its p o w e r u n ­ d im in is h e d . W hen one w atches th e tea m o f

P h o to : D ance Co. (N.S.W .).

dancers h o p p in g to w a rd s th e stairs at th e back o f th e h a ll, one is le ft w ith th e eerie image o f a plague o f locusts leaping o f f a fte r having ju st d e m olishe d a w h o le w o rld . N o t very pleasant, b u t it m ay give yo u som e idea o f the p o te n tia l o f th is e x tre m e ly in te re stin g piece o f w o rk b y a very in te llig e n t and w e ll tu n e d cho re o g ra p h ic m in d .

Page 52 Theatre-A ustraU a F eb-M arch, 1977

Summei David Gyger In o rd e r to make th e best possible use o f the high -re nt c o n c e rt h a llo fth e S y d n e y Opera House, th e A u s tra lia n Opera has m u ltip le c a s t th e m ajor roles o f its b lo c k b u s te r show piece, V e rd i's A id a , rig h t fro m the sta rt o f its ra th e r phenom enal sum m er season run th a t began in Jan uary 1975.

A n d u n lik e m o st opera p ro d u c tio n s , w here the opening cast is given several perform ance s over a p e rio d o f da ys—o r even w eeks—to settle in b e fo re new faces are in tro d u c e d , A id a has been playe d b y th e A .O . using a k in d o f platoon system , w ith at least th e fo u r m o st im p o rta n t roles being fille d b y an a lte rn a tiv e " te a m ” right fro m opening n ig h t.

Such ta ctics are in e vita b le if one is to present a n u m b e r o f p e rform ance s o f w o rk s lik e A id a in a lim ite d p e rio d o f tim e —singers ju s t cannot do ju s tic e to such d e m and ing roles as A ida, A m n e ris , Radames o r A m o n a sro on consecutive nights; and o f course th e y te n d to add spice to th e opera-going o f those in th e fo rtu n a te p o sitio n o f being able to see and co m p a re m o re th a n one p e rfo rm a n ce o f a p a rtic u la r w o rk in th e same season. T h e y also resulted, in m id -Ja n u a ry this year, in one o f th e m o st p h e n o m e n a lly instru ctive lessons in c o m p a ra tive stagecraft one is ever lik e ly to w itness. M u ch o f th e tim e , on opening n ig h t, th e singing was th r illin g in its e lf; b u t at no stage d id th e p e rfo rm a n c e even lo o k lik e catch­ ing fire d ra m a tic a lly . A m ere fo u r days later, at th e second p e rfo rm a n ce o f th e a lte rn a tiv e cast, th e dram a was th e re in ab undance th o u g h some o f th e singing was d e c id e d ly less impressive.

S tated m o re c ru e lly , th e op ening perform ance was long o n th e big noises and th e grandiose gestures, and s h o rt o n th e d ra m a tic c o n v ic tio n ; th e o th e r came o u t m iles ahead in term s o f d ra m a tic im p a c t, th o u g h it w o u ld have lost a good m any te ch n ica l p o in ts had one been evalu­ ating its excellence in a vacuum .

In th e ir o w n w a y , these tw o A id a s were a p e rfe ct d e m o n s tra tio n le c tu re in th e perennial p ro b le m o f all o p e ra : w h ic h o u g h t to come firs t, the m usic o r th e dram a? A n d it m ig h t be som ething o f a c o n s o la tio n to th e readers o f a d ra m a -o rie n te d m agazine such as th is to have me a d m it th a t th e re was no d o u b t w hatever in m y m in d b u t th a t th e second p e rfo rm a n ce was fa r and aw ay th e b e tte r o f th e tw o , de spite the fa c t th a t it was fa r m o re fla w e d m u s ic a lly . V et o f course it was fa r fro m as sim p le as th a t; fo r even on th e lim ite d te st o f th e fo u r m ajor p rin cip a ls such a s ta te m e n t is n o t w h o lly true.

O ver th e tw o re alisation s o f th e title role th e re w ill be the m o st disagreem ent, I fa n c y ; fo r th e re are those w h o fin d c o n v in c in g w h a t I con­ sidered to be o v e rb lo w n , stylise d p o stu rin g in th e opening n ig h t p e rfo rm a n ce o f O ria nna Santu n io n e , and her singing was at tim e s m ost im pressive—capable o f c u ttin g th ro u g h the loudest to rre n ts o f orchestral and vocal sound in th e great ensembles w ith o u t ever going harsh

R o b e rt A llm a n <N U akantha) w ith Joan Carden (L a k m e ) in th e A . O's Lakm e.

and unpleasant to the ear. B u t at no stage d id she con vin ce me th a t she was re a lly a w o m a n to rn betw een love and p a trio tis m : she was to o haughty in her scenes w ith A m n e ris to be a cre dible handm aiden, to o co o l in her scenes w ith Radames to be a s y m p a th e tic lo ve -o b je ct, to o o ff-h a n d in her a ttitiu d e to A m o n a sro to be a c re d ib ly affec-

T h e a tre -A u stra lia Feb-M arch, 1977 Page 53

Season tio n a te daughter. O f course, p a rt o f th e blam e has to be sheeted hom e to th e o th e r p rin c ip a ls , b u t A id a , as th e p iv o ta l ch a ra cte r in th e u n fo ld ­ ing dram a, s im p ly m ust relate to her fe llo w actors m u ch m ore s tro n g ly th a n th is if a p e rfo rm a n c e is to com e anyw here near realising th e in h e re n t p o te n tia l o f th is m a g n ific e n t opera.

R eginald Byers c o n tin u e s to sing m o re b e a u ti­ f u lly year by year b u t his Radames, o n th is occasion, was all b u t de void o f passion and inv o lv m e n t. Lauris E lm s' A m n e ris was n o t alw ays as fu ll and rich o f voice as we have com e to exp e ct o f her over th e years, n o r was she as invo lve d in th e a c tio n as she o u g h t to have been.

Joh n Shaw's A m on asro was near its best, and c o u ld have ro unde d o u t an o th e rw is e stro ng co m p le m e n t o f p rin c ip a ls m a rv e llo u s ly ; b u t u n fo rtu n a te ly A m on asro is a good deal less cen­ tra l to th e success o f a p e rfo rm a n c e o f A id a th a n th e o th e r three m a jo r p rin c ip a ls , and his e ffo rts w ere largely in vain.

A t least in th e p e rfo rm a n c e I saw th is sum ­ m er, I w o u ld have to say th a t M a rily n R ichardson 's A id a was m a rg in a lly b e lo w her best v o c a lly ; it lacked po w e r, here and the re, com pare d w ith S a n tu n io n e 's, and the odd to p no te faded away d is tu rb in g ly . B ut her flaw s in th e vocal d e p a rt­ m e n t w ere fa r m ore th a n o ffs e t b y her th o ro u g h ly co n v in c in g d ra m a tic p e rfo rm a n c e : w henever she is on stage, she com m and s a tte n tio n —th o u g h w ith o u t ever te m p tin g one to fo rg e t she is in volve d in a dram a, n o t m e re ly giving an in d iv id ­ ual v irtu o s o d ispla y. A n d her s u p p o rt in th e a lte rn a tiv e cast was s o lid ly e x c e lle n t.

R ona ld D o w d , m aking his d e b u t as Radames at an age w hen m o st ten ors w o u ld be giving it up , was re m a rk a lb y c re d ib le : his m ake-up made h im vis u a lly c o n v in c in g as a m an o f 30 o r so, and he acted w ith ardency and c o m m itm e n t th a t was e xe m p la ry . N o w and again one c o u ld n o t avoid th e feeling th a t he was a b o u t to prove h im se lf unable to cope v o c a lly ; b u t, clever pe r­ fo rm e r th a t he is, he gave his all w here it m a ttere d m o st and th e overall result was m o st im pressive.

M argreta E lkin s was a very fin e A m n e ris , a to n in g fo r w h a t she lacks in pure deep c o lo r o f to n e by a m a g n ific e n t d ra m a tic re alisation o f th e role.

R o b e rt A llm a n 's A m on asro c o u ld h a rd ly be fa u lte d : it is a c o n tin u in g m arvel th a t he seems to be able to surpass his ow n elevated standards year a fte r year; b rin g in g his o w n special charism a to each new role he tackles, c re ating each new ch a ra cte r y e t w ith o u t undue fussiness o r h is t­ rio n ics, alw ays pleasing and rich o f vocal ton e.

T h ird tim e ro u n d ,T o m L in g w o o d 's b r illia n tly ingenious designs fo r the c o n c e rt hall A id a are beginnin g to show th e ir age a little ; those o f us w h o have seen th e p ro d u c tio n several tim e s , no w , can h a rd ly fa il to be increasingly aware o f th e lack o f scenic d e ta il th a t w e n t all b u t u n n o tic e d in th e e x c ite m e n t o f firs t acq uaintance. As an in s ta n t conversion k it to tra n s fo rm a c o n c e rt hall in to a w o rk a b le venue fo r fu lly stage opera, th e basic design is v irtu a lly flaw less; b u t fu r th e r re fin e m e n ts are c le a rly needed if th \s A id a is to stay in the re p e rto ry very m u ch long er. A fe w m ore props, perhaps, o r a slig h t change in some o f th e c o stu m in g ; th o u g h th e m o re spectacular in n o v a tio n s o f the o rig in a l set design—th e bo at and m o on o f th e N ile scene, th e huge id o l o f the

T e m ple o f V u lc a n , th e d ra w b rid g e /to m b e ffe c t o f th e last scene, rem ain as im pressive as ever.

C arlo Felice C illa rio 's b a to n c o n tin u e s to w o rk musical w onders b o th a m o n g th e augm ented E liza beth an S yd n e y Orchesta and the ra ther huge choral forces as re q u ire d ; th e triu m p h a l scene, w h ic h last year seemed to have lost som e­ th in g o f its o rig in a l enthusiasm , was back in fin e fo rm th is tim e ro u n d . A n d special m e n tio n m ust be made o f th re e o f th e m in o r p rin c ip a ls : G ra nt D ic k s o n , w hose R am fis is a m o st im pressive, fu ll-th ro a te d piece o f singing and a personal m ile ­ stone; A la n L ig h t's ever-reliable p e rfo rm a n ce as th e K ing o f E g y p t; and Isobel B uchanan's b rie f b u t th o ro u g h ly ethereal off-stage priestess in th e second scene.

Th e sum m er season opened w ith a revival o f D elibes'Lafcm e fe a tu rin g a superb p e rfo rm a n ce fro m Joan Carden in th e t it le ro le , w h o proved fo r the second tim e th a t she is p e rfe c tly capable o f fo llo w in g in th e fo o tste p s o f Joan S u th e rla n d w ith o u t seeming to be a pale shadow o r a fa in t echo o f her m ore illu s trio u s namesake. Just as she made a personal triu m p h o f th e fo u r heroines in The Tales o f H o ffm a n n last year, she made Lakm e her o w n ; her voice m ay lack th e caver­ nous p ro p o rtio n s o f S u th e rla n d 's, and its richest son orities, b u t it is e q u a lly b e a u tifu l and versa­ tile in a m ore m odest w a y; and she conveys a good deal m o re d ra m a tic in v o lv e m e n t in ju s t a b o u t e v e ry th in g she does. A nson A u s tin gave one o f his best pe rform ance s as G erald, singing very w e ll and acting a d equa tely, th o u g h s till a tr ifle to o s tiff u p p e r lip fo r c o m fo rt; R o b e rt A llm a n was a re lia ble new N ila k a n th a , and M ar­ greta E lkin s a very fin e M a llik a .

T he firs t tw o pe rform ance s o f Carm en I saw d u rin g th e c u rre n t season co u ld h a rd ly have b e e n te m p e ra m e n ta lly less a like in some respects: on opening n ig h t, R ichard B onynge's tem pos, p a rtic u la rly in th e firs t act, seemed perversely fun ere al; at th e m a tinee a fo r tn ig h t late r, Russell C hannell seemed h e ll-b e n t on se ttin g a w o rld speed record in th e p re lude and th e smugglers' q u in te t o f A c t 11, as w e ll as d e p riv in g soloists o f th e ir applause at several p o in ts e a rly in th e piece by pressing on regardless o f the fa c t th a t th e singers and orchestra w ere in a u d ib le to the audience. B u t he settle d d o w n as th e a fte rn o o n progressed, and it ended up being a very good pe rfo rm a n ce in m ost respects.

On opening n ig h t. H eather Begg showed prom ise o f being a very good C arm en; b y th e m atinee, she had re fined and pe rfe cte d her pe r­ fo rm a n c e to the b r in k o f excellence and be yo n d .

Her S egu id illa , in the firs t act, was a b so lu te ly m arvellous b y th e m a tinee, as was her closing scene on b o th occasions; and w here she had seemed a t r if le an xio us to re strain her anim al s e x u a lity on opening n ig h t, she allo w e d herself to becom e th e th o ro u g h ly desirable, y e t h e a rt­ lessly ind e p e n d e n t cre ature she o u g h t to be by th e m a tinee. Her m a ture d Carm en is an ab solute­ ly m arvellous piece o f w o rk th a t w o u ld stand up on any stage in the w o rld .

A t the prem iere, R on Stevens excelled his ow n e le c trify in g D on Joses (w ith H uguette Tourangeau) o f th e 1976 w in te r season, and added a new measure o f vocal sm oothness; b u t th e big surprise o f th e firs t th re e weeks o f the sum m er season was p rovided at th e m atinee w hen G e o ffre y H arris o f th e opera s tu d io , re­ c e n tly tra n s fe rre d fro m the Queensland Opera C om p any, stepped in fo r an a ilin g Stevens at the last m o m e n t. U n d e rsta n d a b ly, H arris seemed e x tre m e ly nervous to s ta rt o f f w ith : D on Jose is a m ore th a n som ew hat d a u n tin g ro le to make one's b ig -tim e d e b u t in ,p a rtic u la rly in th e s h a d o w o f as fin e a p e rfo rm a n ce as Steven's and o p p o site as stro ng a C arm en as Begg.

B u t once he g o t go in g, his reading o f th e ro le

M a rg re tta E lk in s (A m n e ris) & M a rily n R ichardson (A id a ) in the A . O's A ida. was th o ro u g h ly co n v in c in g , th o u g h m a rk e d ly d iffe re n t fro m S tevens'. V o c a lly , it was n o t alw ays q u ite th e re ; some notes w ere superb, oth e rs n o t very im pressive. B u t it was w ell th o u g h t o u t d ra m a tic a lly , progressing lo g ic a lly and w ith s u b tle ty fro m the nonchalance o f th e opening scene to th e m u rd e ro u s fru s tra tio n o f the last. Begg and he had th e audience s ittin g on th e edge o f th e ir seats d u rin g the fin a l scene: it was a th o ro u g h ly g rip p in g , d ra m a tic a lly e ffe c t­ ive, d e n o u e m e n t.

Page 54 T h e a tre -A u s tra lia Feb-M arch, 1977

AUSTRALIAN CENTRE A N C IE N T G R E E K D R A M A ORARY THEATR E’

IN

INTERNATIONAL THEATRE INSTITUTE

CONTEM P­

Th e con fere nce was o ff ic ia lly opened b y G reek President C o n s ta n tin e Tsatsos, at the a n cie n t T h e a tre o f D ionyso s u n d e rth e A c ro p o lis , w here th e d ra m a tic festivals o f A th e n s w ere held fTbm 4 7 0 B.C. on w a rd s. T he c erem on y was fo llo w e d b y a re c e p tio n in th e Stoa o f Eum aios nearby. These tw o occasions set the to n e o f the m e e tin g ; lavish h o s p ita lity , in settings w h ic h w ere useful fo r th e delegates to v is it and exam ­ ine a t close qu arte rs.

A t th e s ta rt o f the discussions, T a kis Musenidis and A n n a S y n o d in o u w ere a n xio us to p o in t o u t th a t th e con fe re n ce aim ed at a sharing o f exp erien ce and ideas, and th a t no s p e cific reso­ lu tio n s o n any aspect o f a n c ie n t dram a in c o n ­ te m p o ra ry th e a tre c o u ld be expected. In general, th e papers presented and th e ensuing discussions re fle cte d personal experiences o f actors, d ire c to rs and designers in solving th e pro b le m s raised b y p a rtic u la r p ro d u c tio n s o f a n c ie n t plays.

M ore general view s w ere expressed b y tw o G reek d ire c to rs , Charles C oon and S pyros E vangeltos.

C oon , fo u n d e r (in 1942) and d ire c to r o f th e A r t T h e a tre , gave th e opening re p o rt on 'th e d ire c to r and a n c ie n t dram a to d a y '. His c o m p a n y has to u re d p ro d u c tio n s o f a n c ie n t tra ged y and co m e d y over m o st o f E uro pe d u rin g the past 15 years, w ith great success.

His ap proa ch, he said, to a n c ie n t dram a, is a tth o sp h e ric and e m o tiv e and aim s at arousing an e m o tio n a l response in th e audience, th ro u g h the use o f m o ve m e n t and rfiy th m in speech and a c tio n , p a rtic u la rly in cho rus w o rk . M uch o f the atm osphere is created w ith th e he lp o f ritu a l and costum e fro m m o d e rn G reek fo lk festivals, w h ic h , he says, are th e closest w e can com e to th e d ra m a tic tra d itio n s o f a n c ie n t G reek the atre .

C oon stressed th e im p o rta n c e o f p ro v id in g visual and vocal in te re s t and v a rie ty in p ro d u c t­ ions o f a n c ie n t dram a, and a v o id ing rh e to ric a l em phasis o n speech and a rg u m e n t. " I believe th a t w ith in a ritu a l fo rm , th e m ost e ffe c tiv e w ay o f expressing th e age-old tru th s o f an cie nt dram a, w h ic h are based on great deeds and events w h ic h stand o u t regardless o f space and tim e , is th ro u g h s y m p a th y and e m o tio n ," he said.

C oon c o n c lu d e d b y p o in tin g o u t th a t the cho rus is th e leading a c to r in a n c ie n t dram a. " I t is th ro u g h th e ch o ru s th a tth e p o e t makes c o n ta c t w ith his audience and expresses his m eaning, and th e d ire c to r m u st alw ays rem em ber th is ," he said.

The delegate saw C oon's ideas at w o rk later in th e w eek, b o th in p e rfo rm a n c e and at rehear­ sal, w ith a p ro d u c tio n o f A ris to p h a n e s ' A rc h a n ians in th e a n c ie n t th e a tre o f E re tria on th e island o f Euboea, and an evening o f open rehear­ sals at his sm all basem ent th e a tre in A then s.

The E re tria p e rfo rm a n c e , in a ru in e d late classical th e a tre o v e rlo o k in g th e G u lf o f O ropos, proved very e n jo y a b le and w a s e ffe c tiv e co m e d y , th o u g h fe w o f th e audience k ne w th e p la y o r c o u ld u n derstand m o re th a n h a lf a dozen w ord s o f G re e k—a m o d e rn G reek a d a p tio n was used fo r the s c rip t. We saw an unusual b u t am using c o m b in a tio n o f elem ents fro m B alkan fo lk fe s t­ ivals c o m b in e d w ith e xce rp ts fro m th e T u rk is h K aragiogis o r s h a dow -p lay tra d itio n , b ro u g h t up

to date w ith a m o d e rn so u n d -tra ck at tim e s in th e b a ckg ro u n d .

Rehearsals o f th e C horus fro m A e sch ylu s' Seven A g a in s t Thebes and The Persians illu s tra ­ ted C oon's approach to a n cie n t tra g e d y, using voice m o vem en t and sim ple props o f masks and d ra p e ry to create a b a ckg ro u n d against w h ic h his hero c o u ld p ro je c t th e a c tio n and argum e nt.

C oon's actors w ere p h y s ic a lly ve ry active, and it became clear th a t his cho rus w o rk requires a good deal o f stam ina and resilience.

S pyro s Evangelatos, a yo u n g G reek d ire c to r w hose A m p h ith e a tro n co m p a n y playe d abroad fo r th e fir s t tim e th is year, w ith a stage a d a p tio n o f a 1 6 th c e n tu ry C retan epic poem . The E ro to k rito s , presented th e second re p o rt on th e d ire c to r's ap proach to an cie nt dram a.

He em phasised th a t c o n te m p o ra ry p r o d u c t­ ions o f an cie nt plays have to be closely ta ilo re d to th e needs and e x p e c ta tio n s o f th e p a rtic u la r c o u n trie s w here th e y are p e rfo rm e d . "T h e re is a broad gap betw een a M editerrane an o r G reek p ro d u c tio n , w here e m o tio n and s p o n ta n e ity o f fee lin g is o f p a ra m o u n t im p o rta n c e , som etim es at th e expense o f th e a tric a l te ch n iq u e , and the o th e r c o u n trie s ," he said. "E a c h d ire c to r has to brid g e th e gap be tw een th e M editerrane an fa c to r b u ilt in to a n cie n t dram a and th e o u tlo o k o f his o w n c o m m u n ity , and m u st present an an cie nt p la y in a w ay w h ic h can have m eaning in term s o f his o w n c o u n try 's e x p e rie n c e ."

A v is it b y delegates to Evangelatos' p ro d u c t­ ion o f A ris to p h a n e s ' L y s is tra ta presented in an o p en-a ir cinem a, th e sum m er hom e o f his c o m ­ pa n y, illu s tra te d th is ap proa ch. His p ro d u c tio n , in th e s ty le o f a 1 9 th -c e n tu ry A th e n s street th e a tre , w ith acto rs w earing "c la s s ic a l" d ra p e ry over th e ir 1 9 th c e n tu ry stre et cloth es, lin k e d th e m usic-hall tr a d itio n o f m o d e rn A th e n ia n th e a tre , adding to th e h u m o u r, and aw akening th e inte rest o f a m uch w id e r G reek audience th a n c o u ld o th e rw ise be exp ected .

A discussion o n tra n s la tio n s o f a n cie n t dram a w h ic h fo llo w e d a h ig h ly tech n ica l paper b y th e c h ie f R ou m a n ia n delegate o n preserving th e m e tric q u a n titie s o f a n cie n t dram a in m o d e rn tra n s la tio n s , raised th e pro b le m s o f v e rs ific a tio n in tra n s la tio n s and th e use o f archaic language.

T h e problem s o f m a kin g a ctin g e d itio n s fro m a n o n -d ra m a tic tra n s la tio n , and th e a cto r's insistence on a p la ya b le s c rip t also came up.

M in is te r o f C u ltu re , P ro f. C o nstantine T ry p a n is , a fo rm e r O x fo rd U n iv e rs ity le c tu re r in classical lite ra tu re , c o n trib u te d a classical scholar's v ie w o f a n cie n t tra g e d y w ith u n d e r­ graduate a cto rs, using and e x p e rim e n tin g w ith some o f th e costu m e styles, masks and p ro p e r­ ties m e n tio n e d b y th e a n cie n t scholiasts o r c o m m e n ta to rs on classical dram a.

Y ann is X enakis, th e b e st-kn o w n m o d e rn G reek com poser, presented tap e-record ings o f his scores fo r p ro d u c tio n s o f A e sch ylu s' Oresteia and E u rip id e s' Medea.

He also proposed th a t some fo r m o f c o m ­ p e titio n fo r p ro d u c tio n s o f an cie nt plays sho uld be in s titu te d in Greece, w here yo u n g d ire c to rs and actors fro m d iffe re n t c o u n trie s c o u ld p re­ sent e x p e rim e n ta l versions o f a n cie n t plays in classical the atre s lik e those at E p id a u ro s o r D o d o n i. "T hese w o u ld open u p w in d o w s on a bro a d e r a rtis tic in te rp re ta tio n o f an cie nt tra ged y, ra th e r th a n p e rform ance s in a m a n d a rin o r

in te lle c tu a l s p ir it, " he said.

A n e xcu rsio n to D e lp h i inclu d e d a m em orable in te rp re ta tio n b y A n n a S y n o d in o u —w h o isnoted fo r her p o rtra y a ls o f S oph ocles' heroines—o f speeches fro m th e E le c tra at th e sm all ancient th e a tre in th e san ctuary o f A p o llo . It was an overcast a fte rn o o n , and th e c ro w n in g m o m e n t came w hen Ms S y n o d in o u called on th e god A p o llo , and received an answ ering ru m b le o f th u n d e r w h ic h echoed a ro u n d th e m o unta in side.

Th e con fere nce p ro d u ce d no fin a l com-

m u n iq u e o r any con clu sions o r recom m e nda tions, b u t as it ended. P rofessor T ry p a n is announced th a t th e M in is try o f C u ltu re and the A rch e o ­ logical Service w o u ld begin w o rk at th e Theatre o f D ionyso s, to restore m u ch o f th e seating and s tu d y th e scene b u ild in g rem ains so th a t itc o u ld be used once again fo r p e rform ance s o f ancient plays. He also has s u b m itte d to the governm ent a pla n to b u ild a n o th e r, p e rm a n e n t open-air th e a tre in th e A c ro p o lis area, to be used spe cific­ a lly fo r p ro d u c tio n s o f a n cie n t plays b y Greek and fo re ig n com panies.

G R E E K F E S T IV A L T h is In te rn a tio n a l T h e a tre C onferen ce held in A th e n s fro m th e 3 rd to th e 1 1 th o f J u ly 1976 was organised b y th e H e lle n ic c e n tre o f th e I.T .I. M ore tha n 130 delegates fro m 32 cou ntries attende d th e m eetings, am ong th e m 8 4 represent­ atives fro m o u ts id e Greece. Sessions w ere held in a ir-c o n d itio n e d c o m fo r t at th e Panteios S chool o f G ra dua te S tudies, w ith sim ultaneous tra n s la tio n in to F rench , E nglish o r G reek. The te x ts o f th e re p o rts and sum m aries o f th e dis­ cussions w ill be p u b lish e d in a special num ber o f th e H e lle n ic T h e a tre C entre b u lle tin Thespis.

A m o n g delegates w ere M a rth a C oigney fro m th e U.S. C entre o f the I.T .I., Paul Lo u is M ignon fro m France, Suzanne Gal fro m H ung ary, Jesaja W einberg fro m Israel, Peter S chre ib er fro m the N eth erlan ds, W a lte r K o h ls fro m th e D e m o cra tic R e p u b lic o f G erm an y, Ival Nagel fro m th e Fed­ eral R e p u b lic o f G erm an y, R adu B elligan fro m R o um ania , In g rid L u te rk o rt fro m Sweden and o th e rs fro m 23 I.T .I. C entres a ro u n d th e w o rld .

D u rin g th e C onferen ce, excu rsions and guid ed to u rs in a rcheolo gical sites as w e ll as re ception s also to o k place.

T he above is re p rin te d fro m th e re p o rt o f Ms K e rrin H ope o f the U n ite d Press In te rn a tio n a l o ffic e in A th e n s. She p a rtic ip a te d as an observer and represe ntative o f th e A u s tra lia n Centre.

IT I E D IT O R F O U N D June C o llis w ill be replaced b y Sue Paterson as e d ito r o f th e IT I N e w sle tte r fo r six m o nths fro m 1 F e b ru a ry 1977.

Sue is a N ew Z e alander w ith a d ip lo m a in jo u rn a lis m fro m W e llin g to n . She had w o rke d fo r several years w ith vario us newspapers before w o rk in g in L o n d o n fo r th e M a cm illa n P ublish­ ing C om p any in 1 9 7 4 /7 5 . Since the n she has been at th e E liza beth an T h e a tre T ru s t in S ydney in charge o f th e a tric a l p ro m o tio n s . As a sideline she dances w ith th e K ris h n a n N airs In d ia n Dance T ro u p e , having so fa r appeared in fiv e concerts, and has also stage-managed a p ro d u c tio n o f the N.S.W . T h e a tre o f th e D eaf. We w e lcom e her c o lla b o ra tio n .

T h e a tre -A u stra lia F e b-M arch, 1977 Page 55

¿>0 te tFILMS Barry Lowe

F o r every C addie o r P ic n ic a t H anging R o ck th a t th e local film in d u s try produces th e re are three o r fo u r Plugg, In n o f the D am ned, Oz and S u m m e r o f Secrets. The success rate in A u s tra lia averages a b o u t one in fo u r, m o re th a n d o u b le th a t o f the U.S. B u t w h a t makes fo r a success? W ell in A u s ­ tra lia at least, over th e past fiv e years o r so, the re seem to have been s im ila ritie s in those film s w h ic h w ere successful at th e b o x o ffic e (th e o n ly c rite rio n th a t backers go by.)

If y o u w a n t to succeed the best be t is to p u t y o u r m o n e y in to sex ( A lv in P urples, Bazza M cK enzies, N u m b e r 9 6 ) o r n o s t­ algia. The success rate fo r film s on c o n te m p o ra ry subjects (e x c lu d in g sex) is ra th e r lo w w h ile th re e o f o u r greatest recent successes. P ic n ic a t H anging R o ck, C addie, and The D e v il's P la y g ro u n d have all been set in th e past. Th e same is tru e o f S und ay Too F a r A w a y w h ic h , if n o t q u ite th e fin a n c ia l success o f th e others, was a c ritic a l one, and B reak o f D ay w h ic h opened to in ­ d iffe re n c e in M e lb o u rn e b u t is p ic k in g up its audience th ro u g h w o rd o f m o u th .

Petersen made its inv e s tm e n t back b u t seemed to please n e ith e r th e p u b lic no r th e c ritic s a lth o u g h S tanle y K u b ric k to o k a p r in t o f th e film back to th e States c lu c k ­ ing th a t it was b r illia n t. The M an F ro m H ong K o n g cashed in o n th e kung fu craze and d id w e ll here b u t b e tte r overseas. N e ith e r film set th e w o rld o n fire how ever.

Plugg fro m the T e rry B o u rk e stable (th e man w h o b ro u g h t us th e disaster-prone p e rio d h o rro r In n o f the D am ned) was lit t le seen and in S ydne y was th e s u p p o rt to an Y vonn e De C arlo sex film .

E n d p la y was m ore lik e a d o u b le episode o f H o m ic id e , and The Cars T h a t A te Paris, fo r all its e x tra v a ­ gant praise fro m overseas c ritic s , was a nice idea th a n ran o f f th e road, Oz, a ro c k m usical was a re te llin g in local te rm s o f The W izard o f Oz w ith s o m n a b u le n t pe rform ance s fro m th e leads and a re m a rka b ly offe n sive p e rfo rm a n c e fro m R o b in Ram say as the good fa ir y . T h is film has n o w been sold overseas fo r a lu d ic ro u s ly sm all a m o u n t and is to undergo the suprem e in s u lt o f being du bbed in to A m erica n.

The G reat M a c A rth y based on B a rry O akle y's ra th e r fu n n y b o o k was m o st no ta b le fo r th e p e rfo rm ­

ances o f Jo h n J a rra tt and B arry H um phries and its a lm o s t co m p le te lack o f laughs. The F o u rth Wish had some people reaching fo r th e ir tissues b u t m o st seemed to rem ­ em ber its orig in s as a fo u r-p a rt te le v is io n serial and stayed aw ay.

Casey R obin son's sole A u s tra lia n s c rip tin g e ffo r t to date since leav­ ing H o lly w o o o d and B ette Davis vehicles was S cobie M alone, a s to ry o f c o rru p tio n and m u rd e r in high places w h ic h sat ill at ease in local surroun ding s. T h ere is s o m ething s lig h tly lu d ic ro u s in m in o r league A u s tra lia m uscling its w a y in the espionage and c o r ru p tio n stakes o f th e w o rld .

K ate F itz p a tric k in S um m er o f Secrets.

T h is is a fa u lt o f a c u rre n t local p ro d u c tio n fro m th e cam era o f B rian T re n ch a rd S m ith , D eathcheaters, w h ic h stars Joh n Hargreaves (w h o , lik e K ate F itz ­ p a tric k , seems to p o p up in every second local p ro d u c tio n ) and G ra nt Page w ith cameos b y an am azing n u m ber o f ex c e lle n t actors. D rew F o rsyth e plays a G erm anic film d ire c to r o b v io u s ly m o d e lle d o n von S tro h e im , J oh n K ru m m e l is a n o th e r film d ire c to r, Chris H a yw ard is a b u tc h e r and M ichael A itk e n s a po lice m an . The u b iq u ito u s Noel F e rrie r (w h o seems to alte rnate roles w ith F rank T h rin g ) plays C ulpepper w h o runs an A S IO ty p e organisa tion fro m S ydne y and w h o sends o u r heroes.

Page and Hargreaves, to the P h ilip p in e s to in filtra te a m yste rious p la n t w h ic h no a m o u n t o f g im m ic k y cam era angles can disguise as a n y th in g b u t B alm ain po w e r s ta tio n .

Th e f ilm is an a c tio n th r ille r w ith a s c rip t by M ichael Cove based on th e d ire c to r's o rig in a l s to ry , and w hen th is s to ry is n o t allow e d to get in the w ay o f th e car chases and the general violence (th e re is never any b lo o d how ever) it makes fo r a d iv e rtin g fe w hours.

B u t it co n ta in s one o f those accursed travelogue sequences, n o t th e usual emus and kangaroos, b u t a g ra tu ito u s m eander th ro u g h S ydney's a rt gallery.

W hat lets th e film d o w n to a large e x te n t is th a t once the film has set up Page and Hargreaves as s tu n t actors and shows h o w the stu n ts and special effe c ts are done we are expected to ta k e seriously these same s tu n ts and e x p lo sions

in late r flash back V ie tn a m w ar scenes. It's a little d if f ic u lt b u t J o h n Hargreaves and G ra n t Page pla y th e ir roles w ith ju s t th e rig h t a m o u n t o f ton gue in cheek and it appears B rian T re n ch a rd S m ith has fo u n d an e x p lo ita b le niche in the w o rld o f boys o w n ad ventu re stories.

One o f th e greatest d is a p p o in t­ m ents o n the film scene is J im Sharm an. A great stage d ire c to r he has y e t to fin d his fe e t in th e film m e dium . His firs t te n ta tiv e e ffo rt, a p o in te r to th e d ire c tio n in w h ic h his inte rests la y, was S h irle y T h om p son Versus the A lie n s , a b o u t a w id g ie w h o makes co n ta c t, o r so she th in k s , w ith aliens in the river caves a t Luna Park. T h e film prom ised m u ch and delive red little and was eclipsed by Peter W eir's su p e rio r Hom esdale.

S harm an's in te re st in the B m ovie, th e lo w bu d g e t q u ic k ie , was id e a lly expressed in th e stage ver­ sion o f The R o c k y H o rr o r S h o w w h ic h inclu d e d a trib u te to t h e f i genre stars and starlets in its o p en­ ing song “ Science F ic tio n " . B ut w h a t w o rk e d w e ll on stage became a shambles on film A lth o u g h the film version a ffe c tio n a te ly spoofed H o lly w o o d and had sections th a t w ere g e nuine ly appealing it d id n o t com e to g e th e r as a co h e re n t w h o le and had no fee lin g. It was c o ld , lacking th e w a rm th o f a good d ir ­ e c to r.

In a supposed e ff o r t to get a w a y fro m th e R o c k y H o rr o r image S harm an n e x t chose to f ilm a s c rip t b y West A u s tra lia n p la y ­ w rig h t Jo h n A itk e n . A itk e n , it seems, has an enviable re p u ta tio n in th e w est b u t in the east his S ydne y p ro d u c tio n , some years ago, o f The B u rn in g o f Joan h a rd ly set th e w o rld on fire . S harm an m iscalcu lated in his cho ice o f

s c rip t, th e name o f w h ic h was changed fro m The S ecret o f Para­ dise Beach to S u m m e r o f Secrets and w h ic h was a m ishm ash o f d iffe re n t ideas.

B ut it's basically Brad and Janet te r r ito r y again, th is tim e tra ns­ fe rre d to a deserted beach w here a mad scie n tist has snap fro ze n his w ife and is a tte m p tin g to th a w her o u t lik e a pa cket o f fis h fingers. He even has his fa ith fu l o ffs id e r R ufu s C o llin s w h o , d u rin g a t r ip to th e local to w n , is c o n fro n te d b y th e A u stra lia n e q u iva le n t o f th e U.S. B m o vie m id d le -w e st y o k e l, in th e fo rm o f B a rry L o v e tt. T h e cast w o rk w e ll in th e ir roles, A n d re w S harp and N ell C am p bell as th e new Brad and Jan et, B ob and K y m , A r th u r D ignam as th e grey haired d o c to r and K ate F itz p a tric k as his c o ld , co ld w ife .

B u t som ew here along th e w ay th e s c rip t g o t ju m b le d and new ideas w ere added, ideas th a t d id . n o t s it easily in th e film already created. S u d d e n ly w e are c o n ­ fro n te d w ith th e p sych ologica l trite ness o f m e m o ry n o t being all it's cracked up to be. I t takes p o o r A r th u r D ignam a b o u t n in e ty m in ­ utes and countless tho usan ds o f fee t o f f ilm to fin d o u t w h a t th e audience has a n tic ip a te d ages be fore .

A lth o u g h p h o to g ra p h e d b e a u tif u lly by Russell B o yd ( it w o u ld have been b e tte r, b u t c o m m e rc ia lly unviable at th is stage, had it been shot in b la ck and w h ite ) S u m m e r o f Secrets la c k s th e v ita l in g re d ie n t o f atm osph ere. N o th in g is b u ilt up. T h ere is no suspense and no fo re b o d in g .

It is a source o f ir r ita tio n th a t I fin d m y s e lf d e fe n d in g J im S harm an's f ilm o u tp u t, n o t fo r w h a t he has do ne a lre ady, b u t fo r w h a t, h o p e fu lly , he w ill d o in the fu tu re .

Page 56 Theatre-A ustraU a F eb-M arch, 1977. names are o m itte d o cca sio nally.

B u t generally it reads very w e ll,

BOOKS Helen van der Poorten Three

P opu la r

Plays,

by

Jack

H ib b e rd . O u tb a ck Press, M e lb o u rn e 1976. R ecom m ended R eta il Price: $ 3 .2 5 .

Having been c ritic iz e d b y the press and th e C anberra Tim es last year fo r saying at th e P la y w rig h ts ' C onference th a t I th o u g h t we needed m ore "v u lg a r th e a tre " (w o rd s I shall be e x tre m e ly w a ry o f in fu tu re ), I was d e lig h te d to see th a t Jack H ib b e rd has do ne jus tic e to th is very fo r m b y p u b lis h in g th re e o f his " p o p u la r " p la y s —One o f N a tu re 's G en tlem e n, A Toast to M elba, and The Les D a rc y Show .

H ib b e rd has, m o reove r, spent some tim e in his in tr o d u c tio n e x p la in in g w h a t he means by p o p u la r th e a tre in a w ay I'm sure I c o u ld never have done, so I am p re s e n tly c o m ­ m ittin g to m e m o ry some o f his com m ents fo r m y late r use.

O f th e th re e plays, A Toast to M elba is the best k n o w n b y now , and its a ttra c tiv e m ix tu re o f w itty interchange and A u s tra lia n in v e c t­ ive ensure th a t it is as readable as it is playa ble. T h e te x t as presented is som etim es a little unclear, espec­ ia lly as stage d ire c tio n s are o fte n n o t distin g u ish e d c le a rly enough fro m the d ialo gue , and speakers'

ria te fo r f ir s t o r in e x p e rt casts. N o w it seems to me th a t th e same m ig h t be said o f casting all o f these p o p ­ u la r p la ys—th e im p e rs o n a tio n o f characters such as W ild e and W ede­ k in d , th e singing, and th e a b ru p t

and bears o u t H ib b e rd 's th e o ry o f a th e a tre w h ic h can " j o l t and agi­ ta te w ith in a c o n te x t o f sheer local e n jo y m e n t” . I w o u ld q u ib b le w ith th e " i n " opera and b o x in g re fe r­ ences in b o th M elba and Les D are y, and w ith the e x te n t to w h ic h H ib b e rd really probes his heroes (he claim s th a t psych ologica l e x p la n a tio n bores h im to de ath, b u t I w a n t to k n o w w h e th e r, say, M elba is e m o tio n a lly frig id ). Even so, in his e x a m in a tio n o f some a rc h e ty p a l figu res and in s titu tio n s H ib b e rd has show n h im se lf m ore sure th a n th e p o s t-O 'M a lle y 1960's N im ro d p la y w rig h ts and less ra ti­ fie d th a n Steve J. Spears.

F o r m ost prospective d ire c to rs and readers I sho uld th in k One o f N a tu re 's G entlem en w ill prove the m o st s trik in g o f th e three. D escribed as "a vau deville fa rc e ", it consists o f a series o f exaggerated b a r-ro o m games w h ic h co m b in e th e a tric a l w ith in te lle c tu a l im p a ct. F o r th is reason no d o u b t, the pla y has been successfully used in c o m m u n ity th e a tre to u rs o f fa c to rie s, one area in to w h ic h we w o u ld exp ect popu la rth e a tre to plunge. B u t H ib b e rd , in a n o te prefacing th is p la y , p o in ts o u t one p itfa ll w ith " p o p u la r " plays fo r th e a m ateu r a n d /o r in ­ e x p e rt w hen he refers to gender role-reversal in recent p e rfo rm ­ ances. C o m m entin g th a t these re n d itio n s have n o t been "crass drag a c ts " b u t genuine im p e rso n ­ atio n s , he makes th e p o in t th a t such reversal m ig h t n o t be a p p ro p ­

JACK HIBBERD

changes o f to n e all call fo r th e tim in g and exp ertise o f th e p ro ­ fe ssio n a l—perhaps even th e in s tit­ u te -tra in e d actors schooled in th e "s p u rio u s and o rn a te s ty le " to w h ic h H ibbe rd refers in th e general

in tr o d u c tio n . If th is is so, th e n we c o u ld say th a t one, the am ateu r, venue f o r p o p u la r th e a tre m ig h t have to be bypassed, and w e are back in to th e subsidized s itu a tio n w h ic h has led to the tam e m id d le class fare th a t p o p u la r th e a tre surely seeks to challenge.

Even judged as m iddle-class, how ever, th is k in d o f th e a tre m ust be considered th e greatest single in flu e n ce on th e "re n a issa n ce " in A u s tra lia n d ra m a tic w ritin g . The re c o g n itio n th a t lu rk in g som ew here in th e u p w a rd ly -m o b ile con scio us­ ness o f the A u s tra lia n m id d le class is a taste fo r g e n u in e ly p o p u la r (vulgar?) e n te rta in m e n t in th e th e a tre can a cco u n t fo r th e success o f th e A .P .G . and its in te rsta te fo llo w e rs . H ib b e rd I th in k c o rre c tly sees th e loss o f va u d e ville and burlesque as having robbed o u r audiences o f d ire c t th e a tric a l c o m m u n ic a tio n , and c le a rly th e th re e plays here pu b lish e d use the ro u tin e s and m usical in te rlu d e s o f b o th fo rm s e xte n s iv e ly , P opular th e a tre , he claim s, need n o t be jejeune, fo lk s y o r s e n tim e n ta l, b u t it is very lik e ly to be concerned w ith A u stra lia n s a n d th e irp a s tim e s . iro n ic a lly , says H ib b e rd , " th e th e a tre , in trin s ic a lly th e m ost co m m u n a l o f th e arts, is d o in g the least c o m m u n a lly despite its solid sub sid ies". I t is to be hoped th a t th e tim e ly p u b lic a tio n o f his plays, as w e ll as adding to o u r kno w le dge o f such a fo rm id a b le A u s tra lia n p la y w rig h t, re m inds us o f th e th e a tre 's o b lig a tio n to reach its audiences.

/ \ A / V S A / V > A iiV V > A / » / V > A A A / V V V V W V V V V V V S A A / V ,S A A r

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