Theatre Australia 1(6) January-February 1977 feb

ISSN 0 3 1 3 -2 0 8 0

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CHIDLEY

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AUSTRALIA • ENGLAND i INDIA • NEW ZEALAND i PAKISTAN • SOUTH AFRICA i SRI LANKA • WEST INDIES

VOLUME 4 No 12 R E G IS T E R E D

FO R

P OS TIN G

AVAILABLE NOW

DECEMBER 1976

AS A P E R IO D IC A L -

C A T E G O R Y (C)

T h eatre - A ustralia

IS S N

A U S TR A LIA 'S N A T IO N A L TH E A TR E M A G A ZIN E

0313 - 2080

J a n — F e b issu e.

E D IT O R IA L B O A R D : Bruce Knappett Robert Page Lucy Wagner

CONTENTS T H E A T R E G U I D E ................................................................................................................................................. 2 Q U O T E S A N D Q U E R IE S .................................................................................................................................... 4 L E T T E R S T O T H E E D I T O R ............................................................................................................................. 4 S P O T L IG H T ...............................................................................................................................................................6 Stan Marks Maggie M illa r Calls F o r N a tio n a l T h e a tre ................................................................... 7 R E V IE W S Garrie Hutchinson O th e r T im e s .............................................................................................................8 Suzanne Spunner S till L ife .......................................................................................................................9 John Sm ythe C h id le y ...............................................................................................................................10 Ron Finney The M is a n th ro p e ..............................................................................................................13 Collin O'Brien M ix e d D o u b le s ..............................................................................................................14 Rex Cram phorn The M a g is tra te .......................................................................................................... 16 Norm an Kessell G asligh t, The S tar-S pangled G i r l ......................................................................... 17 G uthrie W orby H a p p y L a n d in g s .......................................................................................................... 19 Michael Morley E l G rande De Coca C o la ......................................................................................... 20 P L A Y S C R IP T A lm a de Groen C h i d l e y ................................................................- ................................................. 22 D IR E C T O R 'S D IA R Y Garrie Hutchinson A C ritic a l D ire c tio n .............................................................................................38 T H E A T R E O R G A N IS A T IO N S M e lb o u rn e M o n o lith R aym ond Stanley F ro m O rig in s to A th e n a e u m ............................................................................ 40 Ian Robinson Tw o C om panies O r O n e ? ..........................................................................................42 M .T .C . H ead Jo h n S u m n e r Talks to Stan M arks..........................................................................43 A U S T R A L IA N C U R R E N T S Patricia Brereton S y d n e y C e le b ra te s ................................................................................................ 36 John S m ythe T h a t's E n te rta in m e n t................................................................................................... 44 T H E A T R E B U IL D IN G S Margot H ilton C o u n try A r ts C e n tre s ................................................................................................ 47 IN T E R N A T IO N A L Solrun Hoaas N o rw e g ia n P a ra lle ls.......................................................................................................48 OPERA David Gyger H o w To H a n d e l Opera's F u t u r e ............................................................................... 50 W illia m S h o u b rid g e O n e g in ...............................................

I.T .I. N E W S ..........................................................................................

BOOKS Helen van der P oorten The Stage L ig h tin g H a n d b o o k A D V E R T IS IN G A G E N T S : T R E W E E K E D U R N F O R D ASS. N. S ydne y T e l. (02) 9 2 -0 2 4 7 (P R O M O T IO N S A D V E R T IS IN G (syd ney) Sue Manager (0 2) 4 5 6 -2 0 6 8 A D V IS O R Y B O A R D Jo h n Bell Graem e B lu n d e ll E llen Braye K a th a rin e B risbane V iv ia n C h a lw in G o rd o n C hater

Jo h n C larke W .A . E n rig h t L yn d a G ray Jack H ibbe rd Ken H o rle r G arrie H u tc h in s o n R o b e rt Jordan

P h ilip Mason Stan M arks Jake N ew by P hil N oyce R a y m o n d O m o dei P h ilip Parsons D iana Sharpe

Ken S outh gate R a ym o n d S tanle y E liza beth S w eeting J o h n T im lin T o n y Trench G u th rie W o rb y R ich a rd W h e rre tt

T H E A T R E -A U S T R A L IA is pu b lis h e d b y T h eatre P ublic a tio n s L td ., 7 P resident Place, N ew L a m b to n H eights, N ew S o u th Wales 2 3 0 5 (Tel 0 4 9 5 2 5 9 7 6 ) on th e 1 9 th o f every m o n th . It is d is trib u te d b y s u b s c rip tio n and th ro u g h th e a tre fo y e rs etc., b y T h e a tre P u b lica tio n s and to newsagents th ro u g h o u t A u s tra lia b y G o rd o n and G otch (A 'asia) L td ., M E L B O U R N E S Y D N E Y .

P rin te d b y N ew ey & Beath P ty. L td ., 10 B e lfo rd S t., B roa dm ea dow , 2 2 92 N ew castle N.S.W .

W h ils t eve ry care is taken o f m a n u scrip ts a n d visual m a te ria l s u p p lie d fo r th is m agazine, the p u b lis h e rs a n d th e ir agents ac c e p t no lia b ilit y fo r loss o r damage w h ich m a y occu r. U n s o lic ite d m a n u scrip ts a n d visual m a te ria l w ill n o t be re tu rn e d unless a c c o m p a n ie d b y a sta m p e d addres­ sed envelope.

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•M a x im u m re com m ended re ta il p rice o n ly

Prices sub je ct to change w ith o u t no tice .

Editorial

,

M e lb o u rn e , fo r all its w e ll-o rd e re d w id e streets and safely conservative image, seems a t its m o st c h a ra c te ris tic w h e n p ro d u c in g rougne r, m ore ace rbic th e a tre (D on s P a rty was never so nasty as w hen fir s t done in M e lb o u rn e ).

The c o n tra s t, fo r instance, be tw een th e tw o fo ca l p o in ts o f o u r m u ch va u n te d renaissance, M e lb o u rn e 's A .P .G . and S yd n e y's N im ro d , is one, in s im p lis tic , n o n -p e rjo ra tiv e te rm s , betw een ro ugh and s m o o th , betw een w o rk in g and m iddle-class betw een a m ateu r and profession al.

Y o u w ill recall Lindzee S m ith 's "P u sh in g th e P ra m " in o u r firs t issue: a w eek's A .P .G . d ia ry o f jack-o f-a ll-tra d e s in d u s try , im p ro v is a tio n , e x p e rim e n ta tio n ,p o litic s and fu n .

Y e t th e C o m p a n y th a t stands o u t, head and shoulders, in M e lb o u rn e is J o h n S um n er's M .T .C .

S um n er is som etim es nickn a m e d M r. N in e ty E ig h t Per C ent: on th e basis o f alleged audience figu res. It is a co m p a n y th a t plays th re e theatres; and despite its fo ra y in to A .P .G . a lte rn a tiv e th e a tre te r r ito r y at G ra n t S tre e t, is m o st d e c id ­ e d ly sm o o th ra th e r th a n ro ugh, m id d le ra th e r th a n w o rk in g class, and p ro fession al. If the re's any o f th e rough and ace rbic th e re its w e ll h id ­ den fro m audience sight.

T h is m o n th T h e a tre -A u stra lia draw s m o s tly on th e M e lb o u rn e scene - and a g o od p ro p o r tio n o f o u r space is given to a v e n tu re s tra d d lin g th e w o rld s o f th e M .T .C . and A .P .G .: H o o p la Pro­ d u c tio n s . H oo p la 'sp e rso n n e l have a m ix e d A .P .G . and M .T .C . b a ckg ro u n d , and th e y p la y at th e M .T .C .'s a-la-A.P.G . space. G ra n t S tree t. T h e ir inaugural sho w , A lm a de G ro en's C h id le y is here pu b lish e d in its e n tire ty .

I t is in te re stin g , b y th e w a y , to c o n je c tu re , w h a t w ith th e M .T .C . exp a n d in g th is year in to th e A th e n e u m T h e a tre (and w ith th e ir h is to ric u n d e rta k in g o f th e La w le r tr ilo g y - th re e plays in th e one d a y ), w h e th e r a b a ttle is n 't being waged fo r the status o f N a tio n a l N u m b e r One c o m p a n y. If so, it m ig h tn 't be ju s t an in te rs ta te riv a lry (S ydn ey's O ld T o te p la yin g in tw o the atre s, presents The P lough a n d the Stars n e x t m o n th in P erth) - its in tra state, to o .

Even th e A .P .G . is th ro w in g its ha t in to th e n a tio n a l stakes ring - to u rin g P erth, A d e la id e and S ydne y.

W ith o u t e m p ire b u ild in g o r in te rs ta te to u rs , over in P erth th e y have a lre ady cla im e d th e t it le - b u t m o re o f th a t in o u r P erth issue n e xt m o n th . . .

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B y Hand: $ 1 .2 5 .* per c o p y fro m y o u r newsagent Theatre Publications Ltd gratefully acknowledges the financial assistance of the Arts Grants Advisory Committee of South Australia, Australia Council Literature Board, the Queensland Cultural Activities Dep't, the University of New South Wales Drama Foundation, and Victorian Ministry of the Arts, and the assistance of the University of Newcastle.

Page 2

Theatre Australia Jan-Feb, 1977.

beai Ballet

JA N U A R Y ' 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 b y R ay B e ihler and D e rry Blazer D ire cte d by R o d n e y D elaney (c o n tin u in g ) W inne the Pooh b y A . A. M iln e D ire cte d b y M a tth e w O 'S u lliv a n (to Jan 2 9 th )

AUSTRALIAN OPERA (26 2976) Sydney Opera House (2 0588) C once rt H a ll: A id a (V e rd i) in Ita lia n : Jan. 2 1 ,2 2 , 24, 25 ; Feb. 4 , 8 C o-producers, S tephen H all and T o m Lingw o o d ; designer, T o m L in g w o o d ; c o n d u c to r.

C arlo Felice C illa rio . G ra n t D ic k s o n o r C liffo rd G ra n t as R am phis; R eginald Beyers o r R o n a ld D o w d as Radames; La uris Elms, M argreta E lk in s o r H eather Begg as A m n e ris ; O ria nna S a n tu n io n e , M a rily n R ich a rd so n o r D olores C am bridge as A id a ; Jo h n Shaw, R o b e rt A llm a n o r R a y m o n d M yers as A m on asro.

O pera T h e a tre : C arm en (B iz e t) in F rench : Jan. 22 (m a t); Feb. 12, 15, 18, 25 P roducer and designer, T o m L in g w o o d ; C o n d u c to r, Russell C hannell. L o ne K o p p e l W in th e r o r Isobel Buchanan as M icaela; R on Stevens as D on Jose; H eather Begg o r M argreta E lk in s as C arm en; R a y m o n d M yers as E scam illo.

A llm a n o r Jo h n P ringle as M a rce 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 a rre n -S m ith as C o llin e ; G re gory Y u ris ic h as S chaunard; Joan Carden as M im i; Etela Piha o r E liza b e th F re tw e ll as M usetta (A ls o see S o u th A u s tra lia )

AUSTRALIAN THEATRE (51 3841) P iano Speak to Me b y D ire c te d b y J o h n H o w itt

BALM AIN

BIJOU

P roducer, Jo h n C ople y; designer, Joh 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 Gard as T a m in o ; R ona ld M aconaghie as Papageno; R honda Bruce as th e Queen o f th e N ig h t; Isobel B uchanan as Pam ina; Graeme E w er as M o nosta tos; N eil W arrenS m ith o r G ra n t D ickson as th e Speaker; C liffo rd G ra n t as S arastro; C y n th is Jo h n s to n as Papagena.

S o m e th in g 's A f o o t based on A gath a C h ristie b y James M c D o n a ld ,D a v id Voss, R o b e rt G erlach, Ed L in d e rm a n .

D ire cte d b y A la s ta ir D uncan M usical D ire c to r, B everly M cM ahon C h o re o g ra p h y, K aren Jonson.

R o d n e y S te w a rt

MUSIC H A LL THEATRE RESTAURANT (909 822) (827 3652)

W ond erw om an by Reg L iv e rm o re D ire c te d by Peter B atey (c o n tin u in g )

The Beast o f Belgrave S quare w ritte n and d ire c te d by S ta n le y Walsh (c o n tin u in g )

BONAPARTE'S THEATRE RESTAURANT (357 2555)

NEW ARTS THEATRE, Glebe (660 3922)

The P u d d m ' C lub (Same D iffe re n c e ) B ook b y M o rry S w e rd lin W ords and M usic b y Steve F e n to n w ith A l Thom as, G o rd o n G le n w rig h t, V alerie New stead, D avid G od d a rd , C h ristin e Cam­ eron, Paul W oods (c o n tin u in g )

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 cte 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 )

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

NEW THEATRE (519 3403) (c o n tin u in g )

Tosca (P u c c in i) in Ita lia n : Jan 28, 31- Feb 3,5 P roducer, D avid N eal; designer, V ic k i Feitscher; C o n d u c to r, C arlo Felice C illa rio .

R eginald Byers as Cavaradossi; O rianna S an tu n io n e as Tosca; Jo h n S haw as Scarpia; Graem e E w er as S p o le tta .

M adam a B u tte r fly (P u c c in i) in Ita lia n : Jan. 29 ; Feb. 1, 5 (m a t) 7 ,1 0 , 14, 16, 19 P roducer, J o h 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 F e lice C illa rio .

L a m b e rto F u rla n o r R o b in D o n a ld as P in k e r­ to n Lesly S tender o r J e n n ife r B erm in gha m as S u z u k i; R ona ld M aconaghie o r Joh n P ringle as Sharpless; Leona M itc h e ll as B u tte rfly .

The Magic F lu te (M o z a rt) in E nglish: Feb. 9, 12 (m a t) 22 , 24, 26 (m a t)

M ARIAN STREET (498 3166)

Caucasian C halk C ircle b y B e rto lt B re ch t D ire cte d b y D avid Cisek Sm ugglers B e w a re ! b y E leano r W itco m b e D ire cte d b y K a y N ich o ls (Sats)

GENESIAN (827 3023) NIMROD (69 5003) T h ark b y Ben Travers D ire c te d K evin Jackson Designed b y P h ilip R itc h ie

HUNTER V A LLE Y THEATRE COMPANY, Newcastle (26 2526)

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 D o w n sta irs: D ir ty L in e n b y T o m S to p p a rd D ire cte d b y Ken H o rle r (to Jan. 1 5 th ) R o d d Island: Treasure Isla n d adapted and d ire c te d b y Ken H o rle r

Re-opens F e b ru a ry 2 6 th

INDEPENDENT (929 7377) T ill B ed Us D o P a rt b y Lo u is Ife D ire cte d b y R ich a rd B ro o ks (fro m Feb. 9 th ) 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 R ay A in s w o rth Sats.)

MARIONETTE THEATRE OF AU STR ALIA at the Opera House D ram a T h e a tre : R oos a n d H ands Devised and D ire cte d b y R ich a rd B radshaw (to Jan. 2 9 th )

(to Jan. 31st

La B ohem e (P u ccin i) in Ita lia n : Feb. 17, 19 (m a t) 2 1 ,2 3 , 26

K ILLA R A 680 COFFEE THEATRE (4987552)

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

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

OLD TOTE (633 6122) D ram a T h e a tre : W ing P inero D ire cte d 1 5 th )

by

The M a gistrate b y A r th u r

Peter

C o llin g w o o d

Parade T h e a tre : The F a th e r b y S trin d b e rg (F eb. 9 th - M arch 2 9 th )

(to

Feb

A ugu st

Theatre Australia Jan-Feb, 1977 Page 3

»Guide.

Theatre

7

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

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SOUTH AUSTRALIA ARTS THEATRE (87 5777)

N o rm a n d A h m e d by A le x B uzo & N o W orries b y C lif f E llen P roduced b y B ruce K e rr (fro m Feb. 1 0 th )

F a t Cat an d R ic h a rd a p a n to m im e D irecte d b y M u rra y Geome (to Jan. 2 9 th )

LAST LAUGH (419 6226)

SEYMOUR CENTRE (6920555) Y o rk : A lic e in W o n d e rla n d b y Le w is C a rro ll D ire cte d b y W illia m O rr M usical D ire c to r, E nzo T o p p a n o C h o reog rap hy, R o b in a Beard (to Jan. 2 9 th ) Everest: M ichael A s p in a ll (to Jan. 2 9 th ) D o w n sta irs: T he K in e tic E nergy Dance C o m p a n y (Jan. 2 4 th - 31st)

THEATRE ROYAL (231 6577) T a ra n ta ra ! T a ra n ta ra ! G ilb e rt and S u lliv a n M usic Revue D ire cte d by Ted Craig (to Jan. 2 9 th ) The Tw o o f Us b y M icha el Frayne D ire cte d b y P a tric k Lau (Feb. 1 4 th - M arch 1 2 th )

LA MAMA (347 6085)

FESTIVAL CENTRE (51 2292) Space: The H ills F a m ily S h o w A .P .G . T o u r (Feb. 1 0 th - 2 6 th ) Playhouse: M y F a t F rie n d b y Charles Laurence D ire cte d by C h ris to p h e r B ro w n (to Feb. 1 9 th ) Festival T h e a tre : T ria l b y J u ry , P irates o f Penzance, and lo la n th e (G ilb e rt and S ulliva n ) Jan 19, 20, 2 1 ,2 2 (m a t and eve) D ire c to r, B rian C rossley; C horeographer, K e ith B ain; m usical d ire c to r, Joannes Roose; designer, Q u e n tin H ole. W ith D ennis Olsen, D aphne H arris, Jan ette Kearns, N orm a K n ig h t, Th om a s E dm onds, K e ith H e m p to n , G re gory M a rtin , M ichael Speers.

SOUTH AUSTRALIAN THEATRE COMPANY (51 5151)

Crackers a t the Savoy fe a tu rin g th e Busby B erkeleys and A n g e lico M agician (to Feb. 1 2 th ) Sleazee, a m usical b y L o u is N o w ra M usic b y Sarah de Jong D ire cte d b y D a rry l W ilk in s o n

Sam

MELBOURNE THEATRE COMPANY (645 1100) S t. M a rtins: The Game o f L o v e a n d Chance b y Pierre de M a rivaux D irecte d b y M ic k R odg er (to M arch 5 th ) Russell S tree t: O th e r Tim es b y R ay L a w le r D ire cte d b y Jo h n S um n er (to Jan. 2 2 n d ) S u m m e r o f the S eventeenth D o ll by R ay L a w le r D ire cte d b y Jo h n S um n er (Jan. 2 4 th - Feb 5 th ) The D o ll T rilo g y in re p e rto ry (F eb. 7 th 19 th )

Re-opens M arch 5 th

HOOPLA PRODUCTIONS (Grant Street)

QUEENSLAND ARTS THEATE (36 2344)

I

C harlie's A u n t by B ran don Th om a s D ire cte d b y Jason Savage (to Jan. 2 9 th ) N o o n d a y D em ons and L e o n a rd o 's La st S upper, U n iv e rs ity Players D ire cte d b y D avid G ittin s (fro m Feb. 3rd)

T A S M A N IA THEATRE ROYAL S n o w W h ite a n d the Seven D w arves (Feb. 2nd - 5 th )

I

The G olden O ldies by D o ro th y H e w e tt D ire cte d b y Graem e B lu n d e ll (Jan. 1 9 th - Feb 2 0 th )

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

TOTAL THEATRE (663 4991/2) LA BOITE (36 2296) The Sea by E dw ard B ond D ire cte d b y D avid B ell (to Feb. 1 2 th ) O ne A c t Plays, M o n d a y to W ednesdays (Jan. 31st - Feb. 9 th )

QUEENSLAND THEATRE COMPANY (221 3861)

VICTORIA

L e t M y P eople Come by Earl W ilso n Jr. D irecte d b y Peter B atey. (c o n tin u in g )

WINDSOR REGIS (51 6979) AUSTRALIAN PERFORMING GROUP (347 7133) The P h o e n ix a p ro g ra m m e o f dance b y Eugenie K n o x (to Jan. 2 9 th ) On to u r : The H ills F a m ily S h o w (A d e la id e ;

W idow s Weeds by A n th o n y S h a ffe r D ire c te d b y Joe M c C o lu m (fro m Feb. 9 th ) W o rld Prem iere.

On to u r : The H ills F a m ily S h o w (A d e la id e ; Feb. 6 th - 2 7 th ; S ydne y; fro m M arch 7 th ) Cingalese fo r L ig h tn in g b y Steve Mastare D ire c te d b y Paul H a m p to n (P e rth ; Feb. 2 2 n d - M arch 2n d)

TWELFTH NIGHT (52 5889)

HER MAJESTY'S (663 3211)

Closed u n til M arch exce pt fo r (d ay) C h ild ­ ren's w o rksh o p s

S n o w W h ite m o u n te d b y Rudas O rg anisatio n, S ydne y (to Jan. 3 0 th )

The N a ke d V ica r S h o w b y T o n y S a ttle r D ire cte d by G il T u c k e r and G ary R ile y (to Feb. 2 8 th )

WESTERN AUSTRALIA HOLE IN THE W ALL (81 2403) H o w Does Y o u r G arden G ro w ? b y J im M cN eil D ire cte d by A arn e Neem e (fro m Jan. 1 5 th )

PLAYHOUSE (25 3344) Closed fo r re n o va tio n s u n til Feb. 7 th The P lough an d th e S tars O ld T o te P ro d u c­ tio n (opens Feb. 7 th )

j

Page 4 Theatre Australia Jan-Feb, 1977

P E R T H F E S T IV A L P R E V IE W W hen th e new D ire c to r o f the Perth Festival, D avid B le n k in s o p , arrived in W .A . last A p ril he fo u n d h im s e lf facin g q u ite a challenge. D u rin g his fo u rte e n years w ith th e W estern O rchestral S o c ie ty in B o u rn e m o u th he was responsible fo r 3 4 0 pe rform ances o f tw o orchestras each year.

In Perth he has to arrange fo r 3 4 5 p e rfo rm ­ ances to ta ke place over a p e rio d o f fo u r weeks.

He said s om ething ra th e r ru e fu lly a b o u t "D o e s one ever le a rn ? ". B u t th a t's o n ly th e be ginnin g.

A p a rt fro m arranging fo r A rtis ts and T h eatre C om panies, C oncerts, B a lle t, O pera and F o lk G ro ups, th e re 's a lo t m o re. Perth p e ople can have a cho ice o f ro u g h ly a h u n d re d d iffe re n t events fro m The S ecret M arriage b y Cim arosa p e rfo rm e d b y th e S tate Opera o f S o u th A u s tra lia , to an A q u a tic S pecta cular at n ig h t on th e Swan R iver u n d e r flo o d lig h ts and w ith fire w o rk s . A n y c ritic is m th a t th is festiva l is fo r an e litis t m in o r ity g roup can be dism issed.

D avid B le n k in s o p uses such w o rd s as "S tre e t T h e a tre " and "T h e a tre fo r the P e o p le ". Some o f th e th in g s he's got planned are lik e ly to in ­ volve P erth and to tu r n it upside d o w n in a w ay w e've never experienced b e fo re . S tree t w ill descend u p o n the c ity w ith an en tourage o f 2001 space age players (lo c a l acto rs and th e P o p u la r T h eatre T ro u p fro m Queensland)

S H O T IN T H E A R M

M H IO T E S A

A $ 5 4 ,0 0 0 g ra n t fro m th e S chools C om m ission w ill enable th e O .T .C . to p u t in to o p e ra tio n in 1977 a T .I.E . c o m m u n ity e x p e rim e n t i t has been n u rtu rin g fo r th e past th re e years - P roject Spearhead.

Spearhead has tw o prongs. In th e classroom a fiv e man a c to r/te a c h e r team w ill w o rk in basic th e a tre te ch n iq u e s w ith stu d e n ts and teachers to devise and present program m es on to p ic s th a t c on cern y o u th .

"O u ts id e th e classroom th e Spearhead team w ill p e rfo rm w ith y o u th the atre s and High S chool dram a g r o u p s - fu lly m o u n te d p ro d u c tio n s , sharing th e ir s k ills w ith th e stu d e n ts - as actors and d ire c to rs .

"T h is in d e p th s o rtie in to th e a tre -in ­ e d u c a tio n w ill ro u n d o u t o u r alre ady existin g services - s ta te w id e to u rs o f program m es fo r secondary and p rim a ry schools, live -in w o rk ­ shops fo r teenagers and th e D arlin g D ow ns Y o u th T h eatre P roject - and give th e m a shot in th e arm . W hat we learn fro m Spearhead w ill feed ba ck in to o u r o th e r a c tiv itie s m a kin g th e m m ore relevent to th e needs o f th e y o u n g ."

M urray Fo y, Associate D irector (Education) Q .T .C . (a nyone inte reste d in th e p ro je c t can get in to u c h w ith th e Q .T .C . on (0 7) 221 3861

w ith bands and a procession and w ith o n lo o k e rs

A L T E R N A T IV E T O U R " A fte r The Unseen H a n d and The D ream , the Te chnical S m ile S yn d ica te are p re paring to ta k e a new show on the road. It w ill be based on th e Faust s to ry , m o s tly th e M a rlow e version.

The co m p a n y o f e igh t is made up o f some o f th e best "a lte rn a tiv e " actors a ro u n d , in c lu d in g N ic k L a th o ru is som e e x -N .I.D .A . p e ople and an A fric a n m u sicia n. The c o m p a n y have been given a grant o f $ 8 ,0 0 0 b y the A u s tra lia C o u n cil enough to get us on the road, b u t n o t enough to keep us the re. B u t we hope b y p la y in g the u n iv e rs ity campuses and in urban halls w e can keep on th e m o v e ." M ark G ould, D irector (fo r in fo rm a tio n ring M a rk on (0 2) 3 2 8 6 3 8 2 ).

M IL S O N E L E C T E D T O T H E A T R E B O A R D " I se ttle d at th e H ole ea rly in 19 74, a fte r several years fre e la n ce -d ire ctin g in vario us states w ith S ydne y as ho m e base. L ivin g m ore o r less on th e C o u n cil's d o o rs te p one was rig h t in th e m id d le o f all th e ripp les and reverbera­ tio n s , and it's been very pleasant to have g o tte n aw ay fro m th e hub and becom e a b it m o re de-

L E T T E R S D ear S ir,

D a vid B le n k in s o p involve d th e y in te n d to set u p a 2001 game o f G ia n t M o n o p o ly . It s h o u ld be in te re s tin g .

O ne v ita l in te n tio n D avid B le n k in s o p had, w hen he a rrriv e d was a d e lib e ra te p o lic y to give th is 2 5 th S ilve r Ju b ile e Festival a s tro nge r A u s tra lia n em phasis, to p ro m o te A u s tra lia n ta le n t and to use A u s tra lia n a rtists. The A .P .G . (w h o had th e ir firs t p u b lic p e rfo rm a n c e in Perth in 19 68) w ill com e back to present S tephen Mastare's (It's Cingalese fo r L ig h tn in g , Y ’K n o w ) pla y a b o u t th e legendary Phar Lap, and The O ld T o te are opening th e ir A u s tra lia n season o f Sean O Casey's The P lough a n d th e Stars \n Perth Leonard Teale w ill present " A n evening w ith H e n ry L a w s o n ", The H ole in th e W all are pe r­ fo rm in g a B re c h t/W e ill m usical H a p p y E n d w h ic h sho uld be v ery in trig u in g , and th e P lay­ house in p e rfo rm in g th e classic, M o lie re 's The Miser.

One ob vio us p ro b le m a b o u t all th is richness to be o ffe re d to the people o f P erth, is - w h o pays fo r it? Th e Festival has A u s tra lia and W .A .

A rts C o u n c il s u p p o rt b u t D avid B le n k in s o p believes th a t it is necessary fo r a c o m m u n ity v e n tu re to be s u p p o rte d b y the c o m m u n ity .

C o n se q u e n tly he has approached business c o n ­ cerns and asked fo r th e ir help. T h e y have responded very w e ll and fo r the firs t tim e some o f th e cost o f th e Festival has been u n d e rw ritte n |by business concerns. It's a good b e ginnin g fo r ¿he 2 5 th Jub ile e.

JOAN AMBROSE

In response to le tte rs, p h o n e calls and m y o w n m e m o ry , I w a n t to make m y c o m p ila tio n a little less in c o m p le te b y in c lu d in g these names w h o sho uld have been th e re in th e firs t place: W ell k n o w n c o n tra lto La uris Elm s, O .B .E ., A rts C o u n cil o f S o u th A u s tra lia a d m in is tra to r and Festival o f A rts adviser B e tty Marcus, A .M ., S ydne y Ensem ble T h e a tre 's General Manager and C om p any S ecretary R osem ary Jones, Tasm anian th e a tre en thusiast M a ry H o u g h to n w h o helps th e p e rfo rm in g arts at the A u s tra lia C o u n c il, and H o b a rt U n iv e rs ity dram a teacher Diana Large. In A d e la id e , Joanne Priest has long been devoted to dance th e a tre , and Maggie D ay n o w runs th e S o u th A u s tra lia n T h e a tre C om ­ pa ny's dram a lib ra ry .

I have been asked to m e n tio n th e late Jean R obe rts, one o f A u s tra lia 's greatest actresses; a fte r roles on N ew Y o rk 's B roa dw ay she last playe d here in The M ad W om an o f C h a illo t.

O th e r p ro m in e n t A u s tra lia n leading ladies o f th e ir tim e w ere D ora M o s ty n , N e llie M o rty n e , and M arian M arcus-C larke (sister o f th e fam ous a u th o r o f F o r the Term o f H is N a tu ra l L ife ).

E nglish b u t celebrated on th e A u s tra lia n vaude­ v ille c irc u it w ere th e sisters Ada Reeve and Ella Shields, and in clu d e d am ong present day stage stars s ho uld be Diana P errym an (J ill's elder sister) w h o re c e n tly appeared in Equus, T h elm a S c o tt and Gw en P lu m b , as w e ll as Coral B row ne, n o w overseas. A lso m e n tio n e d o u g h t to have been th e da ncing sisters Jo a nand M onica H a llid a y w h o w ere L o n d o n ba lle rinas b e fo re se ttlin g to th e ir a rt in A u s tra lia .

A good frie n d w h o kno w s her to ld me th a t it is indeed tru e th a t te le visio n p e rs o n a lity

TO

A b ig a il (R a y m o n d ) is na tive b o rn and I'd like to apologise fo r p u ttin g th is in any d o u b t.

I also w a n t to add M e lb o u rn e p la y w rig h t Therese R adic, w ith her husband Leonard co­ a u th o r o f the successful p la y , Som e o f m y best F rie n d s are W om en, w h ic h ran at th e S t. M a rtin 's T h e a tre fro m J u ly to S eptem ber 1976 - th e firs t A u s tra lia n w o rk to be d ire c te d b y D o ll d ra m a tis t R ay L a w le r since his re tu rn fro m Ire la n d ea rlier th is year.

T h anks fo r le ttin g me k n o w . I exp e ct to be to ld o f m o re om issions.

Y o u rs sincerely, Dear S irs/M a dam ,

Marlis Thiersch

In y o u r N o v/D e c 1976 issu e yo u r b a lle t w rite r W illia m S hou bridg e states th a t P etrushka as staged b y th e V ic to ria n B allet fa ile d "because q u ite s im p ly A u s tra lia had never seen th is b a lle t b e fo re , and th e m a jo rity o f audiences w o u ld n 't have a clue w h a t is was a b o u t."

W hat rid ic u lo u s ro t. I suggest th a t Mr. S hou bridg e does a b it m o re research b e fo re again w ritin g . I have m o st v iv id re co lle ctio n s o f seeing th is b a lle t p e rfo rm e d m a n y tim e s b y th e 'B o ra va n sky B a lle t' in A u s tra lia . As I w rite I have in fr o n t o f me several program m es stating th a t th e t it le ro le was danced b y e ith e r M a rtin R ub e n ste in o r M iro Z lo c h , at th e E m pire T h e a tre (H er M a je sty's), S ydne y. I a c tu a lly saw a p ro d u c tio n on 7 th A p r il 1951.

Y o u rs sincerely, Frank Curtain, Glebe Point.

M r. S h o u b rid g e th a n ks M r. C u rta in fo r th is p o in t o f in fo rm a tio n b u t wishes to p o in t o u t fir s tly th a t th e B a lle t V ic to ria its e lf c la im e d th a t th is was the fir s t tim e P etrushka h a d been staged here, a n d s e co n d ly th a t the B ora vansky B a lle t d id n o t b e com e a p e rm a n e n t c o m p a n y here u n t il 1956. B e fo re th a t i t was very m u ch an ad hoc a ff a ir p e rfo rm in g fo r o n ly one o r tw o

Theatre Australia Jan-Feb, 1977 Page 5

) O IIK K IU S f

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tached. H o p e fu lly , one m ig h t be able to b rin g a fresh, o b je ctiv e vie w to th in g s . A n d m aybe th e re m ig h t be some w ay at last to get seasons in th e A d e la id e -M e lb o u rn e -S y d n e y c ic u it. T h e a tric a lly , livin g in W .A . is at tim e s lik e being m aroon ed in B ird sville .

John Milson J o h n , D ire c to r o f P erth's H ole in th e W all T h e a tre jo in s th e T h eatre B oard o f th e A u s tra lia C oun ctl fo r a p e rio d o f th re e and a h a lf years.

NO M O R E S T R O L L IN G P LA Y E R S ?

It m ig h t create a s to rm , b u t w e 'll ask th e q u e stio n an y w a y - W h y are th e re so fe w actors prepared to w o rk w ith th e in te rs ta te com panies?

In th is p e rio d w hen th e A .B .C . is axing dram a p ro d u c tio n s and d e e p ru m b lin g s a re co m in g fro m E q u ity on th e u n e m p lo y m e n t s itu a tio n , it seems u n a cco u n ta b le th a t actors sho uld e x p e c t w o rk to fa ll in to th e ir laps. The state com panies have ju s t been casting, y e t w ith the e x c e p tio n o f M e lb o u rn e and S ydne y, there has been a p o o r sho w in g. In the lu c k y c o u n try , is itin e ra n c y , so long associated w ith the second old e s t p ro ­ fession, no long er to be cou ntenanced?

S H A F F E R P R E M IE R E A T Q .T .C .

It is n o t o fte n th a t an A u s tra lia th e a tre can an nounce a w o rld p rem iere o f a n o n -A u s tra lia n pla y , p a rtic u la rly b y so w e ll-k n o w n a w r ite r as A n th o n y S h a ffe r. The Queensland T h eatre C om p any can: S h a ffe r's latest p la y W idow s Weeds w ill open the Q .T .C .'s 1977 progra m m e u n der th e d ire c tio n o f e x -A b b e y m an Joe M acC olum .

"W e 're s till changing th e s c rip t: le tte rs are going back and fo r th , and D ianne C ile n to re­ c e n tly played messenger, b rin g in g o u t to us tapes o f a p riva te reading S h a fte r organised in L o n d o n . W ith a b it o f p ro d d in g th is end, he's rearranged i t fro m its o rig in a l three acts in to tw o . " B y the tim e it opens it w ill p ro b a b ly have a title change as w e ll. In tia lly S h a ffe r had called it F o r Years / C o u ld n 't W ear M y B lack, b u t he rejected th a t because he th o u g h no one w o u ld re m em b er it. W e're ca llin g it W idow s Weeds at th e m o m e n t, b u t b y th e tim e S h a ffe r com es o u t fo r th e o p ening (as we p re se n tly h o p e ), m y guess is it w ill be k n o w n b y its o rig in a l title again. , " I t 's a d e lig h tfu l pla y - b e tte r th a n S leuth.

It's th e m a kin g o f a T V co m m e rcia l on stage: fo r " F o llic le a n " , th e sham poo th a t gets rid o f d a n ­ d r u f f . . . b u t th a t's n o t w h a t it's a b o u t . . .

Joe M acColum , Assoc. D irecto r, Q .T .C .

A G O L D E N R E L A T IO N S H IP ^ "S o m e tim e s a p la y w rig h t has a real e m p a th y w ith a d ire c to r. A n d w ith Graeme B lu n d e ll and The G old en O ldies at G ra n t S tre e t it's been a very special re la tio n s h ip based o n m u tu a l respect and s y m p a th e tic id e n tific a tio n . I th in k we approach th e th e a tre in m u ch th e same w ay sudden insights, m a nic leaps, and hard yakka .

O u r im a g in a tio n s d o feed o f f each o th e r.

A ll Graem e's long a ctin g exp erien ce has been in va lu a b le . He is able to c o m m u n ic a te easily w ith acto rs, leaving th e m fre e, b u t alw ays he is q u ie tly in c o n tro l.

I've never w o rk e d w ith such a sm all cast b e fo re - tw o actresses and tw o effig ies. It c e rta in ly in te n s ifie s th e w h o le experience.

Rehearsals are ra th e r lik e e n c o u n te r groups.

O f course in Maggie and M a rio n w e 're lu c k y to have tw o o f M e lb o u rn e 's m o st a cco m plishe d actresses, e n th u sia stic, in ve n tive and a b s o lu te ly profession al.

H oop la P ro d u c tio n s stands fo r th e k in d o f th e a tre I believe A u s tra lia needs rig h t n o w skille d profession al pe ople w o rk in g th e ir guts o u t on plays th e y believe in . I've never fe lt so useful in th e th e a tre o r so m u ch a p a rt o f a w o rk in g team .

D o ro th y H ew ett.

C H A T E R ON N IM R O D B O A R D

T H I2 E D IT O R m o n th s in the y e a r a n d an o ffs h o o t o f th e w o rk o f the M a rq u is de Cheavais a n d de Basil. In 1962 in becam e, o f course, the A u s tra lia n B a lle t u n d e r Peggy van Praag.

Dear E d ito rs Ms. V an d e r P o o rte n 's in te llig e n t and s tim u la tin g a rtic le o n m y w o rk " L o o k w h a t th e y 'v e made her d o " has set me th in k in g . It is tru e , as she says, th a t profession al A u s tra lia n m anagem ents have n o t fa lle n ove r each o th e r to p ro d u c e m y w o rk , and in som e cases th e y have been q u ite o p e n ly h o s tile . M y plays have been n o to rio u s ly " d i f f ic u l t " , th e y som etim es espouse an u n p o p u la r p o in t o f vie w , th e c e n tra l w om a n cha racte r has o fte n been anathem a to manage­ m ents, and even audiences. F o r som e years I fe lt p r e tty pa ra n o ic a b o u t th is b u t I t h in k I've com e to te rm s w ith it. I have considered giving up w ritin g plays, b u t n o t a n y m o re . I believe in m y w o rk , o th e rw is e I w o u ld n 't d o it, and I d o n 't t h in k I c o u ld be pressurized in to a s ty le f o r p o p u la r o r co m m e rc ia l reasons, o r even to be p e rfo rm e d m o re easily.

D id I d e lib e ra te ly ta ilo r Mrs. P o rtla n d to f i t th e e xistin g A u s tra lia n th e a tre . . . one set, eight characters, th e w e ll-m a d e , realist p la y etc.?

I t is a lw a ys d if f ic u lt to unravel on e's o w n deeper m o tiv a tio n s , b u t, as fa r as I am aware, th is was n o t a m a jo r c o n s id e ra tio n . A n y p la y ­ w rig h t w o u ld o f course be a s tu b b o rn fo o l n o t to ta k e these qu estions in to som e a cco unt, because I d o n 't w rite plays to be p u blished o n ly .

I w o u ld argue ho w e ver th a t th e p la y th a t to o k th e e x is tin g econom ies o f th e th e a tre in to c o n s id e ra tio n was The G old en O ldies, w ritte n b e fo re Mrs. P o rtla n d . I t was q u ite d e lib e ra te ly a one-set p la y fo r tw o characters and tw o effig ie s. I w a n te d to see if I c o u ld do th a t ra th e r th a n a pla y w ith all th e e lep han ts fro m A id a . It's tru e o f course th e The G old en O ldies is also n o t re a lis tic , b u t

depends larg ely o n p o e tic in te rio r m o nologues.

H ow eve r th e s ty le is " q u ie te r ." Plays do d ic ta te th e ir o w n fo r m .

Mrs. P o rtla n d d ic ta te d it's o w n set .. 1 9 16 T o o ra k .. th e characters appeared fro m th e w w ings, speaking th e ir o rd a in e d lines, th e " p o e t r y " m u te d to th e s itu a tio n and tim e , a lth o u g h I w o u ld argue th a t th e re are m a ny p o e tic speeches in th e p la y , and th e use o f image and s y m b o l is very pervasive (e.g. th e cam era, th e p ia n o , th e y e llo w roses, th e gazebo, th e p o rtra it, th e sta irw a y to Mrs. P o rtla n d 's b e d ro o m w ith it's R om e o and J u lie t b a lc o n y .)

Th e tigh tness o f th e p la y re fle c ts th e rig id lives, th e rig id so c ie ty . T e rrib le events break out o f th a t ord e re d p a tte rn , and create m e lo dra m a. M e lo dra m a was beloved o f th e V ic to ria n s fo r o b vio u s reasons.

I d o n 't th in k I've co m p ro m ise d o n s ty le here. It is an Ibsenesque sty le , and Ibsen had m a n y lin k s w ith Jacobean dram a.

Th e w ritin g o f th e p la y was d if f ic u lt , c h a lle nging , exercising a ll my in g e n u ity .

S u b tle ty and in te lle c tu a l c o n tro l w ere lessons I needed to learn a t th is stage in m y w ritin g life . I fo u n d th e p la y th a t d ic ta te d these q u a litie s , and I had to grapple w ith th e m .

T h is I th in k was un conscious m o tiv a tio n fo r w ritin g Mrs. P o rtla n d .

The plays I w rite in th e fu tu re w ill I th in k all be " d iff e r e n t', plays. I learn som e th in g new each tim e , b u t I hope th e lessons o f M rs P o rtla n d w ill alw ays bear fr u it. I needed th e m .

A n d n e x t tim e H elen, m a ybe, yes, b rin g on th e dancing girls.

Y o u rs sin ce re ly, D o ro th y H ew ett.

W oollahra NSW.

" O f course I'm fla tte re d to have been asked to sit on th e N im ro d b o ard and re a lly y o u k n o w th is is a b it o f a com e-uppance fo r me. I'm alw ays b lea ting th a t th e re a re n 't enough p ra c ti­ tio n e rs on boards and n o w th is happens. M y a d m ira tio n fo r N im ro d is long -he ld because th o u g h th e y are a subsidised th e a tre th e y d o n 't act lik e one - th e y d o n 't ju s t s it on th e ir b a ck­ sides and d o n o th in g and th e y d o n 't ju s t dissi­ pate p u b lic m o n e y. " W ith B e n ja m in F ra n k lin w e 're s till u n ce rta in w hen th e in te rsta te to u r w ill begin as we h a ve n 't y e t fix e d a closing da te at th e N ew A rts (th e end o f Ja n u a ry? ). It's n o w been ru n n in g fo r over fiv e m o n th s , w h ic h in its e lf is q u ite som e th in g ; one day soon I 'll w rite a m o n o ­ graph o f th e w h o le exp erien ce - w h ic h sho uld be o f con sid era ble in te re st.

G ordon Chater.

B E IN G A T SEA W IT H S A TC " A f t e r n e a rly tw o years in A u s tra lia teaching and ta lk in g th e a tre , I'm beginnin g to feel, and po ssib ly lo o k , lik e th e A n c ie n t M a riner. I've b u tto n -h o le d enough cap tive audiences and I'm glad to be p u ttin g to sea again.

Colin George

§

Page 6 Theatre Australia Jan-Feb, 1977

AU S TR A LIA N CHORUS LINE

The A th e n e a u m has been o v e r b y th e M. T.C. see R a y m o n d S ta n le y 's a rtic le p. 40.

The B rea ker b y K e n n e th Ross w ill be a w o rld p re m ie r fo r the M .T .C . No dates are available as y e t as, it is u n d e rs to o d , th e y are s till n e g o tia t­ ing fo r a d ire c to r.

Sean G u rto n , n o w fre elancin g a fte r fo u r years w ith th e S .A .T .C ., is designing Casesar and Gleop a tra fo r the T o te ; th is is his fir s t m a jo r S ydne y p ro d u c tio n .

The A c to rs C o m p a n y , in d if f ic u lt y over the lack o f sub sid y, have been asked to stay on in U ltim o d u rin g 1977 b y th e ir la n d lo rd s , the Y .M .C .A . B ruce H arris, on w hose fa m ily hom e site the A c to rs C om p any are, has agreed to be th e ir h o n o ra ry ac c o u n ta n t.

Leslie G o tto has resigned as a d m in is tra to r o f th e Queensland Festival.

ACTORS' NEWS

We wish to apologise fo r any impression given th at the auditions fo r A C horus L in e were in any w ay a sham fo r th e sake o f E qu ity. We understand th at in fact neithertheentrepreneurs, Kenn Brodziak and Michael Edgley, nor the Americans would have allowed it to be staged here had th ey thought a local cast could not be found. Indeed tw e n ty five or tw e n ty six Australians have been chosen (w ith only fo u r or five being brought from A m erica).

The Americans were very excited by th e talent here and said th a t those th ey selected they would be happy to have in any production of A C horus L in e anywhere in the w orld. A nd one girl, Angela Ayers who is to play Maggie, is now having a crash course in dancing in Los after being awarded a scholarship by Joseph Papp o f the N ew Y o rk Shakespeare Festival.

E qu ity is entirely satisfied w ith the w ay the auditions have been handled.

Kenn Brodziak and Michael Edgley are now looking forw ard to rehearsals which begin on March 18 th and to the Australian premiere of "th e most exciting production th ey have staged" on M ay 21st at Her Majesty's Theatre, Sydney.

Jenny Austen o f C ertain W om en, Speakers at N im ro d , Q .T .C . and T w e lfth N ig h t, w h ils t pass­ ing th ro u g h M alaysia, m e t her fo rm e r lo ve r and m a rried h im th re e days late r.

Robin Bowering, having ju s t re tu rn e d fro m p la y ­ ing D r. B ro o ke in In T h e ir Hands (T V 2 A u c k la n d ) has been asked to re tu rn to p la y Sgt. Seager in The M cK e n zie A f f a ir and is the o n ly A u s tra lia n in the series.

G ordon Chater was elected to th e N im ro d B oard a t th e ir A .G .M . a t th e be g in n in g o f D ecem ber (see Q & Q ). Because o f his c o m m itm e n t to B e n ja m in F ra n k lin he had to tu rn d o w n a p a rt in the O ld T o te p ro d u c tio n o f The A lc h e m is t.

Colin C ro ft goes in to The A lc h e m is t at th e O ld T o te , o p ening in A p r il, a fte r appearing w ith Margo Lee in A lic e In W o n d e rla n d at the S e y m o u r C entre.

Barbara Dennis, Malcolm K eith, Dallas Lewis, Chris Orchard, Jeni C affin and Ray Anderson are in S y d n e y , busy rehearsing M elba and th re e A u s tra lia n plays fo r schools fo r the A rm id a le p ro je c t. T h e y head N o rth on F e b ru a ry 17th.

W illy Fennell w h o w o rk e d on ra dio w ith R oy Rene (M o) and is h im se lf a leading com edian on ra d io , th o u g h he has done m u ch stage and tele­ vision w o rk to o , and is ap pearing in Y oun g M o

< ^ A L L AUSTRALIAN PUB SHOW A rollicking night of songs, yarns and jokes from Australia’s past.

Featuring Gary Gray from Dave Isom, formerly of Bushwackers Band, Peter McDonald formerly of Mulga Bill’s Bicycle Band, and James Wright A unique entertainment devised and directed by Don Mackay for THE VICTORIAN ARTS COUNCIL NATIO N AL TOUR February-March - Queensland April-May — Victoria June-July — Tasmania August-September - South Australia T h e V ic to ria n A rts C o u n cil

9 /5 4 5 S t K ild a R oad

M e lb o u rn e V ic . 3 0 0 4 T e l ( 0 3 ) 5 2 9 4 3 5 5

N

Theatre Australia Jan-Feb, 1977 Page 7

as S ir H aro ld and The Professor, A nd Pamela G ibb ons, c u rre n tly p la y in g Clara in R o o k e ry N o o k is to do the c h o re o g ra p h y . She has p re vio u sly appeared in and cho reographed some o f the N o rm a n G uston Shows.

Edgar M e tca lfe had to re tu rn u rg e n tly to Perth fo r a th r o a t o p e ra tio n th e w eek b e fo re C h ris t­ mas. His p a rt in R o o k e ry N o o k has been taken over b y N o rm a n K aye.

R o b y n N evin is p la y in g C leop atra in Caesar and C leop atra at the O ld T o te , d ire c te d b y B ill R edm o n d . News is th a t th e y are h o p in g to cast Caesar w ith an overseas star.

G o rd o n M cD o u g a ll o f No. 9 6 fam e is to appear in tw o Shakespeares at N im ro d - as Le onato in th e revival o f the Joh n Bell M uch A d o and as T o b y Belch in T w e lfth N ig h t.

J ill P errym an's Le a d in g L a d y opens at S t. M a rtin s on 11 th M arch.

C a m illa R o w n tre e is in the n e x t show at Joo ls th e a tre re staurant.

B ruce Spence is p la y in g Ben G un n, w ith Iv o r Bernard as J im H aw kins and Hugh K eays-B yrne as Long Joh n S ilver, in the p ro d u c tio n o f Treat sure Island, adapted, w ritte n and d ire c te d b y Ken H o rle r fo r th e S ydney Festival. The dates are Tuesday 18 th to S aturday 2 9 th ; the place is R odd Island. The show w a its fo r th e audience to arrive - b y fe rry . i Leonard Teale is p e rfo rm in g a one-m an show W hile the B illy B o ils : A n E vening w ith H e n ry Law son at M t. La w le y C .A .E . as p a rt o f the P erth Festival. To th e cam pus th e re has re c e n tly been added a h a lf-m illio n d o lla r new the atre .

ACTRESS MAGGIE MILLAR CALLS FOR NATIONAL THEATRE Stan Marks Th e A u s tra lia n th e a tre is a da rn sight b e tte r tha n it was ten years ago, says vivaciou s actress Maggie M illa r.

Maggie, p ro b a b ly best k n o w n f o r her appearance in th e A B C 's B e llb ird over th e last tw o years, w ill m ake a w e lcom e re tu rn to the stage in th e G ra nt S tree t th e a tre 's p ro d u c tio n o f The G olden Oldies.

Maggie, w h o som e years ago was a regular on A u s tra lia n stages, especially at th e M e lb o u rn e T h eatre C o m p a n y, w ill p o rtra y tw o roles. One de picts an o ld w om a n w h o ends up in a wheel c h a ir and th e o th e r as her d a u g h te r, tw o very d is tin c t and ta x in g roles. “ Q u ite a challenge, re a lly ," says Maggie, w h o has also to u re d w ith th e O ld V ic C o m p a n y and appeared w ith m a ny to p groups in A u s tra lia and overseas.

She has some stro ng view s a b o u t th e A u s tra lia n th e a tre and w here i t is heading. " I feel very s tro n g ly a b o u t th e lack o f p ro m o tio n o f A u s tra lia n ta le n t," she adds.

"J .C . W illia m so n proved w ith J u lie A n th o n y th a t a local c o u ld m ake it as an A u s tra lia n 's ta r' on th e local and w o rld scene. T here is c e rta in ly n o t enough o f t h a t " Maggie insists th a t subsidised the atre s d o n 't p ro m o te th e ir actors enough.

She also feels th e re is lim ite d o p p o r tu n ity fo r actors to e x te n d them selves - th e y are to o ty p e cast.

Maggie believes A u s tra lia sh o u ld have a n a tio n a l th e a tre c o m p a n y as i t does w ith opera and b a lle t. " I feel th a t th e th e a tre is ra th e r th e C inderella o f th e arts at th e m o m e n t," she adds. " A u s tr a lia is such a huge land , y o u re a lly need a n a tio n a l, to u rin g c o m p a n y to be subsidised.

I th in k we have re a lly proved th a t one m ust have subsidised th e a tre h e re ."

The lin e in o u t last issue “ G lo ria D aw n no t f i t and w e ll'' sho uld o f course have read " n o w f it and w e ll" . We send her apologies and best wishes fo r her p a rt in Y oun g M o .

In fo rm a tio n sup p lie d by o u r M e lb o u rn e ,S yd n e y and P erth correspo nde nts, and M & L Casting P ty . L td ., S ydne y.

Maggie also feels th a t A u s tra lia n audiences are v ery m u ch u n d e rra te d , b u t also hopes th a t o u r th e a tre p e ople ge nera lly d o n o t becom e p ro v in c ia l in a so rt o f tre n d y w ay. " I also becom e con cerne d at T V d ire c to rs w h o d o n 't go near th e th e a tre , " she adds. " H o w d o th e y k n o w w h a t acto rs can re a lly do?

It sh o u ld be p a rt o f th e w ay o f th e a tre fo r T V d ire c to rs to k n o w e x a c tly w h a t is going o n ."

Maggie adds th a t th e re are lots o f versatile actors a ro u n d , " and very especially in A u s tra lia ."

"A u s tra lia n acto rs, and th a t, o f course, includes actresses, have a very g o od ear fo r th e th e a tre and can e x te n d them selves, b u t I som e­ tim e s w o rr y a b o u t an a ttitu d e o f sh e 'll be rig h t

w h ic h exists in th e th e a tre . D o th e y prepare them selves enough fo r appearing b e fo re th e p u b lic , and th is inclu d e s T V to o ? . I w o n d e r a b o u t th a t.

Maggie, insistin g th a t she d id n o t w a n t to sound vain o r preachin g, said A u s tra lia n th e a tre pe ople o fte n g o t a good idea, esp ecially in w ritin g , and flog ged i t to death.

"T h e n o n a n o th e r level, we te n d to w o rk p e ople a little to o hard. I th in k one gets b e tte r perform ances fro m acto rs i f th e y are n o t rehearsing in th e da y and d o in g a n o th e r pla y at n ig h t, " she adds.

Maggie insists she is am azed th a t B e llb ird is s till so da rn go od. Because it has been a ro u n d fo r so long people te n d to igno re i t . " She adds th a t B e llb ird and th e A .B .C . have given a vast a m o u n t o f actors an o p p o r tu n ity o f learning th e ir c ra ft, w h ic h is ve ry im p o rta n t.

B u t Maggie re tu rn e d to an A u s tra lia n n a tio n a l th e a tre idea cate ring fo r all d iffe re n t typ e s o f th e a tre .

"H eavens, it d o e sn 't m a tte r w here it is based as long as it is m o b ile and m o st e ffe c tiv e ," she says. " I t sh o u ld spend a lo t o f tim e , th o u g h t and care w ith each p r o d u c tio n and in tre a tin g actors g e n tly . It sh o u ld have p e rfo rm ­ ances in re p e rto ire , a lte rn a tin g w ith p ro ­ d u c tio n s ," she adds. " I t sh o u ld have w o rksh o p s, also teach voice p ro d u c tio n , m o ve m e n t and e v e ry th in g , even have c h ild m in d in g fa c ilitie s so th a t th e a tre pe ople w ith c h ild re n can pursue th e ir c ra ft. It sh o u ld be p a rt o f th e A u s tra lia n life sty le . It w o u ld be hard to d o b u t t h in k w h a t it c o u ld d o to advance o u r ove rall th e a tre ! " I w o u ld p ro m o te it lik e m ad. T V w o u ld be tie d in, b u t as T V , d is tin c t fro m th e actual stage. I k n o w th e q u e stio n o f m o n e y is a d if f ic u lt one and th e re is alw ays a danger o f over-subsidised com panies o ve r spending.

B u t I th in k th is depends on th e a d m in is tra tio n , in c lu d in g ensuring th e b o a rd o f a n y c o m p a n y is q u ite representative. " I w o u ld d o a great m o re fo r schools w ith o u r n a tio n a l th e a tre . W hy n o t aim at greatness, a fte r all Shakespeare was a great p la y w rig h t and kn e w w h a t being hum an m eant. A u stra lia n s te n d to be w o rrie d by greatness."

Maggie, w h o has w o n tw o te le visio n logies, has a secret w ish. " I 'd lik e to sing on te le v is io n ," she says. " B u t, it p ro b a b ly w o n 't happen. S till, y o u never k n o w ."

She also hopes th a t n a tio n a l th e a tre co m p a n y w ill becom e a re a lity in th e ve ry near fu tu re .

Page 8 Theatre Australia Jan-Feb, 1977

M ELBOURNE TH EA TR E COMPANY

O THER

TIM ES

Garrie Hutchinson

OTHER TIMES by Ray Lawler. Russell Street Theatre.

Director, John Sumner; Designer, Anne Fraser.

Emma Leech, IRENE INNESCOURT: Roo Webber, PETER CURTIN; Bubba Ryan, CHRISTINE AMOR; Olive Leech.

CAROLE SKINNER; Barney Ibbot. BRUCE MYLES; Nancy Wells, SANDY GORE; Josef Hultz, DAVID DOWNER.

R ay La w le r, along w ith S um n er Lo cke E lio t, B e tty R ola n d , Lo uis Esson, A la n S e ym o u r, R ich a rd B eyno n, occupies an h o n o u re d place in th e past o f th e A u s tra lia n th e a tre . S u m m e r o f the S eventeenth D o ll was n o t o n ly a gig a n tic h it, s till o u r o n ly one, b u t its p ro d u c tio n fu n d a ­ m e n ta lly changed th e s tru c tu re o f th e th e a tre here. W ith o u t th e co n fid e n c e p ro v id e d b y The D o ll, it is d o u b tfu l th a t th e U n io n T h eatre R e p e rto ry C o m p a n y , as th e M e lb o u rn e T h eatre C om p any th e n was, w o u ld have survived th e fiftie s . As w e ll, and de spite having its fing ers b u rn e d later. The D o ll gave th e E liza beth an Theatre T ru s t s o m e th in g to d o , and c o n s e q u e n tly paved th e w ay fo r m u ch in te rv e n tio n in th e

arts b y th e A u s tra lia n G o ve rn m e n t.

The D o ll was an im p o rta n t event th o u g h fro m th e s h o rt perspective o f tw e n ty years it seems as if th in g s fe ll a p a rt a fte rw a rd s. (I suspect th a t in a n o th e r tw e n ty years, scribes w ill see the p e rio d 1 9 5 3 -1 9 7 6 as a single tim e span, w hen th e A u s tra lia n th e a tre at last began). By th e tim e th e H ib b e rd s, W illia m so n s and Buzos w ere m a kin g th e ir firs t m arks a round '6 8 -'7 0 The D o ll seemed like a re lic o f a m is ty c o lo n ia l past. La w le r was no longer in A u s tra lia —having e x p a tria te d h im s e lf along w ith dozens m ore o f th e hopes o f the fiftie s . He and his p la y w ere as good as dead.

(In passing i t is in te re s tin g to n o te h o w m any e a rlie r A u s tra lia n w rite rs d id n o t leave th e c o u n try . E x p a tria tis m as a disease d id n o t seem to reach e p id e m ic p ro p o rtio n s u n til a fte r WW2even th o u g h P a trick W h ite came back. W ould th a t m o re fo llo w e d his e xa m ple).

A side fro m th e le th a rg ic and d is ta n t Man W ho S h o t The A lb a tro ss, La w le r seems to have w ritte n n o th in g fo r the th e a tre u n til by some c h e m is try the idea o f a D o ll tr ilo g y was c o n ­ ceived in Ire la n d . The plays. K id Stakes set in 1937, O th e r Tim es (1 9 4 5 ) and The D o ll (1 9 5 3 ), and w ith th e e x c e p tio n o f The D o ll (opens J an uary 2 4 th ) have been p ro d u c e d , and all o f th e m w ill go in to re p e rto ry in Jan uary. T h is p ro je c t is n o th in g if n o t a m b itio u s . It co u ld be a pa n o ra m ic dram a o f A u s tra lia n socie ty th ro u g h a m ost im p o rta n t tim e o f o u r h is to ry , a stro ng n a tu ra lis tic sta te m e n t a b o u t changing A u s tra lia n values fro m th e end o f th e depression to the b e ginnin g o f th e w o o l b o o m , fro m Lyo ns to Menzies.

W hat k in d o f A u s tra lia , th e s is presented in The D o ll T rilo g y ? It is a c u r io u ly circu m scrib e d A u s tra lia - th e settin g is C a rlto n (n o m des nom s) in a b o a rd in g house, a fa ir ly d o w n at heel, b u t n o t in d u s tria liz e d s u b u rb . The characters are n o t so ty p ic a l as to be re prese ntatio nal let alone s y m b o lic . T h e y are a b o a rd in g house keeper, her d a u g h te r and frie n d , ba rm aid s and a co u p le o f cane c u tte rs .

N o th in g m u ch fro m th e o u tsid e w o rld im ­ pinges o n th e ir w o r ld —exce pt th e seasonal visits o f B arney and R oo. The d is in te g ra tio n o f th e menage parallels th e g ro w th in o p tim is m o f A u s tra lia as a w h o le . Happiness to em ptinessdepression to b o o m . N o t th a t m uch sense o f any o f th a t re m arka ble sequence o f events penetrates the Leech house. These people are reacted u p o n , th e y are A u s tra lia n lo w e r m id d le class; th e y have a sp ira tio n s b u t th e y d o n o t

c o n n e c t w ith th e s tru ctu re s o f s o cie ty a ro u n d th e m . N o t fo r th e m u n io n s, o r th e bush o r p o litic s ; th e y e x is t o u tsid e th a t k in d o f h is to ry .

The one ritu a l - so disap pro ved o f b y Em m a, a sour o ld lady - is th e annual g ift o f K e w p ie D o lls, th e m e m o ry o f b liss fu l happiness each la y o ff (o r leave, d u rin g th e w ar) - is a curio us one. W hate ver evidence o f genuine fee lin g the re m ig h t be be tw een th e m it alw ays has th e a ir o f a d e lu s io n , o f sum m er rom ances. We d o n o t learn a n y th in g o f th e w o rk s itu a tio n s o f B arney and R oo, so w e d o n o t have th e chance to k n o w a great deal a b o u t th e ir characters, exce pt th ro u g h th e a r tific a lly ha p p y tim e s o f th e p la y .

Th e e x c e p tio n to th is is in O th e r Tim es, w here th ro u g h th e p e rc e p tio n o f N ancy and th e cra ck u p o f R oo we are given an e x p la n a tio n o f him d u rin g th e w a r, at least.

W ith th e girls - th e ro m a n tic O live , th e fru s tra te d N ancy, fa ile d B ubba, suspicious Pearl - th e re is a strange cross sectio n o f th e lo t o f A u s tra lia n w o m e n . A ll w o rk , th o u g h again, w e d o n o t learn m u ch a b o u t th a t, and all have been d e lu d e d in d iffe re n t w a ys—O live m o st o f all.

O live was th e o rig in a l sucker fo r th e D o ll ro u tin e , m a in ta in in g it b lin d ly th ro u g h th e w ar, and ho p in g to keep it a fte r seventeen years, even w hen th e w h o le re la tio n s h ip is in pieces o n th e flo o r. A n d Nance, th o u g h she leaves in th e end, seems to be to o messed up b y th e fa ilu re o f Bubba to get educated and get o u t, b y th e s u p e rfic ia lity and oafishness o f B arney to make a go o f it w ith th e new A u s tra lia n Josef H u ltz A ll th e w o m e n are cau ght in an o ld A u s tra lia o f m e m orie s and a m o ra lity .

A n d th e plays are re a lly a b o u t th e m .

B arney and R oo in a sense, are real on th e la y o ffs . T h e y are, a tte r a ll, on ho lid a ys. T h e re ­ fo re th e ir re la tio n s h ip , u n til The D o ll its e lf, com es u n d e r no stra in . R oo gets th ro u g h th e w a r d e c lin in g p ro m o tio n to stay w ith B arney, and m a in ta in O live's dream .

N o t u n til a th re a t fro m a you ng b u c k te m p o ra rily upsets th in g s is the re any sense o f change. A n d even th a t a lte ra tio n is no real th re a t. The assumed m a te sh ip co n tin u e s th ro u g h th e ir d e clin e , and p ro b a b le d e a th .

O th e r Tim es, as th e m id d le p la y o f the three is w here th e choices are m ade, w here th e happiness (s lig h t, and som ew hat a rtific a l in K id S ta ke s) is rem em bered, and th e h in ts o f the collapse in The D o ll are given.

The s itu a tio n is s im p le : B arney and Roo have been o f f a t th e w a r, b u t are fo rtu n a te enough to be able to arrange leave to keep th e ritu a l o f th e D o ll going. Em m a a tte m p ts to get rich q u ic k b y an in v o lv e m e n t in th e b la ck m a rk e t and arm y surplus, and does her d o ugh.

Nance and O live are back in th e pubs, a p p a re n tly unchanged. O live believes th a t R oo, because he cam e th ro u g h th e w a r, u n m a rke d , is in te rn a lly u n m a rke d also. N o t so. His hate fo r th e arm y is v icio u s and results in a c ra c k u p w hen he gets de m o b b e d . N ancy is m o re p e rce p tive as b e fits a b o o k is h b a rm a id . She sees w h a t's happened to R oo - and w h a t's happening to herself. The in ­ tru s io n o f Josef H u ltz , an A u s tria n Jew ish re ffo , w ith w h o m N ancy had c o n ve rsa tio n b e fo re the w a r, re m inds her o f lost o p p o rtu n itie s . So does th e o b vio u s lack o f desire on th e p a rt o f Bubba to educate he rself and get o u t o f th e c o rru p t ho le o f th e Leech ho useho ld.

O th e r Tim es is a p la y o f missed o p p o rtu n itie s fo r its characters. W hat one w a nted m o st o f all was fo r th e m to get o u t - to accept p ro m o tio n in th e a rm y , run aw ay w ith Josef H u ltz , get educated, realize th e end o f th e D o ll dream , make a p a cke t on th e b la ck m a rk e t, o r in Barney's case to leave th e m y th ic a l R oo and go back to

Theatre Australia Jan-Feb, 1977 Page 9 his ra ffish w ays up th e bush. B u t because th e y all have to f i t in to th e ir destinies in The D o ll, it's th e m o re tra gic.

L ik e The D o ll, O th e r Tim es is a w e ll made n a tu ra lis tic p la y , w ith c u rta in clim axe s, o u t­ w a rd ly expressed e m o tio n , confessions and n o t a lo t in th e w a y o f p h ysica l a c tio n . B u r as a late p ick e d exa m ple o f th e genre it's fin e : streets ahead o f K id Stakes fo r exa m p le , b u t w ith some fee lin g o f being p re d e te rm in e d . I 'll leave c o n s id e ra tio n o f th e actual p ro d u c tio n s u n til th e y are all available, th e day all three plays can be seen in one h it.

W ith The D o ll tr ilo g y , Ray L a w le r is s takin g a big cla im , as big as H ib b e rd 's w o rk progress o f th e m y th ic a l figu res in A u s tra lia n c u ltu re , or W illia m s o n 's c o n tin u in g analysis o f sw inging vote rs. B u t because th e w h o le en terp rise is an excercise in w o rk in g ba ckw a rds fro m th e o rig in a l fla sh . The D o ll, it has its lim ita tio n s . The trilo g y , ro o te d in na tu ra lis m , c a n n o t a tta in the resonant, p o p u lis t sweep o f H ib b e rd , o r th e d e ta il and c o n te m p o ra n e ity o f W illia m s o n - and th e closed c irc le o f its characters means th e A u s tra lia it represents is skew ed. B u t w hen th e p ro je c t is capped w ith a p la y as fin e as The D o ll - a play th a t I believe w ill pla y b e tte r n o w th a n in 1955 - it is a big achievem ent.

I t is n o t w o rth w h ile c ritic is in g th e s ty le o r th e co n ve n tio n s L a w le r has chosen - th e y were p ic k e d fo r h im as soon as he decide to w rite tw o plays to chim e in w ith The D o ll. It o u g h t to be rem em bered th a t The D o ll was p ro d u c e d in M e lb o u rn e b e fo re L o o k B ack In A n g e r was in L o n d o n - and in a m o re fe r tile e n v iro n m e n t w o u ld have had th e same e ffe c t. I suppose in th e end it has had th e same e ffe c t.

I n o w hope L a w le r w ill advance his concerns, and his s ty le to th e re q u ire m e n ts o f th e a tre in A u s tra lia in the 1970's.

LA MAMMA

STILL LIFE Suzanne Spunner

STILL LIFE by James Clayden. La Mama (opened 9.XÜ.76).

Director James Clayden.

Man, JAMES CLAYDEN; Woman, VAL KIRWAN.

La Mama consists o f one m odest ro o m so any d e te rm in e d d ire c to r can u tte r ly tra n s fo rm it. F o r S till L ife , James C layden has: e v e ry th in g is strip p e d aw ay - even th e u rn and c o ffe e cups, and th e u su ally m in is c u le audience ¡spared even fu r th e r to te n people s ittin g in serried rows on w o o d e n chairs. The w alls are p a in te d b la c k and a sm all se lf-c o n ta in e d set has been b u ilt in one c o rn e r. P ly w o o d fla ts c u t in to scallops o f waves

o r clo u d s fra m e th e sky blu e p a in te d back w alls.

The set was d o tte d w ith ob je cts d o m e s tic and fa m ilia r: cocoa boxes, to m a to tin s , a fis h , a ta il c o a t, a bag o f w hea t . . . . W hen th e p la y opens th is set is hid d e n b y a sheet s tru n g up b y its fo u r corners as an im p ro vise d c u rta in , la te r it is ro lle d up lik e the aw n in g on a shop w in d o w .

T h en th e o b je cts are separately illu m in a te d u n til fin a lly th e w h o le stage is l i t —th e c in e m a tic n a ture o f th is e ffe c t is fu r th e r em phasised b y th e s y m e trica l m irr o r image ending. In the m id d le s ittin g at a ta b le a p p a re n tly e x p e rim e n t­ ing w ith eggs is a man in a w h ite co a t. He cu ts a s trin g and releases a b r illia n t y e llo w b la n k e t to reveal th e back o f a red-haired w o m a n . Some tim e la te r she says so m e th in g and fre q u e n tly w h e n he is n o t ta lk in g she says som e th in g . Th e w o rd s are a so rt o f m uscial acco m pan im en t, o n ly ra re ly does th e actual sense o f a p a rtic u la r phrase im p in g e . Speech is d is e m b o d ie d —th e redhaired w o m a n (V al K irw a n ) never shows her face and th e man (James C layden) o fte n hid w hen he spoke o r lo o ke d aw ay fro m the a u di­ ence. T h e ir w o rd s w ere n e ith e r addressed to each o th e r n o r to the audience, and no-one co u ld have fe lt spoken to .

T here is no p lo t o n ly a succession o f events; no characters b u t subjects fa c ilita tin g images.

One feels in th e presence o f an illu s io n is t o r m agician as we w a tc h in awe and suspended d is b e lie f—w e are n o t th e re to be engaged b u t to gaze.

M any o f th e images w ere v io le n t;a fu ll bag o f w h e a t is slashed and s h in y grains cascade o u t, a b lo o d y stain spreads across th e m an's w h ite coatb u t th e y c o n ta in no th re a t, ra th e r th e y have an aesthetic a m o ra lity and e xist in th e realm o f pure acts. In S till L ife a ctio n s have no conse­ quences and are de vo id o f n a rra tive re sp o n sib il­

ity . O fte n tw o un re la te d events are c o n jo in e d to con vey th e illu s io n o f ca u sa lity - fo r instance as th e leaping golden fish is w o u n d o u t o f its fo a m y bed o f p o ly s ty re n e balls, th e noise o f a clacker is he ard; as i f th e fish leapt b y c lo c k w o rk .

The m an wears a w h ite coa t w h ic h he late r exchanges fo r a s w a llo w -ta il evening ja c k e t hanging high up on th e blu e w a ll. He takes it d o w n w ith one o f those lo n g sticks grocers use.

The m an has fo u r eggs - one o f w h ic h he sucks, a n o th e r he blo w s, the th ir d he c a re fu lly places in th e bre a st-p o cke t o f his s u it and th e last he breaks.

The exp erien ce o f S till L ife is p r im a rily visual, seco n d a rily aural and e m o tio n a l o n ly b y personal association. As w e ll as th e m o n o to n e m usic o f th e w o rd s th e o n ly o th e r in tro d u c e d sound is a tape o f one active c ric k e t p laye d at d iffe re n t speeds, p ro d u c in g an od d and b e a u ti­ fu l sound. The progra m m e was in a b ro w n paper bag w ith a red paper seal and c o n ta in e d a c o lo u r p h o to o f Phar Lap, som e sm all d raw ings and an e x h o rta tio n b y th e a u th o r to 't r y issues th a t b u m p '. S till L ife lasts one h o u r and is u n iq u e ly sp e ll-b in d in g . I f it is n o t a p la y i t c e rta in ly q u a li­ fies as p e rfo rm a n ce par exce lle nce. B e nign ly in d iffe re n t to w a rd s its audience , S till L ife has m ore a ffin itie s w ith an a rt o b je c t o r liv in g sc u lp tu re th a n a th e a tre piece. A p e form ance b y G ilb e rt and George d o in g th e ir soft-shoe ro u tin e to 'U n d e rn e a th th e A rch e s' has as great a c la im to be called 'p la y ' as S till L ife has t o be called sc u lp tu re .

E dging those ba rriers and d e fin itio n s back is a valuable en te rp rise and S till L ife goes some distance in m a kin g us ask w h a t it is we w a n t fro m a p la y . It was engrossing and a e sth e tica lly d e lig h tfu l, as w e ll; to ask m o re o f it is to abandon de aling w ith th e p la y as it is/was.

Page 10 Theatre Australia Jan-Feb, 1977

H O O PLA P R O D U C TIO N S

CHIDLEY John Smythe

CHIDLEY by Alma de Groan. Grant Street Theatre (opened 16. xii.76). Director, Garrie Hutchinson; Designer, Peter Corrigan.

Walter Turnbull, Joseph Maiden, GRAEME BLUNDELL; Ada Turnbull, CAROL BURNS; William James Chidley, PETER CUMMINS; The Judge, Rutherford, CARRILLO GANTNER; Inspector Branston, Doctor Wilson. ROBERT HEWETT.

W hen it com es to a tte m p tin g a useful assessment o f his p ro d u c tio n o f A lm a de G roen's C h id le y - w ith H o o p la P ro d u ctio n s and G ra n t S tree t - G arrie H u tc h in s o n 's C hristm as issue d iffe re n c e be tw een observing and re vie w ing a p e rfo rm a n ce , are som ew hat dis a rm in g . He seems, in th e lig h t o f pra ctica l experience, to be a p o logising in advance fo r his te n d e n cy to w a rd s irre le v a n t th e o ris in g as a c r itic on the one ha nd, and a d m ittin g to a serious lack o f d ire c tio n a l k n o w -h o w on th e o th e r.

Perhaps his in te n tio n was to defuse c ritic a l response. O r was he s im p ly a n n o u n cin g his d is ­ co v e ry th a t re vie w ing plays acco rd in g to nonp ra c tic a l precepts in no w a y e q uippe d h im to d ire c t the m ? S u re ly he d id n 't e xp e ct it to !

I m e n tio n th is here as it m ay be a clue as to w h y , on the fir s t n ig h t a n yw a y, the H o o p la p e rfo rm a n ce o f C h id le y appeared to lack a u n ifie d sense o f purpose and d ire c tio n . (I read his piece a fte r seeing th e show , in c id e n tly ).

It seems e n tire ly possible th a t the m a jo r cause was a d ire c to r w h o c o u ld n 't see th e fo re s t fo r th e trees - w h o had lo st sig h t o f th e to ta l p la y because he had becom e pre o ccu p ie d w ith "a huge array o f in d iv id u a l lines and acto rs' p ro b le m s " and d id n 't k n o w h o w to resolve th e m ex ce p t " in an ad h o c w a y " . So, ta k in g th a t as m y prem ise, and in the interests o f being c o n s tru c tiv e . I 'll in c o rp o ra te a few basic p o in te rs on a d ire c tin g m e th o d suita ble to th is s o rt o f p la y w ith m y com m ents.

W hat? W hy? H ow ? These are th e re cu rrin g qu estions w rite rs , actors and d ire c to rs fin d th e y have to resolve. W ith o u t being to o p e d a n tic a b o u t it, it seems to me th a t a p p lic a tio n o f the fu n d a m e n ta l w h a t plus w h y equals h o w fo rm u la w o u ld have proved fa r m o re re w a rdin g tha n "a d h o c " selectio n and de cisio n m a kin g. It is a p ro ­

cess useful to w rite rs , d ire c to rs , designers and actors a like . Once th e rehearsal stage is reached th e best w a y to free actors to u tilis e in s tin c t as th e y feel th e ir w ays in to roles is fo r th e d ire c to r to con cern h im /h e rs e lf p r im a rily w ith the w hats and w h ys.

The fir s t q u e stio n to ask is w h y sh o u ld th is pla y be done? In th is case, w h a t has the s to ry o f an e cce n tric d ie t, dress and sex re fo rm e r w h o lived in S yd n e y a ro u n d th e tu r n o f th e c e n tu ry g o t to say to a 1976 audience in M e lbourne?

H u tc h in s o n described i t as "a n anaysis o f a m isu n d e rsto o d p ro p h e t in A u s tra lia ". A p ro ­ gram m e n o te q u o te fro m H avelock E llis c o m m e n te d " I n his o w n w a y (C h id le y ) was as c o lo u rfu l a fig u re as Ned K e lly , K in g O 'M a lle y o r J o h n W ren, and is ju s t as im p o rta n t in u n d e rsta n d in g th e ir tim e and o u rs " and em phas­ ised the fa c t th a t his struggle to m ake sense o f his existence " le d to pe rsistent pe rse cu tio n b y th e a u th o ritie s and fin a lly to his in ca rce ra tio n in a m e ntal h o sp ita l. N o t an a ty p ic a l exa m ple o f th e w a y A u s tra lia tre ats th e g e n u in e ly cre ative . . . . I t is a sad th in g th a t a new c o u n try lik e A u s tra lia , w ith so m a n y b rig h t prospects b e fo re it, sho uld begin its career b y s e ttin g u p in q u is i­ tio n s . A fu r th u r piece fro m T h o re a u 's W alden o r L ife in the W oods ta lke d o f advancing in the d ire c tio n o f dream s: " I f y o u have b u ilt castles in th e air, y o u r w o rk need n o t be lo s t; th a t is w here th e y sho uld be. N o w p u t fo u n d a tio n s u n d e r th e m ."

A p u b lic ity h a n d o u t stated, "C h id le y was a p h o p h e t and a m a rty r to ideas a b o u t s e x u a lity and vio le n ce , ideas s till considered radical to d a y .

Persecuted b y the a u th o ritie s he was an early exa m ple o f v ic tim is a tio n b y ce n so rh ip , incarcer­ a tio n - being u n ju s tly c e rtifie d insane. The lessons fo r to d a y are p la in - can A u s tra lia to le ra te e c c e n tric ity ? o r even free th in k in g ? M ust in div-

4 February — 7 March

F e r ô v a lo f P e r th M USIC

DRAMA

FIL M S

E X H IB IT IO N S

C H IL D R E N 'S E V E N T S

SPORTS

ARTISTS INCLUDE The S tate Opera o f S o u th A u s tra lia . S w in gle II, D izzy G illespie . Rafael O ro zco. R o d S te w a rt. Th e Scholars West A u s tra lia n S y m p h o n y O rchestra. D avid Measham. M o rto n G o u ld . June B ro n h ill. W estern A u s tra lia n Opera C om p any. W .A . F o lk F e d e ra tio n . O ld T o te T h e a tre C o m p a n y, S yd n e y. A u s tra lia n P e rfo rm in g G ro u p , M e lb o u rn e .

Le onard Teale. Jo h n Le M esurier. M a rtin V aughan. Peter C a rro ll. H ole in th e W all C o m p a n y. Th e M a rio n e tte Theatre o f A u s tra lia . The N a tio n a l T h eatre C om p any. U n iv e rs ity o f W estern A u s tra lia P e rfo rm in g G ro ups. Jeune B allet de France C ote D 'A z u r. Perth C ity B a lle t. D avid Fennell and P ow er P o in t, S yd n e y. T h e A la n Lee Q u in te t M e lb ourne. '

SPECIAL ATTRACTIONS Swan R ive r A q u a tic S pecta cular.

Festival Ball.

F lig h ts o f K ites.

Open A ir S tre e t H appenings.

S tre e t F e stival.

Jazz at th e C lub

FESTIVAL BOX OFFICF Perth C o n c e rt H a ll, 5 S t George's Terrace, P erth.

T e l:

25 3 3 9 9

FESTIVAL BROCHURE G iving all d e ta ils is n o w available fro m th e Festival o f Perth O ffic e , U n iv e rs ity o f W estern A u s tra lia W .A . 6 0 0 9 .

T e l: 8 6 79 77

NEDLANDS

Theatre Australia Jan-Feb, 1977 Page 11 ¡d u a lity be repressed in th e name o f social order?

I fo r one fin d it hard to accept th e " p r o p h e t" label, and d o u b t th e p ra c tic a l v a lid ity o f his ideas on s e x u a lity , a lth o u g h I w e lc o m e the o p p o rtu n ity to c on sid er th e m fo r m y s e lf. It is tho se fin a l qu estions co n ce rn in g social to le ra n c e w h ic h s trik e me as a good ra tio n a le fo r te llin g th e s to ry here and n o w . Had th e y been con sist­ e n tly used th ro u g h o u t as th e key to solving w ritin g , p ro d u c tio n and p e rfo rm a n c e p roblem s a h ig h ly s tim u la tin g event sho uld in e v ita b ly have ensued.

I t w o u ld appear th a t A lm a de G roen's o b je ctive s rem ained clear as she developed her d ra m a tic te x t. Th e device o f placing th e judge on an u m p ire 's stoo l and in te rp o la tin g th e elem ents o f C h id le y 's c o u rt tria ls th ro u g h o u t m o re tha n p ro v id e a means o f in tro d u c in g characters, ba c k g ro u n d in fo rm a tio n and settin g u p s itu a tio n s . It gave clear em phasis to the ce n tra l q u estions: Is he insane? S h o u ld he be lo cke d away? B ut - and th is is very im p o rta n t she d id n o t prejudg e th e s itu a tio n fo r us or w h ite w a sh th e focal cha racte r. O u r o w n rights to free th o u g h t rem ained respected.

A lth o u g h th e d ra m a tic s ty le was m ore re prese ntatio nal th a n n a tu ra lis tic she d id n o t re nder the discussion s im p lis tic , b u t gave an ho nest a cco u n t o f re a l-life c o m p le x ity and th e fa llib ilitie s o f hum an na ture . C h id le y advocated a d ie t o f f r u it and nuts y e t succum bed at one p o in t to a craving fo r m eat. He ab h o rre d violen ce y e t resorted to i t tw ic e - n e ith e r tim e in selfdefence. His c la im th a t repeated c o itio n causes “ th e head to s h r in k " h a rd ly earns h im th e title o f "in s p ire d te a c h e r" o r " v is io n a ry " . He m ay have had s o m e th in g in saying man is the o n ly an im al to use vio le n c e w ith c o itio n - th o u g h cats alw ays seem to fin d it p a in fu l and w h a t o f th e b la c k w id o w s p id e r w h o eats her m ate once he's fu lfille d his fu n c tio n ? Had all m a n k in d accepted his answer to " th e cross-cut m e th o d o f sexual in te rc o u rs e " and trie d to p u t his th e o ry in to p ra c tic e (th e vagina becom es erect and w a its lik e a tra p t c d ra w th e no n-erect penis in b y pressure o f air) none o f us w o u ld be here n o w - he o b v io u s ly had no u n d e rs ta n d in g o f the m echanics o f sexual s a tis fa c tio n , e ja c u la tio n and fe r tilis a tio n . De G ro en also to u c h e d o n th e n o tio n o f p o te n tia lly dangerous b e h a v io u r caused b y sexual repression. T hus her focus on his rig h t to e x is t u n h in d e re d as his o w n person and o u r rig h t to a t least co n sid e r his ideas rem ained unclear.

Carol B um s lik e w is e gave a ric h ly real re ndi­ tio n o f C h id le y 's fru s tra te d m istress, A da T u rn b u ll. B u t w h ile she and de G roen seemed to have a clear idea o f w h a t th e y w ere d o in g and w h y , the o th e r actors d id n o t. T h e ir p e rfo rm ­ ances appeared w o rk m a n lik e and neat on the surface b u t as th e evening progressed I c o u ld n 't he lp fe e lin g th e y w ere w a n d e rin g a b o u t fro m m o m e n t to m o m e n t and had lo s t th e ir awareness o f w h a t it all added u p to . The w hats and w hys w h ic h created the d ra m a tic s itu a tio n s p ro vided in th e s c rip t w ere n o t being th o ro u g h ly and re a lis tic a lly e x p lo re d . T h e given circum stances and in te n tio n s /n e e d s /e x p e c ta tio n s o f th e c h a r­ acters w ere being glassed over w hen th e y should have been used to s tim u la te e ffe c t. A n d skice Peter C u m m in s , G raem e B lu n d e ll and R o b e rt H e w e tt have p re v io u s ly proved them selves capable o f m u ch b e tte r w o rk , m y guess is th e y w ere s u ffe rin g fro m a lack o f useful d ire c tio n a l fee dba ck.

In the case o f C a rrillo G an tner's Judge, I feel th a t an o p p o rtu n ity to exte nd the m a jo r thesis fu r th e r was sadly missed. His c a re fu lly a p plied aging m a keup, a r tfu lly m o d u la te d vocal tones and som ew hat regal d e p o rtm e n t (an actin g s ty le re m in is c e n t o f English Reps

P eter C u m m ins (C h id le y ) a n d Graem e B lu n d e ll (W alt).

h a lf a c e n tu ry ago) d id n o th in g to s tim u la te b u r in te re st in his and so cie ty's d ile m m a over C h id le y 's pe rsistent Y a rra -b a n k preaching. It m ay nave been va lid to m ake h im smug and u n tro u b le d by his ro le , b u t had th e in te rp re ttio n been less ju d g e m e n ta l and e x p lo re d m o re c om passion ately th e idea o f a n o th e r fa llib le in d iv id u a l g ra p p lin g w ith his p a rtic u la r dream o f a p e rfe c t so c ie ty , th e p la y 's ce n tra l th e m e w o u ld have been m u ch b e tte r served. Had th e p ro d u c tio n process been less ad ho c, a stro n g case fo r fu r th e r s c rip t d e v e lo p m e n t m ig h t w e ll have emerged^ a co u p le o f p riv a te interchanges

P h o to : D a v id P arker.

betw een the Judge and P olice In s p e c to r, perhaps, each g rapplin g fro m in d iv id u a l sta n d p o in ts w ith th e o re tic a l n o tio n s o f ju s tic e and d e m o c ra tic righ ts in re la tio n to th e p ra c tic a l realities o f m a in ta in in g s o c ie ty ’s c o n c e p t o f ord e r.

T h a t said, it m u st be added th a t th e advent o f H o o p la P ro d u ctio n s and th e consequent exposure, at last, o f " w o r t h y " plays - especially ho m e-g row n ones th a t need to be do ne i f o u r w rite rs are going to d e velop - is ve ry w elcom e.

H aving b u ilt th e ir laud able castle in th e a ir, let's hope th e y last lo n g enough to p u t solid fo u n d a ­ tio n s beneath it.

Page 12 Theatre Australia Ã&#x201C;an-Feb, 1977

JAN.l - FEB. 15

Nightly at 8.15 Sats also at 5 p.m. with

ALEXANDER HAY, DREW FORSYTHE, JENNIFER HAGAN.

4

H E

Directed by PETER COLLINGWOOD Designed by HUGH COLMAN DRAMA THEATRE, Sydney O pera House Please bo ok the fo llo w in g tickets f o r me

THE MAGISTRATE.............................................................@ $6.90 eves................................................................@ $5.90 mats.

My 1st preferred date is ......................................................................alternatively.....................................................................

ROOKERY NOOK...............................................................@ $6.90 eves..................................................................@ $5.90 mats.

My 1st preferred date is....................................................................... alternatively.....................................................................

Pensioner, Youth and Student concessions are available at the theatre.

NAME...................................................................................... ADDRESS............................................................................................. .......................................................... POSTCODE.................. PHONE (BUS.).....................................(PRIV.).................................

POST WITH CHEQUE/MONEY ORDER & SELF-ADDRESSED, STAMPED ENVELOPE TO-THE MANAGER PARADE THEATRE, P.O. BOX 1, KENSINGTON. N.S.W. 2033.

|

Theatre Australia Jan-Feb, 1977 Page 13

A C TO R S THEATRE

TH E M ISANTHRO FE Ron Finney

THE MISANTHROPE by Moliere. English version by Tony Harrison. Conservatorium of Music (opened 5.xii.76).

Director, Designer David Clendinning.

Alceste. DAVID CLENDINNING; Philinte, PHIL MOYE; Oronte, BRUCE PARR; Celimene, JENNIFER FLOWERS; Basque, WARREN MEACHAM; Eliante, GABRIELLE SCOTT; Clitandre, MICHAEL McCAFFREY; Acaste, GREG GESCH; Official, PAUL RUSSELL; Arsinoe, ROBYN GURNEY; Dubois, WARREN MEACHAM._________ _

P h i! M o y e (P h ilin te ) a n d D a vid C le n d in n in g (A lceste ).

Brisbane's latest th e a tre c o m p a n y , T h e A c to rs T h e a tre ', perhaps m o d e lle d on th e C om edie Française,op e n e d itssu b sid ise d a cco unt w ith a w eek's season o f M o lie re's The M is a n th ­ ro p e on D ecem ber 5 th .

Seen a tth e p ro d u c tio n 's closing p e rfo rm a n c e , in vario us versions w ere M. Bores Suave and his good lady th e fo rm e r M /selle. C onstance E lite, casually a ttire d , the n ig h t being fr ig h tfu lly h o t; M. S colaire in sandals and beard in c o m p a n y w ith m /s Blue Jeans ln te lle c tu e lle ;c o n s p ic u o u s ly overdressed, a re prese ntative o f th e I.A .C . des­ pe ra te ly en deavo urin g to conceal a camera u n d e r his w iltin g b o w -tie . A ll w ere de lig h te d and amused a cco rding to th e ir s ta tio n .

G en uine laug hter is a c u rio u s ph enom eno n.

I t is a re fle x serving no c u r re n tly b io lo g ic a l need o r purpose. Its fu n c tio n is s im p ly re lie f fro m im m e d ia te u tilita r ia n tensions. B ut w h ile laug hing it is im po ssible e ith e r to k ill o r to c o p u ­ late. It de fla te s aggression, apprehension and p rid e - u n iv e rs a lly . It is a p a rado x o f life .

M o lie re ’s genius la y in ev o k in g th e response th ro u g h H ig h /S a tiric a l C om e dy - a k in , s urgically speaking to teasing, tic k lin g and ta u n tin g and ta n ta lis in g his c o n te m p o ra ry audience w ith a scalpel. His self-im pose d m a rgin fo r e rro r was m in u te . O cc asio nally he d re w b lo o d -a n d its consequences.

His ach ie vem e nt is m o re re m arka ble w ith in th e d is c ip lin e o f verse and in a language once described as ' ' . . . hard and fin a l in o u tlin e " and thu s " . . . m o st suita b le , w hen th e tim e com es, fo r a n n o u n c in g the end o f the w o r ld ” .

T h a t w r ite r suggests th is , " . fo rc e d the French to bend th e ir language to th e ir w ill by means o f gesture and in fle c tio n " . T h e a tric a lly , th e re su lt was th e C om edie Française, fam ous fo r its H igh S ty le ." . . . Clear as a chessboard, ta u t as a d ru m . . w e ld in g the players in to an

orchestra o f co n ce rte d e x p e rtis e ".

D ire c to r, M r. D avid C le n d in n in g 's fra m e inc lu d e d :" . . . a new up date d version . im m e nsely s ta g e w o rth y '' (P rogram m e n o te ).

A venue, o b v io u s ly d e fic ie n t in te c h n ica l and back-stage fa c ilitie s , b u t a c o u s tic a lly near p e rfe c t.

E ffe c tiv e ta s te fu l s im p lic ity in co s t­ um in g .

A n evocative set: A n im m ense sym ­ b o lic b a c k d ro p fra m ed in b la c k drapes and p u n c tu re d c e n tra lly b y th e o n ly e x it to th e w o rld b e yo n d C elim ene's Paris a p a rtm e n t - F rench w in d o w s to a rich blu e v o id . In fr o n t, p e rio d fu r n itu r e , b u t o n ly th a t essential to th e a c tio n and one in te rn a l e x it.

If e c o n o m y , im p lic itn e s s and selective em phasis be th e h o ly t r in it y o f e ffe c tiv e dram a, here w ere the beginnings o f it.

A tim e -b rid g e to th e o rig in a l p e rio d came via an elab ora te cou rtesa n e x e c u tin g "L e s T ro is C o u p s ". It was pu re m agic, A s h o rt livin g m o m e n t o f p e rfo rm a n c e indeed as clear as a chessboard and ta u t as a d ru m . A p e rfe c t p rim e r B u t th e chosen econom ies cast th e responsi­ b ilit y fo r re alisation o f th e te x t (m o d e rn ly inte grated w ith th e o rig in a l), a b s o lu te ly on the playe rs-w h o d id n o t w e ld in to an orchestra o f con certe d exp ertise. M o lie re's m in u te m argin fo r e rro r was abused, ra rely grossly, b u t ...........

As a c to r, M r. C le n d in n in g came close to realising A lceste as a tra g ic he ro, c o m ic a lly revealed. H ow eve r, " . . . his tireless stance against h y p o c ris y and d e ceit " is N O T ” laughable and laudable in tu rn " , b u t at the same tim e.

C o rre c t elem ents, w ro n g fo rm u la . A lceste does

P h o to : A c to rs Theatre n o t w a lk a tig h t rope be tw een co m e d y and tra ged y, he straddles it. M o lie re has h im swell th e view er's soul w ith o u t s a tis fy in g it. C aught in th a t c o n flic t we have no o p tio n b u t surrend er to th e re fle x o f lau g h te r fo r re lie f. B u t a fte r­ w ards . . . . ?

M r.

C le n d in n in g lacked th e necessary orchestral s u p p o rt fo r c o m p le te personal fu lfilm e n t. O f th e m en, o n ly he was a d e q u a te ly eq uipped v o c a lly fo r th e ta s k ; o n ly he fused in to th e rh y th m n s o f th e te x t, sensed its im ­ p lic it sou l, kn e w , in the fin e d e ta il dem and ed, n o t o n ly w hen to move and sto p in w h o le o r p a rt, b u t w h y he d id . W ith in these harm on ies his occasional descent in to lo w co m e d y was d is c o rd a n t, un becom ing to b o th his a u th o r and tra n s la to r.

As d ire c to r, he was unable exce pt in is o la tio n to call fo r th the same co n siste n t in te g ra tio n and exp e rtise fro m his co m p a n y . T here w ere some b r illia n tly devised and d e live red m o m e n ts, b u t these stood o u t fro m , ra th e r th a n flo w e d o u t o f th e p ro d u c tio n as a w h o le .

C elim ene, th e o b je ct o f A lceste's a tra b ilio u s a ffe c tio n s , is the o n ly w h o le c h a ra cte r o f the p la y , liv in g ric h ly i f y o u th fu lly in her present.

Indeed she was the o n ly cha racte r d ire c te d th ro u g h th e b a c k d ro p in to c o n ta c t w ith th e s y m b o lic blue v o id . In th e ro le . Miss. Flow ers was d e lic io u s in fe e lin g and vocal q u a lity b u t p h y s ic a lly a w kw a rd w ith in th e chosen style .

Miss R o b y n G urney's A rsin o e was so fa r rem oved fro m th e p a te n t life o f the role th a t her fa ilu re to realise it c a n n o t be a ttrib u te d to d ire c tio n . P rovided w ith a ra pier, she gripped th e w eapon b y th e blade and blud geo ned her adversaries, w o rd b y w o rd , w ith its handle and guard. She appears an actress w h o has te m p o ra ­ r ily lost to u c h w ith her ta le n t.

Page 14 Theatre Australia Jan-Feb, 1977 It is perhaps id le to speculate as to th e n a ture o f th e C hristm as m a rke t fo r th e a tre . T h a t th e re is such a m a rk e t is ce rta in , and th e d ire c to rs o f b o th th e P layhouse and th e H ole in th e W all do th e ir best to cate r fo r it w ith in th e lim its o f th e ir resources.

W ho are these pe ople im possible at o th e r tim e s o f year to w in k le fro m in fr o n t o f th e ir te le v is io n sets, w h o do u b tle ss subscribe to Sandy S tone's d ic tu m th a t 'th e re is enough un pleasa nt­ ness in th e w o rld w ith o u t going to see it in th e th e a tre '? We can guess at some o f th e m : fo lk w h o feel th e need to assuage a usu ally d o rm a n t conscience b y ta k in g some neglected old ie to 'a good b rig h t fle sh -a n d -b lo o d s h o w ' (S andy again); o r th e od d lascivious boss c o m b in in g ta xd e d u c tib le e n te rta in m e n t expenses w ith keeping th e girls in th e o ffic e ha p p y, added to w h ic h he has th e p rospect o f th e e x q u is ite pleasure o f c lu tc h in g G irl F rid a y 's knee.

HOLE IN THE WALL

MIXED DO UBLES Collin O'Brien

Mixed Doubles by James Saunders. Alun Owen, Lyndon Brook, Harold Pinter, Alan Ayckbourn, Fay Weldon, John Bowen, & David Campton. Hole in the Wall Theatre.

Director, Designer. John Milson.

ALAN CASSELL, JOAN SYDNEY, ROBERT VAN MACKELENBERG. HELEN HOUGH, MARY HAIRE.

R o b e rt

M a cK e le nbe rg a n d

H elen

H oug h

B u t w hatever th e o rig in s and m o tive s o f th is V u le tid e audience exp erien ce has sho w n th a t th e evening m u st n o t be heavy o r de m and ing, a lth o u g h it m ay be w it t y and in te llig e n t. The P layhouse u su ally plays safe w ith some su re fire p o tb o ile r such as th is years's A rse n ic a n d O ld Lace. W ith less space and resources at his c o m ­ m and, J o h n M ilso n at th e H ole has to d e m o n ­ stra te m ore in g e n u ity . T w o years ago he h it th e ja c k p o t w ith th re e S haw one act plays; last year he came s o m e th in g o f a c ro p p e r w ith th e ra th e r po in tle s s and boneheaded On Y er M a rx ; th is D ecem ber he has again com e up tru m p s w ith M ix e d D oubles.

The evening consists o f e ig h t vigne ttes by d iffe re n t p la y w rig h ts , and is b ille d 'an e n te r­ ta in m e n t a b o u t m a rriag e'. It was firs t p e rfo rm e d at th e H am pstead T h e a tre C lub in L o n d o n in F e b ru a ry , 1 9 6 9 .Th e p la yle ts are p e rfo rm e d b y a lte rn a tin g team s, in th is case A la n Cassell and Joan S ydne y, and Helen H ough and R o b e rt van M ackelenberg. J o h n M ils o n has chosen to replace th e lin k in g c o m m e n ta ry o f th e o rig in a l (o f w h a t q u a lity I d o n o t k n o w ) w ith Piafish songs -

in M ixed D oubles.

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

th e ty p e w here th e lady perches he rself on thfe edge o f th e ta b le and a rtic u la te s th ro u g h th e e xh aling G itan e-sm oke such se n tim e n ts as 'i t m ay lo o k a lrig h t fro m o u t th e re , b u t y o u sho uld see th e blee ding in sid e '. I am a sucke r fo r such d o w n b e a t s u ffe rin g a t th e best o f tim e s, and M ary H aire does th e jo b w ith p o in t and a p lo m b .

S ince her M elba in Jack H ib b e rd 's A Toast to M elba in ea rly '7 6 I have been som ething o f a devotee o f Miss H aire's, b u t even settin g aside m y in fa tu a tio n - s o m e th in g she fin d s alm o st in d e c e n tly easy to d o herself - it seems th a t tho se songs do th e b rid g in g jo b w ith s u b te lty and e n tire ly ad e q u a te ly. S tra ig h t verbal lin k s on such occasions to o o fte n te n d to be to o ob vio us o r arch. I suspect Mr. M ilson made a wise d e ci­ sion.

The s h o rt tw o -h a n d e rs are w ritte n b y p la y ­ w rig h ts w h o w ere o r have since becom e to p names in th e ir profession , in c lu d in g H aro ld P in te r, James Saunders, A lu n O w en and A la n A y c k b o u rn e . T he evening th u s becom es b o th a show piece fo r th e a cto rs (and to a degree th e d ire c to r) and so m e th in g o f c o m p e titio n betw een th e p la y w rig h ts , as each in tu r n sets o u t to b o th pose and solve a p ro b le m w ith in a lim ite d tim e span.

W ith such a show th e average th e a tre g o e r is q u ite rig h tly m o s tly impressed by th e o b vio u s range o f s k ills show n b y th e a cto rs - Joan S yd n e y's co m m a n d o f a v a rie ty o f accents fo r exa m ple. B u t th e evening has d e lig h ts fo r th e a fic io n a d o to o , as th e varie ties o f m o o d and rh y th m are c a re fu lly c o n tro lle d fro m pla y to p la y , added to th e pleasure indu ced b y w a tch in g s k ille d p la y w rig h ts show ing h o w it is dohe w ith th e greatest e c o n o m y .

I am d ra w n to c o m m e n t on M ix e d D oubles in term s o f te c h n iq u e because such an exercise by its very n a tu re draw s a tte n tio n to th e skills w h ic h go in to th e d o in g o f it, ra th e r th a n in ­ d u cin g th e w illin g suspension o f d is b e lie f. E ight p la y le ts means n o t o n ly th a t th e actors are c o n tin u a lly changing roles and p o in tin g to th a t fa c t, b u t th a t we have th e ob vio us co m p a riso n betw een d iffe re n t p la y w rig h ts co p in g w ith th e e x p o s itio n /c u rv e o f a c tio n /d e n o u m e n t p ro b le m in th e ir p a rtic u la r w ay. It is im po ssible, indeed w ron ghe ade d, in such circum stance s n o t to be aw are o f th e plays as plays, and also o f th e s k ill w h ic h w e n t in to th e ir c o n s tru c tio n .

As a co m p a riso n , th is c o i'e c tio n bears a s im ila r re la tio n s h ip to a fu ll-le n g th pla y as does a b o o k o f s h o rt stories to a novel, o r th e oneday c ric k e t m a tch to a test. R eading a b o o k o f s h o rt stories one q u ic k ly becom es aware o f the a u th o r having to set and solve his p ro b le m in a lim ite d tim e , and th is o fte n leads to th e reader co m in g to te rm s w ith th e in b u ilt lim ita tio n s o f th e fo rm ; and ju s t as th e longeurs o f T o ls to y and th e Test are avo id ed in th e b rie fe r fo rm s , so perhaps are e ffe c ts w h ic h can o n ly be realized at leng th. T h ere m ay be tr u th in th e o ld saying th a t all great a rt m u st be at least a little b o rin g .

C e rta in ly th e tw e n ty -m in u te R in g o f th e N ibelung en is n o t ju s t a ro u n d th e co rn e r, n o r th e son net version o f Paradise L o s t, to say n o th in g o f T h at's th e Faerie Queene, T h a t Was. Th e evening kicks o f f w ith a ra th e r p re d ic t­ able piece a b o u t h o n e ym o o n e rs on a tra in A M an's B est F rie n d by James Saunders, a p la y ­ w rig h t w hose e a rly plays caught m y im ag ina­ tio n to th e p o in t w here I d ire c te d th e firs t A u s tra lia n p ro d u c tio n s o f b o th N e x t Tim e I ' l l S ing to You and A S cent o f Flow ers. The p re ­ sent s h o rt p la y was one o f th e m o re ob vio us tre a tm e n ts o f th e th e m e , ce n tre d on an obses­ sively clean and fussy new husband and his so o n -to -b e -lo n g su ffe rin g b rid e , rasping shoulders b e fo re G od kno w s w h a t else. T h is was fo llo w e d b y a very eco n o m ica l and re m a rk a b ly e ffe c tiv e

Theatre Australia Jan-Feb, 1977 Page 15 lo w key p la y le t by A lu n O w en, N o rm a , w h e re in a w o m a n trie s to co n ve y to her lo ve r her c o m ­ passion fo r her husband's gentle b u t deep distress at w h a t he q u a in tly terns her 'c o m m ittin g a d u lte ry '.

I t w o u ld be te d io u s and p o in tle s s to sum m arise all th e p lo ts , b u t I lik e d best P in te r's m a rita l, p o s t-p a rty u n cle ar rem em brance peice, p itc h e d , as it was w ritte n , som ew here betw een Landscape and O ld Times. W hen a tte m p tin g to te m p e r m y in o rd in a te a d m ira tio n fo r M r P in te r's w o rk s b y a to u c h o f le v ity , I class such plays in th e cate gory o f th e o ld song 'A h , I re m em b er it w e ll,' a lth o u g h I d o n 't see M a urice C hevalier gracing P in te r's boards. The m ost ob v io u s b u t s till b itin g piece concerned a y o u n g exe cu tive and his w ife as th e a rd e n tly sm ilin g uneasy tru c e o f a te n n is m a tch d o ubles pair. T h e y w ere w h a t used to be called her d ry she rry b e lt, and being English in c o n c e p tio n , very m id -A tia n tic .

C e rta in ly R o b e rt van M ackelenbera as th e y o u n g Exec had th e rig h t S later W alker a ir a b o u t h im , lo o ke d th e s o rt o f hard-faced fe llo w w h o c o u ld n 't d o w n th e evening c o c k ta il if he h a d n 't asset-stripped at least one stru g g lin g fa m ily business d u rin g th e da y. N e x t to th e P in te r the play w h ic h m ost to o k m y fa n c y - and made me e lb o w f ly de fensively up - was Perm anence by Fay W eldon,_a p la y w n ic h d e a lt w ic k e d ly w ith an academ ic c o u p le on th e ir annual cam ping h o lid a y , S ophocles am ong th e F ly to x .

I have already said th a t th e evening was som e th in g o f a show piece fo r th e acto rs, and w h a t a d e lig h t th e y w ere, d e m o n s tra tin g w h a t K e n n e th T y n a n once q u o te d as th e th re e cornerstones o f th e a c to r's a rt: re la x a tio n , tim in g and a u th o rity . A w ell-chosen q u a rte t to e n tice th a t w a ry trib e o f once-a-year fo lk fro m po o lsid e and p a tio .

Joan S y d n e y a n d A la n Cassel.

P h o to : S a lly M cC o n n e ll.

AUSTRALIAN PERFORMING GROUP PRAM FACTORY 325 Drummond Street Carlton Victoria 3053 Ph.

3477133

THE HILLS FAMILY SHOW

3477493

Adelaide Festival Centre Feb 10th — 26th Bondi Pavil I ion Theatre March 7th — April 24th Pram Factory May — June

IT'S CINGALESE FOR LIGHTNING YER KNOW

by Steven Mastare.

World Premier at

Perth Festival Feb 22nd — March 2nd Pram Factory March — April

O flA D D n V

P I D P I 10

Melbourne Workshops Orientation Week Campus tour

OUHlDuA UlnUUO

For Bookings ring:

Jane Clifton 347 7133.

Page 16 Theatre Australia Jan-Feb, 1977

OLD TOTE THEATRE COMPANY

TH E M AG ISTRATE

Rex Cramphorn

THE MAGISTRATE by Arthur Wing Pinero. The Drama Theatre, Sydney Opera House (opened 1.i.77.j. Director, Peter Collingwood; Designer, Hugh Colman.

Beattie Tomlinson, DONNA LEE; Cis Farringdon DREW FORSYTHE; Wyke, PETER WHITFORD; Popham, SUZANNE ROYLANCE; Agatha Posket, JENNIFER HAGAN; Mr Posket, ALEXANDER HAY; Mr Bullamy REDMOND PHILLIPS; Charlotte, FAY KELTON; Colonel Lukyn, KENNETH LAIRD; Captain Horace Vale, PETER ROWLEY; Isidore, BRANDON BURKE; Achille Blond, LOUIS WISHART; Inspector Messiter, MAX OSBISTON Constable Harris, STEPHIN HARGREAVE; Mr Wormington, EDWARD HOWELL; Sergeant Luqg, PHILLIP ROSS.

The M agistrate (1 8 8 3 ) was th e fir s t o f S ir A r th u r W ing P inero's C o u rt T h e a tre farces. It achieved im m e d ia te p o p u la rity and its successors —The S choolm istress, The C ab in e t M in is te r etc.

were 'all the rage' in th e 1880's. (I am in de bted to A .V . C ookm an's a rtic le on P inero in The O x fo rd C om p a n io n to E nglish Theatre fo r the in fo rm a tio n and th e phrase.) In 1977 The M a gistrate is s till a pleasing pla y fro m several p o in ts o f v ie w —its tre a tm e n t o f th e 'S to ry o f a L ie ' them e as farce is in ve n tive and d e tailed, and th e the m e its e lf is n o t a lie n a tin g ly an a ch ro n ­ istic fo r a general audience. Its tra n s itio n a l s ty le , lo o k in g b a ckw a rd to c o n v e n tio n a l w e ll-trie d fo rm o f these farces, fre shen in g th e m asides and d ire c t address to th e audience, and fo rw a rd to d e velopin g realism in th e co n vin cin g o b servatio n o f th e m ain characters, gives a so rt o f d o u b le fo cu s in term s o f p e rio d . (T h is aspect o f th e pla y re m in d e d me o f Z o la's Therese R aqu in w h ic h was w ritte n a decade e a rlie r th a n The M a gistrate and w h ic h hovers in te re s tin g ly betw een m elo dra m a and a k in d o f n a tu ra lis tic o b servatio n w h ic h a lm o s ta rriv e s at p sych ologica l re alism —it was, c o in c id e n ta lly , a p ro d u c tio n o f A le x a n d e r H ay's fo r N ID A stu d e n ts a year o r so ago w h ic h in tro d u c e d me to Therese R a q u in .)

P inero (u n lik e Z o la) seems to have been p a rtic u la rly fo rtu n a te as an in n o v a to r in his a b ility to in c o rp o ra te tou ches o f n o v e lty in th e w e ll-trie d fo rm o f these farces, freshening th e m w ith o u t in any w a y s tra in in g th e to le ra n ce o f his c o n te m p o ra ry audience. In th e same w ay, w h e n , a fe w years la te r, he chose to shock th e m w ith dram as o f social c o m m e n t—The Second Mrs. Tanqueray (1 8 9 3 ), The N o to rio u s Mrs. E b b s im th (1 8 9 5 )—'he shocked th e m w ith in the range o f th e ir pleasure' (C oo km an , op . c it.).

T h is d o u b le fo cu s in th e s ty le a llo w s lo g ic a lly , th re e d is tin c t d ire c tio n s fo r a m o d e rn ' p ro d u c tio n to ta ke : it m ay p lu m p fo r w e llmade farce in a ll-p urp ose V ic to ria n to n e on th e assu m ption th a t general audiences a re n o t g re a tly concerned w ith w h a t makes it d iffe re n t fro m even e a rlie r plays th a t th e y are even less lik e ly to see; it m ay t r y to keep b o th farce and th e re alistic in te rp la y o f characters in balance on th e assu m ption th a t w h a t w o rk e d fo r P inero's

J e n n ife r Hagan, S tephen Hargreave, K e n n e th L a ird , M ax O bsiston a n d F a y K e lto n

P h o to : R o b e rt M cF arlane.

co n te m p o ra rie s m ay s till w o rk to d a y ; it m ay t r y to fin d an in d e p e n d e n t, re a listic life fo r th e characters and let th e co m e d y lo o k a fte r its e lf o n th e assu m ption th a t m o d e rn audiences, tra in e d in realism , c o u ld ap proach th e p la y best like th a t.

T h is last a lte rn a tiv e w o u ld be ra th e r d if f ic u lt to achieve in v ie w o f th e a rtific e s o f p lo t and te c h n iq u e e m p lo y e d b y P inero. A lth o u g h th e progra m m e n o te speaks a ffe c tio n a te ly o f th e 'em phasis on c h a ra c te r', th e present p ro d u c tio n , d ire c te d b y Peter C o llin g w o o d , seems to me to choose th e firs t a lte rn a tiv e —exce p t in one n o t­ able aspect w h ic h I shall leave fo r a n o th e r paragraph. I judg e th is to be th e case fro m the p ro d u c tio n 's tre a tm e n t o f, fo r exa m p le , P inero's device o f sim u lta n e o u s o r, ra th e r, c a re fu lly and h u m o ro u s ly in te rlo c k e d d ia lo gue betw een d iffe re n t sets o f characters. W h ile n o tp a r tic u la rly em phasised in th is p ro d u c tio n , such m o m ents are a llo w e d a s o rt n o n -n a tu ra lis tic fo rm a lis m w here th e y m ig h t, e q u a lly , be given a n a tu ra lis tic ju s tific a tio n . T h e y m ig h t, to o , be tre a te d m uch m o re a r tific ia lly b u t th e in te n tio n , at such m o m ents, is rendered a little obscure b y th e size o f th e stage space— the use o f th e revolve fo r th e th re e sets has perhaps c o n s tric te d th e design (H ug h C olm a n) som ew hat. A n d a lth o u g h a co n ve rsa tio n w h ic h is supposed to be c o n fid ­ e n tia l—lik e th a t be tw een Mrs. Posket and her sister in A c t 1, in w h ic h th e d e ta ils o f th e lie are g ive n — is m a rked n a tu ra lis tic a lly b y such m ove­ m e n t as th e stage space a llo w s, asides and d ire c t addresses are given very m uch in th e m id st o f th e a c tio n as an u n se lfco n scio u sly fo rm a l device.

A m o n g th e m a in characters J e n n ife r Hagen's Mrs. Posket seems to me to be playe d m ost c le a rly fo r speed and co m e d y w ith o u t any in te n tio n o f lin g e rin g o v e rc h a ra c te r d e ve lo p m e n t —fo r e xa m ple, a lth o u g h th e e n tire p la y is based o n Mrs. P osket's lie a b o u t her age, her fin a l adm ission o f th e tr u th to her husband, a fte r all th e m isadventures in to w h ic h it has led her w h o le fa m ily , is de live re d b y Miss. Hagan in ve ry m u ch th e same m a nner as her firs t jo k in g allusio ns to it in A c t 1, giving th e im pression o f th e ra pid te rm in a tio n o f w h a t was, a fte r all, m e re ly a p lo t device. D re w F o rsyth e 's character (th e son w hose age has been lied a b o u t) also rem ains b o u y a n tly unchanged b y th e events o f th e p la y a lth o u g h his s ta rtlin g ly e ffe c tiv e last line ( 'I th o u g h t th e re was so m e th in g w ro n g w ith m e '—I q u o te fro m m e m o ry ) suggested th a t th e re a lity o f th e p lig h t o f a n ine teen -yea r-o ld w h o has been co n vin ce d th a t he is o n ly fo u rte e n had a t least been con sid ere d b y P inero.

P inero's o n ly p u b lish e d w o rk on th e th e ro re tic a l aspects o f p la y m a k in g is th e te x t o f a le ctu re he gave on R .L . Stevenson as d ra m a tis t.

In it he asserts th a t Stevenson had d ra m a tic s e n s ib ility b u t no th e a tric a l te c h n iq u e , and he speaks o f th e a tric a l te c h n iq u e in term s o f ta ctics and a rc h ite c tu re . The progra m m e no te qu otes P inero as saying o f h im s e lf: 'S uch success as I have o b ta in e d I a ttrib u te to sm all pow ers o f o b se rva tio n and g re a tp a tie n ce and perseverance'.

W o rk as c a re fu lly plan ned as these farces are can c le a rly a cco m oda te m a n y m o re approaches.

A le x a n d e r H ay's p e rfo rm a n c e in th e t it le role suggested to me th a t a tte n tio n to the de ta il o f th e ch a ra cte r and to th e e m o tio n a l tr u th o f his s itu a tio n a c tu a lly makes th e c o m e d y w o rk b e tte r. In speaking o f M r. H ay's p e rfo rm a n ce as an e x c e p tio n I have perhaps been u n d u ly categ­ o ric a l a b o u t th e in te n tio n o f th e p ro d u c tio n —its w a rm th and lightness m ay con vey th e in te n tio n m o re ju s tly th a n some o th e r aspects d o . A m o n g th e sm a lle r roles I th o u g h th a t Peter W h itfo rd 's W yke , E dw ard H o w e ll's W o rm in g to n and Suzanne R o yla n ce 's Popham le n t best s u p p o rt to th is to n e .

Theatre Australia Jan-Feb, 1977 Page 17

G E N E S IA N THEATRE

G A S LG H T OPUS THEATRE G R O U P

TH E STAR SPA N a ED GIRL Norman Kessell GASLIGHT, by Patrick Hamilton. Genesian Theatre (opened 20.xi.76). Director, Jon Williams.

Richard Manningham, RICHARD WILKINSON; Bella Manningham, ANNE POWER; Elizabeth, PAULINE FURLONG; Nancy, ANNE O’HALLORAN; Brian Cameron, PAUL SARKS.______________________________________ THE STAR SPANGLED GIRL, by Neil Simon. Independent Theatre (opened 16.xii.76). Director, Frank Hahn.

Norman Cornell, CHRISTOPHER LEWIS; Andy Hobart, DON SWONNELL; Sophie Rauschmeyer, BARBARA MARCOT

R ic h a rd W ilk in s o n & A n n e P o w e r in G aslight

B arbara M a rc o t, C h ris to p h e r L e w is a n d D o n S w o n n e ll in S tar-Spangled G irl A b o u t th e o n ly a ff in ity betw een N eil S im o n 's jin g o is tic tr if le . The S tar-S p ang le d G irl, and P a tric k H a m ilto n ’s V ic to ria n -e ra th rille r,G aslight, is th a t b o th are s tra ig h tfo rw a rd , three-act, b e g in n in g-m id dle-a nd-end plays.

W ell, G aslight d id have an end u n til Genesian T h e a tre d ire c to r Jon W illia m s elected to tin k e r w ith it.

W ritte n in 19 3 8 , th e p la y te lls h o w R ichard M anning ham seeks to rid h im s e lf o f an u n w a n te d w ife by s lo w ly d riv in g her insane. He c o n tin u a lly moves th in g s fro m th e ir accustom ed places, th e n persuades his w ife , Bella, th a t she is responsible, b u t is d o in g i t w ith o u t kn o w in g because her m in d is a ffe c te d . E n te r a d e te ctive w h o te lls Bella he suspects her husband o f having k ille d a fo rm e r w ife in th is very house and o f having re tu rn e d to tr y to trace som e m issing je w e lle ry .

He inv ite s Bella to help h im unm ask her u n plea­ sant husband.

By to d a y 's standards, a cre a ky, m e lo d ra m a tic p lo t, and th o u g h in th e past it has been, b o th as pla y and film , a successful veh icle fo r some d is tin g u is h e d players, one can sym p athise w ith a yo u n g d ire c to r's desire to u p d a te th e dialogue, in w h ic h he succeeded, and to t r y to in je c t a new and o n going e lem ent o f te rro r, in w h ic h he fa ile d .

W hat he d id was to tw is t th e end to suggest th a t M anning ham and th e d e te ctive w ere in cah oots in th e m o st e lab ora te ho ax o f all.

T h is is to persuade Bella th a t m o st o f th e a c tio n fro m th e op ening o f A c t II has been a dream o f her d isordered m in d .

T h us in th e fin a l scene, th e d e te ctive has le ft, th e supposedly h a n d c u ffe d husband raises his free hands, th e w ife screams and th e husband b la n d ly in q u ire s, as th e c u rta in fa lls, "W h a t is th e m a tte r, B e lla ? " It is an a n ti-c lim a x and it ju s t d o e s n 't w o rk .

M o reove r, i t leaves th e w h o le s itu a tio n u n re ­ solved, negates m u ch th a t has gone b e fo re and defeats th e m a jo r purpose o f th e p la y .

A p ity , because th a t a p a rt th is was a ge nera lly a rtic u la te p ro d u c tio n w ith a q u ite im pressive p e rfo rm a n ce b y A n n e P ow er as th e d is tra u g h t B ella. T h o u g h vo ca lly s tro n g , R ich a rd W ilk in s o n d id n o t q u ite manage to con vey th e physical menace in h e re n t in th e ch a ra cte r o f th e husband, b u t overall th e p la y in g was w e ll up to th e high

standard achieved b y S yd n e y's o n ly c o n tin u ­ o u sly p la y in g a m a te u r g ro u p .

F irs t pro d u ce d in 19 6 6 , The S tar-S pangled G irl is one o f N eil S im o n 's s lig h te r pieces, b u t it has m uch o f th a t w rite r 's s itu a tio n and verbal deftness.

It was fir s t seen in S yd n e y in 19 72 at th e C o m m u n ity T h e a tre , as K illa ra 's M arian St. T h e a tre was th e n k n o w n , w ith J e n n ife r Hagan in th e tit le ro le and Peter W h itfo r d and Peter R o w le y as the y o u n g m en w hose life s ty le she d isru p ts.

T h e y are N o rm a n C orn ell and A n d y H o b a rt, im pe cunio us p a rtne rs b a ttlin g to establish a radical magazine. L ik e P uccini's hardpressed B ohem ians, th e y have to fe n d o f f la n d lo rd and o th e r pressing c re d ito rs as w e ll as neglected partners o f past am ours. T h e m a in w eapon o f defence is th e te le p h o n e , w h ic h th e y load w ith in sta n t im p ro v is a tio n s th a t th o ro u g h ly con fuse all callers.

E n te r, t im id ly at firs t, th e g irl n e x t d o o r, S oph ie R auschm eyer, an a ll-A m e ric a n , flagw aving O ly m p ic s w im m in g c h a m p io n . By th e . p la y's end she has reorganised th e ir w a y o f life , c o n fo u n d e d th e ir p o litic s , recharged th e ir e m o tio n s.

Barbara M a rco t made an engaging S ophie, w ith C h ris to p h e r Le w is and D on S w o n n e ll p la y ­ ing ne a tly o f f each o th e r as N o rm a n and A n d y re spectively.

A n u n d em a ndin g, g e n tly am using e n te rta in ­ m e n t, th e show was w e ll presented b y a n e w lyfo rm e d co m p a n y , Th e Opus T h e a tre G ro u p .

D rivin g fo rc e is F ra n k H ahn, w h o d ire c te d , adapted th e in cid e n ta l m usic and, w ith Barbara A lto r ja i, designed th e e ffe c tiv e set.

The p ro d u c tio n was fir s t staged e a rlier at th e A u s tra lia n T h e a tre and th e repeat season at th e In d e p e n d e n t T h e a tre sou ght h o p e fu lly fo r a larger audience.

La rg e ly, I th in k , because o f the beleaguered In d e p e n d e n t's d im m e d im age, it fa ile d to a ttra c t th e a tte n tio n its q u a lity m e rite d . It is to be hoped th e g ro u p is n o t th e re b y u n d u ly discouraged. Lew is and S w o n n e ll, w h o m I saw also in a c h ild re n 's show at th e M usic H all, The M agic C low n S how , are tw o very c o m p e te n t p e rfo rm e rs.

Page 18 Theatre Australia Jan-Feb, 1977

DON'T

a

FORGET

THE SMALLEST THEATRE THE WEST

IN

CURRENTLY AT

HOLE in the WALL THEATRE 8 Southport Street, Leederville, VV.A. Phone 81-2403

• T IL L J A N U A R Y 2 9 -

Aarne Neeme's production of Jim McNeil's

"HOW DOES GARDEN GROW”

YOUR

• F E B R U A R Y 5 TO M A R C H 5 -

The Kurt Wei Il/Bert Brecht Musical

"HAPPY END” • F E B R U A R Y 25 TO M A R C H 5 -

A late-night Festival of Perth show Stravinsky's

"THE SOLDIER S TALE" U N B E L IE V A B L E

E C L E C T IC IS M !

nimrod theatre & eric dare very proudly present

Gordon Chater mThe Elocution of Benjamin Franklin bySteve J Spears directed by Richard Wherrett designed by Larry Eastwood F IF T H

M O N TH

over 1 2 0 p e rfo rm a n c e s “ T h e a tric a l P e rfo rm a n c e o f th e Y e a r ” — G e ra ld in e Pascall, T h e A u s tra lia n 2 6 .1 2 .7 6 “ T h e Best Play, T h e Best P e rfo rm a n c e and Best P ro d u c tio n in S y d n e y in 1 9 7 6 ” — N o rm a n Kessel, S u n d a y T e le g ra p h . “ Q u ite S u p e rb ...T h e H it A u s tra lia n P la y ” — L o n d o n Evening S ta n d a rd . “ E n te rta in e r o f th e Y e a r. — G o rd o n C h a te r holds the to p spot fo r th e best piece o f acting I have seen in any p lay , local or im p o r te d ” — T a ffe y D avies, T h e Sun 3 .1 2 .7 6 “ E le c tr ify in g ” — N a tio n a l T im e s .

T u e s d a y t o S u n d a y a t 8 .3 0 NEW AR TS T H E A T R E G LEBE

B ox O ffic e 6 6 0 3 9 2 2 o r agencies. $ 6 .9 0 .

S tu d en ts 1 5 m in . b e fo re show fo r $ 4 .0 0 .

Theatre Australia Jan-Feb, 1977 Page 19

SO UTH A U S T R A L IA N T H E A T R E COMPANY

HAPPY

LANDING S

"H a p p y la n d in g s " said th e p la y w rig h t as he d ro p -k ic k e d th e th e a tre in th e c ru tc h fo r the u m p te e n th tim e . "H o p e yo u e n jo ye d th e t r i p " said th e actress as th e audience to tte re d betw een c o n v e n tio n and c o n fu s io n . "W h a t a w a y to g o " said th e c r itic as he le ft th e P layhouse.” The egg is n 't on m y face, is it ? " said th e sub scriber as she glanced at he rself in th e lo o m irr o r betw een acts. "S o m e th in g 's a b it o f f " said th e d u cks on th e T o rre n s. " B u t w h a t . . . . and w h o 's p a y in g ? " said a passing ta x p a y e r. " P s s t" said a little m an in a ra in co a t in the c a rp a rk b e fo re th e sho w , " Y o u w a n t to see some s o ft-c o re T h e a tre ? " "P iss o f tro u b le m a k e r" said th e c r itic , "th e se artis ts are above titiN a tio n , m y s tific a tio n , and s im u la tio n fo r its o w n sake, le t alone fo r base g a in !" " Y o u go rig h t on in th e re ' came th e re p ly , "a n d y o u 'll be in it up to y o u r b a il-p o in t. It's disgusting and I love i t . " Sure enough, a b o u t fiv e m in u te s in to a s ty lis h , c o n te m p o ra ry chrom e-and-glass soap opera an a c to r prete n d e d to expose him se lf.

Guthrie Worby

G o rd o n : Yes w e ll at least y o u in v ite me to y o u r

i

HAPPY LANDINGS by Michael Cove. The (opened 2.xii.76.). Director, George Ogilvie, John Cervenka.

DAPHNE GREY, LESLIE DAYMAN, JOHN EDWIN HODGEMAN, JOHN LEY, PEGGY DOUG GAUTIER.

Playhouse Designer, PAISLEY, O'BRIEN.

parties.

D iane .y e s G o rd o n : W hy?

D ia n e : Because . . . Y o u m ake a good m a rtin i.

G o rd o n : Is th a t th e reason?

A voice calls o u t fro m th e back o f th e T h e a tre . .

V o ic e : W ell it c a n 't be y o u r a ctin g !

A sharp in ta k e o f breath in th e d a rk , sw eaty palm s, w hispers fro m th e ro w b e h in d . . . shh . . . shame.

A little la te r: G o rd o n : (dow nstage sh ield ing eyes against th e lig h ts ) Er . . . lo o k . . . s o rry , b u t i f these in ­ te rru p tio n s c o n tin u e , w e w o n 't go on.

V o ice : A n d if y o u do go on I w o n 't stay.

U n c o m fo rta b le bum s squeak on c o m fy seats.

G o rd o n : T h en please go.

A u d ie n ce applaud s, a p p a re n tly surprised at th is glim pse o f fu ll-fro n ta lis m . T h e "p la n te d a cto r leaves, b u t re tu rn s la te r in a v a rie ty o f d is ru p tiv e guises.

A fte r a n u m b e r o f p lo t changes (ro u g h ly one per new a rriva l on stag e),a fter th e illu m in a tio n o f an a u d ito riu m fu ll o f ste a d fa stly fo rw a rd lo o k in g pa tron s, a fte r a sequence in w h ic h a gunto tin g a c to r insists th a t w e 're on a plane b o u n d fo r Damascus, a fte r e xp lo sio n s, and collap sing sets, th e " h ija c k e d ” th e a tre stops to re fu e l.

In te rv a l.

In th e fo y e r som eone (p o ssib ly q u o tin g th e p la y w rig h t) says "H ija c k e d m y fo o t, it d id n 't even get o f f th e g ro u n d ” .

"O h th a t's a b it u n fa ir " pipes a lit t le fe lle r "E v e n th e p la y w rig h t lets one o f th e actors say th a t it's a w a n k ."

"W h o am I to disagree?" replies th e C ritic , A voice fro m hid d e n speakers treacles . . .

"T h e p e rfo rm a n ce w ill recom m e nce in fiv e m inu tes. W o u ld y o u please ta ke y o u r seats.

The d rin k e rs respond to th e subsequent pa vlo v o f bells w ith m u tte rin g s o f " I d id n 't k n o w th e p e rfo rm a n ce had sto p p e d .”

"P s s t" says th e little m an " T h e y 'll have y o u by th e s h o rt and cu rlie s fro m n o w o n . T h ey make all th e ir o w n excuses, c ritic iz e all th e ir o w n fa u lts , issue challenges th a t th e y k n o w w o n 't be ta ke n up , and p u ll som e o f th e good o ld tric k s o f th e T rade . . . w h ic h ju s t goes to prove th a t th e m ore y o u s trip o f f th e less y o u see and th e m o re yo u e n jo y i t . " In th e a u d ito riu m a huge hand begins to w rite in flam e on th e w a ll . . . NO A C T O R NO P L A Y NO P E R F O R M A N C E IS IN T R IN S I­ C A L L Y IN T E R E S T IN G . . . "W o w a v is it fo rm th e Muse, I w o n d e r if an yo n e else can see th a t" th in k s th e c ritic .

A C T O R R E V E A L S A L L AS A U D IE N C E L E A R N S T H A T PROP B O O Z E B O T T L E S A R E F IL L E D W IT H C O L D T E A W A T E R OR C O L O U R E D W A T E R . T h is is th e news th a t w ill c a rry th e th e a tre in to th e T w e n ty -firs t C entury? N o , th e re is m ore to com e! Th e piece calls fo r a T r u th Game. The T h eatre has again been hija cke d in th e name o f L ib e ra tio n and R e v o lu tio n b y som e actors w h o ask th e audience to believe th a t th e y are w h a t th e y say th e y are and m o re o ve r th a t th e audience is w hatever th e y say it is. T h e y urge th e ir fe llo w actors, w ith th e aid o f a fe w fla sh p o ts and blan ks, to change th e ir safe "lo u n g e ro o m " preten ce fo r th e ra refied a ir o f s p e c u la tio n a b o u tth e c o n d itio n o f th e a tre in th e real w o rld . The oth e rs p o in t o u t th a t some people p re fe r to use th e th e a tre as a place to hide fro m th e o u ts id e re a lity and d riv e th e p o in t hom e w ith a re n d itio n o f the b a ttle h y m n "T h e re 's N o b iz L ik e S h o w b iz ."

W h ils t th is is happen ing th e re is considerable ta m p e rin g w ith w h a t used to be deem ed lethal s tu f f: illu s io n , suspension o f d is b e lie f, b e lie f, ca lcula ted a lie n a tio n , a c to r in te rp la y , etc.

F

T H E A T R E B LO W N O U T O F P E R S P E C T IV E . . . M IS S IN G : O N E L IT T L E M A N IN A R A IN ­ C O A T A N D O N E C R IT IC .

Le slie D aym a n, Peggy O 'B rie n , D aphne G re y a n d D o u g G autier.

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

H a p p y La nding s was George O gilvie's last prodtio n as A r tis tic D ire c to r o f the S .A .T .C . .

Perhaps, th e rfo re , it is f ittin g th a t he has chosen a piece w h ic h a tte m p ts a reappraisal o f ou r th e a tre 's a llo tte d ro le , w h ils t at th e same tim e up endin g th e c o n ju re r's bag o f tric k s to show b o th the w ays and means o f a c ra ft. It is a p ity th a t the end p ro d u c t was m o re a com prom ise th a n a fu s io n o f a rt and m a tte r.

Page 20 Theatre Australia Jan-Feb, 1977

A .F .C .T .

H A R R Y M. M IL L E R

EL GRANDE DE COCA COLA Michael Morley

EL GRANDE DE COCA COLA by Ron House. John NevilleAndrews, Alan Sherman, Diz White and Sally Willis The Space, Adelaide Festival Centre (opened 1 .xii.76). Directed

by Joe Latona.

Miguel, MICHAEL HAEBURN; Don Pepe. MICHAEI MOODY; Consuela, BELINDA DAVEY; Maria, CLARISSA ZORZAN; Juan, KYM GOLDSWORTHY.

E l G rande de Coca Cola, b ille d as " h o lid a y re fre s h m e n t" " fa n ta s tic o " and " th e real th in g " is s im p ly a m iserable m asquerade fo r th e m indless, a c y n ic a l charade, a c ru d e c o n ­ fid e n ce tr ic k . The Festival C entre has housed some fa ir ly a p palling p ro d u c tio n s th is year, b u t never c o u ld one's w ild e s t im aginings have envis­ aged th e a w fu l in a n ity o f th is latest a tte m p t by H a rry M. M ille r to soak u p some o f th e surplus C hristm as m o n e y s u p p ly . Perhaps th e m ost distressing aspect o f th e w h o le ta w d ry business is the fa c t th a t th is cabaret fo r c re tin s is on show in th e Festival C entre. W ith th e best w ill in th e w o rld , I s im p ly c a n n o t conceive w h a t c o u ld have p ro m p te d th e p o w e r(s )-th a t-b e to have accepted it.

M aybe H a rry M. M ille r and Coca C ola have m ore c lo u t th a n one im agined. O r perhaps it's a move on M r. M ille r's p a rt in to th e up per echelons o f th e th e a tre . A fte r all, th e season o f G ilb e rt and S ullivan is ru n n in g in th e same b u ild in g : it m ay be th a t A u s tra lia 's fo re m o s t th e a tric a l im presario has com e o u t o f re tire ­ m ent ju s t to get o n to a good th in g , reasoning: " I m ay very w e ll pass fo r an Oz G u th rie In The Space w ith The T ru s t be h in d m e ."

W hat an a llian ce! The show 's ha ndou ts d rip w ith the ty p ic a l M ille r hard-sell and lavish p u b lic ity - th o u g h perhaps Coca C ola had a hand in these, as th e y get enough m ileage fro m th e show 's settings and in c id e n ta ls as to make th a t w e ll-k n o w n c igarette com pany lo o k p o s itiv e ly discreet in its approa ch to c ric k e t spo nsorsh ip. The ad vertising m a n ip u la te s th e audience w ith an a ffro n te ry verging on th e sub­ lim e . The show has " fiv e s u p e rb ly clever p e rfo rm e rs ;" (on the n ig h t I saw it, I can o n ly assume I m u st have been w a tc h in g th e fo u rth set o f understudies). The actors are " b r illia n t ; " th e re is a " t o p d ire c to r and c h o re o g ra p h e r" and.

to cap it all, a h e a p o f s u p e rla tiv e s fro m A m e rica n c ritic s . It w o u ld be in te re stin g to com pare th e o rig in a l p ro d u c tio n w ith th is m ish-m ash in A d e la id e : pe ople lik e T y n a n and Barnes are n o t alw ays th a t easy to please, and th e y c e rta in ly seem to have e n jo ye d th e ir v is it to E l Grande.

B u t how ? There is n o t even th e flim s ie s t o f s to ry lines on w h ic h to hang th e h o tc h -p o tc h o f te le v is io n -d e rive d sketches; no in te re st in any th e a tric a l p o s s ib ilitie s ; no w it, and, w o rs t o f all, no ta le n t. Placards te ll us th a t we w ill see D on Pepe Hernandes o rg a n izin g an evening o f cabaret pe rform ance s fo r o u r e n te rta in m e n t, in an e ff o r t to con some m o ney o u t o f his u n cle (n o t to m e n tio n th e au dience ). So we have h im and his fa m ily fillin g in as b u m b lin g m agicians, clum sy acrobats, b lin d fo lk-sin gers, G erm an ro c k artists, e tc. etc. The h u m o u r is o f th e "cra ck-m e -o n -th e fu n n y -b o n e -w ith -a -sh o ve l-a n d -th e n -d ig -m e -in th e -d ia p h ra g m -w ith -a -p ic k -a x e " v a rie ty . Sample: th e Germ an ro ck-singe r is called Hans Scheisshausen (alw ays good fo r a gorm less giggle, th a t one). T h ere are lo ts o f leers a b o u t bo obs and bum s d u rin g an in te rm in a b le sketch fe a tu rin g T o u lo u s e -L a u tre c, Jean A v ril and Y v e tte G u ilb e rt (th ere 's th e k u lc h u ra l c o m p o n e n t fo r y o u : m ost o f th e audience w o u ld n 'h a v e kn o w n Y v e tte G u ilb e rt fro m O livia N e w to n -J o h n ).

A n d in th e same ske tch , w h ic h w ins m y person­ a lly engraved c h a m b e r-p o t a s th e m o s to ffe n s iv e ly unam using mess o f v u lg a rity I've ever seen a n y ­ w here, th e re w ere so m a n y references to "s o ix a n te -n e u f" (tra n sla te d fo r th e ig n o ra n t) th a t at one stage I even co n te m p la te d c ry in g o u t "c e n t tre n te -h u it is tw ic e as g o o d ." I restrained m y s e lf even th o u g h I th o u g h t it fu n n ie r th a n a n y th in g else I heard all evening), and perhaps I s h o u ld n 't have. The one m o m e n t w hen it seemed as i f som e th in g in te re s tin g m ig h t develop came w hen a m e m ber o f the audience a c tu a lly booed th e p e rfo rm e rs d u rin g one p a rtic u la rly e x c ru c ia tin g piece o f clum siness. B u t he m ay s im p ly have been d o in g w h a t is k n o w as "e n te r-

ing in to the s p irit o f th e th in g .”

W hich is none to o d if f ic u lt . W ith The Space set up lik e a se lf-co n scio u sly seedy cabaret bar, th e audience can sip the evening aw ay if th e y fin d the e n te rta in m e n t n o t to th e ir taste. The idea has p o ssib ilitie s: perhaps one n ig h t som eone m ig h t a c tu a lly s w a llo w e n o u g h t o f the sponsor's p ro d u c t, s u ita b ly laced w ith a lc o h o l, to voice his o p in io n o f such m e m o ra b le one-liners as R ichard th e T u r d ;" " E l b lo k e m u c h o t h ic k ;" and "V iv a show b u sin e ss!" (T he last c e rta in ly deserves m y s u p p o rt: b u t tr y in g to breathe any life back in to th is rig id corpse w o u ld ta x th e pa tience and in g e n u ity o f th e L o rd H im s e lf— no chance o f a repeat Lazarus p e rfo rm a n c e here).

B u t th e show does d o its b it to w a rd s b rid g in g th e language b a rrie r. T h ro u g h o u t, it is couched in a ty p e o f p id g in Spanish, pa n d e rin g to th e audience's image o f th e "greasy d a g o ." It also manages to s lith e r in to pig G erm an and "vache e s p a g n o le "-typ e F rench. U n fo rtu n a te ly , such s u b tle tie s seemed lo st on th e audience. A fte r th e T o u lo u s e -L a u tre c sketch had been dragging its e lf along fo r some m in u te s, one m e m ber o f th e audience w h ispe red to her n e ig h b o u r "O o h : th e French is fu n n y , is n 't it ? " T o w h ic h came th e in e ffa b le re p ly : " O h , is it F rench n o w ? " It m ig h t be possible, given some re-arranging and som e d iffe re n t p e rfo rm e rs, to tu rn th is show in to a sa tiric a l a tta c k on ju s t w h a t audiences w ill pay to go and see. B u t th e sketches and lin g u is tic c o n to rtio n s dem and th e practised v u lg a rity and slick tim in g o f a B enny H ill to m ake th e m w o rk ; and at $ 5 .3 0 fo r a ro u n d 75 m in u te s e n te rta in m e n t!? ), the p rice fo r being a lte rn a te ly bo red and p ro m p te d b y waitresses to o rd e r a n o th e r d r in k is fa r fro m cheap. B ette r to tu r n it in to a " B rin g Y o u r O w n " a f f a ir - in th is case, b o th liq u o r and y o u r o w n c o lle c tio n o f s m u tty , c o rn y P rim a ry S chool Jokes. T h e y 're b o u n d to be fu n n ie r th a n a n y th in g y o u 'll hear in th e course o f th e evening.

Theatre Australia Jan-Feb, 1977 Page 21

Rodd Island

in association with the festival of Sydney and Streets Ice Cream Robert Louis Stevenson's immortal adventure story

A D A P TE D A N D D IR EC TED BY KEN H O RLER

with Peter Adams, Robert Alexander, Ivor Barnard, Bill Charlton, Derrick Chetwyn, Ralph Cotteri 11, Ron Graham, Hugh Keays-Byrne, Geoff Parry, Dennis Scott, Bruce Spence.

Tuesday 18 - Saturday 29th January Ferries from No. 2 Wharf Circular Quay at 9.45 a.m. and 1.30 p.m.

U PSTA IR S FROM 22nd JA N U A R Y 'The Resuscitation of the L IT T L E PRINCE WHO C O U LD N 'T LAUGH as Performed by YOUNG MO at the Height of the Great Depression of 1929.'

By STEVE J. SPEARS

Starring G A R R Y M cD O N A LD , G L O R IA DAWN and Gary Cosham, Marlene Dale, Willie Fennell, John Gaden, John McTernan, and Sue Walker

Directed by Richard Wherrett Musical Director Roy Ritchie Designed by V ikki Feitscher Choreographer - Pamela Gibbons

500 Elizabeth Street, Surry Hills Sydney 2010 Phone 69-5003

Festivalof Sydney

Page 22 Theatre Australia Jan-Feb, 1977

CHIDLEY Introduced by Alma De Groan

Born in N ew Zealand, Alm a Groen came to Australia in 1 9 64, and now lives in Sydney. She spent fo ur years overseas, living in England, France, and Canada before returning to Australia in 1973.

Alm a has received tw o grants from the Literature Board, Australia Council, and a grant from Canada Council w hile living in Canada.

Her plays in clud e:The S w e a tp ro o f B o y w ritten in 1968; N im ro d, Sydney, 19 72; Holein-the-W all, Perth, 1973 Perth Festival; Brisbane Rep. 19 73. The Joss A dam s S h o w - Studio Laboratory Theatre, T o ro no to, 19 70; Festival Theatre, S tratfo rd , O ntario, 19 70 after winning a prize in a nationwide playw riting com petition; Pram Factory Melbourne, 19 72;S o u th Australian Theatre Com pany, 1973; Alm ost Free Theatre, London, 1974; N im rod, Sydney, 1 9 7 5 .P e rfe c tly A H R ig h t - South Australian Theatre C om pany, 19 73; N im ro d, Sydney, 1 9 75. The A fte r - L ife o f A r t h u r Cravan - Jane St. Theatre, Sydney, 1973; Hole-in-th-W all Theatre, Perth, 1974; G oin g H om e - Commissioned by the M elbourne Theatre Com pany and produced by them in 19 76. And C h id le y - Hoopla Productions, Grant S t. M elbourne 1 9 7 6 /7 7 .

The q u e stio n m ost o fte n asked in M e lb ournewas h o w I had com e to w r i t e C H ID L E Y . A fte r three years I fo u n d it d if f ic u lt to answer. Roger Pulvers suggested it, b u t w h y d id I fo llo w it up?

Then w a tc h in g Peter C um m ins in rehearsal one day I th o u g h I kne w w h y . He had on his blue toga and was stan ding w ith his back to me, fa c in g th e Judge. I w assw ept w ith e n v y s u d d e n ly n o t o f the acting process, b u t o f C h id le y the m an, so fa r o u t in th e cosm os in his blue tu n ic th a t n o th in g c o u ld to u c h h im . I w o n d e re d if at some p o in t in o u r lives we all go mad to some degree. Some o f us in te rn a liz e it and go on w o rk in g nine to five b u t shut d o w n in some v ita l respect so th a t a n a rro w in g takes place, a s o rt o f harden ing o f th e arteries o f the soul.

O thers, lik e C h id le y , sw ing so fa r o u t o f o r b it th a t th e y never com e back. T h e y transcend th e ir lives in some v io le n t o r b e a u tifu l o r c o m ic w ay and are no longer con cerne d w ith mere circu m sta n ce - w here w e 're to ld th e tr u th resides.

I th in k th a t was th e essence o f m y a ttra c tio n to C h id le y . The C onfessions reveal h im as a man in search o f b e a u ty , un able to accept the w o rld as it is and stru ggling all his life fo r tra n ­ scendence. There was no w a y o f dealing w ith h im o th e r th a n th e w a y th e a u th o ritie s u ltim a te ly to o k . It was n o t so m u ch th a t th e law was against h im ; w h a t was against h im was an a ttitu d e o f m in d w h ic h C h id le y th re a te n e d . He was punished fo r needing to cope, fo r being dissatis­ fie d , fo r re q u irin g an e x p la n a tio n . It w a s n 't ju s t w h a t he said - it was w h y he needed to say it. " A l l those u n h a p p y , m iddle-aged men fo rm a g ro u p in m y m in d , and even at th a t tim e I gave a good deal o f th o u g h t as to th e possible cause o f th e ir fa ilu re in life ." The C onfessions T here is s o m e th in g w ro n g som ew here fo r the re to be such extrem e s o f p o v e rty and riches, and such s u ffe rin g and so rd id ugliness in th e w o r ld ."

His the ories on sex w ere his w a y o f co p in g w ith w h a t he saw in th e w o rld around h im and w ith w h a t the m o ra lity o f the da y had do ne to him . A n d in de aling w ith his a n x ie ty in th is w ay, ra th e r th a n in te rn a liz in g it, he became a th re a t.

The C onfessions in th e M itc h e ll L ib ra ry are fascin ating and o fte n d e e p ly depressing. It is lik e having to spend all day w a tch in g S isyphus c o n tin u a lly ro ll his stone up the h ill o n ly to have it run back d o w n again fro m the to p .

A m o n g his papers is an ad ve rtise m e n t fo r th e A n s w e r. O n th e back C h id le y has w ritte n in large le tte rs : S H E P H E R D M Y B O O K . He knew w h a t was happening and th a t he w o u ld be suppressed. F o rtu n a te ly he c o u ld n 't have k n o w n fo r h o w long. T h e C onfessions are s till u n publish ed.

" A s we w ere c o m in g o u t o f the gardens I p ic k e d up a red rosebud. I to o k it hom e and p u t it in a glass o f w a te r. I seemed to have ca rrie d hom e some o f the open a ir cha rm o f the gardens. E very m o rn in g it was a fresh jo y to see the bu d u n fo ld . B ut one m o rn in g all the petals had fa lle n o ff , leaving o n ly a y e llo w th in g in th e c e n tre . I crie d and w o u ld n o t be c o m fo rte d . I c o u ld n o t un derstand F ather's laughing. D id he n o t see th e ro o m was d a rk e r n o w the rose was dead? I fe lt it lik e th e loss o f a fr ie n d ."

C H ID L E Y . The Confessions.

W illiam James Chidley (1 8 6 0 -1 9 1 6 ) is a part o f A ustralian history which has been lost to us fo r to o long - possibly becuase his ideas and his mode o f expressing them are as unacceptable to us today as th ey were when he first began to expound them more than sixty years ago.

In his own w ay he was a colourful a figure as Ned K elly , King O 'M alley, or John W ren, and is just as im po rtant in understanding th eir tim e, and ours. Y e t three volumes o f his confessions lie unpublished in the M itchell Library. The C onfessions are one o f the great works of Australian literature, an extraordinary record of a man determ ined to te ll the tru th about himself regardless o f how he m ight appear. In the C onfessions are the best and worst o f his struggles to make sense o f his existance.

This struggle led to persistant persecution by the authorities and fin ally to his incarceration in a mental hospital. N ot an atypical example o f the way Australia treats the genuinely creative.

Whilst there he im m olated himself by pouring kerosene over his clothes. His body recovered, but his spirit did not. He died in Callan Park Hospital on December 2 1 ,1 9 1 6 .

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.Theatre Australia Jan-Feb, 1977 Page 35

••• ••• ••••••

Season 24

M arch to September1977

SUBSCRIPTION BOOKINGS NOW OPEN and at

to our new venue — THE ATHENAEUM THEATRE

RUSSELL ST.THEATRE

THE SCHOOL FOR SCANDAL JUNO ANU THE PAVCOCK THE WILD DUCK THE MERCHANT OF VENICE

THE FALL GUY THE CLUB ASHES

by Linda Aronson — March 29 to May 21

by R.B. Sheridan — March 15 to April 23

by David Williamson — May 24 to July 23

by David Rudkin — August 2 to September 24. Not recommended for persons under 18 years of age.

by Sean O’Casey — May 3 to June 11

by Henrik Ibsen — June 14 to July 23

by William Shakespeare — July 26 to September 3

S U B S C R IP T IO N SECUR ES YO U R S E A T S T O A S E A S O N OF G R E A T E N T E R T A IN M E N T A T PRICES EVERYONE C AN AFFORD! • Adults save up to $23.20 on single ticket prices on a pair of tickets to the season.

• Special reduced rates for: Everyone under 26 years of age.

Young parents with young fam ilies- free child-minding facilities provided.

Students-full time under 26 years. Pensioners. Large families.

• You choose when you wish to attend the plays. If something unexpected comes up, you can change your tickets to another date-but please, 24 hours notice.

• You can see any 4 plays, any 6 plays, or the complete season of 7 plays-the choice is yours.

Subscribe now to our new season, it’s easy and convenient and you pay less for the best seats.

RING 654 4000 NOW lor your FREE COLOUR BROCHURE giving full details ol this exciting new season and the savings offered to you.

ALL BOOKIN.GS — RUSSELL ST. THEATRE, 19 RUSSELL ST.

Page 36 Theatre Australia Jan-Feb, 1977

Luna Park Open Air Bach _ Aust ChamberOrch.Musica Viva; fun, games and a good view of New Year’s Eve fireworks

N.S.W, Conservatorium Sorxtreim, Lemer, Prince.

Bhcesse — first Sydney International Music .Theatre Forum, Jars. (6-23

The Hocks Australia Day Celebrations.

Festival Club in the Lowenbrau Kelter, i beer »-V \ and fun

1

Joy

Rodd Island Treasure ■ n isiancf, brilliant Nimrod pj Theatre re-enactment directed by Ken Hoher Jan. 8-22,25-2S

\ § )f ( Sydney Opera House

\

ö]

é /

M artin Placo jazz, folk, street. theatre, dance, poetry.

Mini Opera, brass

^ %•

Free Ait-Star New Year's Eve Concert and fireworks; Festival Opera Season, drama. ' concerts. Sun Kids Jogathon Jan. 2

jn

1 A ate

Sydney Square Theatre, music, jazz, poetry.

I^T.A F B a ^ l ethnic dancing

Haymarkat First Qartteatic Sydney Jazz Festival, ■v rock, workshops, Jo» street fair and markets, concerts, films. »} n Marc!i Gras.

- y Jar,. 29

, Capttot Theatre Twisties Super Kids Him Festival and Supercrunch, / live on stage f

l~ St. Mary s Cathedral j Dramatic presentation of Verdi’s Beguiem d k . / “ > Mass, 8.30 p.m.. / January 27

Town Hall Music, N.S.W. Dance Co.,Magnificent Sydney Pops Orch

Hyde Park Tooheys-Sun / \ S p o r t s Demos, jazz,pop, v, \ street theatre, Trgvetodge {Tw ilight Concerts starring f 0 Keefte, Limb, Lake, / Kamahl, Joye, Lucky Stan

/

Theatre Australia Jan-Feb, 1977 Page 37

^ S yd n ey

c eleb r a te Patricia Brereton

D o w n a t th e Opera House on N ew Years' Eve the Festival o f S ydne y was launched w ith great enthusiasm . N o w S ydne y has fo r a long tim e been searching fo r a festive id e n tity . In th e tra d itio n a l riv a lry s p irit betw een States she has fe lt the sting o f A d e la id e 's successful A rts Festival and M e lb ourne's C arnival s ty le M o om ba .

A fte r the ha ppy dem ise o f th e W aratah Festival, S ydne y c o u ld n 't even call its e lf a c o m p e tito r in th e fe stiva l stakes.

B u t her citize n s no w have th e ir o w n m o n th long "F e s tiv a l o f S y d n e y ". I f a razzam atazz o p ening is any in d ic a tio n , th e Festival is o f f to a fin e s ta rt. P ro m o tio n was lo w key fo r th e Ope a fin e s ta rt. P ro m o tio n was lo w key fo r the O pera House op ening . B u t, blessed b y a b e a u ti­ fu l b a lm y evening m ore th a n 1 0 0 ,0 0 0 c itize n s o f S ydne y packed th e ir eskies and c o lla p s ib le cam p stoo ls and stream ed in to the open-a ir Opera House pre c in c ts . The p ro g ra m m e was a musical p o t-p o u rrie , w ith th e ro c k band A ir S u p p ly sharing th e stage w ith th e A u s tra lia n Opera and orchestra, and Jazz groups. Powerp o in t and Galapagos D u c k . E xce rp ts fro m Carm en, D o n G io v a n n i and th e M agic F lu te d e lig h te d all in a b u ild u p th a t c lim a x e d at m id n ig h t w ith the fin a l bars o f T c h a ik o v s k y 's 1812 o ve rtu re and a cavalcade o f spe ctaucu la r fire w o rk s .

Leo P o rt, th e L o rd M a y o r was a b ly supported, in leading festive c itiz e n s in to A u ld Lang Syne b y Master o f C erem onies, H a rry M. M ille r, and th e festiva l's E x e c u tiv e D ire c to r, S tephen H all.

The o p ening was s p irite d and w e ll sup p o rte d b y th e people. W h a t the n are th e aims and a m b itio n s o f th e Festival organiser?

One o f th e c ritic is m s o f the planned festiva l was m o o te d th ro u g h th e ra th e r c y n ic a l q u e s tio n , " B u t w h a t s o rt o f a fe s tiv a l? " A n d it is tru e th a t the program m ers have u tiliz e d th e vario us a c tiv itie s already planned fo r S ydne y d u rin g Jan uary ra th e r tha n th r o w all th e ir endeavours in to organising new a c tiv itie s .

B u t th is m ay tu rn o u t to be an ideal th ru s t.

We are a c o s m o p o lita n pe ople in S ydne y w ith diverse tastes. A p rogra m m e th a t covers s p o rt, m usic, cra fts , th e a tre and tre ats the kids as a special g roup, is one th a t w ill appeal to all age groups p a rtic u la rly in the s p irit o f " h o lid a y ­ t im e " th a t is J an uary in S ydne y.

In ca te rin g fo r b o th w id e range o f tastes and appealing to all age groups th e organisers are fa cin g a barrage fro m d o u b tin g Thomases. The S ydne y M o rn in g H erald has b e n ig n ly blessed th e Festival w ith e d ito ria l a tte n tio n and c o m ­ m e n t. A fte r a fe w respectably encouraging w o rd s ho w e ver, it w arns, "T h e Festival o f S yd n e y seems in danger o f being to o d iffu s e so th a t in th e end it w ill be w ith o u t character, w ith o u t a d istin ctive n e ss th a t sets it ap art fro m festiva ls in o th e r c itie s ." (M o n d a y Jan. 3, 19 77).

A ll c ritic s m u st agree, in fairness, th a t th is is the c ity 's firs t m a jo r fe s tiv a l. The organisers have a tte m p te d fo r th e ir F irs t Festival to act in a liaison role ra th e r tha n p la y a c a ta ly s t's role th is year. So we have a chance to have a c o m ­ p o s ite lo o k at all th a t is on a round S ydney to w n . T h is I exp ect w ill prove a wise op ening g a m b it.

A n d it's really a feast o f a c tiv ity no m a tte r th e taste. The H a y m a rk e t has been con verte d to a Mardi-gras o f a c tiv ity p a rtic u la ry fo r th e kids.

L o o k in g alive w ith p o p a rt and sou nding m u sic­ a lly jo y o u s the re's loads o f stalls, cra fts, concerts, th e a tre groups and even a s w im m in g p o o l fo r those w ith o u t in h ib itio n s ! It's a fa m ily cen tre and one th e teenagers are c e rta in ly e n jo yin g .

Theatre groups have, as usual, c o n trib u te d every ounce o f th e ir ta le n t to s u p p o rt the festiva l's endeavours. D ow n at the H a y m a rk e t C ondell Park H igh S chool D ram a G ro u p are e n te rta in in g w ith a social c o m m e n ta ry Crisis W hat Crisis. T h ere are som e w o n d e rfu l p a ntom ine shows in c lu d in g Treasure Island and o f course, th e circus has com e to to w n . It is loved b y y o u n g and o ld.

There's feast o f o ld tim e fa vo u rite s to be seen on stage w ith "o n e m a n /p e rs o n " shows by A le xa n d e r A rch d a le and C olleen C liffo rd as w e ll as p ro d u c tio n s fro m all th e fin e com panies like O ld T o te and N im ro d . B u t regular th e a tre fo llo w e rs w ill p ro b a b ly be m ost lo o k in g fo rw a rd to th e N im ro d 's Y o u n g M o b y Steve Spears and sta rrin g G arry M cD o n a ld .

A le x A rc h d a le - one m an s h o w "T h e Festival o f S ydne y Spells M u s ic " say th e advertisem ents and th is m u st be so. As w e ll as th e m ost successful p o p jazz and ro ck groups w h o have le n t s u p p o rt th e re is a sum m er p ro ­ gram m e fro m th e A u s tra lia n Opera th a t w ill d e lig h t and includes A id a and w h a t sounds a new and very e x c itin g p ro d u c tio n o f M adam B u tte rfly designed b y M ichael S enn ett.

One o f th e m o re in te re s tin g events o f an unusual na ture w ill be The In te rn a tio n a l M usic T h eatre F o ru m . F o r a w eek in th e m id d le o f* Jan uary A la n Jay Le rner, S tephen S ond heim , H aro ld Prince and Leslie Bricusse w ill jo in forces fo r a fra n k and open exchange o f ideas on m usic th e a tre : w here it's headed, w h a t its purpose m ay be and w h a t fo rm s are o u tm o d e d .

The Sole Bros. C ircus P rince A lfr e d Park

P h o to : J. F a irfa x L td .

We lo o k fo rw a rd in th e F e b ru a ry issue to review ing all these a c tiv itie s in th e ir perspective.

We lo o k fo rw a rd in the F e b ru a ry issue to re vie w ing all these a ctivitie s in th e ir perspective.

B ut fo r the present I, fo r one, w e lco m e th is oasis o f a c tiv ity . The Festival has n o t aim ed in its firs t th ru s ts to de velop a special ch a ra cte r and c o n c e n tra tio n . I c o m p lim e n t th e organisers and hope th e y mean to a llo w th e Festival to develop its ow n p e rs o n a lity . W h ile o f the sta rt it m ay lack a d is tin c tiv e ch a ra cte r th ro u g h an organised bias the re w ill be a chance, in th is maze o f a c tiv ity , fo r the people to express th e ir tastes and needs.

S tephen H all speaks o f the Festival's aims and a m b itio n s w hen he says "W e have conceived th e Festival fro m th e ve ry be g in n in g as a "p e o p le 's " fe stiva l. It is a chance fo r every single one o f us to com e to g e th e r in jo y and celebra­ tio n " . Perhaps w h a t M r. Hall and his c o m m itte e have best given to th e pe ople o f S ydney is a chance to e n jo y a festiva l atm osphere w ith th e a tric a l-a rtis tic d e lig h ts w h ile s till h o ld in g o n to th e ir tra d itio n a l love o f beer, beach and praw ns in sum m er! W ith som ethings o ld and som ethings new S ydne y m ay end up w ith a tru e festival.

Let us hope so!

Page 38 Theatre Australia Jan-Feb, 1977

A CRITICAL DIRECTION HOOPLA is possibly the most adventurous new company in Australia.

Here Garrie Hutchinson, co-founder, gives the background to its birth and his direction of the inaugural production.

GARRIE HUTCHINSON is a published Melbourne poet, co­ founder of Hoopla Productions Pty. Ltd, and Theatre critic for The Australian and Theatre-Australia.

A D A Y IN J U N E , 1976.

Graeme B lu n d e ll and I are s ittin g a ro u n d an unreno vate d ro o m in his house in F itz ro y . We are d rin k in g p o rt and la m e n tin g th e state o f the th e a tre in M e lb ourne. M o s tly we are la m e n tin g th e fa c t th a t th e phone does n o t ring. W ell, th e phone rings b u t the voices on th e o th e r end o f th e line w a n t thin gs lik e A lv in P urp le , o r y e t a n o th e r a rtic le on D avid W illia m s o n . N o one says please com e and d o th is great new pla y We feel le ft o u t.

N o t o n ly th a t. We feel th a t th e re are dozens o f w rite rs n o t being p ro d u c e d , actors n o t being cast, d ire c to rs sw eating on p ro d u c tio n lines, and audiences b o red shitless. L ik e th is , says Graeme. Take A lm a de G roen. He p u lls a s c rip t fro m under a p ile o f c la re t stained V illa ge Voices.

T his is n 't a bad p la y at all. B u t no one w ants to kn o w .

It was C hidle y. I read it. It seems lik e a fa ir enough firs t d r a ft. I've alw ays w a n te d to be a d ire c to r I said. I th o u g h y o u believed no one sho uld d ire c t b e fo re th e y are t h ir t y says G raeme.

Tim es dem and a change in a ttitu d e I say. W e 'll do it! We h a v e n 't go t any m o n e y he says. Fear n o t! M o ney is the least o f o u r w o rrie s .

SO M E D A Y S L A T E R .

A re you serious a b o u t d o in g th is p la y I ask Graeme. Sure, he says. I 'll be in it. I 'll pla y th is nuggety little Aussie W alt T u rn b u ll. Just o u t o f p riso n , he comes hom e to fin d his w ife in bed w ith a p ro p h e t . . . a p ro p h e t o f th e lim p d ic k .

O K . W h o 'll we get to p la y C h id le y? Has to be so rt o f m essianic, big, A u s tra lia n . A n image springs to m in d . A ta lk . B ruce Spence. W hat a stro ke o f casting genius! O u t o f w o rk to o .

A sm all lam e nt fo r all th e o u t o f w o rk ta le n t in th e c o u n try .

I ta lk to B ruce. He seems in te re ste d . W o rry a b o u t th e rest late r, we th in k . T w o g o od, sale­ able actors, c r itic tu rn s d ire c to r, in te re s tin g new p la y , w om a n p la y w r ig h t—these seem good enough to get som e th in g m o v in g in audience term s . . . n o w fo r a the atre .

29 J U N E .

I ring S im o n H o p k in s o n . He's d ire c tin g the M e lb o u rn e T h e a tre C om p any season at th e new G ra nt S tree t T h e a tre . It's p a rt o f the College

th e A rts , b u t leased o u t t ill Feb '7 7 . W hat's his program m e? F le x ib le he says. G reat visio n .

Im p o rta n t plays. A d v e n tu re . Sounds great I say.

H o w a b o u t C h id le y? I give h im th e spiel. He seems inte reste d. Call me back once w e've go t a fe w thin gs sorted o u t. O K , I say, sounds great.

1 JU LY, O p tim is m prevails. It feels good tr y in g to get s o m e th in g m o vin g again. Graem e and I ta lk a b o u t th e p la y . He’s c o n ta c te d A lm a d e G roen.

She's e x c ite d a b o u t th e p rospect o f having it do ne. Prom ises a re w rite . We q u ic k ly sketch o u t C h id le y 's im p o rta n c e in th e scheme o f thin gs.

He's a p ro p h e t, an A u s tra lia n p ro p h e t. T h a t means ho w e ver serious his aim s, he has fe e t o f c la y , a fla w . T h is is th a t ho w e ver m u ch his ideas a b o u t th e re la tio n s h ip be tw een s e x u a lity and vio le n ce m ig h t be tru e , he was to o hung up on th e lim p d ic k m ode o f c o itio n . B u t he was per­ secuted a n y w a y —he fits in w ith c e rta in a ttitu d e s a b o u t th e uselessness o f priso ns, concepts o f m e ntal illness and th e law . A p ro d u c tio n seems to present its e lf, m o d e ra te ly n a tu ra lis tic playin g, n o t th e messiah, b u t a pe rso n —set in an an tin a tu ra lis tic se ttin g . Bigness d e riv in g fro m the close-upness o f th e p la y in g . P le n ty o f pa thos and e m o tio n , u n d e r-c u t b y th e ideas and th e re al-tim e n a tu re o f th e characters. The m a je sty o f th e law . The pe ttiness o f th e coppers. L e t th e h u m o u r ta k e care o f its e lf.

We re ckon w e 'll d o it la te r in the year. G ra nt S t. seems s o lid .

20 J U L Y .

On the ph one to S im on H o p k in s o n . G ra nt S t. seems less s o lid . H u m m in g and haw ing.

Q u ic k th in k : m aybe the A .P .G . has fo rg iv e n / fo rg o tte n h is to ry . It's w o rth a tr y .

25 J U L Y .

M eet Lind say S m ith . He th in k s it m ig h t be possible to re n t th e Pram F a c to ry . He also th in k s th e re m ig h t be a fe w pro b le m s - unusual request, unusual case. B o th Graem e and I have had a th in g o r tw o to d o w ith th e A .P .G . in th e past. It c o u ld be th a t we are n o t w e ll lik e d .

29 JU L Y .

I a tte n d th e p ro g ra m m e c o m m itte e m e eting o f th e A .P .G . S lig h tly a w kw a rd atm osph ere, as if I am p riv y to state secrets. Put the case; we have a p la y , we need a th e a tre . M um bles all around . A re we in te n d in g to set up a n o th e r co m p a n y in c o m p e titio n ? Do we love th e m ?

W h a t is th a t state o f G raem e's p e rso n a lity?

W h a t are th e grudges, the o ld scores? Som e

H o o p la : C a rrillo G a n tn e r, Graeme B u n d e ll, a n d G arrie H u tc h in s o n _________P h o to : D a v id P arker h o s tility , some acceptance, a lo t o f discussion a b o u t h o w m a ny angels a ct on th e head o f a p in : seems to be an a rg u m e n t a b o u t som e th in g else. S till, seems possible. A dvantages: a th e a tre w e k n o w , supposed fa ith fu l i f sm all audience, ju s t u p th e road.

Disadvantages: susp icio n th a t w e m ig h t get in volve d in in te rn e cin e qu arre ls, n o t so w e ll e q u ip p e d , perhaps no audience, o n ly seats 150 11 A U G U S T .

T u rn d o w n A.P .G . o ffe r o f th e a tre . T o o re s tric tiv e , guaranteed w ay o f losing th e m o n e y w e d o n 't have.

C heck o u t La M ama. M aybe a t o t a lly p o o r scratch p ro d u c tio n m ig h t be b e tte r.

16 A U G U S T .

See A lm a de G roen in S yd n e y. E nthusiasm , good ideas fo r th e p r o d u c tio n - m a in ta in C h id le y's seriousness, c h u c k o u t fa n cy devices lik e have e ve ryone in sports u n ifo rm s . T o o a rty . C oncen­ tra te on ch a ra cte r o f C h id le y . In th e re w rite m o re w ill be m ade o f his c h ild h o o d experiences.

W h a t makes a m an a p ro p h e t?

We n o w fix a te on W end y Hughes as A da, th e w o m a n in love w ith a m an in love w ith an idea. H er re la tio n s h ip w ith C h id le y is ce n tra l, b o th to C h id le y and w ith the little Aussie W a lt.

She ends up saying " I t d o e s n 't m a tte r w h o yo u live y o u r life w ith , as long as it's w ith so m e o n e ."

30 A U G U ST. W e t r y S im o n H o p k in s o n again. T h ro u g h th e u n ce rta in ie s it c o u ld h a ppen—m aybe ju s t th e th e a tre , n o t as p a rt o f M .T .C . season. A n y ­ th in g w ill d o .

9 SEPTEM BER. W e've checked a ro u n d . M .T .C . season n o t a fin a n c ia l success. R um o urs o f G ra nt S t. going d a rk at end o f 76. A p ity , b u t n o t so bad fro m o u r p o in t o f view .

12 S E P T E M B E R .

Reach an agreem ent o f sorts ove r G rant S tre e t. O w in g to th e ove rla p o f various pro je cts and fantasies, C a rrillo G an tn e r, fo rm e r General M anager o f th e M .T .C . jo in s th e gang. We are n o w H o o p la P ro d u c tio n s . Iro n y piles on iro n y .

16 S E P T E M B E R .

Graem e, S im o n and I see Jo h n S um n er. He's ve ry frie n d ly (sh o u ld we be suspicious?) th in k s w e 're mad and wishes us w e ll.

Theatre Australia Jan-Feb, 1977 Page 39 22 SEPTEM BER. Bruce Spence dro p s o u t. W ho now ? Peter C um m ins? Joh n Gaden? N eil F itz p a tric k ?

Casting is a m a jo r p ro b le m fo rc e d to th e b o tto m o f th e list. A fe w m o re fix a tio n s o ccu r. M ichael A itk e n s as the co p B ran ston.

I O C TO B E R .

One o f th e great days. E a rly m o rn in g m e eting w ith S im on H o p k in s o n . Finalise d e ta ils o f o c c u p a tio n o f G ra n t S tre e t, D ecem ber 7 Fe bra uary 19. A very h e lp fu l deal fro m M .T .C .

E veryone co n trag ulate s each o th e r.

L a te r in th e m o rin g we see K enn B ro d z ia k .

We discuss p o s s ib ilitie s . He's also frie n d ly . Seems we m ig h t have been able to d o s om ething in th e P la y b o x . Oh w e ll. Discuss th e chasms betw een subsidised and co m m e rc ia l th e a tre . Discuss th e missing plays and p ro d u c tio n s . A lin e a b o u t w h a t H o o p la P ro d u c tio n s m ig h t be develops o u t o f th is . Some so rt o f lin k - in d e p e n d e n t p ro fe s s io n ­ als given an o p p o rtu n ity to w o rk o u ts id e th e esta b lish m e n t. M odest, m o dest, som eone says.

La te r in th e d a y we m eet w ith some m e r­ chants bankers a b o u t a previous fan tasy - th a t o f d e ve lo p in g a large fle x ib le space th e a tre in th e c ity . Seems a long w a y o ff.

5 O C TO B E R .

W end y Hughes has d ro p p e d o u t We no w fix a te on Pat B ishop. We fly her d o w n fro m S ydne y, ta lk , s e ttle it. Peter C u m m in s seems s o lid .

7 O CTO BER. Peter C orrigan , th e designer, com es a ro u n d .

S ketches an idea o f d o in g it in the ro u n d . S p o rt­ ing m o tif presents its e lf again. Judge in a ten nis u m p ire 's ch a ir. Seems n o t a bad idea a fte r all.

23 O CTO BER. Go fo r C um m ins. C heck th e rest.

26 O CTO BER. We have fears fo r various o f the fix a te d cast.

I t all seems less lik e ly fo r a w h ile .

28 O CTO BER. Feel the lack o f a design. R e w rite o f A c t 1 arrives . . . it's so m u ch b e tte r. We cheer up.

3 NOVEM BER. C u m m in s re a lly else is.

t r u ly

d e fin ite .

N o th in g

5 NOVEM BER. We discove r th a t the re's been som e s o rt o f m ix u p w ith th e dates. We are n o w o p ening 15 D ecem ber, c a n 't get in to th e th e a tre u n til a fte r th e sho w on th e 1 1 th . Lo st a w eek be fore C hristm as. C ould be disastrous. Press on regard­ less.

9 NOVEM BER. B e tte r d o s o m e th in g a b o u t casting. W e've had to release Pat B ishop. N o w w h o ? R ing up th e rest o f th e c o u n try . C heck o u t h a lf the actors in A u s tra lia . Get co n fu s e d , con fuse o th e r people.

8 NOVEM BER. Rehearsals s ta rt in tw o days. F in a lly decide on Carol B urns as A da. R o b e rt H e w e tt as Bran­ sto n . Feels good n o w its fin a lly do ne. C a n 't he lp fee lin g th e re are m o re e ffic ie n t ways o f d o in g all th is . D eta ils seem to be fa llin g ap art.

A ll actors have c o m m itm e n ts at d iffe re n t tim e s.

Lo o ks messy every n o w and again.

I I NOVEM BER. Rehearsals begin, everyone shows up. The sho w 's on th e road.

Rehearsals proceed as rehearsals d o . The m o st in te re s tin g th in g fo r me is w a tc h in g th e acto rs w o rk , m o st in v e n tiv e ly to o . In fo llo w in g th e ir lines th ro u g h th e p la y th e y discovered m u ch th a t I had o v e rlo o k e d .

In te re stin g co n tra sts in s ty le betw een the

C h id le y m eets his en d a m ongst lu n a tic s C a rlto n th e a tre bred w o rk in g m e th o d s o f Peter C um m ins w h o w o rk s fo rm th e inside o u t, and the others w h o w o rk fro m th e ou tsid e in. Carol Burns tu rn s o u t o t be ju s t rig h t, as indeed does everyone.

T h e re are p ro b le m s w ith th e huge speeches th a t Peter has to g iv e - o f fin d in g w ays in to the m o f m a kin g th e m w o rk , as th e re is w ith th e m e lo ­ d ra m a tic b its . M y de cisio n to le t th e te x t w o rk as w e ll as it can w ith o u t to o m u ch fid d lin g in re trosp ect was a m ista ke. I sho uld have lo o ke d at its s tru c tu re m uch ha rder, m u ch ea rlier.

Perhaps some so rt o f awe o f seeing th e b lo o d y th in g in th e rehearsal ro o m g o t in th e w ay. So m uch o f it was magical th e re , and is s till in pe rfo rm a n ce .

A lm a com es d o w n , urging cuts. I d e m u r.

A fe w re-arrangem ents and changes do take place.

11 D E C E M B E R .

B u m p o u t o f O ld Flames, B u m p in C hidley.

The design has becom e one o f re d u c tio n . . . a w o o d e n p la tfo rm , a high c h a ir fo r th e judge, a bed, a ta b le , a stove . . . . re ducing to some actors and a fe w oranges.

T o n ig h t begins a seem ingly endless a m o u n t o f w o rk on th e lig h tin g . In th e end it w o rk s

P h o to : D a v id P arke r s tu n n in g ly w e ll, and the set lo o ks great.

Problem s w ith acoustics and heat in th e th e a tre .

12 D E C E M B E R .

F irs t ru n in the th e a tre . Seems O K , b u t m aybe ju s t re lie f at g e ttin g th ro u g h it.

14 D E C E M B E R .

Final dress. T e rrib le . T o ta l depression. A fe w frie n d s com e back a fte rw a rd s and rip th e show to shreds. Resigned panic.

15 D E C E M B E R .

Some long -aw a ited cuts d u rin g the day.

Signs o f fea r and panic.

F irst p e rfo rm a n ce th a t n ig h t. A good house, tears in the eyes, seem ingly genuine applause.

Goes very w e ll. O p tim is m .

16 D E C E M B E R .

M ost o f th e reviews are o u t. Ho hu m reaction.

Is th is w h a t w e've w o rk e d all th is tim e fo r?

P oor houses. W hat's th e m a tte r? Can we be so o f f the planet? W here's th e ir C hristm as s p irit?

Y o u 'd have to be crazy to d o th is so rt o f th in g .

M ortgage th e house. C a n 't th e y see th a t there are a co u p le o f m o m ents in the p la y th a t rank w ith a n y th in g s h o rt o f th e G rand Final? W hat's th e m a tte r w ith th e m . T h ey m u st be crazy.

We begin rehearsals o f D o ro th y H ew e tt's The G olden Oldies.

Page 40 Theatre Australia Jan-Feb, 1977

FROM O R IG IN S TO A T H E N A E U M Raymond Stanley R A Y M O N D STANLEY has been the Australian correspondent for The Stage. (London) for over seventeen years and the Melbourne correspondent of Variety (New York) Q.U.P. are shortly to publish his Tourist To the Antipodes: William Archer s Australian Journey 1876 - 77.

Presently he is writing Kenn Brodziak's authorised biography.

W hen A u s tra lia 's o ld e s t and firs t profession al re p e rto ry th e a tre c o m p a n y sta rte d in a sm all w ay in A ugu st 1953 n o b o d y - n o t even its fo u n d e r Jo h n S um n er - c o u ld have visualised one day it w o u ld achieve th e status and p ro p o r­ tio n s it n o w enjoys.

A fte r Naval service d u rin g th e W ar, S um n er had gained th e a tre experience fir s t w ith th e D undee R e p e rto ry C om p any in S c o tla n d and th e n H .M . T e nne nt's in L o n d o n , w o rk in g as stage manager and d ire c to r. In 1 9 52, on re c o m m e n d a tio n o f th e late S ir T y ro n e G u th rie , he was a p p o in te d manager o f M e lb o u rn e U n iv e rs ity 's U n io n T h eatre, used b y u n iv e rs ity d ra m a tic g ro u p s a n d som etim es h ire d b y o u ts id e organisations. F o r a p p ro x im a te ly h a lf th e year th e U n io n was n o t used. T o S um n er th is seemed an unnecessary waste and so, w ith ba ckin g fro m th e U n iv e rs ity a u th o ritie s , he fo rm e d th e U n io n Theatre R e p e rto ry C om p any to p e rfo rm in th e th e a tre at such periods.

S ta rtin g on 31 st A ugu st 19 53, over a sevenm o n th p e rio d 15 plays were staged. M any were good ty p e " r e p ” plays, fa m ilia r to S um n er fro m D undee days: B lith e S p irit, French W ith o u t Tears, The H o lly an d the Iv y and Q u ie t W eek­ end.

Interspersed th o u g h w ere A n o u ilh 's C o lom be (th e o p ening p la y ), P y g m a lio n , A m p h itr io n 38, Irw in Shaw's The G en tle People, The L a d y 's N o t F o r B u rn in g and The Im p o rta n c e o f B eing Earnest.

Cast lists o f th a t firs t season n o w alm o s t read lik e a "W h o 's W ho o f th e A u s tra lia n T h e a tre ". In c lu d e d w ere Jo h n B lu th a l, Peter B atey, Zoe C aldw e ll, Beverley D u n n , George F a irfa x, Noel F e rrier, Sheila Flo rance , Lo rna Forbes, S te w a rt G in n , B arry H u m p h rie s, P atricia K enn edy, Peter O'Shaughnessy and M a lc o lm R obe rtson .

S um ner was at th e h e lm o f th e c o m p a n y fo r a second season, b y w h ic h tim e th e A u s tra lia n E liza beth an Theatre T ru s t had been fo rm e d and he was a p p o in te d general manager o f th e T ru s t's E liz a b e th a n T h e a tre in S y d n e y . R ay L a w le r, w h o had jo in e d th e co m p a n y d u rin g its second season, to o k over, fo llo w in g very m u ch th e fo r m a t set b y S um ner. T o e n tice S um n er ba ck to d ire c t a p la y , L a w le r prom ised to agree to w h ic h e v e r one his fo rm e r c h ie f selected; S um n er, having p re vio u sly read and lik e d L a w le r's o w n S u m m e r o f the 17th D o ll chose th a t. It was in c id e n ta lly the firs t A u s tra lia n pla y to be presented b y th e co m p a n y. The D o ll to o k L a w le r and S um n er aw ay fro m th e M e lb o u rn e scene, in th e fo rm e r's case fo r a long p e rio d overseas. * The U .T .R .C .'s head n o w became Wal C h e rry w h o , as an u n d e rg ra d u a te ,re ce ive d m u ch acclaim fo r his d ire c tio n o f u n iv e rs ity p ro d u c tio n s .

C h e rry started w ith the co m p a n y in F e b ru a ry 1956 and, o b v io u s ly w ay b e fo re his tim e , caused co n tro v e rs y w ith some p ro d u c tio n s , w h ic h in ­ clu d e d fo u r Tennessee W illia m s plays. B y the end o f th e s ix th season audiences w ere d w in d ling and th e c o m p a n y so m u ch in th e red it

appeared p ro b le m a tic a l w h e th e r i t c o u ld con­ tin u e . The T ru s t came to th e c o m p a n y's fin a n c ia l aid and A u g u st 19 59 saw S um n er once m o re in charge o f th e U .T .R .C ., as w e ll as lo o k ­ ing a fte r th e T ru s t's a c tiv itie s in V ic to ria .

I t was d u rin g th e last m o n th s o f th e C herry regim e th a t I a rrive d in M e lb o u rn e and having o n ly missed fo u r o ffic ia l p ro d u c tio n s since th ro u g h absence overseas - feel q u a lifie d to c o m m e n t u p o n subsequent w o rk .

In m any w ays th e seventh season, w h ic h m a rked S um ner's re tu rn , set a y a rd s tic k w h ic h has seldom been overshadow ed and n o t reached as m a ny tim e s as it o u g h t. T he c o m p a n y was a stro ng one w ith Lew is F ia nder, P atricia K enn edy, F re d e ric k P arslow , Joan H arris, F ra n k T h rin g , F rank G a tliffe and Peter O'Shaughnessy all do in g n o ta b le w o rk . I s till c o n sid e r S um ner's p ro d u c tio n o f M o b y D ic k - R ehearsed one o f th e best the co m p a n y has had; it was revived in 1967 b u t d id n o t q u ite recaptu re th e o rig in a l magic.

B y m id -1 9 6 0 i t was ob vio us th e U .T .R .C . m u st be a p e rm a n e n t tw e lve -m o n th s-a -ye a r a ffa ir, and in A ugu st I9 6 0 arrangem ents w ere made w h e re b y it c o u ld o ccu p y th e C oun cil o f A d u lt E d u c a tio n 's Russell S tree t T h eatre fo r th e six m o n th s it was n o t p la y in g in th e U n io n .

F ro m 1966 o n w a rd s Russell S tre e t was th e c o m p a n y 's p e rm a n e n t hom e. E arly in 19 68 U .T .R .C . became k n o w n as th e M e lb o u rn e T h eatre C om p any.

Since th e n th e M .T .C . has expanded in all d ire c tio n s . E a rly in 1 9 69 i t m o u n te d a p ro d ­ u c tio n o f H e n ry IV . P a rt 1, in a c o u rty a rd o f th e V ic to ria n A rts C entre. There w ere seasons at b o th th e C om e dy and Princess Theatres. Since th e dem ise o f th e St. M a rtin 's T h e a tre C om p any in 1973 it has p laye d s im u lta n e o u s ly at b o th Russell S tree t and th e St. M a rtin 's.

In 1975 it made an a tte m p t a t staging tw o so-called "a lte rn a tiv e th e a tre " plays at La M am a's in C a rlto n . E xce p t fo r perform ance s fro m M onica M aughan and T o n y L le w e lyn Jones, th e a ll-ro u n d stan dard o f th e p ro je c t was abysm al. In a second t r y in 1 9 76 - th is tim e at th e n e w ly opened G ra n t S tre e t T h eatre, attached to th e V ic to ria n C o lle g e o f th e A r ts - p e rfo rm a n ce results w ere m uch ha ppier.

N o w in 1977 th e co m p a n y is o c c u p y in g th e A th e n a e u m T h e a tre fo r classical and "m o d e rn c lassical" plays, Russell S tre e t fo r c o n te m p o ra ry plays and th e S t. M a rtin 's fo r y o u th a c tivitie s.

Besides its m ain th e a tre seasons th e M .T .C . also engages in o th e r a c tiv itie s . It fre q u e n tly m o u n ts extensive c o u n try and in te rs ta te to u rs.

T here is a T h e a tre -in -E d u c a tio n progra m m e w h e re b y c e rta in plays - usu ally com m issione d by the C o m p a n y - to u r a ro u n d m e tro p o lita n and c o u n try schools. In 1 9 75 a to ta l o f 79 2 such p e rform ance s w ere given b e fo re a to ta l n u m b e r o f school audiences o f 11 6,6 8 6 . A Y o u th T h e a tre and a S a tu rd a y M o rn in g C lub b o th p ro v id e classes fo r th e tea ching o f th e a tre skills.

In a d d itio n m em bers o f th e co m p a n y are given in-service tra in in g . Th e M .T .C . has a Play Read­ ing Service - n o w u n d e r th e guidance o f Ray L a w le r - and som etim es th e co m p a n y c o m m is­ sions plays fro m w rite rs and engages in " w o r k ­ shop p ro d u c tio n s ” .

W ith o u t subsidies the M .T .C . co u ld n o t exist.

F e r th e year ended 19 75 th e A u s tra lia C oun cil p ro v id e d $ 4 9 8 ,0 0 0 , th e V ic to ria n State G o v e rn m e n t $ 2 2 0 ,0 0 0 and th e M e lb o u rn e C ity C oun cil $ 5 ,0 0 0 . Even so the re was a d e fic it on o p e ra tio n s o f $ 1 4 ,0 0 0 , w h ic h was made good by the U n iv e rs ity o f M e lb o u rn e .

A SSISTANCE FRO M TH E NEW SC A C K N O W L E D G E D FOR TH E THE

___ Theatre Australia Jan-Feb, 1977 Page 41

URNE DLITH

H W ALES D R A M A F O U N D A T IO N IS

?E O R G A N IS A T IO N S SERIES.

F o r m any years th e M .T .C . was considered A u stra lia 's to p c o m p a n y ; to d a y p o ssib ly th e re p u ta tio n o f S yd n e y's N im ro d is high er. Y e t the re are p ro b a b ly fe w actors and d ire c to rs in the c o u n try w h o w o u ld n o t w o rk at th e M .T .C . if in v ite d and c o m m itm e n ts p e rm itte d .

W hat o f th e M .T .C now ? N early alw ays there are weaknesses in pe rform ance s and It som etim es appears as if p ro d u c tio n s are d e lib e ra te ly sw am ped b y h ig h ly stylised and b re a th ta k in g set and costum es so as to c a m o u ­ flage d e ficie n cie s in o th e r fie ld s. Is th is m aybe because th e M .T .C . has exte nde d its e lf to o m uch? B eyon d its cap abilities? Is it perhaps to o c o m p la c e n t n o w th a t it is v irtu a lly th e o n ly w o rth w h ile th e a tre co m p a n y in M elbourne?

C e rta in ly it needs c o m p e titio n . The p ity is th a t Wal C h e rry 's E m erald H ill C om p any w e n t b y th e w ayside years ago. T h a t was b e fo re th e days o f G o v e rn m e n t h a nd-o uts and had it survived it c o u ld have o ffe re d th e o p p o s itio n o f a N im ro d ty p e o f c o m p a n y , w h ic h th e M .T .C . so ba d ly needs. It is to be hoped th e n e w ly fo rm e d H oop la P ro d u ctio n s w ill su p p ly th is . A lso visits b y o th e r state com panies sh o u ld be encouraged so th a t com pariso ns o f standards can be made.

Much as one d islikes statin g it, q u ite o b vio u s­ ly over th e years Jo h n S um n er h im se lf has developed in to a d ic ta to r. It is u n th in k a b le th a t th e M .T.C . sho uld e xist w ith o u t S um n er and, as th in g s stand n o w , th a t it c o u ld e xist. W hich is all w ro n g . A t 52 S um n er sho uld be tra in in g a successor - o r perhaps several successors - to ta ke over th e reins o f th e co m p a n y at any given m o m e n t. Th ere is no sign o f any h e ir apparent.

Over th e years one has seen assistants and rig h t hand men to S u m n e r com e and go. One has heard tales fro m th e p e ople them selves, and fro m oth e rs e m p lo ye d in th e M .T .C . organisations, actors and th e like . In recent years it has been a fa r fro m ha ppy o rg a n isa tio n , and m any have been glad to leave it. T here are c e rta in w o rth y actors in M e lb o u rn e w h o have never w o rk e d w ith th e c o m p a n y , o th e rs w h o have do ne so fro m tim e to tim e b u t a p p a re n tly have been a little to o o u tsp o ke n fo r S um n er and are n o w 'o u t'. W ith o u t the set-up o f any rival professional com panies o f an y consequence and, fo r d o m e stic reasons, n o t w ishing to w o rk in te rs ta te , such acto rs have e ith e r to co n c e n tra te u p on radio and tv , o r else give th e ir careers aw ay. Y e t new ­ com ers are c o n s ta n tly being engaged w ith no­ th in g lik e th e experience o r ta le n t o f those w h o seem ingly have o ffe n d e d S um ner.

Then the re is th e m a tte r o f d ire c to rs . A gain and again u n k n o w n s are b ro u g h t fro m E ngland usu ally d o in g a good jo b it m ust be a d m itte d .

Y e t u n b e lie va b ly th e re are oth e rs a round A u s tra lia , fre q u e n tly u n e m p lo y e d , w ith firs t rate tra c k records w h o m S um n er has never em p lo y e d . W hich makes one som etim es d o u b t w h e th e r he re a lly has the good o f th e M .T .C . at he art!

One som etim es questions th e ch o ice o f plays.

F re q u e n tly th e y appear to be selected because a fe w seasons b e fo re th e y have been in th e re p e rto ire o f th e N a tio n a l T h e a tre o r R oyal Shakespeare C o m p a n y in E ngland. M e lb ourne is m issing o u t on a n u m b e r o f good overseas plays because th e M .T .C . is th e o n ly co m p a n y geared to stage th e m - a n o th e r va lid reason fo r a rival g roup to be fo rm e d , o r in te rsta te com paies in v ite d . F o r such a h ig h ly subsidized co m p a n y one w o u ld exp e ct m o re classical p ro d u c tio n s .

One c a n n o t c o m p la in n o w o f th e n u m b e r o f A u s ta lia n plays in clu d e d in th e c o m p a n y's re p e rto ire b u t seeing A u s tra lia 's to Asia, co u ld one n o t rig h tly exp ect at least a fe w fro m th is

c o u n try 's nearest neighbours?

Th e M .T .C . has alw ays been happiest staging plays b y c o n te m p o ra ry a u th o rs such as E dw ard A lbee, o r a s ty lis h co m e d y lik e M o ln a r's The P lay's The Thing. By w o rld standards its p ro d ­ u ctio n s o f th e classics have never seemed to me p a rtic u la rly s a tis fa c to ry . P rob ably S ir T y ro n e G u th rie 's p ro d u c tio n o f A ll's W ell T h a t Ends W ell came o f f th e best. In A u s tra lia it is hard to m o u n t a p ro d u c tio n o f Shakespeare w ith c o n ­ s iste n tly good p e rform ance s th ro u g h o u t; in p a rtic u la r at th e M .T .C . th e standard o f verse speaking is usu ally b e lo w par and a pe rm a n e n t vocal coach is an u rg e n t necessity.

Local c ritic s have been satisfie d w ith M .T .C . p ro d u c tio n s o f C hekh ov, b u t in m y o p in io n these have le ft a lo t to be desired. Shaw is a p a rtic u la r fa v o u rite o f S um n er's, w h o has d ire cte d m any o f his plays (alas, alw ays fro m th e e a rly p e rio d !), and S um n er, w h o believes in p la yin g up th e co m e d y fo r M e lb o u rn e audiences, has fre q u e n tly m a rred these b y in tro d u c in g 'fu n n y business' instead o f le ttin g Shaw speak fo r h im se lf, w h ic h in th e long ru n is alw ays m ore e ffe ctive .

The M .T .C . re c o rd fo r Ibsen, C ongreve, W ilde, F a rqu har and o th e r classical w rite rs has usually been little m o re th a n adequate. Th e a c q u is itio n o f th e A th e n a e u m prom ises a step-up o f classical p ro d u c tio n s , and one hopes a ll-ro u n d standards w ill be im p ro ve d . U n h a p p ily th e actors m ost capable o f do in g ju s tic e to such plays are those w h o have fa lle n o u t o f fa v o u r w ith S um ner.

W hen th e M .T .C . was set up, th e ob je cts o f th e co m p a n y w ere stated to be: (a) to p ro v id e fo r th e p ro d u c tio n , re p re se n ta tio n and per­ fo rm a n ce o f th e a tric a l e n te rta in m e n ts w h ic h are n o t ge nera lly o ffe re d to th e p u b lic b y com m ercia l m anagem ents; (b) to educate theatregoers to a fin e r a p p re c ia tio n o f th e th e a tre by first-class p re s e n ta tio n ; (c) to present th e a tric a l e n te rta in m e n ts w h ic h seek b o th to educate and e n te rta in ; (d) to give y o u n g a rtists interested in th e w o rk o f th e th e a tre a chance to becom e educated in th a t w o rk b y firs t-h a n d e xp erien ce; (e) to encourage p la y ­ w rig h ts and give th e m an o p p o rtu n ity to become eduated in th e w o rk o f th e th e a tre and to present th e ir w o rk w henever p ra ctica b le ; and (f) to encourage ta le n ts and s kills necessary o r a n c illa ry to th e d e ve lo p m e n t and m a intenance o f first-class th e a tric a l e n te rta in m e n t.

W heth er th e M .T .C . has alw ays lived up to those ideals is open to q u e stio n . On several occasions i t has staged a ttra c tio n th a t w o u ld have been m ore h a p p ily presented b y a c o m m e r­ cial m anagem ent. On ca n n o t say its present­ a tio ns have alw ays been fir s t class, n o r th a t th e y alw ays educate and e n te rta in ! It is c e rta in ly do in g ju s tic e to A u sta lia n plays n o w . Just as A la n H opgood's A n d the Big M en F ly was a m ilesto ne in 1963, Jo h n P ow er’ s The La st o f the K n u ckle m e n achieved a peak 10 years late r.

D avid W illia m so n has a lw ay had a good show ing at th e M .T .C . - w ith S um ner's p ro d u c tio n o f R em ovalists the best I have seen o f any W illia m ­ son play. B u t one wishes o th e r new A u s tra lia n plays m ig h t have been staged instead o f some o f B uzo's, fo r w h o m S um n er seems to have a high regard, m isg u id e d ly in m y o p in io n .

W hen all is said and do n e , M e lb o u rn e should be th a n k fu l fo r th e M .T .C .an d its fo u n d e r, John S um ner. P ersonally I can th in k o f no o th e r in ­ d ivid u a l w h o has done m o re fo r th e th e a tre in A u s tra lia and if any k n ig h th o o d s are ever handed o u t again to anyone in th e th e a tre w o rld here, by righ ts S um ner's name o u g h t to be at th e to p o f th e lis t.

_________________________ _

Page 42 Theatre Australia Jan-Feb, 1977

TWO COMPANIES OR ONE?

Ian Robinson

IAN ROBINSON is the Mel bourne-based theatre critic for the National times

W ritin g a re p o rt on th e n a tu re and achieve­ m e n t o f a m a jo r re p e rto ry c o m p a n y sounds lik e a sim p le and s tra ig h tfo rw a rd , a lm o s t b o rin g o c c u p a tio n . W hen th e c o m p a n y is th e M e lb o u rn e T h e a tre C om p any ho w e ver, th e ta s k tu rn s o u t to be m o re c o m p le x th a n a n tic ip a te d . F o r th e fa c t is th a t th e re seem to be tw o images o f th e M e lb o u rn e T h eatre C om p any!

The firs t M e lb ourne T h eatre C om p any is the one th a t exists fo r its D ire c to r, Jo h n S um n er, in

th e p u b lic p ro n o u n ce m e n ts o f its c u rre n t em­ ployees, and in its annual re ports, p u b lic ity ha n d o u ts and brochures. It is th e C om p any w hose h is to ry was e x p o u n d e d so b la n d ly b y G e o ffre y H u tto n in his b o o k I t W o n 't L a st A Week.

M e lb o u rn e T h e a tre C o m p a n y One is th e C om p any w h ic h sta rte d life as th e U n io n T h eatre R e p e rto ry C o m p a n y u n d e r th e auspices o f the U n iv e rs ity o f M e lb o u rn e in 1953. It is th e C om p any w h ic h s till exists 24 years late r w ith th e same D ire c to r and even som e o f th e same personnel, having established a re p u ta tio n as th e best and m o st e ffic ie n t p e rm a n e n t re p e r­ to r y c o m p a n y in A u s tra lia . M ost o f th e C o u n try 's best acto rs, d ire c to rs and designers have at som e stage passed th ro u g h its ranks, fro m Zoe C aldw e ll and Leo M cK e rn to B arry H um p hrie s and Reg L ive rm o re .

Th e U n io n T h e a tre R e p e rto ry C om p any changed its name in 1968 to th e M e lb o u rn e T h e a tre C o m p a n y b u t it is s till legally a b o d y |

set up u n d e r a s ta tu te o f M e lb o u rn e U n iv e rs ity .

U ltim a te c o n tro l lies w ith a bo ard o f Manage­ m e n t, o f w h ic h th e V ic e C h a n ce llo r o f th e U n iv e rs ity is usu ally th e C h a irm a n and o th e r senior u n iv e rs ity o r e x -u n iv e rs ity a d m in is tra to rs are m em bers. T h is B oard oversees th e finances o f th e co m p a n y and m u st give its fin a l approval fo r th e p rogra m .

Jo h n S um n er is th e exe cu tive o ffic e r and has fu ll re s p o n s ib ility to th e B oard fo r th e ru n n in g o f th e co m p a n y. A recent d e ve lo p m e n t is th e co n vening o f a sm all g ro u p o f tru s te d advisers to m eet w e e k ly w ith S um n er to analyse th e a rtis tic achievem ent o f th e C om p any and discuss plans fo r th e fu tu re . T h is g ro u p con sisted in 1976 o f R ay L a w le r, th e A rtis tic A d vise r; Carm el D u n n , w h o runs th e pla y read­ ing service, and was one o f th e o rig in a l 1953 a cto rs; S im on H o p k in s o n , th e D ire c to r o f th e G ra n t S tre e t P roject, w h o has since resigned, and Jo n a th o n H ard y as D ire c to r o f Y o u th A c tiv itie s . B arry B alm er, th e fo r m e r Press O ffic e r, o r N ancy A u s tin , th e in c u m b e n t, also a tte n d e d these m eetings.

Th e m anagem ent o f th e co m p a n y is in th e hands o f fo u r people.

-Don G ra y, th e Business Manager is respon­ sible fo r b u d g e ttin g and fina nce. In Joh n S um n er's w o rd s, he m u st act as 'a b u lld o g on e x p e n d itu re ', try in g to keep it d o w n w herever possible. He does th e n e g o tia tio n s w ith artists over salaries. Th e 19 76 fin a n c ia l s ta te m e n t is n o t ava ila ble at th e tim e o f going to press. In 1 9 75 th e C o m p a n y spent in ro u n d figu res $ 1 ,5 0 0 ,0 0 0 , o f w h ic h $ 8 0 0 ,0 0 0 was earned in com e (75% o f th is in m e m bership su b scrip ­ tio n s ), and $ 7 0 0 ,0 0 0 cam e in th e fo r m o f subsidies. The percentage o f spending in each m a jo r area (to th e nearest w h o le n u m b e r) is d e ta ile d b e lo w :

M a rtin Phelan, S im on ChUvers a n d S and y G ore in The R em ovalists (1 9 7 4 ).

F IN A N C IA L B R E A K D O W N R o y a ltie s 3% A c to rs Salaries 18% P ro d u c tio n expenses 5% S elling 14% M anagem ent 10% O th e r a c tiv itie s (Y o u th , e d u ca tio n to u rs etc) 1% Overheads (in c l. P ro d u c tio n and s u p p o rt s ta ff R ents, R u n n in g expenses etc.)

49% S im o n S e m p ill is th e C o m p a n y Manager. He sees his jo b as lo o k in g a fte r th e w e lfa re o f th e a rtis ts and s ta ff, organising to u rs , d ra w in g up a p p lic a tio n s fo r fu n d in g and preparing reports.

The key jo b o f Sales Manager is p e rfo rm e d b y Jo h n F in d la y , w h o has m anaged to ste a d ily increase audiences ove r th e past ten years, as th e fo llo w in g attenda nce figu res fo r th e m ain seasons show (a lth o u g h th e increases in '7 2 -'7 3 m ay in p a rt be due to th e occasional use o f larger theatres - th e Princess and th e C om edy, and it sho uld be n o ted th a t '7 4 and '7 5 were th e firs t tw o years in w h ic h th e C om p any fu n c tio n e d in tw o the atre s - St. M a rtin 's and Russell S tre e t - th ro u g h o u t th e year).

A U D IE N C E F IG U R E S 1966 1967 1968 1969 1970 1971 19 72 1973 1974 1975 1 9 76 (est)

5 1 ,0 0 0 7 4 ,0 0 0 9 3 ,0 0 0 1 1 8 ,0 0 0 1 3 6,00 0 1 4 1,00 0 1 8 3 ,0 0 0 2 2 1 ,0 0 0 2 1 2 ,0 0 0 2 5 3 ,0 0 0 2 3 6 ,0 0 0

Theatre Australia Jan-Feb, 1977 Page 43 It is k n o w n th a t th e co m p a n y depends to a large e x te n t on s u b s c rip tio n m e m berships, b u t a fte r in itia lly agreeing to release figu res on these, Joh n S um n er was u n w illin g to a llo w th e sales s ta ff to divulge th e percentage o f th e attenda nce w h o w ere subscribers, o r th e n u m b e r o f subscribers w h o renew ed th e ir s u b s c rip tio n s in each year. H ow eve r re lia ble sources have suggest­ ed th a t nearly h a lf o f th e 1 9 7 5 sub scriber m em bers d id n o t renew in 19 76. If th is is a c o m m o n occu rren ce it m u st be o f some c on cern fo r th e C om p any w h ic h c a n n o t c o n tin u e in d e f­ in ite ly generating new s u b s c rip tio n audiences.

F in a lly , th e te c h n ic a l d ire c to r is Peter R oehlen w h o has ove rall re s p o n s ib ility fo r W ard robe , lig h tin g , sou nd, wigs and set c o n ­ s tru c tio n .

In M e lb o u rn e T h eatre C om p any One each o f these people is fa ir ly a u to n o m o u s and o n ly m a jo r decisions are re ferred to J o h n S um ner.

In general th e c o m p a n y presents th re e sorts o f plays: revivals o f w h a t m ig h t be loose ly described as 'th e classics', w h ic h range fro m Shakespeare to B re c h t; recent West End successes such as E quus and A b s u rd Person S in g u la r; and plays b y c o n te m p o ra ry A u s tra lia n w rite rs , the m o st recent being W illia m s o n 's A H a n d fu l o f F rie n d s and L a w le r's O th e r Times.

A t th e m o m e n t th e M e lb o u rn e T h e a tre C om p any operates in tw o m a in venues - the Russell S tree t T h eatre and St. M a rtin 's Theatre.

In 1977 it w ill m ove in to th e A th e n e u m T h e a tre in C o llin s S tre e t, in recent years m a in ly acin e m a .

Th e year's progra m m e w ill n o t be announ ced u n til Jan uary 1 4 th (a fte r th is a rtic le goes to

press) b u t it is c o m m o n kno w le dge in th e a tric a l circles th a t th e fir s t pla y in th e A th e n e u m w ill be The M e rc h a n t o f Venice, d ire c te d b y S um ner, and th a t n e g o tia tio n s have been going on to o b ta in th e services o f an overseas star, po ssib ly an e x p a tria te A u s tra lia n , fo r th e ro le o f P ortia.

T h is M e lb o u rn e T h e a tre C om p any is a sing­ u la rly h e a lth y one, stru g g lin g som ew hat against th e effects o f in fla tio n it is tru e , b u t assured o f g o vernm ent s u p p o rt, a ttra c tin g large audiences and e n jo y in g a re p u ta tio n in A u s tra lia second to none.

B u t th e re is a n o th e r (m o re e xtre m e ) version o f th e M e lb o u rn e T h e a tre C o m p a n y, in m a ny details id e n tic a l to th e firs t b u t also w ith signi­ fic a n t diffe re n ce s - ru le d a u to c ra tic a lly b y one man. T his is th e C o m p a n y w h ic h m a ny A u s tra lia n artis ts are no w e ith e r un able o r u n w illin g to w o rk in again; th e co m p a n y w h ic h has fo u g h t a successful p o litic a l b a ttle to ensure its c o n tin u e d re ceipt o f th e m a jo r share o f dram a sub sid y in V ic to ria and establish its d o m in a n ce o f th e M e lb o u rn e th e a tric a l landscape.

F ro m th is s ta n d p o in t th e co m p a n y does n o t e xist in th e 'ensem ble' sense o f th e w o rd , b u t is m ore ac c u ra te ly a play p ro d u c in g org a n isa tio n , h irin g and firin g actors, d ire c to rs and designers, ju s t lik e J.C. W illia m so n 's o r E ric Dare o r any o th e r c o m m e rcia l en terp rise. It s im p ly caters fo r a d iffe re n t audience. It is seen as iro n ic a l th a t at th e same tim e as th e services o f Press R epresentative B a rry B alm er w ere being dispensed w ith on th e ground s th a t he was 'to o c o m m e rc ia l', n e g o tia tio n s w ere going ahead to e m p lo y N oel B la ckb u rn .a fo rm e r manager at th e very c o m m e rcia l J.C .W .'s, to replace D on

G ra y w h o is soon to re tire to th e c o u n try .

C om p any N o. T w o was fo rm e d in th e p re ­ subsidy years o f a rtis tic ha rdship and s till carries w ith it a legacy fro m th a t tim e . It has a p h ilo ­ sop hy o f expedience, a hangover fro m th e ea rly struggle to survive, ra th e r th a n long term s visio n fo r A u s tra lia n th e a tre . A n atm osph ere o f aust­ e r ity prevails and everyone is te r rifie d o f 'fa ilu re '.

T h is version o f th e co m p a n y has a h ig h ly cen tralised a d m in is tra tio n , perhaps suita b le fo r a sm all co m p a n y o f a do zen, b u t u ltim a te ly inadequate no w th a t th e o rg a n iza to n em ploys over tw o h u ndre d people and has a bu dget o f over $ 1 ,5 0 0 ,0 0 0 . In th is c o m p a n y , th e a rtis tic D ire c to r, a lth o u g h he m ay ask o th e rs fo r o p in io n s , makes all th e m a jo r decisions h im se lf.

W hich o f these tw o is th e real M e lb o u rn e T h e a tre C om p any? Perhaps b o th are real - it depends on w here yo u are sta n d in g ! O r perhaps it does n o t m a tte r m u ch h o w one answers th is quesion because th e im p o rta n t achievem ents o f th e M e lb o u rn e T h e a tre C om p any are co m m o n to b o th versions and are denied b y no-one. There is no d o u b t th a t Jo h n S um n er b ro u g h t to A u stra lia n T h eatre a new sense o f d is c ip lin e , w h ich had been la cking in th e past, and suc­ ceeded in establishing perm anence w here there had been u n c e rta in ty , con sistency w here the re has been u n p re d ic ta b ility , profession alism w here th e re had been m e re ly good in te n tio n s .

It has been said th a t no-one in A u s tra lia n th e a tre is loved so little b y his s u p p o rte rs and respected so m u ch b y his enemies.

On th e o th e r hand, as one fo rm e r m e m ber o f th e co m p a n y said: "T h e re is no jo y at th e M .T .C . - and w h a t is th e a tre w ith o u t jo y ? " .

M .T.C . Head John Sumner talks to Stan Marks

Joh n S um ner is concerned - and he lo o k e d it, as we sat discussing c e rta in aspects o f the A u stra lia n th e a tre in his m o dest o ffic e at the M e lb ourne T h eatre C om p any's S o u th M e lb o u rn e head o ffic e . “ A fte r th e I.A .C . re p o rt, we are concerned a b o u t th e im m e d ia te fu tu re o f th e th e a tre s itu a tio n in o u r c ity o f M e lb o u rn e ," he said. " A f t e r all, we have led the fie ld fo r m a ny years in dram a and pu rs u in g w rite rs . B ut n o w , co m ­ panies in o th e r states have theatres, m o d e rn new ones. Yes, we are v e ry concerned at h o w to resolve the s itu a tio n regarding o ld b u ild in g s in th is c it y . " “ People d o n 't w a n t to w o rk o r see shows u n d e r lousy c o n d itio n s . V ic to ria has the m ost a m b itio u s plans fo r b u ild in g playhouses and advancing th e a tre and y e t it is in m any ways ve ry b a c k w a rd ."

He was n o t very h a p p y at th e w ay th e State's M e lb o u rn e A rts C entre p ro je c t was m oving.

W hen I suggested it c o u ld be ready in three years, m aybe fo u r, he gave a w ry grin and to ld me m aybe I was rig h t, b u t perhaps I was being o p tim is tic . O n ly th e galley has been com posed and fin a l costs vary.

In itia lly the M .T .C . had planned to w o rk in w ith a co m p le te d A rts C entre p ro je c t c o m p le x in 1975. B u t program m es have had to be re­ shaped.

"W e w ill be m o vin g in to the A then aeu m because the A rts C entre w o n 't be ready and to alleviate o u r overall th e a tre p r o b le m ," said M r.

S um ner. "W e have no a b ility to expand o u r a c tiv itie s in any o th e r w ay. G ra nt S treet goes back to the V ic to ria n College o f th e A rts . The m ore classical ty p e o f p ro d u c tio n w ill be done a t th e A th e n a e u m .” _____________________ _

The M .T .C . w ill c o n tin u e to encourage A u s tra lia n w ritin g , b u t even Jo h n S um n er has some c ritic a l c o m m e n ts a b o u t some o f o u r p la y ­ w rig h ts . " I d o n 't th in k A u stra lia n p la y w rig h ts lo o k b e yond the insula r, and are n o t generally u n iv e r­ s a l," he added. " B u t , th in g s are a lte rin g . T h ey are even d ro p p in g aw ay fro m fo u r le tte r w ord s.

We have some firs t rate plays b y new u n k n o w n w rite rs in '7 7 . " On th e aspect o f grants, Joh n S um ner said " O u r s o rt o f th e a tre c a n 't e x is t w ith o u t grants.

Some aspects can b u t n o t th e sort o f th in g we do. It's necessary."

He a d m itte d th a t th e M .T .C . w a s ta c k lin g new ventures at a d if f ic u lt tim e ge nera lly, b u t it had to keep an inte rest in th e C om p any.

I t w o u ld c o n tin u e its p o lic y fo re c ru itin g new people in '7 7 .

"W e have a b o u t 15 to 18 regular actors and actresses in o u r c o m p a n y ," he said. "S o m e tim e s we m ay o n ly use nine p e ople in a p la y , and it c o u ld seem a w aste, b u t it is n 't re a lly in the w h o le c o n te x t. A n d it enables us to m ake a w o rth w h ile c o n trib u tio n to th e th e a tre and th e a tre g o in g ."

M r. S um ner said there w ere n o w m ore A u s tra lia n com panies th a n th e re w ere 20 years ago. T h is a p plied in te rs ta te and th ro u g h o u t A u s tra lia ge nera lly. T e levision had also added ta le n t to th e available p o o l o f actors and actresses, and th e re was an added general overall d e v e lo p m e n t.

B u t, he d id add, th a t actors w h o w e n t in to te le v is io n w ere n o t alw ays used to sustaining a role. T his was because o f the w ay T V used people. T h eatre people had to have w id e r a b iltity to use th e ir m e m o ry fo r long sustained

roles w h ic h was n o tu s u a lly re quire d on te le visio n - th e tech nique s re quire d diffe re n ce s. " N .I.D .A . has established its e lf and proved it can tu rn o u t w e ll prepared a rtis ts ," he added. " I t w ill ta ke artists a little tim e to fin d th e ir feet b u t the re does seem some e x c e lle n t ta le n t and th e tra in in g is good. There also are great hopes w ith the dram a school at th e V ic to ria n College o f A rts . I'm o p tim is tic : th e o p p o rtu n ity is d e fin ite ly th e re ."

A gain, Jo h n S um n er was o p tim is tic a b o u t th e fu tu re o f th e a tre in A u s tra lia . He said there w ere aspects o f th e th e a tre in a bad w a y and th e re was u n e m p lo y m e n t. B u t, in o th e r w ays, the re w ere o p p o rtu n itie s , new the atre s staging a v a rie ty o f p ro d u c tio n s and a c o n tin u in g th e a tric a l in te re st am ong th e y o u n g , a n o th e r urgent reason w h y V ic to ria and th e M .T .C . in p a rtic u la r needed a n o th e r good th e a tre .

Page 44 Theatre Australia Jan-Feb, 1977

TH A T'S ENTERTAINM ENT John Smythe

L y n n e P orteous in Th e N aked V ic a r P h o to : B ruce A n d e rs o n & Co.

W hat a pleasant assignm ent, sam pling some h a lf a dozen o f M e lb o u rn e 's m a ny th e a tre rest­ aurants. G ood fu n . W ell fu n , an yw a y - aspects o f th e m w e re n 't re a lly so go od. N o r fu n , com e to th in k o f it. N o t a ll th e tim e . Som e b its were o k a y b u t oth ers w ere a w fu l. N o t th a y th e y d id n 't get laughs - th e y d id . B u t se rio u sly, w hen you th in k a b o u t i t . . .

Oh n o w com e on , I hear som eone c ry - It's n o t supposed to be serious! A b it o f a laugh, n o th in g m o re, n o th in g less. A nice n ig h t's e n te r­ ta in m e n t, as B a rry H u m p h rie s w o u ld say, w here a jo lly good tim e is had b y all. T h ey k n o w m y ty p e : th e so rt th a t reckons th e lo ve ly Dame Edna's a p re te n tio u s b ig o tte d m indless sleeping p a rtn e r to fascism . T h e y p ity me, th e y re a lly do so w h y d o n 't I p u ll m y head in b e fore th e y k n o c k it o f f fo r me? T h ey ju s t w a n t to e n jo y them selves.

Perhaps I am go in g o f f h a lf co cke d and I sh o u ld ta k e it a ll in the s p irit in w h ic h it's o ffe re d .

B u t . . . I d o n 't k n o w , it's ju s t th a t w hen I heard "C a b a re t" being sung stra ig h t at one place y o u k n o w , th a t's w h a t life is, o ld ch u m , and th e re 's no use p e rm ittin g some p ro p h e t o f d o o m to w ip e every sm ile aw ay - it g o t me th in k in g . W h ich in its e lf proves co n clu sive ly I've g o t th e w ro n g a ttitu d e I k n o w , b u t having started I m ig h t as w e ll press on.

As I re m em b er it in its o rig in a l c o n te x t, the re was m ore to "C a b a re t" th a n sim ple sentim ents.

B ehind the m indless g rin n in g facade n a tio n a lis tic fe rv o u r and fascism w ere ta k in g h o ld in a big w ay. C om p ariso n m ay n o t be to ta lly a p t, b u t som e o f th e " h u m o u r " w h ic h persists and even seems m a n d a to ry at some o f th e places we pa tron ise d d id p u t me in m in d o f the an ti-Je w jokes in Cabaret. Inse nsitive, pa ra n o id som e­ tim e s vic io u s, and p e rsiste n t enough to lend credence to co n sp ira cy th e o rie s: are we being fed fo rm s o f su b tle propaganda? If so, w h y ?

A great deal o f m u s ic -h a ll/v a u d e v ille h u m o u r seems to be based on fe a r o f th in g s we c a n n o t com e to term s w ith in te lle c tu a lly o r e m o tio n a lly , in p rin c ip le o r in pra ctice . M o th e rs-in -la w are an o b vio us exa m ple. Perhaps having a giggle a b o u t i t makes it n o t seem so bad. A n d it's p ro b a b ly a c o m fo r t to feel th e re are fe llo w sufferers. I k n o w i t ’s d re a ry to suggest it is c o u n te r-p ro d u c tiv e in term s o f long te rm s o lu tio n s . T h a t's n o t the fu n c tio n o f p o p u la r e n te rta in m e n t. B u t the p o in t is th e pra ctice does little m ore th a n feed those fears discourage p ro p e r u n d e rsta n d in g and re in fo rc e p re ju d ic e and ha tred .

In th e m o re tr a d itio n a l places it is ra th e r p a th e tic to fin d th a t w o m e n are s till c o n s is te n tly th e v ic tim s o f sexual in n u e n d o on a w ow serish do es-sh e -o r-d o e sn 't-sh e /n a u g h ty-b u t-n ice plane, w h ils t penis sizeand fear o f im p o te n c e c o n s ta n tly h a u n t th e m ale c lie n te le . M ore d is tu rb in g ly .

JOHN SMYTHE. writer, director, actor, Theatre-Australia's regular Melbourne critic, recently toured the Theatre Restaurant/Music Hall scene in Melbourne. Here is his report.

" p o o fte r"b a s h in g a n d racism are s till in evidence.

E ffe c tiv e propaganda, yes; conscious con sp ira cy - I d o n 't th in k so. It is s im p ly th e re in th e name o f g e ttin g a laugh. A n d m o s tly , in th a t m uch at least, th e y succeed.

D o u b ts c o u ld also be raised a b o u t th e m ore m o d e rn te n d e n cy to have a go at th e m o re a f­ flu e n t m id d le classes - "H e llo , the re's a m o b fro m T o o ra k slu m m in g i t " (at a C o llin g w o o d venue) - b u t a lth o u g h it is perhaps unnecessarily defensive, th e na ture o f average audiences even on th e frin g e c irc u it does a llo w it to pass as some sort o f satire. T here is an im p o rta n t d i f ­ ference be tw een p u ttin g d o w n m isu n d e rsto o d m in o ritie s and sending up ourselves. M in d y o u I d o suspect th a t even w here satire is p e rtin e n t to those present, th e te n d e n cy is to laugh at those a ro u n d us and h a p p ily e x o n e ra te oneself.

C u ttin g d o w n ta ll po ppies w ill alw ays be a fa v o u rite pa stim e, o f course, and th e fe a r ele­ m e n t is p a rt o f th a t to o . P o litic ia n s and m edia p e rsona lities are o b vio u s targets. C om e to th in k o f i t sex and de ath also f i t th e c o m in g to term s w ith p o w e rfu l forces cate gory.

A lth o u g h i t is n o t p a rt o f th e b rie f, th e APG 's D udd ers (see T-A, V o l 1, N o 5 ) sho uld be m e n t­ io n e d at th is p o in t, since i t was presented in th e a tre re staurant style , sought to be p o p u la r and succeeded. The p o w e rfu l fo rc e being co n ­ fro n te d was th e U .S .A .: focussing on th e W W2 G .l. invasion o f A u s tra lia in th e fir s t instance th e n m a k in g a fin a l stro ng c o n te m p o ra n e o u s sta te m e n t about US-based m u lti-n a tio n a l com panies. B u t it w a s n 't ju s t Y ankee-bashing.

A m o n o lith ic th re a t was being p u t in to perspec­ tiv e a t fa llib le hu m an n a tu re level - sex, s e x u a lity , de a th , m o n e y, p rid e , p re ju d ic e , deviousness were all p a rt o f it. The p ro b in g was p e rce p tive - m ore th a n mere prods to s tim u la te laughs. A n d we w ere b y no means absolved o f re s p o n s ib ility fo r th e c u rre n t s itu a tio n . Yes it was largely propaganda b u t o p e n ly so and n o n -s im p lis tic .

Each re prese ntative (o f c o u n try , class o r gen­ der) c h a ra cte r had b o th " g o o d " p o in ts and " b a d " . D espite th e broadness and brashness o f s ty le th e re w a s a c o m p le x and p e rtin e n t a rgum e nt th e re to be g rapple d w ith . As p o p u la r e n te rta in ­ m e n t to be had w ith fo o d and d r in k it stands o u t, w ith oth e rs to be lo o k e d at late r, as a very real a lte rn a tiv e to the m ore in s id io u s ly m indless fare.

T o get th e w o rs t ove r firs t. The S t if f y A n d M o S h o w (A rm a d a le H o te l) ranged fro m sadly in e p t to h ig h ly o ffe n sive . Proceedings opened w ith a reverend gent w h o eq uate d w o m e n w ith p ro s titu te s and fa ile d to get th e audience to p a rti­ cip a te in grace. T h en th e M a yo r's w ife (w ith d a u g h te r R aylene) po pped in to te ll us th e y were having one o f th e M a y o r's balls at th e M echanics In s titu te o r som ething . T h e ir p a tte r w a s n 't learn-

Theatre Australia Jan-Feb, 1977 Page 45 ed and th e y had to m ake feeble excuses fo r having i t w ritte n d o w n . The song and dance in te rlu d e s w ere also under-rehearsed and fo r ­ ge ttable .

The S tiffy and Mo segments ( " I 'm called Mo because I've g o t a m o " - 'T m called S tiffy because I've . . . " snigger snigger) w ere th o ro u g h ly rehearsed and the im p e rs o n a tio n s o f th e o rig in a l d u o w ere la u d a b ly accurate. B u t th e genuine '40s m a terial was judged p u e rile and o b n o x io u s b y us and a non-event b y th e m a tric kids the re th a t n ig h t w h o ju s tifia b ly amused them selves w ith th e ir c h a tte r th e n d r ifte d o f f to th e disco do w n sta irs. _____ M o's e x c ite m e n t at fin d in g a jo b in th e paper th a t was rig h t up his alley - " I t 's here, see? Man W anted F o r R a p e !" -set th e to n e . T h ey p ic k e d on "s h e ila s " in the audience all n ig h t in a greasily p re d a to ry m a nner ( " I d id n 't k n o w w h e th e r to step aside o r b lo c k her passage"), lik e w is e per­ ve rte d the n o tio n o f m ale re la tio n s h ip s (th e ir o w n especially) w ith snide in n e u n d o a b o u t so d o m y, in d u lg e d in a spo t o f "d a g o ” bashing (in a p o e t's c o rn e r sketch ) th e n rid ic u le d and in su lte d ab origin als b y p u ttin g b la c k -a n d -w h ite m in stre l s ty le bags on th e ir heads, b a b b lin g in c o h e re n tly over a c a m p fire (w h ile try in g to c o o k sausages, I th in k ) th e n d is c o rd a n tly singing " T ie Me K angaroo D ow n S p o r t." We c o n fro n te d th e d ire c to r a fte rw a rd s , suggesting th e show was ra m p a n tly sexist and racist. He de nied i t , c o n ­ te n d in g it was ju s t good fu n , e n te rta in m e n t, n o t supposed to be serious, and assuring us th a t th e ir o ld e r audiences lapped it up and loved it. T h ey were s till w o rk in g on it, m in d y o u . He in v ite d us back to see it w hen i t was run in m o re and w ith o u t th is k in d o f audience. We d e c lin e d .

T ik i T a y lo r and Jo h n N ew m an o f T ik i & Jo h n 's and S q u iz z y 's (w he re th e o ld T & J's used to be) ep ito m ise th e it's -ju s t-e n te rta in m e n t ap proa ch. T h e ir m a jo r o b je c tiv e is to get a laugh every ten seconds, w h ic h th e y manage b y s tic k ­ in g to a fo rm a t established ten years ago. "W e d o n 't pio n e e r a n y th in g ," says J o h n . "W e give th e m w h a t th e y w a n t and th e y c o m e .”

T ik i & Jo h n 's is an essay in d e d ic a tio n . V ic G o rd o n and M y rtle R obe rts are as c o m m itte d to th e place as its namesakes: fo r alm o st a de­ cade th e y 'v e w o rk e d to g e th e r and th e show has alw ays gone on despite sickness, plaster casts, lo st voices . . . alth o u g h T ik i d id ta k e six days o f f to have a ba by once. P ianist G w en do Paul is re pute d to have take n ove r som e years ago fro m som eone w h o a c tu a lly d ie d on th e jo b .

Stage manager Hans de B a k k e r operates curta in s lig h ts sound slides m ovies, th e n jo in s tireless T ik i and Jo h n to sing in th e late shows, b o th th e re and tw o d o o rs aw ay at S quizzy's. A nd th e ir audience is alm o st e n tire ly regulars w h o com e each year to c e leb rate b rith d a y s o r anniversaries. T h e y k n o w e x a c tly w h a t to exp ect and seem to e n jo y them selves im m e nsely.

W ittily ca p tio n e d slides set th e V ic to ria n / c o lo n ia l m o o d . The in tr o n u m b e r te lls us th e y 'll sing th e songs th e w o rld sang w hen grandpa was a b o y and h o w m u ch w e 're going to e n jo y o u r­ selves. Joh n M .C .'s w ith great expertise, sings " A Firem an 's G o t T o Have A S hiny N o z z le " (p h a llic s y m b o l), " I f I C ould P lant A T in y Seed O f Love In Th e G arden O f Y o u r H e a rt" (w ith T ik i - q u a in tly risque b u t at least love gets a m e n tio n ), jo in s V ic in a ra m p a n tly sexist b u ll fig h tin g ske tch , does a gag ro u tin e cen tred a ro u n d th e W illia m s to w n F e rry and clim axes w ith " I L ik e P ickled O n io n s ." T ik i, w h o w rite s and d ire c ts all th e ir shows sings " L i t t le Y e llo w B ir d ," "T h e G ood O ld Bad O ld D a y s " and does her celebrated Mrs. S h u ffle w ic k m o nolog ue.

V ic does "T h e Man W ho B roke The B ank at M o n te C a rlo ," a gag ro u n tin e in v o lv in g husbands, w ives, g o lf and d r in k , a t o f f d e re lic t piece and

A v r il B ell, N o e ! B usby, H e n ry Maas a n d Peaches la Crem e o f Crackers at th e Savoy. P h o to : L a s t Laugh I'm S hy M ary A n n e , O I'm S h y ." M y rtle 's solos are "F a n n y Th e Fan D a n ce r"a n d "W h a t Do Y o u W ant T o Live T o 99 F o r? " T o g e th e r th e y do a S alvation A rm y send-up and a m e lo dra m a: th e s to ry o f a yo u n g and in n o ce n t g irl's fig h t to preserve her c h a s tity , set in a cream b ric k veneer in G len W averly, w ith T ik i as L ittle F a n n y B u ttro se , Jo h n as her fian ce G ilb e rt P o o fik in s , V ic as th e v illa in A ra b S heik and M y rtle as F a tim a , th e olde st b e lly-d a n ce r in the w o rld , w h ic h involves her in y e t a n o th e r bravura send-up o f sho w -biz values c u lm in a tin g in a bizarre and h ila rio u s lo ok-no-han ds bosom tw itc h in g ro u tin e . The fin a le te lls us ho w m uch w e've e n jo y e d ourselves and asks fo r o u r ap p­ lause.

H aving given due em phasis to m a jo rity taste and o p in io n m ay I add, fo r th e s a k e o f argum e nt, th a t m y c o m p a n io n and I have the d u b io u s h o n o u r o f being th e firs t custom ers in ten years,

in th e m anagem ent's m e m o ry an yw a y, to o b je c t to th e m y th -rid d le d gag w h ic h has a hazzard bedraggled S alvation A rm y m a tro n h in tin g at fo n d m em ories o f the tim e she was raped. A gain I was assured th e re was no m alice a fo re th o u g h t "W e d o n 't th in k tw ic e a b o u t a n y th in g . A ll we w a n t is to e n te rta in yo u . We love o u r w o rk and o u r audiences - oth e rw ise w h y else w o u ld w e do it ? " There is a PhD thesis to p ic th e re som ew here.

S quizzy's o ffe rs s im ila r fare, some gags are id e n tic a l, in fa c t - w ith a deal less o f th e (m in d nu m bing ?) T & J 's panache. By th e tim e th is is pu blished th e show w ill have changed so I w o n 't go in to great d e ta il. H u m o u r-w ise the re seemed to be a p a rtic u la r p re o c c u p a tio n w ith geniatalia euphem ism s (w hen I get o u t me o ld cigar, s ittin g on horns, c o c k p its , jo y s tic k s , etc) and im p o te n ce - w h ich again was s im p ly laughed at. It is the o th e r side o f the sexist p u t-d o w n c o in , I suppose.

The b it w here a series o f d ro o p y -d ic k gags was

Page 46 Theatre Australia Jan-Feb, 1977 a c tu a lly a p plied to an audience m e m ber made us feel especially u n c o m fo rta b le : w h a t i f he re a lly was incapable o f e re ction? T here was Judge Shagnasty w h o , w hen asked w h a t he was going to d o a b o u t th e hom osexual b ill said, "P a y it, I s u p p o s e ", fa t jokes (h o w do y o u fin d it? - w ith m irro rs ) and Parson W in d w h o said "Peace on y o u " a lo t.

The G ary R e illy /T o n y S a ttle r N a ke d V ic a r S h o w (W indso r Regis) is harmless, clever, w it t y and c o n te m p o ra ry . A p a rt fro m the odd bizarre costum e it is largely th e ra dio show on stage.

C o lin M cE w an, L y n n e P orteous, R on B lanchard and Faye Le w is p e rfo rm th e M e lb o u rn e version o f th e S ydne y show . There w ere a c o u p le o f ha ckneyed and q u e s tio n a b le carica ture s - o f an Ita lia n on The In v e n to rs (w ith his s ta rtle d m adonna brake lig h ts ) and a gay gu y called Bruce - b u t m o s tly i t was re fre s h in g ly o rig in a l and to p ic a l. The subjects o f send-ups in c lu d e d p o litic ia n s (W h itla m and M cM ahon su p e rb ly done by M cE w an), N u m b e r 96 , B lu e H ills , Miss A u s tra lia , O e o (described, acco rd in g to m y notes, as "de signe d to e x p lo it to d a y 's lib e ra te d w o m e n "), th e Readers D igest and B e rt N e w to n (M cE w a n again) at th e Fergie A w ards. O f all th e shows we saw th is was perhaps th e m o st p e rtin e n t (and im p e rtin e n t) to th e d a y -to -d a y jive s o f its m ed ia -d o m in a te d audience.

A n d so to th e " fr in g e " . T he ad ve n t some th re e years ago o f Joh n P inder's F ly in g Trapeze th e a tre re staurant in F itz ro y , p ro v id e d a focus fo r a n u m b e r o f "c o n te m p o ra ry v a rie ty ” acts (w h ic h h ith e rto c o u ld o n ly get gigs in pubs, dances and p riv a te fu n c tio n s ), and encouraged m any m ore to give it a go. In its fir s t year it was available to an yone w h o w a n te d to t r y som e­ th in g o u t and its m anagem ent was essentially n o n -ju d g e m e n ta l. By the second year th e re was a g ro w in g , m ore re g u la r,c lie n te le to b e c o n s id e re d and th e y de cid ed to "s u p p o r t on-goin g 'success­ f u l' groups ra th e r th a n on e-w ee k-bu zz m e r­

Jo h n N ew m a n as P o o f ¡kins

c h a n ts ". C aptain R o ck, Steve H ill and Red S ym ons (p re S k y h o o k s ), Spears (Steve J) and T o n to , s o n g -w rite r& m u so s Louis N o w ra and Sarah D eJong w ith singer T im M cK e w , m agician Sam A n g e lic o , Razzle Dazzle (spaw ned by M elb.

U ni. A rc h i' revues) and The Busby Berkeleys are b u t a fe w o f th e m a n y w h o g o t e a rly exposure a t th e F ly . Trap.

P inder has m oved on to pastures new (his Last Laugh T h eatre R esta uran t and Z o o , in C o llin g w o o d ) b u t th e Trapeze flies on in m uch th e same w a y. T h e ir shows change every cou ple o f weeks. The one we saw gave us The S w allow s Ju n io rs (A la n P entland (ex-R azzle D azzle), G e o ff B roo ks and Steve B la c k b u rn ) in Toolouse T o o tig h t a n d T o o n ic e to b e tru e : o ffb e a t satire.

There was m e d ita tio n a ro u n d the cosm ic b o x w ith guru Hal T o d d , The B allad o f Ned K e lly F ro m Glen R ow an sung by a brow n-grass band in w h ic h th e o n ly w o rd s w ere Ned K e lly (good fo r a sing-along), a M e diban k te s tim o n y , a m erciless send-up o f K am ahl fo r w h o m the re w ere th re e con te n d e rs ( " w ill th e real K am ahl please a s c e n d "), a drag act w h ic h developed in to a s trip to fo o tb a ll gear th e n fu r th e r - exposing an in c re d ib ly expansive ph a llu s, and a G o in ' H om e fin a le in v o lv in g th e dangerous tensions o f d riv in g . It was ro u g h -th e a tre p re se n ta tio n b u t h ig h ly am using nevertheless.

The firs t Last Laugh show , D e r W u n d e rk in d R o c k e t-S h ip S how , fe a tu re d R od Q u a n to k and M a ry K e n e a lly (b o th ex-R azzle D azzle) w ith T h e Busby B erkeleys (Peaches la C rem e, N oel B usby, H enry Maas) and G e o ff T o ll. Part o f th e Q u a n to k /K e n e a lly s to c k -in -tra d e is p u ttin g th e upper-m iddle-class d o w n , as e x e m p lifie d b y M a ry's S t. C retin s s c h o o lg irl w h o chats on a b o u t h o w m u m m y and d a d d y have a d opte d a d a rlin g little In d ia n fa m ily - it d o e s n 't cost m uch and it's te r rib ly social . . . and all th a t s o rt o f th in g .

The Busby B erkeleys are esse ntially nostalgiabased and u n -A u s tra lia n . Peaches (blues-singer

P h o to : B ruce A n d e rs o n & Co.

and p ia n ist) and H e n ry (w hose s to ck ch a ra cte r is H y m ie S ch w a rtz) seem to have a s tro n g a ff in ity fo r N ew Y o rk , w h ils t Noel is te r r ib ly English in a C o w a rd ly so rt o f w ay. The m ix tu re o f styles and in flu e n c e ap pare nt in W u n d e rk in d - G oonM o n ty -G u n s to n h u m o u r, s o p h istica te d s tu d e n tsyle satire, " s to n e d " h u m o u r, 30 s/40s H o lly ­ w o o d no stalgia - is fa ir ly represe ntative o f the discernable tre n d s ro u n d th e frin g e . M o s tly we fe lt th e changes and de ve lo p m e n ts w ere fo r the b e tte r, b u t m u st re cord th a t W u n d e rk in d d id in clu d e a so m e w h a t o ffe n sive ra th e r sm allm in d send-up o f Japanese W esterns. As w ith Sellers and M illig a n som etim es, it is sad to see such ta le n t cheapen its e lf by g e ttin g easy laughs s im p ly b y rid ic u lin g fo re ig n accents.

The c u rre n t Last Laugh show features the B usby B erkeleys at th e ir p o lish ed best, c o n s o lid ­ a tin g th e ir established " A r t- D e c o " style . There are a fe w tra d itio n a l songs - " L e t's Do I t , " "Jeepers C ree pers," "H e rn a n d o 's H id e a w a y " do ne w ith in spired tw is ts and a lo t o f o rig in a l (b u t d e riva tive ) m a te ria l w ritte n /c o m p o s e d b y L o uis N o w ra , Sarah D eJong, Peaches la Creme and N oel Busby - a C o w a rd -style song a b o u t pa rties, "T h e re 's A n A m e rica n Flag On The M o o n T o n ig h t, " " I'd R a th e r Be B lue T h in k in g O f Y o u Than Be H app y W ith S o m e b o d y E lse," " S o litu d e (in N ew Y o r k ) ," B lack and W hite re m inde rs o f a w o rld th a t's never been (a b o u t o ld T V m ovies) and an inspired m o n o lg u e (b y Lo u is fo r H e n ry) a b o u t being fa t - light-years aw ay fro m th e S q u izzy's e ffo rt.

J o h n P inder's approach is th e an tith e sis o f Joh n N ew m a n's, n o t th a t th e re is any a n tip a th y be tw een the tw o . P inder in fa c t regards N ew m an as A u s tra lia 's best stan d-u p c o m ic and re a d ily ad m its "h e (N e w m a n ) has p u t his fin g e r on th e A u s tra lia n psyche. It's th e T o p -4 0 s y n d ro m e th e y w a n t fa m ilia rity . M usic H all is s till th e o n ly fo rm everyone re a d ily acce pts." P inder's analysis is th e same b u t he is n o t prepared to accept it in p ra ctice . " I 'm m u ch m o re inte reste d in being c ritic is e d fo r try in g new th in g s o u t. I refuse to give in to th e low est c o m m o n d e n o m ­ in a to r. O ur w o rk involves c o n tin o u s ris k -ta k in g w e 're n o t subsidised. So it's v e ry m u ch a q u e stio n o f p u ttin g bum s on seats to s u rv iv e ." He u n d e r­ stands, th e re fo re , w h y c o m m e rcia l T V , T h eatre and M usic H alls pla y safe - b u t he s till w ants to m ake inroads in to th e p o p u la r m edia. "S o m e c o m m e n ta to rs c la im th e re 's a c o m ic revival alre ady b u t i t w o n 't re a lly b o o m u n til T V , re c o rd in g and film com panies p ic k up on w h a t's h a ppen ing in live e n te rta in m e n t. A u s tra lia is th e m o st hu m ourless place I k n o w o f in term s o f n o t encoura ging c o m ic ta le n t. People are u n w illin g t o accept local ta le n t because i t is n o t ad equa tely represented on records, film s and T V . B ut in V ic to ria esp ecially we are s till ve ry b a ckw a rd in o u r a ttitu d e to g o in g o u t. A n d th a t's the p ro b le m .

Live e n te rta in m e n t is w here i t all starts. I sta rte d th e F ly in g Trapeze and Last Laugh because I place a very high em phasis on the existe nce o f venues fo r th e d e v e lo p m e n t o f ta le n t." He has also co m m issio n e d a N o w ra / De Jong m usical w ith th e idea o f using th e Last Laugh as a tr y - o u t venue, in th e hope th a t eve nt­ u a lly it w ill be snapped up fo r "c o m m e ric a l release" b y an e n te rp ris in g e n tre p re n e u r.

B u t th e message fo r n o w is th a t i t is up to us.

I f we w a n t to see a change fro m th e tire d old fo rm a ts , ho w e ver po lish e d th e ir p re se n ta tio n , th e n we m u st s u p p o rt th e pioneers b y p u ttin g o u r bum s on th e ir seats and giving th e m honest fee dba ck as an inve stm e n t in th e fu tu re as w e ll as fo r o u r im m e d ia te pleasure. If w e 're n o t prepared to jo in in th e ris k -ta k in g p a rt we w o n 't be in a p o s itio n to c o m p la in . A fte r all, people get th e c o m m e rc ia l e n te rta in m e n t th e y deserve.

Theatre Australia Jan-Feb, 1977 Page 47 Q u ite ap art fro m th e V ic to ria n A rts C entre, c u rre n tly un der c o n s tru c tio n on th e S o u th B ank o f th e Y arra R ive r in M e lb o u rn e , th e V ic to ria n G o ve rnm ent has em barke d o n a progra m fo r housing the P e rfo rm in g A rts s p e c ific a lly in c o u n try areas, to c a te r fo r th e 1.2 m illio n V ic to ria n s w h o d o n o t have easy access to M e lb o u rn e .

U n til n o w , p o lic y has developed to w a rd s th e c re a tio n o f tw o d is tin c t kin d s o f fa c ilitie s , k n o w n as P e rfo rm in g A rts C entres and A rts A c tiv ity W o rk s h o p Centres. The fo rm e r involve d th e s itin g o f a n u m ber o f profession al-sta nda rd venues in th e S tate's m a jo r c o u try p o p u la tio n centres and p o litic a l regions, w h ic h w ere in te n d ­ ed to p ro v id e a high level o f a c c o m m o d a tio n m a in ly fo r professional in c o m in g to u rs .

COUNTRY ART CENTRES Margot H ilton, Drama Officer at the Victorian Arts Ministry, sets out plans and policies for an adventurous country building programme.

The M in is try fo r th e A rts , th e V ic to ria n S tate G ove rnm ent's A rts A gen cy, prepared 'B rie fin g ' papers, available to th e general p u b lic , as a guid e-line fo r p o te n tia l c lie n ts , based on 'P repa ring a B rie f fo r a T h eatre B u ild in g ' b y th e S tand ing A d v is o ry C o m m itte e o n Local A u th o r ­ ities and th e Theatre in th e U .K . T h is was m o d ­ ifie d to relate s p e c ific a lly to the V ic to ria n s itu a tio n and th ro u g h o u t th e la tte r p a rt o f 1975, th e M in is try 's D ram a A d v is o r, w o rk e d closely w ith the V ic to ria n C hap ter o f th e A .A .T .T . in o rd e r - w ith the he lp o f th e P lanning and Design C o m m itte e - to evolve a series o f te c h n ic a l spec­ ific a tio n guidelines, th o u g h t to be essential to be in clu d e d in the b rie fin g papers. The necessity fo r th is was o b v io u s in th a t as these eight the atre s w ere to be p r in c ip a lly to u rin g houses, a

a lto g e th e r m o re a p p ro p ria te to m eet th e ex­ pressed needs o f local c o m m itte e s as w e ll as m a k in g p ro v is io n fo r 'n e w lo o k ' professional to u rin g in w hatever fo rm it m ig h t ta ke in the fu tu re . The m o tiv e fo rce be h in d th is aspect o f th e M in is try 's p o lic y is aim ed a t p ro v id in g basic spacial fa c ilitie s fo r p rin c ip a lly local c o m m u n ity arts groups, w ith the em phasis on 'p re -p e rfo rm ­ ance p re p a ra tio n ' in th e case o f p e rfo rm in g arts groups ra th e r th a n the p ro visio n o f fo rm a l, fix e d a u d ito ria . W herever possible these w o rksh o p s w ill be created fro m e x is tin g b u ild in g s th a t have ceased to serve th e fu n c tio n fo r w h ic h th e y w ere o rig in a lly b u ilt, in an a tte m p t to keep ca p ita l costs d o w n . The p rim a ry o b je c tiv e h o w ­ ever w ill be to d e m o n stra te th a t a fo rm a l th e a tre e n v iro n m e n t is n o t necessary fo r the c re a tio n o f th e a tre a c tiv itie s , b u t th a t c o n d itio n s m ust

high degree o f s ta n d a rd is a tio n was th o u g h t m o u n t fo r the stage and back-stage areas and te c h n ic a l in s ta lla tio n s .

S ince th e tim e th a t th e papers w ere prepared, and several p ro je c ts em­ ba rked u p o n , it has becom e incre asing ly clear how ever th a t du e to th e logistics in v o lv e d , to u rin g by th e m a jo r profession al p e rfo rm in g arts com panies in th e m a nner th a t has been largely u n d e rta k e n u n til th e present tim e , w ill do ubtless m ilita te s tro n g ly against th e present­ a tio n o f m e d iu m to large scale a ttra c tio n s in th e fu tu re . A new k in d o f to u rin g th a t does inv o lve 'scaled -dow n ' versions o f m a in c ity stage a ttra c tio n s , large casts and ela b o ra te scenery, w ill have to be evolved i f to u rin g is fir s tly to b e c o m e b o th e c o n o m ic a lly and a rtis tic a lly viable.

In vie w o f th is , th e P e rfo rm in g A rts C entre p ro ­ gram m e is no w being reconsidered as it w o u ld seem th a t less tra d itio n a l and m o re fle x ib le fa c ilitie s w ill be re quire d in th e fu tu re . A n o th e r fa c to r is associated w ith th e o p e ra tio n a l and ru n n in g costs o f these centres: a m in im u m o f 2 0 0 le ttin g s per an n u m w ere seen as necessary to sustain incom e fro m hire to o ffs e t pro je c te d ru n n in g costs. Because extensive usage o f these venues b y local groups c o u ld n o t be expected due to the s o p h is tic a tio n o f p la n t and tech nical e q u ip m e n t and on th e m o st recent forecasts, profession al to u rs w o u ld n o t be able to m eet th e necessary level o f 2 0 0 le ttin g s , fee lin g is n o w g ro w in g to c o n s id e r th e c re a tio n o f these m a jo r houses in a p p ro p ria te , as it is fe lt th e centres m ay be severely under-used and it is ex­ pected th a t d e v e lo p m e n t o f th is aspect o f the p rogra m m e w ill n o t proceed be y o n d c o m m it­ m ents already u n d e rta k e n . H ow ever, o f these, p la n n in g is w e ll advanced on the Geelong P e rfo rm in g A rts C entre (to c o n ta in a tra d itio n a l p ro sce n iu m a u d ito riu m o f 8 0 0 seats and a a lte r­ na tive staging space o f 25 0 seats) and the P e rfo rm in g A rts C entre at W arragul is in the fir s t stages o f p re lim in a ry p la n n in g at the present tim e .

The A rts A c tiv ity W o rk s h o p cen tre program is b y n o w w e ll established and appears to be

be made available to a llo w fo r a fu ll exercise o f in g e n u ity and im a g in a tio n in th e staging o f any k in d o f th e a tre . O ver and above th is, it is seen as essential th a t as w id e a range o f arts a ctivitie s as possible be u n d e rta ke n on a 'ro u n d -th e -c lo c k ' basis to a llo w fu ll in te ra c tio n be tw een groups and to create o f th e centres a social fo cu s th a t w ill a ttra c t and s tim u la te th e c o m m u n itie s in w h ic h th e y are to be sited. T o w ards th is end, in a d d itio n to resource fa c ilitie s fo r the per­ fo rm in g arts, th e w o rksh o p s w ill also p ro vid e fo r m o re generalised arts usage: a rts /c ra fts s tu d io s , d is p la y /m e e tin g areas, film p ro je c tio n etc.

A good deal o f p re lim in a ry p la n n in g has already been u n d e rta ke n on several arts a c tiv ity centres at E chuca, K y n e to n , A ra ra t and W a rb u rto n . The cen tre at K y n e to n (a con version o f a blue-stone con greg ation al c h u rc h ) is p a rt­ ia lly c o m p le te . Designed b y T e rry Som m ers and th e pra c tic e g ro u p at R .M .I.T ., S chool o f A rc h i­ te c tu re and B u ild in g , the ch u rch its e lf has been e ffe c tiv e ly con verte d to anend stage a u d ito riu m , w ith 4 0 0 seats, and th e o ld ch u rch scho ol, th e o th e r e x is tin g b u ild in g on th e site, is c u rre n tly being re m ode lled and renovated to p ro vid e resource fa c ilitie s fo r th e a tre and o th e r arts a c tiv itie s n o t associated w ith the p e rfo rm in g arts.

F o llo w in g th e p rin c ip le o f con version ra th e r tha n new b u ild in g , th e c e n tre at A ra ra t w ill be created w ith in th e e x is tin g o ld c ity hall.

The E chuca p ro je c t is p a rtic u la rly in te re tin g in th a t it de m onstrate s w h a t can be achieved on a v e ry c o n stra in e d , sm all site. O rig in a lly , th e p ro je c t started as a con version o f th e o ld Para­ m o u n t T h e a tre . H ow ever, once a d e ta ile d s tru c t­ ural re p o rt was ob ta in e d on the c a p a city o f the e x is tin g b u ild in g to to le ra te th e proposed a lte ra tio n s , it was fo u n d th a t th e red-gum fo o t­ ings on w h ic h th e b u ild in g sits showed evidence o f serious erosion and extensive u n d e r p in n in g o f e x is tin g w alls w o u ld have in volve d an add­ itio n a l cost o f some $ 2 5 ,0 0 0 . In vie w o f th is fa c to r, (w h ic h d id n o t emerge u n til th e

w o rk in g d ra w in g had begun) and because esti­ mates fo r a new b u ild in g o n th e same site appeared to level w ith previous estim ates fo r the proposed co n ve rsio n , it was decided to o p t fo r a new s tru c tu re th a t w o u ld u ltim a te ly e n jo y a long er 'lif e ' s tru c tu ra lly , th a n th e o rig in a l conversion proposa l.

The p e rfo rm in g area w ill be able to be used e ith e r as one u n it in end stage o r p rosceniu m fo rm and w ill h o ld ju s tu n d e r 4 0 0 seats achieved b y some s tru c tu a lly raked seating, som e re tra c t­ able bleacher seating, the rest o f th e seats to be on th e fla t. By means o f an acoustic w a ll th is space can also b e su b d ivid e d to slo w sim ulta neo us usage o f tw o areas: on e th e s tru c tu ra l rake sectio n, can be used fo r f ilm screenings, lectures, recitals etc. W h ile th e o th e r, a fla t flo o re d area, w ill a llo w a v a rie ty o f staging fo rm a ts - open, th ru s t, arena,transverse,and w ill seat a m a x im u m o f 150 persons.

The M in is try is ve ry concerned th a t these b u ild in g s w ill relate e ffe c tiv e ly and v ita lly to th e c o m m u n itie s th e y are to serve. Som e p ro ­ blem s have arisen regarding th e d iscove ry o f an o p tim u m acceptable c o m p ro m ise be tw een ex­ pressed 'desires' and d e m o n stra b le 'needs' in te rm s o f fa c ilitie s : th e tw o are som etim es n o t a t all the same! H ow eve r, m uch research is u n d e rta ke n to canvas o p in io n and ascertain existin g levels o f arts a c tiv itie s in th e c o m m u n ­ ities them selves, to ensure th a t no g ro u p is over­ lo o ke d and to m ake p ro v is io n fo r fu tu re g ro w th .

The M in is try 's th e a tre b u ild in g progra m in th e c o u n try areas is b y no means an isolated exercise. On th e one hand, it w ill pa rallel the e xisting n e tw o rk o f regional galleries in th a t it w ill p ro vid e fo r th e p e rfo rm in g arts co m p a ra b le fa c ilitie s to those already available fo r th e visual arts - and co m p le m e n t and e xte n d th e m . On th e o th e r hand, it is hoped th a t in th e fu tu re , these w o rk s h o p centres m ay w e ll p ro v id e a 'h o m e base' fo r sm all c o m m u n ity o rie n ta te d profession al p e rfo rm in g arts groups. In th is regard lin ks have been established w ith th e S tate's e xistin g professional

com panies

and

th e

V ic to ria n

College o f th e A rts D ram a D e p a rtm e n t. H o w ­ ever, th is

aspect o f th e

p rogra m

:is b u t

'a

tw in k le in th e p ro ve rb ia l eye' at present and does n o t in any w ay c o n s titu te fo rm a l p o lic y.

A t th is stage, w hen so m uch associated w ith the fu tu re o f o u r p e rfo rm in g arts com panies remains u n cle ar and w hen fu tu re g ro w th pa ttern s o f in te re st in and a c tiv itie s o f local arts organisations can o n ly be p ro je c te d in the m ost te n ta tiv e w a y, th e M in is try is above all else d e te rm in e d th a t these b u ild in g s - c e rta in ly the m a jo rity o f th e m - w ill n o t im pose a fix e d s tru c tu re u p on the pe ople th a t w ill u ltim a te ly use th e m . H ow ever, safeguards are also being ta ke n to ensure th a t the syn d ro m e o f cre ating all-purpose bu ild in g s w h ic h in p ra ctica l term s a c tu a lly serve none o f th e fu n c tio n s fo r w h ic h th e y are to be created, does n o t o c c u r in V ic to ria .

Page 48 Theatre Australia Jan-Feb, 1977

HO W

TO

HANDEL

OPERAS FUTURE David Gyger

The tw o m o st active m in o r S ydne y opera com panies c o u ld scarcely be m o re d iffe re n t in th e ir p ro g ra m m in g p o licie s, b u tth e y are s im ila rly blessed on the e c o n o m ic fr o n t in th a t each is able to she lter un der the w in g —o r at least the o d d fe a th e r—o f the p u b lic purse. T h ings have n o t been easy in th e past year, e ith e r fo r A id e rman R.W . R ath bone 's R ockda le M u n ic ip a l O pera C o m p a n y, whose Samson a n d D e lila h I w ro te a b o u t last m o n th , o r fo r R oger C ovell's U n iv e rs ity o f N ew S o u th Wales Opera, whose p ro d u c tio n o f H andel's O rla ndo fin is h e d o f f S ydne y's o p e ra tic year in a m o d ifie d blaze o f g lo ry in a b r ie f season c o m m encin g on N ovem ber 3 0 th at th e u n iv e rs ity 's science th e a tre . B u t at least these com panies have m a in ta in e d th e ir usual level o f a c tiv ity in a to u g h yea r, and lo o k c e rta in to survive w h a t m ay prove to be an even g rim m e r 1 9 77; and survival m u st in e v ita b ly be th e name o f the game fo r all opera com panies in these tim es o f n a tio n a l b e lt-tig h te n in g .

The ine v ita b le fo rm u la fo r e c o n o m ic survival in such an in h e re n tly c o s tly a rt fo rm as opera m u st in clud e an e lem ent o f su b s id y ; to a c o n ­ siderable e x te n t, it m u st also rest on ju d ic io u s assessment o f a p o te n tia l m a rk e t capable o f being tapped b y the c o m p a n y in q u e s tio n .

R ockda le, w ith a s ub urba n, n o t excessively

s o p h is tic a te d , base audience, b u t access to a reasonable hall and reasonable su p p le m e n ta ry fa c ilitie s , has a rrive d at a m id d le -o f-th e -ro a d re­ p e rto ry fo rm u la o f one G ilb e rt and S ullivan o p e re tta plus tw o standard re p e rto ry operas each yea r, one o f th e m h o p e fu lly a little b it o f f the beaten tra c k . U .N .S.W . Opera, tie d to an innersub urba n u n iv e rs ity close to S y d n e y 's —and A u s tra lia 's —nerve ce n tre o f profession al opera a c tiv ity , has chosen perhaps in e v ita b ly to tread instead th e b y-w a ys o f o p e ra tic lite ra tu re —the v ery o ld and th e very ne w —ra th e r th a n the hig h ­ w ays. T o a d o p t such a p o lic y is in e v ita b ly to run th e risk o f o p tin g o u t o f the tic k e t-s e llin g m a rk e t a lto g e th e r, o f course; and it is good to be able to re p o rt th a t R oger C ovell's g roup seems—so fa r, a t least—to have avoided th is fate.

L ik e all H andel opera, O rla n d o is so in ­ h e re n tly d e void o f d ra m a tic a ctio n as v irtu a lly to d e fy successful p ro d u c tio n in the 1970s. It is no q u ir k o f fa te th a t we hear c o n c e rt versions o f such w o rk s , o r re cordings, fa r m o re o fte n th a n we see th e m a tte m p te d on stage. B u t in th is case th e c o m b in e d ta le n ts o f th e p ro d u c e r, B ernd B en th a a k, and th e co-designers, R o b e rt L lo y d and R oger Goss, assisted b y some very e ffe c tiv e lig h tin g fro m J o h n H oenig, p roduce d

an alm o st ideal visual re s u lt—indeed, th e sim ple , vis u a lly e ffe c tiv e , u tilita r ia n set was th e firs t re a lly successful a tte m p t I have w itnessed to n a rro w d o w n th e a w k w a rd ly w id e science th e a tre p ro sce n iu m arch to c o m fo rta b le d im e n ­ sions fo r th e view er's eye.

Had th e p u re ly m usical aspects o f the O rla n d o been up to th e visual ones, we w o u ld have had one o f th e u n equivo cal triu m p h s o f S yd n e y's M usical yea r; b u t sadly th is was n o t the case. N one o f the solo singers was less th a n co m ­ p e te n t; b u t u n fo rtu n a te ly , in th e sta tic m e dium o f Handel opera, e x c e p tio n a l a b ility to convey c h a ra cte r w ith o u t exaggerated ph ysica l movemen is re q u ire d —one m u st be able to com m and a tte n tio n a lm o st w ith o u t tw itc h in g an e ye b ro w , establish th e guts o f a cha racte r b y stance rather th a n fussy stage business, w o rk c o n s is te n tly in th e realm s o f u n d e rsta te m e n t ra th e r th a n the h is trio n ic o v e rsta te m e n t th a t is all b u t the essence o f m o st 1 9 th -c e n tu ry , "s ta n d a rd reper­ t o r y , ” opera.

U n fo rtu n a te ly , o n ly tw o o f th e in d iv id u a l pe rform ance s in th is O rla n d o w ere th o ro u g h ly s a tis fy in g : Beverley Bergen's m a rve llo u sly accurate and w a rm ly fe lt A nge lica , and G ra nt D ickso n 's superb, in all d e p a rtm e n ts, p o rtra y a l o f Z o ro a s tro , th e m agician w h o is also O rla ndo's frie n d . O b io u s ly , it is no co in cid e n ce th a t these tw o p e rfo rm e rs w ere th e m o st seasoned p ro ­ fessionals in volve d in the p ro d u c tio n ; n o b o d y else cam e even close to tra n sce n d in g th e vast g u lf th a t divide s w o rk m a n lik e p e rfo rm a n ce fro m th o ro u g h ly successful ch a ra cte risa tio n .

In p a rtic u la r, it is sad to have to re p o rt th a t G raham Pushee was n o t ne arly as successful in th e title role as one w o u ld have h o p e d —indeed e x p e c te d —on th e basis o f his previous w o rk w ith th is c o m p a n y . He c u t a fin e fig u re as th e " r e ­ n o w n e d he ro o f m any k n ig h tly b a ttle s " called fo r b y the te x t, and sang and acted w e ll, i f w ith less p o lish th a n the tw o p rin c ip a ls m e n tio n e d above. The big p ro b le m p o ssib ly was th e in e v it­ able result o f th e decision to cast a m ale a lto in the ro le : th e m ale a lto voice is perhaps in h e re n tly incap able o f th e fu ll-th ro a te d , b u s ty p o w e r and v e rs a tility o f tim b re available to the m a tu re fem ale c o n tra lto ; and a fte r all its good p o in ts have been accorded th e ir due, Pushee's p e rfo rm ­ ance lacked vocal im p a c t. His is a fin e voice w h ic h is d e ve lo p in g w e ll; b u t perhaps th e o n ly w h o lly s a tis fy in g w ay to handle such tra nsvestite roles as O rla n d o is to sacrifice a little d ra m a tic c re d ib ility in fa v o u r o f th e gains to be made in p u re ly vocal term s by using a fem ale.

The tw o o th e r s u p p o rtin g p rin c ip a ls in th is p r o d u c tio n , C a ro lyn Vaughan and P atricia B ro w n , also lacked th e fu ll measure o f po w e r, b o th vocal and d ra m a tic , th e y rig h tly ou g h t to have had; o th e rw ise , th e ir perform ance s were q u ite acceptable. C ovell's sm all band o f m usic­ ians, m ost o f th e m h ig h ly pro fe ssio n a l, d id the score fu ll ju s tic e —in th e process revealing O rla n d o fo r an u n u su a lly fin e piece o f little k n o w n H andel, fa r m ore varied and inte re stin g m u s ic a lly th a n m any o f his m o re fa m ilia r operas.

A n d C ovell's tra n s la tio n fo r th is A u s tra lia n p re m ie re p ro d u c tio n (n e a rly 24 4 years a fte r the o rig in a l p ro d u c tio n at C oven t G arden, L o n d o n ) was th o ro u g h ly id io m a tic and s m o o th -flo w in g — in s o fa r, a t least, as one co u ld get the w o rd s: d ic tio n was d e c id e d ly b e lo w par p ra c tic a lly th ro u g h o u t th e cast.

T h is O rla n d o c o m p le te d a fa ir ly active year fo r the U n iv e rs ity o f N.S.W. Opera on its s tro n g ­ est n o te : in A u g u st, th e g ro u p presented a m usical revue o f 1 9 th -c e n tu ry A u s tra lia , title d A u s tra lia n Y esterdays; and in S epte m be r it staged th re e p e rform ance s o f th e earliest surviv­ ing opera. P eri’s E u ry d ic e (also in a new singing tra n s la tio n b y Professor C ovell). A u s tra lia n

Theatre Australia Jan-Feb, 1977 Page 49 Given such h o rren dou s cost esca la tion, it is clear th a t if opera, as the m o st elab ora te and expensive o f th e live p e rfo rm in g arts, is to sur­ vive very m u ch long er at all, it m u st m ake fa r greater use o f film and te le visio n to e xte n d its audiences th a n it has to date. Indeed, th is can be said w ith equal fo rce o f all the o th e r q u a lity p e rfo rm in g a rt fo rm s : s y m p h o n ic m usic, b a lle t, large-scale the atre .

The A u s tra lia n m a rk e t is s im p ly n o t large enough to s u p p o rt a via b le film o r tele visio n p ro d u c tio n in d u s try : o n ly b y ta p p in g w o rld m arkets can the local in d u s try hope to achieve lo n g -te rm e co n o m ic v ia b ility . So to o th e F a u lty , even absurd, th o u g h m a n y o f the A u s tra lia n O pera m u st reach fa r w id e r audiences argum ents o f M r. B oyer's m u ch-m a ligned d r a ft th a n can po ssib ly be acco m m o d a te d atB e n n e lo n g I . A .C . re p o rt on assistance to the p e rfo rm in g P o in t, and soon, i f i t is n o t to collapse a lto g e th e r arts are, it c o n ta in s a lo t o f c o m m o n sense and un der th e im m ense w e ig h t o f its in e v ita b ly a fa ir a m o u n t o f w h a t m ig h t even be called vis io n escalating cost s tru c tu re . The n a tio n a l b a lle t in to th e lo n g -te rm p roblem s o f th e p e rfo rm in g c o m p a n y w ill n o t be fa r b e h in d ; and large-scale a rts—all o f w h ic h is in grave danger o f being dram a, a t least, m ay w e ll n o t be very m uch consigned to undeserved o b liv io n because o f be hind th a t. O n ly the w id e d isse m in a tio n poss­ some o f the m ore inane and p h ilis tin e reasoning ible th ro u g h the use o f film and vid e o ta p e can w h ic h pervades the re p o rt. save these n a tio n a l assets, ju s t as o u r film and I am no s ta tis tic ia n , n o r am I an e c o n o m is t, T V produce rs hope fo re ig n m a rkets w ill save b u t the fo llo w in g figures speak to me lo u d and the m . clear: betw een 1 9 64 and 19 75, costs per per­ A d m itte d ly , th e ir p ro d u c tio n costs are astro­ fo rm a n ce o f th e A u s tra lia n Opera increased fro m no m ica l e v e n b y th e A u stra lia n Opera's standards; $ 2 ,1 5 9 to $ 2 5 ,2 4 7 ; d u rin g the same p e rio d per b u t th e ir p o te n tia l audience is lite ra lly u n lim ite d , p e rfo rm a n ce costs o f th e A u s tra lia n B a lle t w e n t whereas th a t o f any live p e rfo rm in g g ro u p is fro m $ 4 ,6 0 0 to $ 1 9 ,2 4 0 . O f course, these are a b s o lu te ly re stricte d in th e firs t instance to th e th e e xtre m e exam ples and re fle c t s ub stantia l n u m ber o f bodies th a t can be cra m m ed in to a increase in p e rfo rm a n c e standards as w e ll as c o n fin e d space on a single occasion. W ith the sim p le cost esca la tio n ; b u t th e p o in t applies help o f film and video tape , live opera, b a lle t rig h t across th e b o ard. Betw een 19 64 and 1974, and large-scale dram a can be tra n scrib e d in J. C. W illia m s o n 's p e rp e rfo rm a n c e c o s ts escalated pe rm an ent fo rm and made accessible even in fro m $ 1 ,4 4 0 to $ 2 ,6 6 2 ; th e O ld T o te fro m $241 the fu rth e s t reaches o f A u s tra lia . It c o u ld even to $ 1 ,4 0 2 ; th e Ensem ble fro m $ 1 5 5 to $ 3 9 4 . prove to be an e x p o rt asset—and, in c id e n ta lly , In th is eleven year p e ro id , the cost escalation w in some subsidy d o lla rs even u n d e r the fo r th e five com panies listed ranged fro m 185% re com m e nda tions o f th e I.A .C . re p o rt; since fo r J C.W .'s to 948% fo r th e A u s tra lia n O pera th a t re p o rt suggests th a t decentralised film and

Yesterdays was a s e m i-d o cu m e n ta ry o f c o n s id e r­ able h is to ric a l in te re s t, th o u g h m u ch o f th e m usic was p re d ic ta b ly m e d io c re o r worse.

E u ry d ic e , lik e O rla ndo, is a v ery s ta tic and longw in d e d w o rk to those accustom ed to th e m ore fie r y o p e ra tic styles o f the 1 9 th and the 2 0 th ce n tu rie s; and it was handled less successfully th a n O rla ndo b y an alm o st id e n tic a l p ro d u c tio n tea m . In 1977, U.N .S.W . Opera s till hopes to be able to present its delayed A u s tra lia n prem iere o f B enjam in B ritte n 's D eath in V enice—w h ic h w ill have p a rtic u la r poignance because o f L o rd B ritte n 's recent de ath._______________ _________

J

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vid e o ta p e lib ra rie s be established w ith Federal assistance to m ake even th e m o st esoteric art fo rm s available as w id e ly as possible.

T here is an im m ense challenge involve d in c a p tu rin g e ffe c tiv e ly such an essentially a rtific ia l a rt fo rm as grand opera e ith e r on film o r vid e o ­ tap e; a challenge w h ic h n o b o d y has y e t m e t and overcom e successfully. N o rm a l cinem a and video tech nique s s im p ly d o n o t w o rk : close-ups o f v ib ra tin g to n sils and an endless array o f exposed te e th co n ju re up to o th p a s te com m ercia ls or w orse ; a long shot o f th e triu m p h a l m arch in A id a , no m a tte r h o w im pressive it is on stage, lo o ks lu d ic ro u s on a seventeen-inch screen.

There is no d o u b t th a t the pro b le m s to be solved are im m ense; b u t som e d a y, som ew here, som ebody is going to solve th e m : ju s t lik e some­ b o d y is going to d o b e tte r a t g e ttin g dance o n to film tha n p ro je c tin g e ig h t-fo o t-h ig h feet and ankles o n to the g ia n t screen in liv in g c o lo r.

B u t I disagree m o st e m p h a tic a lly w ith M r.

B oyer's ap pare nt b e lie f th a t one can p ro d u ce h ig h -q u a lity opera o r b a lle t film in th e absence o f a pe rm an ent live p e r fo r m in g c o m p a n y ;fo r th e te a m w o rk and pre cisio n w h ic h are so v ita l to these a rt fo rm s are o n ly acq uired b y te d io u s p ractice over long pe rio d s, and the cost o f tra in in g an ad h o c g ro u p to a s a tis fa c to ry standard fo r a single f ilm o r vid e o ta p e w o u ld be astro n o m ica l.

A ll th is applies, o f course, w ith o n ly s lig h tly less urgency to large-scale dram a at least; fo r w ith o u t the c o n tin u in g existence o f the live p e rfo rm in g b o d y , ever in te ra c tin g and ho n in g its e lf to a fin e edge th ro u g h regular live per­ fo rm a n ce , the re can be no film o r tele visio n p ro d u c t, at least o f s u ffic ie n t q u a lity to satisfy th e increasingly so p h istica te d d o m e stica u d ie n ce s o f the fu tu re , le t alone th e fa r m ore s trin g e n t dem ands o f the in te rn a tio n a l m a rke t.

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Page 50 Theatre Australia Jan-Feb, 1977

NORWEGIAN PARALLELS Solrun Hoaas

W h e th e r th e " p e tro - k ro n e r" and o il p r o fits w ill e ffe c t any changes in N orw e gian th e a tre re­ mains to be seen. N o t c o u n tin g o n it, th e N orw egian g o vernm ent s till sees f i t to channel a steady percentage o f its bu d g e t in to s u p p o rt fo r th e arts - th e a tre in c lu d e d - re cognizin g th e fa c t th a t a rtis tic excellence, p a rtic u la rly in sm all c o u n trie s , requires fin a n c ia l s u p p o rt and th a t those w h o create it, th o u g h o fte n th e keenest c ritic s o f th e status q u o , m ay tu r n o u t to be a c o u n try 's greatest assets in term s o f p u b lic ity value. T h is , to o , is p a rtic u la rly c ru c ia l fo r a sm all c o u n try try in g to avoid being s w allow ed up in pe ople's consciousness b y b e tte r p u b lic ­ ized neighbours.

The established the atre s in N o rw a y (w ith the e x c e p tio n o f th e to u rin g th e a tre , R ik s te a tre t, subsidized b y th e c ity o f O slo) are su p p o rte d jo in tly b y state (60% ) and local (40% ) go vern­ m ents, the e x te n t o f subsidy d e pend ing o n th e p a rtic u la r th e a tre 's needs: proposed annual e x p e n d itu re less exp ected in com e on a bu dget approve d b y b o th fu n d in g bodies. S alary in ­ creases are a u to m a tic a lly covered i f th e y occu r.

As an exa m ple o f w h a t th is scheme means in p ra c tic e , D et N orske T e a tre t, (it, Oslo N ye T e ater and N a tio n a l th e a tre t, are th e three m ain the atre s in O slo) w h ic h m o u n ts regular p ro d u c tio n s on b o th a m ain and a secondary

SOLRUN HOAAS is a Noh Mask maker. She has written on theatre for many newspapers in Australia, Norway and Japan She is at present Research Assistant in the Department of Japanese at the A N.U

stage, in 1 9 7 5 received a to ta l go ve rn m e n t subsidy o f close to th re e m illio n A u stra lia n d o lla rs . Its o w n in co m e was less th a n th re e h u n d re d tho usan d d o lla rs.

The debate on h o w m u ch th e a rtis t is w o rth has been going on fo r years in N o rw a y and is n o t co n c lu d e d . In recent years th e em phasis in th e a tre subsidy has been on th e b u ild in g up o f re giona l the atre s th ro u g h an in itia l state g o ve rn m e n t fu n d in g scheme to get th e m going b e fo re ha nding over fin a n c ia l re s p o n s ib ility to th e regional g o ve rn m e n t.T h is has w o rk e d w e ll, and led to th e esta blishm e nt o f several new regional com panies in th e seven­ ties. These are n o t o n ly con cerne d w ith b rin g in g th e a tre to th e re m ote corners o f sparsely p o p u la te d regions th ro u g h sending o u t actors tra in e d in th e c a p ita l, b u t also g re a tly em phasize regional c u ltu ra l id e n tity and m a te ria l specially w ritte n th a t re flects th e regions' concerns.

H ologaland T e ater, fo u n d e d in T rom so e in 19 71, is th e firs t perhaps so fa r th e m ost success­ fu l and also th e m ost p o litic iz e d o f th e regional the atre s. It is organized along lines th a t b rin g to m in d th e A .P .G . - w ith no one d ire c to r as head and cho ice o f re p e rto ry decided c o lle c t­ ive ly - o fte n as an o u tc o m e o f g roup w o rk a ro u n d them es relevant to th e region: c e n tra li-

U lrik e Greve (M arie D a v id ) & W enche M edboe (S irri Von Essten) in The Tribadernas N a tt. P h o to .A h ls e n

z a tio n , is o la tio n fro m th e d e cisio n -m a kin g organs o f th e elongated c o u n try , loss o f tra d ­ itio n a l liv e lih o o d and c u ltu re etc. It has been b u o y e d by tre m e n d o u s idealism and great e ffo rts on th e p a rt o f acto rs fro m o u ts id e th e region (w h o are in th e m a jo rity ) to learn and re la te to th e c o m m u n ity above th e p o la r circle .

Its a im is to be a th e a tre fo r th e people. Says p la y w r ig h t/a c to r/d ire c to r K laus Hagerup (A lic e in the U n d e rw o rld , B u lle ts a t Sunset), one o f the fo u n d in g m e m bers: "W e are one-sided in th e sense th a t we are try in g to stage re a lity as seen fro m th e p o in t o f v ie w o f those w h o do n o t have e c o n o m ic p o w e r in th is c o u n try . B u t we d o n 't go alon g w ith th e nonsense th a t so called p o lit i­ cal th e a tre is b o rin g , d ry , w ith a o n e-dim ension al c h a ra c te riz a tio n ."

The gro u p 's m o st recent p ro d u c tio n s in clu d e a p la y a b o u t c o n d itio n s in th e m in in g to w n K irke n e s a t th e tu r n o f th e c e n tu ry and a local version o f Peer G y n t w ith Ibsen re w ritte n in th e n o rth -N o rw e g ia n ve rn a cu la r - so successful th a t i t w a rra n te d a to u r to th e c a p ita l and a season at N a tio n a l th e a tre t.

O th e r regional the atre s have em erged in th e Jazz-festival to w n o f M o ld e and in T e le m a rk c o u n try . N e x t in lin e fo r a fin a n c ia l b o o s t o n to th e th e a tre m ap are K ristia n sa n d and th e new d e v e lo p m e n t cen tre o f F o rde, w here "c u ltu re Palaces are ready and w a itin g . These new regional theatres are n o t in c o m p e titio n , o f course, w ith th e already w ell-e sta b lish e d th e a tre s in larger citie s lik e Bergen, T ro n d h e im and Stavanger, all o f w h ic h lik e th e Oslo theatres, have a sm all secondary th e a tre space in a d d itio n to th e ir m a in one, a great advantage in fo s te rin g ne w d ra m a tists and d ire c to rs as w e ll as m ore in ­ tim a te th e a tre . Intim scene n in Stavanger was opened in 1976 w ith film and te le v is io n d ire c to r Sverre Udnaes' firs t stage p la y . In This W hite L ig h t, w h ic h was h ig h ly acclaim ed.

N a tio n a le Secene in Bergen celeb rate d its 15 0 year an niversa ry in O cto b e r and co m m issio n e d a p la y be no ve list K n u t F a ld b a kke n fo r th e occasion - his d e b u t as a d ra m a tis t. Jud ging by th e good reviews, th e pla y fo r th re e actors w h ic h tre ats a y o u n g h o m osexu al's p ro b le m s o f selfdiscove ry w ith h o nesty and h u m o u r, w ill n o t be F a ld b a kke n 's last.

Bergen also has an annual arts fe stiva l in M ay and in 1 9 7 6 it in c lu d e d a co m m issione d d ra m a t­ iz a tio n by d ire c to r B e rth o ld H alle o f K n u t H am sun's great novel. M ysteries.

A p la y th a t has created great in te re st b o th in and o u ts id e o f S candinavia is th e Per O lov E n q u ist's Tribadernas N a tt, his firs t p la y , p ro d ­ uced a t th e same th e a tre in M arch. In it S trin d b e rg rehearses his w ife S iri von Essen and her frie n d , actress M arie D avid, in The S tronger.

E n q u ist focuses on th e p riva te person o f S trin d b e rg , presenting a hum an p o r tr a it, using m a te ria l fro m his lette rs. He has ju s t w ritte n a n o th e r p la y , Chez N ous, set in a newspaper, dealing w ith fre e d o m o f expression, se lf­ censorship, etc.

19 76 m a rke d a great loss to N orw egian w ritin g - th e de ath o f n o v e lis t/e s s a y is t/p o e t/ p la y w rig h t Jens B joerneboe. A n u n tirin g and alw ays p ro v o c a tiv e social c r itic and sa tiris t, q u ic k to ta ke up any case o f social in ju s tic e , B ojoeneboe is p ro b a b ly b e tte r k n o w n th ro u g h tra n sla ­ tio n to G erm an readers th a n E nglish. His plays in clu d e H app y B irth d a y (1 9 6 5 ), The B ird L o v ­ ers, (fir s t d o ne by O d in -te a tre t in Oslo in 1966) and S em m elw eis (N a tio n a l th e a tre t 19 69). His tw o latest plays, The Torgersen Case (1 9 7 3 ) and D o n g e ry (1 9 7 5 ) w ere d o n e b y th e m a jo r in ­ de p e n d e n t o r g ro u p the atre s, w h ic h a t present do n o t e n jo y any regular g o ve rn m e n t subsidy e x c e p t th e occasional g ra n t fo r local to u rin g .

Theatre Australia Jan-Feb, 1977 Page 51 Th e newest g ro u p is called " T h e Pearly Gates” and was h ig h ly praised fo r its group-crea ted firs t p e rfo rm a n c e . InT o e n sb e rg , so u th fro m Oslo, T h e s b ite a tre t, un der Ita lia n d ire c to r G ianni Lepre, w h o tra in e d w ith Peter B ro o k , re c e n tly p e rfo rm e d B jo e rn e b o e ’s crass and h y p e rb o lic satire, A m p u ta tio n .

Judging by p la y w rig h ts ' co m m e n ts in th e th e a tre issue (n o . 2, 19 76) o f th e lite ra ry q u a rte rly V in d u e t (e d ite d by K n u t F a ld b a k k e n ), th e N orw egian p la y w rig h t is up against m uch th e same p roblem s as the A u s tra lia n : th e re lu ctance o f established the atre s to do new local plays, th e sh o d d y tre a tm e n t theatres o fte n give th e p la y ­ w rig h t in regard to ro y a ltie s , prom ises o f p ro d ­ u ctio n s and even s im p ly in th e answ ering o f le tte rs o r ac k n o w le d g in g re c e ip t o f s crip ts. The m agazine con tains q u ite an am azing and devasting a cco u n t o f a w e ll-k n o w n w rite r's tw o -y e a r iong b a ttle to get his p la y (s u b m itte d u n d e r a pse u d o n ym ) accepted: h a lf-y e a r pe riods o f w a itin g to get a re p ly , en coura gem ent and prom ises never fo llo w e d up , re je c tio n o f a w o rk on p o litic a l grounds, re je c tio n said due to lack o f "c h a ra c te r d e v e lo p m e n t” o r " r e a lis tic " p lo t.

The iro n ic s to ry is to ld c h ro n o lo g ic a lly w ith le tte rs fro m th e a tre d ire c to rs p rin te d in fu ll. A n d a p r e tty stro ng and em barrassing in d ic tm e n t it is! As an e x p e rim e n t by a w rite r , w h o in c id e n t­ a lly is th e head o f th e N orw e gian D ram atists' F e d e ra tio n , it successfully exposed th e h o llo w ­ ness o f m any th e a tre m anagem ents prom ises to fo s te r N orw egian dram a and show ed th a t the c u ltu ra l cringe is n o t c o n fin e d to th e s o u th e rn hem isphere. The s to ry created enough o f a scandal to con vin ce th e p u b lis h e r G y ld e n d a l to p u t th e play The Big D ay, in p r in t!

A lth o u g h new plays fro m E urope and A m e rica appear e a rlie r on N orw e gian stages than here (n on-E ng lish plays do n o t have to make it on B roa dw ay o r th e West End to be considered as so o fte n is th e case here), th e N orw egian audiences - lik e th e ir A u s tra lia n c o u n te rp a rts te n d to flo c k to the un d e m a n d in g pla y w ith a stro ng s to ry -lin e , believable and "h u m a n " characters and no to u c h o f " in te lle c tu a lis m " o r any o f th e w id e d ire c tio n s in th e a tre in v a ria b ly and fo re v e r grouped to g e th e r as " e x p e rim e n ta l." T he N orw e gian p u b lic is on th e w h o le conservative. It prefers its m e atba lland-potatoes even in the th e a tre . In n o v a tio n is gru d g in g ly accepted.

D espite th is , the established th e a tre s in N o rw a y s till s trik e me as being m ore ad ventu rou s tha n th e ir c o u n te rp a rts here. W ith th e present subsidy scheme th e y can a ffo rd to . A n o th e r reason lies in e ffe c tiv e use o f th e sm aller second­ ary stages w here new plays o r plays w ith o u t mass appeal (in n o v a tio n has alw ays com e fro m a m in o rity and been accepted firs t b y a m in o rity ; it is an e lite n o t in te rm s o f social class b u t o f cre ative resources) can fin d a venue.

The im p a c t fro m o u ts id e is m ore d iv e rs ifie d in N orw egian th e a tre , perhaps one advantage o f being a non-E nglish-speaking sm all na tio n .

A n o th e r in flu e n c e is surely te le visio n w here one can see a w id e r range o f d ra m a tic fo rm th a n here (I c o u ld h a rd ly im agine th e A B C show ing Ing m ar Bergm an's The R ite, fo r instance.)

The d e c e n tra liz a tio n o f N orw egian th e a tre w h ic h has been ta k in g place since 1970 m ay w e ll p ro d u c e a new breed o f p la y w rig h t. One can already d e te c t a new s tyle o f d o c u m e n ta ry realism in the plays o f people associated w ith th e m : K laus Hagerup, o r Edvard Floem , fo r in ­ stance, w h o intersperse songs o f social p ro te s t alm o st in th e m a nner o f a Greek cho rus in an o th e rw ise re alistic s ty le pla y w ith a stro ng s to ry ­ lin e . {T he W omen A lo n g the F jo rd , 1974).

D raw in g on a n a tio n a l heritage o f m y th o lo g y ,

T r in i S und , A l f M a ila n d / O d d F u ro y in T h e G lass M o u n ta in . fa ir y tales and sagas, Peder W. Cappelen has created a n o th e r s ig n ific a n t b re a k th ro u g h in th e same d ra m a tic style and p o e tic language w ith his L o k e (N a tio n a lte a tre t, 1 9 7 2 ), K a rk (1 9 7 4 ) T ro llp la y (1 9 7 5 ). Cappelen creates a h ig h ly c o m p le x cha racte r dra w n betw een d iffe re n t w o rld s and makes the c o n flic t im m e d ia te th ro u g h a s trik in g ly c o n te m p o ra ry saga language in verse fo rm . Cappelen has also w ritte n a n u m b e r o f c h ild re n 's plays.

Perhaps th e m o st o rig in a l N orw egian p la y ­ w rig h t to d a y , and one w h o m o re th a n th e above exp lo res a v a rie ty o f styles, a p p roa ching th e a tre w ith a h ig h ly visual sense, is T o r Age Bringsvaerd.

A lso a science fic tio n w rite r, he uses fan tasy and c o n te m p o ra ry m y th o lo g y (characters lik e Tarzan and D racu la), m aking his statem en ts (o fte n p o litic a l and social c ritic is m ) less th ro u g h slogans o r character th a n th e im p a ct o f images.

He has w ritte n seven c h ild re n 's bo o ks and his c h ild re n 's play The G reat C o lo u r G ob bler, a b o u t a m o nster w h o drains all thin gs and people o f c o lo u r, was done in 1976 at Det N orske T e a tre t.

The year b e fo re th e same th e a tre d id The Glass M o u n ta in , w h ic h uses a w e ll-k n o w n N orw egian fo lk tale and hits the m a n ip u la tiv e and c o m p e t­ itiv e society as w e ll as co m p la ce n t acceptance

P h o to : S turla son.

o f it. He is con cerne d w ith th e sound e ffe c t o f w ords as m u ch as w ith m eaning, th e ritu a l o f re p e titio n th ro u g h w h ic h pe ople d ic ta te each o th e r and fo rce th e ir o p in io n s on oth ers. The p lo t and nu m ero us roles (p la ye d b y o n ly eigh t actors) cen tre on the m ain s y m b o l, the glass m o u n ta in w ith its challenge: he w h o rides a m o to rb ik e to th e to p w in s th e princess and h a lf the k in g d o m . W hat if som eone refused the challenge? He c a n n o t refuse; th e m aim ed and c rip p le d w h o have fa ile d see to th a t. E veryone m ust t r y !

Perhaps B ringsvaerd's th e a tre w ill be the m ost lasting and universal o f those sam pled in th is a rtic le ( it o b v io u s ly is n o t com preh ensive ).

He goes fu rth e r th a n m ost o f his c o n te m p o ra rie s in e x p lo rin g th e visual language th a t th e a tre is, and en te rta in s w h ile m a kin g his p o in ts . In a fo re w o rd to The Glass M o u n ta in : he speaks o f p o litic a l th e a tre as w a lk in g a tig h tro p e : "T h o u g h ts and p o in ts -o f-v ie w o u g h t, in m y o p in io n , to be smuggled in , n o t sho uted o u t. " T h a t is . . . . if one is m ore interested in reaching oth ers th a n tho se w h o already agree".

The title o f Bringsvaerd's latest novel is in its e lf a statem en t on th e a rtis t: He W ho Has B o th F e e t on the G ro u n d Is S ta n d in g S till.

Page 52 Theatre Australia Jan-Feb, 1977 " T o L o v e ", w ro te A le x a n d e r P ushkin in his preface to Eugene O negin, " a ll ages ow e o b e d ­ ie n c e ".

ONEGIN William Shoubridge

F o r P ushkin (1 7 9 9 -1 8 3 7 ) it was b o th a sta te m e n t th a t revealed th e m o st a b o u t h im se lf, and one th a t h ig h lig h te d his s ty le and c o n te n t in w ritin g at a tim e w hen Im p e ria l Russia was s till c lin g in g to th e te n e ts o f th e E n lig h te n m e n t.

P u shkin, having been in flu e n c e d b y B y ro n and V o lta ire spoke (p ra c tic a lly alone in his ow n land) fo r passion and in te n s ity in all th e a ctio ns o f th e hu m an s p irit. He was to all in te n ts and purposes a R o m a n tic , b u t he, lik e H e c to r B e rlio z was w h a t I w o u ld call a h e a lth y R o m a n tic . B oth o f these m en longed fo r d e p th , p o w e r and passion in hu m an exp erien ce, y e t b o th sustained an iro n y , and a classic sense o f self c o n tro l th a t to o k th e ir w o rk s o u t o f th e realm o f th e solely aesthetic and personal and telescoped th e m in to areas o f universal experience.

T h e E nglish speaking w o rld k n o w s o f P ushkin o n ly th ro u g h T c h ia k o v s k y ’s opera, Eugene O negin and th e R im s k y -K o rs a k o v /M ic h e l F o k in e b a lle t, The G old en C ockerel. It h a rd ly needs to be added th a t b o th o f these w o rk s ra re ly get an a irin g in th e re p e rto ire s o f opera and b a lle t com panies.

I d o n 't re a lly k n o w w h y Eugene Onegin h a sn 't became a " p o p u la r classic'' in th e w est, perhaps it has so m e th in g to do w ith d iffic u ltie s in tra n s la tio n , m aybe th e fo r m a t o f th e s to ry , th a t o f a " n o v e l" w ritte n in rh y m in g and bla n k: verse, is im p o ssib le to accept. W hatever th e reason, readers and audiences are m issing o u t on e xp e rie n cin g one o f th e m o st com prehensive and tra g ic love stories ever w ritte n .

Eugene O negin is a s to ry o f y o u th fu l passion, u n re q u ite d love, o f m a kin g concessions to life (and m ista kin g it fo r m a tu rity ) and realising u ltim a te ly th a t love has its place in th e scale o f th in g s along w ith personal d ig n ity , un d e rsta n d ­ ing and social re sp o n sib ilitie s. It is a s to ry o f real hu m an g ro w th . It is com preh ensive because it shows love and its consequences, becuase it traces n o t o n ly adolescent desire b u t " m a tu r e " passion. It is tra g ic because it illu s tra te s th a t th e re alisation o f love and its e ffe cts, esp ecially th e e ffe cts o f m isguided passion so o fte n com e to o late. " A n d happiness had been so possible, so n e a r!", w ro te T a tia n a to O negin at th e end o f th e novel. " M y d e s tin y has been de cid ed.

Ill advised, perhaps was m y a c tio n th e n .

I love y o u (w h y sh o u ld I conceal it) b u t I am given to a n o th e r I shall be tru e to h im fo re v e r . . " In Russia, P ushkin is regarded as a m aster on a pa r w ith Shakespeare and T o ls to y . It is due n o t o n ly to th e fa c t th a t he was a great w r ite r w ith a w id e lite ra ry v is io n b u t also to th e fa c t th a t his o u tlo o k on life was b o rn o u t o f th e Russian soul and his w ritin g s s trik e deep in to som e th in g th a t is close to all th e Slavs.

"H is was n o t a s ta tic , b u t an o rganic balance w h ic h m ade h im exp erien ce life as elan and p e rp e tu a l m o ve m e n t.

W hat he hated was sham life , cam ouflaged b y all sorts o f respectable labels. F o r th is reason he w e lco m e d hu m an existence, w ith all its jo ys and even m o st tra g ic s o rro w s ".

As th e A u s tra lia n B allets p ro g ra m m e note m e n tio n s , these lines w e re w ritte n a b o u t Pushkin, b u t as fa r as th e b a lle t is con cern th e y are ju st as tru e fo r Jo h n C ran ko. I never m e t John C ra n ko , b u t I had th e to p o f his head p o in te d o u t to me once at a p a rty in L o n d o n . It was a fte r th e p re m ie r o f a b a lle t he had especially created fo r Dame F o rg o t F o n te y n , La Poeme de Ecstasy. I was s till reeling fro m th e e xp er­ ience at th e tim e . T h e b a lle t con cerne d itse lf w ith th e m e m orie s o f a grand s o cie ty w om a n w h o is being dogged by th e fa n a tic a l d e v o tio n o f a y o u n g m an. She c o n jo u rs u p th e images o f her great love a ffa irs o f th e past and fin a lly repulses th e b o y , realising th a t n o th in g w ill com e o f his passion fo r her. N o th in g w ill com e o f it fo r h im . P ut lik e th a t th e b a lle t sounds d re a d fu lly c o rn y , b u t th e very idea o f th e w o rk and th e m a ste rfu l w ay it was exe cuted le ft me th in k in g a b o u t C ran ko. W hat a w e a lth o f hum an un de rsta n d in g was th e re and w h a t a fo rtu n a te co in cid e n ce th a t he had th e a b ility to express it in th e m o st co m p a c t and n a tura l fo rm the re is, dance.

C ran ko had a m a rve llo u s kn a ck fo r going M a rily n R ow e ( T atiana) a n d J o h n Meehan (O ne gin) in The D ream pas de du e x. P h o to : A .B

Theatre Australia Jan-Feb, 1977 Page 53 stra ig h t to th e cen tre o f a d ra m a tic q u e s tio n , fin d in g th e basic e m o tio n th a t needed to be p o rtra y e d , and w ith an u n c a n n y ease, fin d th e exa ct m o ve m e n t and series o f m o vem en ts to express it. He c o u ld also fin d ingenious w ays a ro u n d d iffic u ltie s o f d ra m a tic c o n s tru c tio n .

Take T a tiana 's le tte r scene in O negin fo r exa m ple. In th e opera, th e p ro b le m d o e s n 't e x is t, th e soprano sings an aria as she w rite s , b u t fo r th e b a lle t it w o u ld have been im po ssible to have a b a lle rin a s ta tic at a w ritin g ta b le in th e m id s t o f one o f the d ra m a tic cores o f th e b a lle t. So C ran ko had her fa ll in to a reverie and dance in fr o n t o f the m irr o r. Her image tu rn s in to th a t o f O negin and th e tw o dance to g e th e r, th e exa ct fa n c ifu l image o f shared passion th a t T a tia n a 's le tte r desires.

I had e n o rm o u s qualm s a b o u t th e a b ilitie s o f th e A u s tra lia n B a lle t to c a rry o f f th is ba lle t s a tis fa c to rily . Th e s to ry its e lf is set w ith in m id d le class Russia and a c e rta in subdued g e n tility has to pervade th e stage to create th e social atm osph ere o f th e tim e s , so as to give th e o v e rrid in g passion o f T a tia n a m o re p o in t and pathos. I was a fra id th a t w ith o u r hom e gro w n co m p a n y th is w o u ld subside in to m ere sketchiness o f gesture, w ith th e dancers being so accustom ed to th e filig re e o f th e M e rry W id o w and all. B u t once th e p e rfo rm a n c e g o t un der w ay, all d o u b ts w ere dis p e lle d . T h e d e lica cy was th e re , b u t it was expressive and p o ig n a n t.

The precise to u c h o f gesture and appearnace made th e social b a c k g ro u n d to th e dram a real and believable.

Th e corps de b a lle t, lo o k in g a b s o lu te ly m a rvellou s fo r the fir s t tim e in years, gave th e c ro w d and b a llro o m scenes dram a, and v iv a c ity .

As Eugene O negin, J o h n Meehan s tru c k me as ju s t a little to o c o ld and b r it tle to s ta rt w ith w h ic h made his re a liz a tio n o f love at th e end

o f th e b a lle t appear h y p o c ritic a l and false. B u t on a second vie w in g (I never g o t to see any o f th e o th e r casts) he had settle d f ir m ly in to th e role and had begun to e x p lo re all th e q u irk s o f p e rs o n a lity in O negin.

I t was M a rily n R ow e as T a tia n a how ever th a t impressed me th e m ost. S ta rtin g o u t as an a w k w a rd , c o ltis h yo u n g g irl in th e fir s t act, one c o u ld im m e d ia te ly believe in her and th e fa c t th a t th is e n orm o us passion fo r O negin was a fan tasy bred o u t o f reading to o m any dim e novels. H er d is c o m fitu re in act tw o , a fte r T a tiana has been repulsed b y O negin was p ra c t­ ic a lly heart bre a kin g . T he w ay she ta c k le d th e cho re o f th is scene was s ta rtlin g . She came on to dance b e fo re th e fa m ily gathered on stage, the n fo rg o t herself and danced up to O negin.

Then p r o p rie ty called her back b u t she s till w anted a reason fo r his refusal fro m h im and th e m a nner o f her sudden sto p -sta rt dance, s u d d e n ly fla rin g in to passion th e n breaking ba ck in to demureness was one o f th e m o st p o ig n a n t and expressive pieces o f da ncing I have ever seen her do. She deserved her standing o v a tio n c o m p le te ly .

So d id A n n e W o o llia m s. H er re ce p tio n at th e end o f th e evening was a co m p le te v in d i­ c a tio n o f th e B oard's ch o ice o f her as A rtis tic D ire c to r. B ack in 1 9 7 4 , her p ro d u c tio n o f C ran ko's R om eo an d J u lie t was one o f th e A u s tra lia n B allet's fin e st hours. ______ W ith th a t p ro d u c tio n , one fe lt th a t th e re was hope fo r th e A usta lia n B allet y e t, it s till had gutsiness and co m p a n y stre ngth . O negin illu ­ strates th a t it s till has it, despite th e em asculat­ ing in flu e n ce s o f M e rry W id o w and th a t ap p­ a llin g Sleeping B eauty.

W heth er A n n e W o o llia m s w ill be a llo w e d to be A r tis tic D ire c to r in fa c t as w e ll as name, w ith o u t th e in te rfe re n c e o f th e Board and th e

A d m in is tra tio n in to m a tte rs th a t d o n 't con cern th e m is y e t to be seen. L o o k in g at th e progra m m e fo r th e 19 77 S ydne y season how ever, one can see th a t it holds great p ro m ise : w ith tw o new com m issione d w o rk s as w e ll as Swan Lake.

B illy th e K id and B alanchine's Serenade one feels th a t th e re p o rto ire is being selected w ith an eye to th e A u s tra lia n B a lle t's innate stengths.

W orks w ith s to ry , dram a and p le n ty o f consise, g u t-b u stin g c h o re o g ra p h y.

T h is is th e s o rt o f s tu ff at w h ic h th e A u s tra lia n B allet has alw ays exce lle d. Some pe ople fea r th a t Miss W o o llia m s m ig h t t r y to tu r n th e co m p a n y in to a second S tu ttg a rt B a lle t. I d o u b t if th a t w ill happen, b u t lets face it, th e s ty le o f th e S tu ttg a rt is m o re a k in to th e p e rs o n a lity o f th e hom e grow n team th a n is th a t o f R oyal B allet w h ic h I s till say is w h a t th e “ fo rm e r re g im e " w anted to em ulate.

TOUR DATES FOR ONEGIN

Melbourne: 5-11 March Brisbane: Onegin is included in our season presented between 1-18 June.

Canberra: included in our season between 20th June and 2nd July.

Adelaide: included in our season between 16-27 August.

Perth: 1-4th September.

THE CURRENCY PRESS THE

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Page 54 Theatre Australia Jan-Feb, 1977

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Theatre Australia Jan-Feb, 1977 Page 55

AUSTRALIAN CENTRE INTERNATIONAL THEATRE INSTITUTE IN F O R M A T IO N FROM THE R E P U B L IC O F G E R M A N Y .

THE

FEDERAL

RSC IN N E W C A S T L E UPON T Y N E .

T h e R oyal Shakepeare C om p any, L o n d o n , w ill stage a 5-week season at th e Theatre R oyal, N ew castle u p on T yn e , n e x t M arch. The season w ill be presented b y the T yn e and W ear C o u n ty C oun cil and th e A rts C o u n cil o f G reat B rita in .

T h is is th e firs t tim e th a t th e c o m p a n y has presented an exte nde d season in one U .K . cen tre o u tside its L o n d o n and S tra tfo rd theatres, alth o u g h le n g th y seasons have been staged in p ro v in c ia l theatres at hom e. In B rita in there has been considerable p u b lic pressure re ce n tly fo r m o re regional to u rin g b y the n a tio n a l com panies. The com panies have m a in ta in e d th a t the tra d itio n a l p a tte rn o f one-w eek visits to to u rin g theatres endangers th e high standard o f p resentation and p e rfo rm a n ce th e y w o u ld w ish audiences to e n jo y ; it also results in high costs.

V isits have o fte n been e rra tic a lly spaced, and the single p ro d u c tio n chosen fo r th e to u r has no t alw ays appealed to audiences in every centre. By th e tim e s u ffic ie n t people have appreciated th e q u a lity o f th e a ttra c tio n to generate w ide-spread in te re st, th e engagem ent is over and the p ro d u c tio n has m oved on.

The 5-week season at N ew castle w ith a reper­ to ire o f a least fo u r p ro d u c tio n s and th e poss­

In th e season o f 1 9 7 4 /7 5 th e attenda nce in th e 8 3 (p u b lic ly o w ne d) theatres in th e Federal R e p u b lic has risen b y 0.4% to 17.41 m illio n s , th a t in p riva te theatres b y 3.3% to 4.9 m illio n s .

T o th is m ust be added th e festiva ls w ith an audience o f 6 9 2 ,0 0 0 (a plus o f 1.5% ). A lto g e th e r an audience o f 28 .7 m illio n s has been c o u n te d in th e last season, in c lu d in g th o se stages also v isite d b y to u rin g theatres.

A c c o rd in g to in fo rm a tio n in th e D e u tsch e r B uhn enve rein (G erm an T h e a tre A s s o c ia tio n ) in th is c o n te x t, an increasing preference fo r m usical th e a tre pe rform ance s as w e ll as fo r plays fo r c h ild re n and y o u n g p e ople had to be n o te d . The in te re st in dram a has decreased. In 1 9 7 4 /7 5 the percentage o f places sold cam e up to 79.1% fo r opera and b a lle t pe rform ance s (78% in th e year b e fo re ), 82.8% fo r operettas and m usicals (8 1), 67.3% fo r dramas (6 9 ) and 84.1% fo r plays fo r c h ild re n and you ng p e ople, (8 0 ). A c c o rd in g to th e in fo rm a tio n the o ve rall expenses o f the the atre s rose to 1 .1 24 m illia rd s o f m a rk . The subsidies re quire d increased fro m 8 1 8 m illio n m arks in 1 9 7 3 /7 4 to 9 2 4 m illio n m arks. The b o x -o ffic e receipts o f 18.4% w ere a b o u t the same as in th e last year.

ib ilit y o f seeing at least tw o p ro d u c tio n s a w eek sho uld resolve these d iffic u ltie s (in p a rtic u la r th e special staging re q u ire m e n ts) and w ill give an o p p o rtu n ity to audiences th ro u g h o u t the n o rth e rn region to see th e RSC w o rk in g in c o n d itio n s as near those a t S tra tfo rd and L o n d o n "as in g e n u ity can d e vise ". The season, opening d u rin g th e w eek o f M arch 7, 1 9 77, w ill con sist o f at least fo u r p ro d u c tio n s d ire c t fro m the RSC's c u rre n t season at S tra tfo rd : R om eo & J u lie t, M u ch A d o A b o u t N o th in g , The W inter's Tale, T ro ilu s a n d Cressida, The C om e dy o f E rro rs, and K in g Lear.

M A R T IN E S S LIN JO IN S S T A N F O R D .

M a rtin Esslin, th e B udapest-born th e a tre essayist and a n th o lo g is t, is resigning as head o f ra dio dram a fo r the B ritish B roadcasting C or­ p o ra tio n at the end o f th is year (1 9 7 6 ) to becom e professor o f dram a at S ta n fo rd U n iv e r­ s ity . A fe w years ago he c o m m u te d betw een his BBC jo b and a v is itin g p rofesso rship at F lo rid a S tate U n iv e rs ity . M r. Esslin has tw o new bo oks com in g o u t th is year. V ik in g is to p u b lish a stu d y o f A n to n in A rta u d , high p rie st in the th e a tre o f c ru e lty m o ve m e n t, and H ill and Wang w ill pu blish A n A n a to m y o f D ram a ( V a rie ty ).

June Col I is. E d ito r,

GH sV

- r

M o n a s h U n iv e r s ity

DIRECTOR OF STUDENT THEATRE Monash University Union is looking for a Director of Student Theatre to work full-time starting from February 28th 1977. The initial appointment will be for six months with option for renewal* We are seeking someone who is enthusiastic and excited about the prospects of working co-opera­ tively with students, to explore ideas in non commercial theatre. Duties to include running or arranging regular workshops, assisting w ith student productions and helping dream up new ideas!

Directing experience preferred but not absolutely essential.

Salary $ 8 ,5 0 0 — $ 1 0 ,5 0 0 depending on qualifications and previous experience.

W ritten applications w ith relevant personal information and the names of two referees should be received by The Com ptroller, Monash University, Clayton 3168, no later than 21st January 1977.

Page 56 Theatre Australia Jan-Feb, 1977

STA 3E UG HTING HANDBO O K Helen van der Poorten

The Stage L ig h tin g H a n d b o o k b y Francis R eid.

P itm an P ublishin g C o m p a n y, L o n d o n 1976.

R ecom m ended R e ta il Price: $ 1 0 .5 0

w o u ld hope fo r , b u t again, th is b o o k is fo r th e no vice , and it fills an im p o rta n t gap. R eid, w e ll k n o w n as e d ito r o f S tran d E le c tric 's jo u rn a l TA B S , and a recent v is ito r to th is c o u n try , prefers to use! sim ple b la ck and w h ite p ictu res o f the m o st fa m ilia r S tran d e q u ip m e n t in illu s tra tin g th e b o o k . O u t o f c o n s id e ra tio n fo r his readers he even has h a nd-d raw n la n te rn sym b ols and cue sheets fo r th e beginner. In all respects he pu ts the novice lig h tin g -p e rso n at ease as R ich a rd P ilb ro w (Stage L ig h tin g , S tu d io V is ta ) can never do w ith his spe ctacular re p ro d ­ u c tio n s o f lig h tin g designs th a t illu s tra te m ore th e fro n tie rs o f stage lig h tin g tha n th e no rm al usage.

In spite o f w h a t I have said, Francis Reid takes care to fa m ilia ris e his readers w ith va ryin g approaches to lig h tin g fo r d iffe re n t venues and styles o f p e rfo rm a n ce . He devotes separate chapters to lig h tin g the m usical and th ru s t stages.

In th e la tte r sectio n he strikes some d iffic u ltie s because o f his essentially proscenium -based vie w th a t lig h tin g actin g areas is m ore a p p ro p ria te th a n lig h tin g th e a c to r s p e c ific a lly , and he makes some fa ir ly cau stic rem arks a b o u t th e tre n d to w a rd s lig h tin g in th e ro u n d w ith hard w h ite lig h t. Such an a p proa ch, he im plie s, is a n tith e ti­ cal to th a t o f lig h tin g fo r atm osphere.

R eid's firs t fo u r chapters are d e voted to th e basic q u estions o f aims and te ch n ica l re q u ire ­ m ents in lig h tin g fo r the stage, b u t chapters five to tw e lv e , ranging fro m focussing, th ro u g h c o lo u r th e o ry to special e ffe cts, and w ith an e x c e lle n t sectio n on o rg a n iz a tio n , are m ore c le a rly d ire c te d to w a rd s the a rt o f the lig h tin g designer. Here th e approa ch is m ore c o m p le x , and R eid's to le ra n ce o f d iffe rin g the ories is especially im pressive.

W ith o u t d o u b t th is w ill becom e the standard p rim e r on stag e-ligh ting fo r te ch n ica l the atre stu d e n ts; it is good to k n o w th a t actors, d ire c to rs , designers, and inte reste d am ateurs can also read th e b o o k w ith ease, cover to cover.

'U Ï7 1 &

4983166 2, M arian S t., K illa ra

TH E A TR E & R ES TA U R A N T JO A N B RUCE, R O N A C O LE M A N , R IC H U T T O N , D O U G K IN G S M A N and s tro n g s u p p o rtin g cast

SOMETHI NG'S

AFOOT

a musical mystery based on Agatha Christie's TEN LITTLE NIGGERS FE B . 2 — M A R C H 19, Tues, to Sat. T o anyone w h o has ever trie d to w o rk th ro u g h F re d e ric k B e n th a m 's o p a q u e ly d e fin itiv e The A r t o f Stage L ig h tin g , th is new h a n d b o o k m u st com e as a m e rc ifu l re lie f, p ro v id in g as it does a clear and a m a zingly concise in tr o d u c tio n to vario us kinds o f stage lig h tin g . Francis R eid makes it clear at the o u ts e t th a t he does n o t w ish to b a ffle his readers w ith th e o rie s o f e le c tric ity , and indeed th ro u g h o u t he aims at th e im a g in a tive a m ateu r o r be ginne r. Thus, b e fo re he moves o n to his fa v o u rite s u b je c t o f a tm o sp h e ric lig h tin g , R eid is c a re fu l to d e fin e and s im p lify even th e m o st sim ple pieces o f ja rg o n , such as "b a tte n s ” , " b o o m s " " rig g in g " , and " p r o f ile " .

Because A H a n d b o o k o f Stage L ig h tin g is esse ntially an in tr o d u c tio n to the a rt, th e re is perhaps less e x p e rim e n ta l m a te ria l and c e rta in ly less e x c itin g visual m a te ria l th a n professionals

a t 8 .1 5 , S U N D A Y 4 .3 0

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