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Radio: Light FM to hire announcers ...................... Page 38 Nostalgia: And here’s Graham! ................................... Page 40 Country Music: Rob Foenander’s column .................. Page 38 Aar on RRourk ourk e: Tribute to Wendy Hughes .......................... Page 42 Aaron ourke: Cheryl Threadgold: Local theatre shows, news ................... Page 43 US THE LLO OVATT”S MEGA CRO PL PLUS CROSS SWORD

LAWYERS MAKE MUSIC Soprano’s recital

● Christiana Aloneftis ■ Young Melbourne soprano Christiana Aloneftis is really going places. Literally. The Greek-Cypriot-Australian singer is heading to the home of opera in Italy, La Scala in Milan to train and study, but before she leaves, Christiana is holding a special recital to celebrate women in song at fortyfivedownstairs, 45 Flinders Lane, on Thursday March 27. "When I was 15 years old I was fortunate to travel to Italy as a high-school student and, upon observing a Mozart's Cosi Fan Tutte rehearsal at La Scala, I realised that I had a burning need to express and what better way than through the voice. “I have to be on stage. I want to move people the way I was moved on that day - my recital is a dedication to all women and all lovers of women,” Christiana explained. She will be joined by associate artist concert pianist Konrad Olszewski in her recital which is designed to glorify The Life and Love of the Woman. The program features two major song-cycles, Schumann's Frauenliebe und Leben and the Australian premiere of Manos Haztidakis's song cycle, Magnus Eroticus Op. 30 (1972), together with songs and arias by Bellini, Piazzolla, Tchaikovsky and Gershwin. Christiana has "always been intrigued by the innate emotional power women wield" and has devised a program that "artfully represents different facets of the female identity, whether that be the turmoil of a young heart, the joy of new life or the inevitable sadness of loss". The young soprano is a graduate of the Faculty of Music and VCA at the University of Melbourne and winner of the Monash University Acclaim Italian Opera Ambassadorial Scholarship. She will participate in a month-long program intensive in June studying at La Scala (and will then spend a further six months in Europe studying Bel-Canto vocal style and technique. You can enjoy Christiana's vocal talent and speed her on her way on Thursday March 27 y 7.30 pm. Bookings can be made on 9662 9966 or www.fortyfivedownstairs.com.au - Julie Houghton

By JULIE HOUGHTON

● Konrad Olszewski: see ‘Soprano’s Recital, left ● Aimee Nguyen ■ What do you think those barristers you see on the television news might do in their spare time? If they have a few musical bones in their body, they may well be members of a brand new orchestra - the Melbourne Lawyers' Orchestra. Many readers will know of the Doctors' Orchestra, so it makes sense that lawyers also fancy a piece of the musical action. The brain child of lawyer Aimee Nguyen, the Melbourne Lawyers' Orchestra will have its launch and debut concert on Saturday (March 22) at 5pm at a place that has no doubt produced a few lawyers of its own, Methodist Ladies' College in Kew. Conductor by Robert Dora, the MLO will perform works by the George Palmer, former Justice of the Supreme Court of New South Wales, Mendelssohn, Schubert and lawyer-turned-musician, Tchaikovsky. The non-profit symphony orchestra is made up of 50 members of the legal community, from solicitors to barristers, judge's associates to law students, bound by their mutual passion for music. Aimee was driven to found the orchestra after she realised that once she started her law career, she had unintentionally abandoned all creative endeavours, and wondered if there were other lawyers who felt the same. She obviously struck a chord, and she says the MLO is committed to improving mental health and wellbeing in the legal profession by providing a creative outlet and encouraging lawyers to embrace the performing arts. Aimee is hoping that the chance to find out whether a group of lawyers, naturally adversarial creatures, can come together in perfect harmony, will attract a curious audience of music lovers. Decide for yourself on Sunday March 22 at 5pm. Book at www.trybooking.com/eilj or pay cash at the door - this is one positive way to line the lawyers' pockets in a good cause.

Aliens hit North Melbourne ■ The Lepidopters; A Space Opera, is a kulturnautic expedition defying the sovereign borders of visual arts and music, responding to a commissioned text by sci-fi writer Mark von Schlegell, in which alien moths invade the Indonesian archipelago with the aim of colonising Earth through interspecies reproduction. Playing at Arts House at the North Melbourne Town Hall on April 12 and 13, Slave Pianos will join the 40member Astra choir under the musical direction of John McCaughey, Yogyakarta mystic punk-art collective Punkasila, Indonesian singer and dancer Rachel Saraswati and virtuoso pianist Michael Kieran Harvey. The Lepidopters: A Space Opera will include projected illustrations and film by Yogyakarta artists Erwan ‘Iwank’ Hersi Susanto and Terra Bajraghosa, and this multi-art form will also draw on the work of Robert Smithson to explore sonic landscapes and dystopian visions, Indonesian telepathy, ancient Javanese mysticism and arts practices both traditional and modern. Central to the show’s staging is the Sedulur Gamelan created by Slave Pianos (currently on exhibition in the Melbourne Now exhibition at the National Gallery of Victoria) – a self-governing electromechanical ‘piano’ that houses 56 traditional Gamelan instruments from Yogyakarta that perform transcriptions of Indonesian, American and Australian experimental music and avantgarde sound-art of the 1970s and 1980s Season: April 12 - 13. Time: April 12, 3pm and 7.30pm, April 13 5pm. Duration: 2 hours including interval. Venue: Arts House, North Melbourne Town Hall, 521 Queensberry St, North Melbourne. Tickets: $25 Full, Conc $20, Student $15. Bookings: artshouse.com.au or 9322 3713

Page 38 - Melbourne Observer - Wednesday, March 19, 2014

Observer Showbiz

Radio Confidential News from stations from around Victoria

Light FM recruits announcers

Country Crossroads info@country crossroads.com.au Big Breakfast Show. Southern FM 88.3. Tues. 6am-9am.

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Rob Foenander

Our kinda country ■ The ‘Our Kinda Country Music Club’s’ fourth annual country music afternoon will be on Sunday, April 13. The event is a fundraiser for the Royal Childrens Hospital Good Friday Appeal. Venue is Flanagan’s Irish Bar, Royal Exchange Hotel, Traralgon, commencing 12 Noon. A number of artists will donate their time and entertainment services to this worthy cause. More info: Dawn, 0412 161 419

Love, death and sorrow ■ Melbourne country/rockabilly outfit Cold Heart have released their new CD. Titled Love Death And Sorrow, the 18track recording features tunes from some of the finest artists of all time from that music genre. The band’s interpretations of classics such as I Don't Care, Deep River Blues, I Cant Help It , Lovesick Blues and others have been produced with an authentic view in mind and with great respect shown toward the original melodies. Up coming gigs for the band include Sat, April 5: The Labour in Vain, North Fitzroy 5pm-7pm. Free, Sat., April 26: The Retreat Hotel, Brunswick. 5om-7pm. Free. Sun., June 8: The Oak Tree Tavern at The Basin. 5pm-8pm. Free. www.facebook.com/coldhearttrio

Melinda does Doris ■ The successful stage production Doris - So Much More Than The Girl Next Door returns to Melbourne for a repeat season from May 14-18 at the Arts Centre Playhouse theatre. Star of the show, country music's Melinda Schneider will once again sing the classic songs of Doris Day. Melinda also narrates the life and times of the superstar actress and singer who began her career in 1939. Tickets at Ticketmaster.

■ Melbourne community radio station, Light FM, is looking to appoint a weekend announcer. Assistant Content Director is taking applicatons until April 23. Clayton Bjelan, Content Director at the st6ation which has a Christian mission, is also taking applications until March 28, for the dual role of Assistant Content Director/Announcer.

Old hat ■ 3AW must think that its Nightline listeners live in the past. The station’s website has a Bruce and Phil page that lists Helen Kapalos’s departure from Channel 10 as latest news. That was 16 months ago. The webpage features the latest show as Angela Lansbury in Driving Miss Daisy, a story that is 12 months old.

Performing ■ Magic 1278 breakfast pair Kevin John and Jane Holmes have swung their support behind Whitefriars College Donvale teacher Stephanie Totino who will perform at a fundraising concert on Saturday, March 29. The 7.30pm concert will take place at the Whitefriars College Theatre, 156 Park Rd, Donvale, with all concert profits going to Whitefriars’ projects in Timor-Leste. Book at www.trybooking. com.au or call Brother Sean on 9872 8238.

JOBS ON OFFER AT ‘POSTIVE ALTERNATIVE 89.9’

★ ★ ★ ★ ★

Melbourne model Kate Neilson is in Los Angeles, and this week voiced her first US voiceover ... complete with American accent. JOY FM yesterday (Tues.) celebrated the release of Kylie Minogue’s new album, Kiss Me Once. Gold 104.3 breakfast show hosts Brig (Brigitte Duclos) and Lehmo (Anthony Lehmann) had drinks with Prime Minister Tony Abbott at State Government House on Thursday. Footballers Dale Thomas and Luke Hodge are weekly guests on Nova 100’s Meshel and Tommy brekky show. Bob Taylor is writing a weekly country music blog at the Stereo 974 website.

RPP’s ‘OB’ from Hastings

● Judy Banks-Phillips was broadcasting for Mornington Peninsula radio station 3RPP at Hastings last week when ‘The Commando’ from The Biggest Loser, Steve Willis, dropped by to take locals through a work out. The outside broadcast was organised to celebrate the 10th anniversary of the Pelican Recreation Centre. Photo: Rab Siddhi

MyMP team on the air

Briefs ■ Melbourne’s original community radio station, 3CR, is looking to appoint an Office and Finance Coordinator. This is a four-day-a week, 15-month fixed term, maternity leave position. Applications close 9am Monday (March 24). ■ PBS FM is holding a fund-raising auction, Sell Out, tonight (Wed.) at the Northcote Social Club. ■ The Australian Communications and Media Authority has notified that the 3ZZZ licence will be renewed for another 35 years in June, when the current licence expires. This news coincides with the planned opening of new premises in Brunswick .

Numbers

■ The ratingsfight is on for Melbourne radio breakfast shows. Fifi Box and Dave Thornton (Fox 101.9) conducted a survey last Thursday on the number of sexual partners they had had. One listener, a supermarket manager in his 20s from St Kilda, claimed more than 80. Radio Confidential cannot help wondering how a similar segment might be regarded on 3AW’s Nightline with Bruce Mansfield and Philip Brady.

Horsham ready to roll ■ The 7th Horsham Country Music Festival will be held from March 20-23 with another excellent artist line up. New faces in 2014 will be Melbourne artists,Col Perkins, Sandie Dodd, Andrew D'Rasario amongst others. horshamcountrymusic.com.aue. - Rob Foenander

r Observbei z Show

● Stephanie Totino

On This Day Friday Wednesday Thursday March 20 March 21 March 19 ■ Welsh comedian Tommy Cooper was born in Wales in 1921. He died aged 63. Actor Patrick McGoohan was born in New York in 1928. He died aged 80 in 2009. US actress Glenn Close is 67 (1947). Actress Karen Robson was born in Malaysia in 1957 (57).

■ American actor, singer and director Carl Reiner was born in New York City in 1922 (92). American actor Hal Linden was born in New York in 1931 (83). US actor William Hurt is 64 (1950). Singer Lady GaGa (Stefan Germanotta) is 38 today.

■ Patsy Biscoe, singer noted for her Here’s Humphrey appearances, was born in India in 1946 (68). Australian musician Paul ‘Pixie’ Jenkins, who appears with John Williamson, is 57 today. Sydney comedian Vince Sorrenti was born in 1961 (53).

● The MyMP team: from left, Genn Ridge, Eddie Olek and John Tamb, pictured at the studios shared with 1116 SEN in Richmond.

● Fifi Box Melbourne

Observer

Saturday March 22

Sunday March 23

Monday March 24

Tuesday March 25

■ Irish actor Wilfred Brambell was born in 1912. He died in 1985, aged 72. US actor Karl Malden (Sekolovitch) was born in Gary, Indiana, in 1913. He died aged 96 in 2009. Mime artist Marcel Marceau was born in Strasbourg, France in 1923. He died in 2007.

■ Joan Crwaford, American actress, was born in San Antonio, Texas, in 1906. She died aged 71 in 1977. Australian actor Norman Yemm is 81. US TV personality and blogger Perz Hilton was born Mario Lavandeira in 1978 (36). Runner Sir Roger Bannister is 85.

■ Harry Houdini (Ehrich Weiss) was born in Budapest, Hungary, in 1874. He died aged 52 in 1926. Silent film comedian Roscoe ‘Fatty’ Arbuckle was born in 1887. He died aged 46 in 1933. Actor Steve McQueen was born in Indiana in 1930. He died aged 50 in 1980.

■ Australian wildlife expert Harry Butler was born in Murray Bridge, SA, 84 years ago. The late Bernard King, flamboyant entertainer, was born in 1934. He died aged 68 in 2002. Singer Aretha Franklin is 72 today. Actor Paul Michael Glaser is 71.

Thanks to GREG NEWMAN of Jocks Journal for assistance with birthday and anniversary dates. Jocks Journal is Australia’s longest running radio industry publication. Find out more at www.jocksjournal.com

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ShowBiz!

Melbourne Observer - Wednesday, March 19, 2014 - Page 39

Observer Showbiz

Review: ‘Stray’

● Ngaire Dawn Fair in Stray at La Mama Courthouse. ■ Rosemary Johns’s Stray, directed by Kat Henry at La Mama, is the tale of a dog (pardon the pun) that exposes some of the less agreeable attributes of human nature. It is a well-crafted script, at times humorous and poignant, that references numerous Melbourne suburban landscapes. Dogs are singularly loved creatures with their own personalities, which make them fabulous storytellers and Stray manages the genre well. Westie 9 is an excitable and playful Doberman pup just wanting to be scratched, tickled and loved … and who occasionally needs to go to the toilet. Rest easy: Wilfred, it is not. As the audience files in our pup is lying on the floor sound asleep. The technique of having an actor already on stage and in character immediately involves the audience, as does the arrangement of the seating, which is banked up on two sides of the stage. When the action starts you realise our pup is in a pet shop, waiting and desperately wanting to find a home and love – which he does. Unfortunately his home and happiness is unexpectedly short-lived. The story and journey that ensues is sad, heart-warming, inspiring and very human. Matt Whitty, as Westie no. 9 (and Tiga among other names given to him), has amazing energy. He masters the playfulness and edge of a dog to the point you almost believe he is a dog (OR he could bite you). He is beautifully cast and portrays his dog character with skill and conviction. The supporting cast, Ngaire Dawn Fair and Trent Baker, have an intense task creating a multitude of new characters and scenarios sometimes without even leaving the stage. While generally well executed, some dialogue was lost in the pace and I was surprised that a kelpie would speak with such a manor-born posh English accent – even though it was very good. I did love Fair’s Topsy, so there is a little in this for cat lovers as well. Lighting by Linda Hum was dramatic and effective and the set by Peter Mumford provided the perfect playground for our dog to perform. Kat Henry has created a visually dynamic and engaging piece with an excellent cast. Performance season: Wednesday and Sunday at 6.30pm; Thursday to Saturday at 7.30pm until 23 March Venue: La Mama Courthouse, 349 Drummond St, Carlton Tickets: $25/$15 Bookings: www.lamama.com.au or 9347 6142 - Review by Beth Klein

TV, Radio, Theatre Latest Melbourne show business news - without fear or favour

Vale Wendy Hughes

The Judas Kiss

● Wendy Hughes with Nicolas Gledhill in Careful He Might Hear You ■ Wendy Hughes, one of the Austra- by star imports Tom Skerritt (Alien) and lian entertainment industry's most famil- James Mason (North By Northwest); and iar faces, tragically lost her fight with the big budget mini-series Return To cancer, passing away on Saturday Eden (1983), an 'event' presentation that was certainly heavily promoted around March 8, aged only 61. From her first appearance on local the nation. Ms Hughes struck gold again with the TV at the tender age of 16, Ms Hughes was part of a select fraternity of actors memorable drama Careful, He Might that became synonymous with the golden Hear You (1983), an exquisitely made, age of Australian cinema through the emotionally involving film that won 8 AFI 1970s and most of the 1980s, a collec- Awards, including Best Actress for tive that included such luminaries as Bill Hughes, and has to be seen by anyone Hunter, Bill Kerr, Charles 'Bud' who loves Australian cinema. Ms Hughes reteamed with director Tingwell, Bryan Brown, Rebecca Gilling, Helen Morse, Noni Hazlehurst, Paul Cox and actor John Hargreaves Jacki Weaver, Max Cullen, Jack Thomp- for the quietly intense My First Wife son, Graham Kennedy, Harold (1984), and despite its downbeat subject Hopkins, John Hargreaves, Judy Davis, matter, we are treated to two first-rate John Waters, Colin Friels, Angela performances from Hughes and Punch-McGregor, Graham Blundell, Hargreaves. Lex Marinos, who had a bit part in Chris Haywood and John Meillon. Born in Melbourne on July 29, 1952, Hoodwink, directed Ms Hughes in An Ms Hughes initially wanted to be a bal- Indecent Obsession (1985), based on the lerina, but acting became her major love, best-selling novel by Colleen and she would attend the highly regarded McCullough, and this was followed by National Institute of Dramatic Art the TV mini-series Amerika (1987), (NIDA), which then lead to a successful where she played the part of Marion run with the Melbourne Theatre Com- Andrews. Ms Hughes made her Hollywood pany. After her TV debut in Hunter (1968) debut in Happy New Year (1987), a re(episode - Crusader), Ms Hughes man- make of the 1973 French comedy, and aged to quickly attain an impressive list starred alongside Peter Falk and Charles of small-screen credits in productions Durning, garnering positive reviews such as The Group (1971) (pilot epi- from many American critics. A mixture of film and TV saw Ms sode); Number 96 (1972), playing the role of Vanessa Harrison; Homicide Hughes appear in such fare as Echoes (1967-1972), taking on a number of dif- Of Paradise (1987); Warm Nights On A ferent characters in various episodes; the Slow Moving Train (1988); Luigi's LaTV movie The Cherry Orchard (1974), dies (1989), which she also co-wrote and co-produced; The Heist (1989), an early and Matlock Police (1971-1976). Ms Hughes's big-screen debut was HBO movie starring Pierce Brosnan; the in the uninhibited comedy/drama terrific series Homicide : Life On The Peterson (1974), written by acclaimed Street (turning up during the 1993 season playwright David Williamson and star- as Dr Carol Blythe); Star Trek : The Next ring Jack Thompson and Jacki Weaver. Generation (1993) (episode - Lessons); Ms Hughes's popularity continued to Princess Caraboo (1994); Snowy River : rise, and she would appear in the series The McGregor Saga (1994-1996); ParaRush (1976) with John Waters, as well dise Road (1997), directed by Bruce as the well-regarded mini-series Power Beresford and featuring a strong cast inWithout Glory (1976), where she ex- cluding Glenn Close and young Cate celled as the strong-willed Mary West. Blanchett; State Coroner (1997-1998); After the youth-oriented High Roll- the Billy Connolly comedy vehicle The ing (1977), this talented actress would Man Who Sued God (2001); the rather become part of a strong ensemble cast under-rated medical drama MDA (2005); in Newsfront (1978), a loving ode to the The Caterpillar Wish (2006) starring old newsreel cameramen of the 1940s Susie Porter; the short-lived City Homiand 1950s, one of the all-time classic cide (2007); and All Saints (2009) (epiAussie films and is must-see viewing. sode - Facing The Music 2). Ms Hughes's final role as as Adele Success continued with My Brilliant Career (1979), an outstanding film from Freeman in the ABC series Miss Fisher's director Gillian Armstrong that, along Murder Mysteries in 2012 (episode - The with Newsfront, was grandly received Green Hill Murder). Wendy Hughes, with her elegant yet at the Cannes Film Festival, and features one of Judy Davis's best perfor- always natural screen persona, will always remain an iconic part of the local mances. Ms Hughes won audiences over with entertainment establishment, and like her her versatility, picking a diverse number long-time friend and NIDA graduate of projects such as the femme-caper film John Hargreaves, is a huge loss to AusTouch And Go (1980); the AFI Award- tralian stage and screen. Bryan Brown, who appeared with Ms winning Hoodwink (1981) with John Hargreaves and a much younger Hughes in Newsfront, paid his respects Geoffrey Rush; Duet For Four (1982), to the star the day she passed away. Before a Sydney performance of the from the director of Peterson; the lovely Lonely Hearts (1982), co-starring play Travelling North, Mr Brown asked Norman Kaye and Julia Blake, and is the audience to join him in a standing one of director Paul Cox's most acces- ovation, providing a moving tribute to a sible films; the action/thriller A Danger- person who thoroughly deserves it. - Aaron Rourke ous Summer (1982), which was headed

● Chris Baldock as Oscar Wilde Photo: Zak Zavod ■ Directed by Jason Cavanagh, this strongly cast Mockingbird Theatre production holds nothing back in its staging of David Hare’s play. The play opens in the afternoon following the collapse of Oscar Wilde’s libel suit against Lord Lonsdale Marquess of Queensbury, father of Wilde’s lover Lord Arthur ‘Bosie’ Douglas. The room is being prepared for Wilde’s return from Court. Soren Jensen, as the Manager of the seedy hotel which has allowed the illicit relationships to flourish, is played with a villainish leering manner and servants, Phoebe Lauren Murtagh, and Arthur Zak Zavod are common and cheeky, particularly in the opening scene! Chris Baldock looking remarkably like all the published pictures of the flamboyant and obese Wilde, plays the role with a resigned demeanour but with the towering presence Wilde commanded. His current lover and reason for his conviction of the crime of sodomy, is the immaculately coiffed and dressed ‘Bosie’, Nigel Langley playing the role accurately right to the betrayal in the final scene. The former lover, Robert Ross (Oliver Coleman), as the true and loyal friend to Wilde, plays the role with great conviction, evoking disappointment, rejection and sadness at the seemingly self-destruct path Wilde has chosen. Act two, a hotel room in Naples, opens with another raw scene this time with Bosie and an Italian fisherman played by Nores Cerfeda. The fisherman’ name is Galileo, which gives Wilde an opportunity to exercise his sarcastic wit; ‘see the stars, did you? he says to Bosie. Costumes by Kellie Bray are superb, as is lighting by Rob Sowinski and Alex Beyer with attention to detail. The set by Jason Cavanagh and Juliet Hindmarsh is an appropriately furnished cheap hotel room in both Acts. Performances: Until March 22. Tuesday to Saturday 8pm. Matinee Saturday March 22 at 2pm. Venue: Theatreworks, 14 Acland St, St Kilda, Melbourne. Performance time: Two and a half hours, plus twenty minutes interval. Tickets: $37.50 Full/$32.50 Concession. Groups of 10 or more $27.50. All tickets + booking fee. Bookings: Ph (03) 9583 3388 and www.theatreworks.org.au Warning: the play contains adult themes, full frontal nudity, sexual content and smoking. - Review by Rita Crispin

Showbiz Briefs ■ The naughty Braxton brothers fly to London in next week’s episodes of Home And Away (Seven Network). Viewers would be entitles how the characters, all with prison pasts, obtained passports so quickly and easily. ■ We mentioned this month how much we enjoy Ralph Knight behind the Nostalgia Unlimited micfrophone (3CR) on Sundays. Rod Cook also does a fine job. ■ Lionel Richie had an ordinary start to Sunday night’s concert with John Farnham. He was out of time for the first five songs, said one fan on social media. The pair did not perform a duet. ■ Kylie Minogue is to appear at the Logies on April 27. She will perform at the Nine Network event, which she has not attended since 1988.

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Page 40 - Melbourne Observer - Wednesday, March 19, 2014

Nation Review: ‘like a ferret lean and nosey’

● Michael Leunig ■ In the first 18 months of its life, Gordon Barton’s publishing empire at Fishermen’s Bend (Port Melbourne) saw many, many characters come and go. Through the years were colourful identities such as Barry Humphries, Bob Ellis, Phillip Adams and publisher Richard Walsh. One of the most endearing was cartonist Michael Leunig, whose work these days is featured in Fairfax Media newspapers including The Age. But for some time, Leunig’s work graced the Sunday Observer, and from 1970, it became a feature of the Sunday Review (later The Review and Nation Review). Review Business Manager Barry Watts would rifle through Leunig’s waste basket at the end of a work day, and save the work that Michael had consigned to the bin. One of Leunig’s creations was a ferret like character, which became the mascot for Nation Review. I think it was Publisher Richard Walsh who came up with the motto: “Like a ferret, lean and nosey.” Indeed, Nation Review was often nicknamed ‘The Ferret’ by its legion of readers. At first, The Review was printed on a Saturday night, off the Goss Urbanite press operated by Barton’s publishing company, Barndana Pty Ltd. Then printing changed to Friday nights on the small Goss Community press owned by S & G Rotary Printery (Theo Skalkos) at Fishermen’s Bend. At Easter, printing went to Thursday nights, and stayed that way, at various locations including Progress Press in Burwood and Moorabbin, Waverley Offset Printers and Stockland Press in North Melbourne. Early in its life (August 1971), the cover price of the Review was doubled from 15 cents to 30 cents. A poster, in the usual cheeky style, headlined: ‘One For The Price of Two’. “We expect to lose sales as a result of this move, of course. We seek your earnest help in minimising this sales loss,” wrote Watts to distributors. He wrote of the move of office to West Melbourne: “all the equipment, including the press, will be auctioned next Thursday.” In 1972, agents were advised that they would be delivering The Digger, a fortnightly youth-oriented broadsheet, managed by the team who built Go-Set to a peak 64,000 sales”. On the alternate week, Philip Frazer and associates had us deliver the new Australian edition of Rolling Stone. In August 1973, Nation Review circularised distribution agents boasting of press advertisements being placed on Page 2 of The Age each Friday. “Further, we will be having about 10 radio commercials on two or three different breakfast programs on Friday mornings for (several weeks),” said Watts. “Don’t be backward in telling your dealers about the promotion we are giving to the Review and encourage them to display the poster outside their shop first thing Friday morning and to see that the papers are prominently displayed in their outlet. Go to it!” In late 1973, Watts’s signature had been replaced by Andrew King, Accountant. About this time, it was rumoured that the Nation Review office had been infaltrated by an ASIO (Australian Security and Intelligence Organisation) operative. On October 23, 1973, King advised that “a meeting of all (distribution) agents will be held on Tuesday, October 23 at 7.30 at this office ... the purpose of this meeting is to inform agents of the company’s decision to close down our current distribution system immediately ... from the next issue of Nation Review distribution in Victoria will be handled by David Syme & Co Limited, through the VANA system.

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Business magnate Gordon Barton started newspapers ■ This month’s launch of The Saturday Paper by Melbourne publisher Morry Schwartz has invited comparisons with a paper that was an important cog in Australia’s media in the early 1970s. The Sunday Review was founded in October 1970 by IPEC transport magnate Gordon Barton, who established the Sunday Observer in September 1969. Barton was founder of the Australia Party, which owed its origins to the Liberal Reform Group, unhappy with the conservative party that had been led by Prime Ministers including Sir Robert Menzies, John Gorton and Bill McMahon. His political activism went back to his university days in Sydney, which are explored in the biography Gordon Barton: Australia’s Maverick Entrepreneur by Sam Everingham. Sadly, the book does not pay much attention to those heady days when Barton founded the Observer, and then the Review. News comes this week that Adelaide academic, David Olds of Flinders University, is completing an English Literature PhD that is attempting to document the history of Nation Review, and its predecessors (the Sunday Observer, Sunday Review, The Review). This writer was there from Week 3 of the beginnings of the Sunday Observer, albeit as a keen 12year-old newsboy. Gordon Barton had founded the Sunday Observer at a time when the Victorian State Government had just repealed the Sunday Observance Act, which had previously banned the publication of Sunday newspapers (although there were loopholes) and protected the Christian Sabbath from bakeries being open. Barton had tried to encourage the Victorian Authorised Newsagents’ Association to distribute his new newspaper, and they had placed an order for 55,000 copies. Barton, however, wanted more. He was investing in a new Goss Urbanite printing plant at premises at Fishermen’s Bend. He wanted to sell at least 100,000 copies and so set up his own distribution network. Barton had plans for

Baptism of fire for newsboy, 12

By ASH LONG Editor of the Melbourne Observer Melbourne

Observer

www.localmedia.com.au

● Gordon Barton: founded the Observer a metropolitan network of malfunctioned, and the 2000 newsboys and girls, Observer hit the streets organised in 20 zones, late, affecting sales. with part-time circulation Gordon Barton’s supervisors, similar to the Sunday Observer lasted carrier system in the 18 months, losing $1.5 United States. million, quite a fortune in I answered a classified 1970. ad in a Thursday edition Within a fortnight, of the Sun News-Pictorial Canberra-based puband by week three was lisher Maxwell Newton going door-to-door in north seized the opportunity and suburban Reservoir, sell- started a paper called the ing the Sunday Observer Melbourne Observer. at 12 cents a copy. It filled the vacuum. I became the third top- Whilst Barton did achselling newsboy in Mel- ieve peak sales of bourne ... and given time 100,000, Newton reached I had my eyes on the top a high of 240,000, but his position! company was plagued by Our family, including financial problems. father, mother and Melbourne publisher, brother, took on one of the Peter Isaacson, now 93, distribution zones for the took over the Observer in Sunday Observer. 1977, and ran it until 1989, This meant taking de- when faced with the oplivery of bundled copies of position of the Sunday the Observer at about 4am Sun, Sunday Age and each Sunday, delivered to Sunday Herald. central points by IPEC I have published the trucks, bundling them for Observer since 2002. shops and newsboys, deThe Sunday Review livering them, and then became The Review, later doing a second round later merging with the fortin the day, collecting cash nightly Nation magazine. from sales and returned It had a fascinating copies. roller coaster history over Often the presses had the following decade.

● Ash Long as a newsboy in 1970 ■ Who would have guessed that the ‘apprenticeship’ of being a newsboy in 1969, would lead to a newspaper career still in progress 45 years later? This was my ‘University of Life’, and I kept many of the ephemeral documents from the times, which now become a goldmine for 21st Century researchers. A full collection of Sunday Observer copies from the first 18 months are held by the State Library of Victoria, and they provide a fascinating snapshot of the Melbourne of the era. Decimal currency had only just been introduced, making news was the possible introduction of Soccer Pools (Tattslotto hadn’t been invented yet), and colour television was still years away. Six suburban VFL football matches were played on winter Saturday afternoons across Melbourne. The Sunday Observer started in September 1969. Just prior to that, Richmond publisher Dern Langlands started Postscript Weekender, of which I own the first year’s bound set. My collection includes copies of the letters which newsboys stuffed into letterboxes in their assigned areas, soliciting sales. Our commission on the 12cent newspaper was 2 cents each. A good round could earn you up to $5 a week, and the pre-Christmas round of 1969 netted me $14 in tips. What publisher in 2014 would be able to recruit pre-teen boys and girls to work in the early mornings, some standing on busy street corners? Think of the Occupational, Health and Safety dilemmas. The Sunday Observer of 1969-70 had newsletters to newsboys, informing them of prizes for lifting sales levels. The first two kids in Melbourne won bikes. As number three, I won a watch from David East Jewellers at the newly-opend Doncaster Shoppingtown, and a $5 voucher to spend at Walton’s. I resigned from the Reservoir delivery round, when my family took over a distribution round that included Glenroy, Jacana, Dallas, Oak Park, Pascoe Vale and Coburg. My brother Greg had rounds that included Brunswick, Reservoir and earlier some south-eastern suburbs. For a while, he delivered to the Latrobe University Bookshop, and the University of Melbourne bookroom. In 1970-71, we also had the task of delivering Harry Beitzel’s free Footy Week newspaper to Caltex service station, which was incorporated into a new paper, Sunday Sport. Its successor Sunday News lasted just 26 weeks, and lost more than $200,000. There was a behind-the-scenes argument between Barton’s company and Beitzel. “The Review does not consider it should hand over its distribution system for gratis to another publisher who has rescinded this agreement with us,” said a memo from Barry Watts on September 24, 1971. These memos were produced by electro-static photo copiers that used a liquid toner I was to keep receipt books from the era, which shows Barton company, Incorporated Newsagencies Company Pty Ltd, of 113 Rosslyn St, West Melbourne, accounting for sales of Nation Review, and other publications we had recruited along the way: Rolling Stone, The Digger, Rats and Popular Motorcycling. Others in the stable were also to include Cobber Comix (40 cents each), film magazine Lumiere, and Labor 73. The distribution network through independent milk bars started to fray. Various publications gave notice that they instead intended to opt for distribution through authorised newsagencies. The writing was on the wall when Barton’s company started another newspaper, The Living Daylights, aimed at a younger audience. It was edited by Richard Neville. By late 1973, the Nation Review independent distribution network had collapsed. A baptism of fire to the newspaper industry for this young ‘cadet’.

www.MelbourneObserver.com.au Melbourne

Observer

Melbourne Observer - Wednesday, March 19, 2014 - Page 41

Showbiz

‘And now, here’s Graham’ ■ Graham Kennedy was undeniably the ‘King’ of Australian television ... but that was 50 or more years ago. He certainly peaked again when he hosted Blankety Blanks in 197778, but that is 46 years ago. His last public appearance was in a Ray Martin interview in 1994, some two decades ago. “He was Australia's most famous, successful entertainer,” said friends Tony Sattler and Noeline Brown. A generation, or two, of Australians have never seen ‘The King’ at work. Many have little or no idea who he was, or his legacy to Aussie showbiz. Graham Kennedy died almost nine years ago, in May 2005. His funeral service, compered by Stuart Wagstaff, with a eulogy famously offered by friend Mike McColl Jones, is still in the minds of many fans. One friend, Henry Gay, has just released a selfpublished book, Graham Kennedy And Others Revealed. It might have been better if Henry had left his dear friend to rest in peace. Henry met Graham Kennedy in 1950 in the record library of Melbourne radio station 3UZ, when they both teenagers. Graham called Henry his “oldest living friend” in the many private letters that he sent him over the years. Henry has decided to share some of those letters - many of them in coarse language - with the world. The Melbourne Observer will not preach double standards here. Several years back, we published a number of those letters, provided to us by Henry Gay. We printed extra copies that week, but sales actually went down. There was little public appetite for Graham Kennedy letters then, and we expect even less now. Melbourne journalist Jim Murphy offers a foreword that says Graham “was never careless or untidy”. Perhaps GK did not think his letters would end up being marketed in a book through Amazon. “I was under the impression publishers would vie with each other to publish his letters but how wrong I was,” Gay says. Gay says the publishers were only interested in Kennedy’s sex life. “They were, I’m sure, hoping the letters contained steaming homosexual liaisons with famous people, gossips (sic) about the people with whom he worked and gossips (sic) about other

● Graham Kennedy: Australia’s ‘king’ Henry Gay laments famous people. But they were going to be disap- that readers should not pointed as the letters al- rush to check author most made it an autobiog- Graeme Blundell’s book raphy of the real Graham on Graham Kennedy to find his name in the index. Kennedy. “My name’s not there. “Not the person seen every night on television, Yet of all the people in the nor what his fans would entertainment industry, Graham Kennedy told me think he was like. Readers are asked to pay US$68.66 for the hard-cover version of 152 pages. We paid $3.99 for the e-book, and reckon we might have paid too much! Kennedy’s letters are frequently punctuated with the F-word. Some oif Gay’s book shows Kennedy to be just a grubby old man: “SBS is now complete porn, later week erections ejaculating over arses was too much! (I could only take a few hours of it!) Did Graham Kennedy real think these lines would find their way into the public domian, courtesy of a friend? Gay confessed: “One of the reasons we corresponded by letters, is that Graham accused me of passing on his fax number to a friend and later on he accused me again of passing it on to another friend, Seeker Keith Potger. (I hadn’t). “Graham was always changing his fax or phone number so I told him that I didn’t want them anymore. Instead I shall write letters.” Graham Kennedy’s letters to Henry Gay talk about his “escape” to his rural property at Canyonleigh, near Bowral, with the hopes of raising clydesdale horses.

of television I was his oldest living friend. So to paraphrase a Bible verse, I was neither called nor chosen.” Indeed. Graham Kennedy And Others Revealed takes 155 pages. Gay explains that when he first met Kennedy he did not like him.

Kennedy’s letters confide: “The excesses of the past are ctaching up with me - that’s all - the rotten thing about making more than average dollars is that you can afford to smoke and drink yourself to Springvale, earlier!” Kennedy tells of giving an interview to Ray Martin. ‘The King’ put expletives into the answers he did not want to go to air. Gay admits: “A close associate of Graham Kennedy told me Graham wouldn’t like his letters published I feel his fans, whose lives were brightened by his talent, deserve to know him more, not only as an entertainer, but as a person, particularly the human side of him.” Henry should have resisted the temptation. There is no class in reproducing Graham Kennedy’s admissions about the need to masturbate. Towards its end, Henry Gay’s book detours aimlessly. Chapter 20 starts with, in Henry’s words, “even more boring bits”. At least he is honest.. ■ Graham Kennedy And Others Revealed. Published by Henry Gay through Xlibris. Henry Gay is selling copies through e-Bay at $39

The Spoiler For Those Who Have Lost The Plot

Home and Away ■ 7pm. Weeknights. Seven ■ Monday, March 24. Zach and Hannah's relationship continues to crumble following their breakup. Bianca learns of Jess's illness and Chris struggles to make time with Denny. ■ Tuesday, March 25. Zac and Hannah continue to drift away, forcing Evelyn to act. Josh and Andy disagree on what to do with their father's remains. Bianca decides to fly to London with Ricky and Brax discovers a family secret. ■ Wednesday, March 26. Josh and Andy are finally able to say goodbye to their father. Chris continues to struggle to take Denny on a date and Heath learns of Bianca's departure. ■ Thursday, March 27. Double Episode. Heath, Brax and Casey travel to London. Marilyn puts John in an awkward position. Sasha attempts to convince Matt to return to school, as Maddy tries to fix Spencer and Sasha's relationship.

Arts, Showbiz Briefs ■ Next Wave unveils the 2014 Festival program with an “explosion” of art, music and mayhem at the Launch Party at Testing Grounds from 6pm on Friday, March 28. ■ The Consul General of Italy, Marco Maria Cerbo, is holding a cocktail party at the Istituto Italiano di Cultura, Domain Rd, South Yarra, on Thursday, March 27, at which a publication on intellectual property will be introduced by Dr Giovanni Di Lieto. ■ Jane Kennedy is launching a food book, One Dish, Two Ways, through Hardie Grant.

Gentlemen of Deceit

● Luke Hocking (left), Alex de la Rambelje and Vyom Sharma in Gentlemen Of Deceit, opening March 27 at the Spring Street Conference Centre. ■ Back for their fourth year at the Melbourne International Comedy Festival,AModern Deception's Vyom Sharma,Alex de la Rambelje and Luke Hocking present their most unbelievable show yet . Directed by Daniel Lammin, Gentlemen Of Deceit features a brand new array of digital dexterity and psychological chicanery. Using their signature blend of classy magic and disarming humour, Vyom, Alex and Luke will have you giggling while they mess with your mind. This intriguing and quirky magical experience is being presented for ten shows only. Dates: March 27-29, April 3-5, April 10-12 and 19 Time: 7:30pm Duration: 60 minutes Venue: Spring Street Conference Centre, 1 Spring St., CBD (3 mins walk from Parliament Station, 10 mins walk from Melbourne Town Hall) (Enter corner of Flinders Lane and Spring Street) Tickets: $23 Full Price, Concession $19, Groups 5+ $18 Online bookings: comedyfestival.com.au or call 1300 762 344 - Cheryl Threadgold

Page 42 - Melbourne Observer - Wednesday, March 19, 2014

www.MelbourneObserver.com.au

Movies, DVDs With Jim Sherlock (on leave) and Aaron Rourke

My low-budget film? I don’t need Wendy Hughes Film Recommendations money, I need a distribution deal ■ Earlier this year The Conversation published an article by Rebecca Mostyn about the audience for Australian films. The article includes useful stats pertaining to Screen Australia’s slate of feature films, budgets and outreach to Australian audiences. The thing is, I’m not making much of an addition to those audience statistics. I simply don’t get the opportunity to see the vast majority of these films at my local cinema. It got me thinking about what practical assistance I require as an emerging filmmaker. How much does it cost to make a movie? According to Mostyn’s article, which cited Screen Australia figures: ■ 43 Australian films screening at cinemas in 2012 earned a total of A$48 million. A few taps on my trusty calculator reveal that A$1.1 million is to be the average feature-film budget (including distribution and advertising) – if our film industry is to break even. The average budget per film must be less if it aspires to turn a profit. As part of my ongoing interest in economically sustainable Australian filmmaking, I wrote a screenplay in 2010 for a feature film that could be produced on a budget of only half a million dollars. But I had great difficulty peddling it around town – as the first assumption I encountered was that a film with that low a budget must be Bgrade shit. Which comes first: the money or the distribution deal? The largest hurdle for a low-budget filmmaker such as myself isn’t raising the money – it’s getting an upfront guarantee of distribution so that raising the money is easier. It’s still going to be difficult but not as difficult. Distributors who read my script were pleasantly surprised – but unfortunately they were nervous about taking on a low-budget project that wasn’t a sure thing – or, as I read the situation, a project that didn’t remind them of the Red Dog slam dunk. In my experience, local distributors are too nervous about taking on Australian films because they perform poorly at the box office and present a financial risk. And rightly so. I believe that if the average Australian film was being produced for under a million dollars and theatrical distribution was guaranteed, the money would be much easier to raise. Why? Because I could tell an investor that audiences will get a chance to see the film. Without that, the investor would be foolish to invest. I don’t necessarily want Screen Australia’s money to make my film (although, it would be nice) as I don’t have a problem with the notion of having to raise half a million dollars to make a film. If I can’t interest a room full of potential investors in my project then maybe it’s not worth the paper the script is printed on.

By AARON McLOUGHLIN Lecturer in Media and Communication at RMIT University

www.theconversation.edu.au

● It’s not just money that emerging filmmakers need – they also need help getting their work screened. First, Australian films would cost Cutting through at much less per ticket. If theatrical your local cinema Where I do need substantial help distribution were to be four-walled is in putting a distribution deal to- then Screen Australia can set whatgether beforehand. I would much ever ticket price they want. They can price them to sell. If rather draw on Screen Australia’s resources to help secure the theatri- audiences knew that Australian movies cost less to see then it may cal distribution of my film. After all, does a film exist if no- just be in their tight-arsed nature to body is there to see it? A pertinent start supporting them again. Second, theatrical exhibition Zen koan for the Australian film incould be tailored around films that dustry, methinks. Each time I go to the multiplex, I Australians actually want to see. How much financial support a see posters, cardboard cutouts, fibreglass displays and trailers up to film receives in terms of screenings 12 months before a Hollywood can be assessed on the genuine merfilm’s release. Australian filmmak- its of the completed film, avoiding ers need help cutting through to au- the fundamentally flawed scriptbased assessment process. diences. In my mind, the abysmal hit-andRather than funding for my film, I would prefer Screen Australia to miss ratio by government funding four-wall the theatrical distribution bodies has proven beyond reason– renting out the theatre the film will able doubt the ineffectiveness of this be showing at, and taking the profit process, that arming bureaucrats from the ticket sales – put up some with Hero’s Journey speak isn’t posters and guarantee the screening enough. Just my opinion? After reading of my film. This in turn would help facilitate through the statistics on how many raising money for the film. We are Australians see Australian films, it’s talking about raising relatively low fair to say we are voting with our sums here. Remember that films that feet on this issue. Many feel that the cost more than A$1.1 million to same mistake is being made over make run the high risk of losing and over, that the same film is getmoney – and should probably be ting funded over and over. Funding theatrical distribution avoided unless one can convince investors there is a new cash-cow would be fairer for the filmmaking community because the usual on the block. gatekeepers wouldn’t get to say what Bargain film-making What of the objection that it’s hard does and doesn’t get made. Instead, they’d get a fair go at assessing the to make films on the cheap? Who cares. Find a way. We sim- finished product, they’d get to try it ply don’t have millions to spend on out in front of real audiences and each film unless we sucker an in- decide how long to run it for. With a model like this, over time, vestor to pay for them – and curdistributors and investors may berently the sucker is us. By turning off the tap to over-in- come less fearful of local content. They would gain confidence flated budgets we may even encourage some innovative filmmaking and from the fact that a certain number lure audiences back, the same audi- of screens across the country are ences whose trust we lost by spend- quarantined from Hollywood films, ing millions on films that they don’t that screens in multiplexes have been want to see. Remember the innova- bought out to guarantee the screentive low-budget film Kenny, in 2006? ing of an Australian film. A little help to ensure our films A modest proposal If Screen Australia stopped fund- actually get seen would make a ing the production of films and in- world of difference to the Austrastead funded theatrical distribution lian film industry. - Aaron McLoughlin a number of things could happen.

■ The following is a list of films where this wonderful actress left a strong impression on me, even though a few of her roles are relatively small. Some are unfortunately hard to find, but if you can locate copies of the episodes of Homicide Ms Hughes appeared in, the series Power And The Glory, Return To Eden, the nicely light-hearted Happy New Year, and the superior cop show Homicide : Life On The Street (a handful of episodes in 1993), the search will prove worthwhile. A group of her earlier films were released through Umbrella Entertainment, with illuminating interviews featuring Ms Hughes (Careful, He Might Hear You is a comprehensive two-disc Special Edition), along with other cast and crew members. Peterson (R) (1974). 103 minutes. ***½. Written by David Williamson, this comedy/drama is a fascinating time capsule, when Australia was cinematically searching for its own identity in the early-to-mid 1970s. Jack Thompson is perfectly cast as the title character, who finds University isn't all it cracks up to be; Jacki Weaver shines as his wife, and Wendy Hughes also stands out as an English Professor's wife who Peterson becomes close to. Would make an interesting, Aussieminded companion piece with the 1966 anarchic comedy A Fine Madness with Sean Connery. Newsfront (PG) (1978). 106 minutes. ****. One of the growing group of Australian movies that were achieving international recognition, this intelligently made drama gives us a strong insight into the newsreel cameramen who captured moments both large and small during the late 1940s and earlymid 1950s. Cleverly changes from colour to black-and-white, and beautifully incorporates actual newsreel footage into the fictional drama, a technique which seemed to inspire George Clooney with his superlative Goodnight, And Good Luck. A great cast includes Bill Hunter, Chris Haywood, Bryan Brown and Gerard Kennedy. Wendy Hughes more than holds her own as Cinetone News assistant Amy Mackenzie. My Brilliant Career (G) (1979). 102 minutes. *****. One of the shining examples of how great Australian cinema can be, this outstanding drama based on the novel by Miles Franklin is both involving and entertaining, with a star-making performance from Judy Davis. Directed with extraordinary confidence by Gillian Armstrong and exquisitely shot by Don McAlpine, this is definitely one of Wendy Hughes's best films. Hoodwink (M) (1981). 90 minutes. ***½. This unusual caper/romance features a typically commanding central performance from the late John Hargreaves, who plays con-artist/ bank robber Martin Stang, who fooled authorities by pretending to be blind. Expertly lensed by Oscar-winning cinematographer Dean Semler, there is also strong work from Judy Davis and Dennis Miller. Wendy Hughes's role is small, but

● Wendy Hughes she lights up the screen, and has great chemistry with Hargreaves. Lonely Hearts (M) (1982). 95 minutes. ****. Wendy Hughes makes the most of her starring role as Patricia Curnow, a shy office worker who tentatively begins a relationship with an older man, equally well-played by Norman Kaye. The humour is nicely underplayed, and the characters are developed in a quiet, deliberate manner. Written and directed by arthouse favourite Paul Cox (A Man Of Flowers / Innocence). Careful, He Might Hear You (PG) (1983). 108 minutes. ****½. Unforgettable film dealing with a bitter custody battle, as two sisters fight over their orphaned nephew. Meticulously directed by Carl Schultz, who never lets the story fall into predictable melodrama, this showcases a gallery of top-notch performances, including Hughes (who won the AFI Award for Best Actress), Robyn Nevin, John Hargreaves and young Nicholas Gledhill. The DVD release finally allows the viewer to enjoy this in its full widescreen glory, after years of only being available in a deplorable panand-scan VHS version. A true Australian classic. My First Wife (M) (1984). 94 minutes. ****. Emotionally exhausting film about a 10-year marriage that comes to an end, with confronting, disquieting results. Director Paul Cox makes sure the relationship stays utterly believable, making what happens all-the-more heartbreaking. John Hargreaves and Wendy Hughes deliver world-class performances, with work that is mesmerising to watch. This, along with Careful, He Might Hear You and Lonely Hearts, are to me the stand-outs in a genuinely impressive career. - Aaron Rourke. DVDs and Blu-Rays kindly supplied by Video Vision, 177-179 Carlisle Street, Balaclava. A majority of the titles mentioned are available on DVD. For information or bookings on these titles please call 9531 2544.

www.MelbourneObserver.com.au

Melbourne Observer - Wednesday, March 19, 2014 - Page 43

Observer Showbiz

Local Theatre With Cheryl Threadgold

Insp. Drake and Black Widow SHOWS

■ The 1812 Theatre: Inspector Drake and the Black Widow (by David Tristram) Until March 22 at 3-5 Rose St., Upper Ferntree Gully. Director: Anne Simons. Tickets: $27. Bookings: 9758 3964 www.1812theatre.com.au ■ Lilydale Athenaeum Theatre: Double Act (by Barry Creyton) Until March 22 at 39 - 41 Castella St., Lilydale. Director: Alan Burrows. Tickets: $25/$23. Bookings: 9735 1777 www.lilydaleatc.com ■ Subtext Theatre: Danny and the Deep Blue Sea March 6 - 8, March 11 - 15 at 7.30pm, March 9 at 5.00pm and March 8, 15 at 3.00pm at The Owl and the Pussy Cat, 34 Swan Street, Richmond (opposite Richmond station). Tickets: $25/$20. Bookings: www.owlandcat.com.au ■ Encore Theatre Company: Love, Loss and What I Wore (by Nora and Delia Ephron), Until March 21 at the Clayton Theatrette, Clayton Community Centre, Cooke St., Clayton. Director: Helen Ellis. Bookings: 1300 739 099 (9.00am - 9.00pm). ■ La Mama Theatre: Stray (by R. Johns) Until March 23, Wed, Sun at 6.30pm, Thurs, Fri, Sat at 7.30pm, March 13, 20 at 11.00am, March 19 at 1.00pm at La Mama Courthouse, 349 Drummond St., Carlton. Director: Kat Henry. Tickets: $25/$15. Bookings: www.lamama.com.au ■ Fortyfivedownstairs: The Long Pigs Until March 23 at fortyfivedownstairs, 45 Flinders Lane, Melbourne. Director: Susie Dee. Devised and performed by Clare Bartholomew, Derek Ives and Nicci Wilks. Tickets: $35/$28. Bookings: 9662 9966 or www.fortyfivedownstairs.com ■ SLAMS: The 25th Annual Putnum County Spelling Bee Until March 22 at 8.00pm at the Knox Community Arts Centre, Crnr. Scoresby Rd. and Mountain H'way, Bayswater. Director: Joel Batalha; Musical Director: Ben Franklin; Choreographer: Hayley Wood. Tickets: $32/$28 Groups 10+ $25. Bookings: www.trybooking.com/69740 or 9720 3205. ■ The Mount Players: A Few Good Men (by Aaron Sorkin) Until April 5 at The Mountview Theatre, 56 Smith St., Macedon. Director: Neil Coulson. Tickets: $25/$22. Bookings: 5426 1892 www.themountplayers.com ■ Beaumaris Theatre Inc: The Great Gatsby Until March 29 at Beaumaris Theatre, 82 Wells Rd., Beaumaris. Director: Kristina Doucouliagos. Tickets: $27/$22. Bookings: www.beaumaristheatre.com.au ■ Sly Rat Theatre Company (in conjunction with Revolt Artspace Melbourne): Doomsday Devices (by Andy Harmsen) Until March 22 at Revolt Artspace, 12 Elizabeth St., Kensington. Tickets: $25 full $20 conc. Bookings: http:// www.revoltproductions.com ■ Mockingbird Theatre: The Judas Kiss (by David Hare) Until March 22 at Theatre Works, 14 Acland St., St Kilda. Director: Jason Cavanagh. Bookings: www.mockingbirdtheatre.com.au ■ Nat Cursio Co (commissioned by Theatre Works): The Middle Room Until March 21 and March 24 - 28 at Theatre Works, 14 Acland St., St Kilda. Strictly one visitor at a time. Tickets: $25/$20. Bookings: www.theatreworks.org.au (please bring proof of payment to theatre), or phone 9534 3388 between 10.00am and 3.00pm Mon-Fri, or tickets available at door unless sold out. Box Office opens 45 minutes before start of the show. ■ Red Stitch Theatre: This Year's Ashes (by Jane Bodie) March 19 - April 19 at Red Stitch Theatre, Rear 2 Chapel St., St Kilda East. Director: Tim Roseman. Bookings: 9533 8083 or email boxoffice@redstitch.net ■ Present Tense Ensemble: The Major Bruce Sessions: Volume 1: Like a Prayer by Madonna Thursday, March 20 at 7.30pm at The Toff In Town, Level 2, Curtin House, 252 Swanston St., Melbourne. Curated and arranged by Nate Gilkes and Bryce Ives. Tickets: $25 on door, $20 online. www.rubysmusicroom.com ■ By Word of Mouth Productions: Who You are (by Nick Backstrom), March 19 - 30, Wed, Sun at 6.30pm, Thurs, Fri, Sat at 7.30pm at La Mama Theatre, 205 Faraday Street, Carlton. Director: Douglas Montgomery. Tickets: $25/$15. Bookings: 9347 6142 www.lamama.com.au ■ Eltham Little Theatre: Gary's House (by Debora Oswald) March 20 - 29 at Eltham Little Theatre, 1603 Main Rd., Research. Director: Samuel Chappell.Tickets: $22.50 and $17.50. Bookings: 0411 713 095. ■ Theatre Works: Fright March 24 - 30 at Theatre Works, 14 Acland St., St Kilda. Tickets: $25/$20. Bookings: www.theatreworks.org.au (please bring proof of payment to theatre), or phone 9534 3388 between 10.00am and 3.00pm MonFri, or tickets available at door unless sold out. Box Office opens 45 minutes before start of the show. ■ Zin (commissioned by Theatre Works): Make the Call March 24 - 29 at Theatre Works, 14 Acland St., St Kilda. Tickets: $15. Bookings: www.theatreworks.org.au (please bring proof of payment to theatre), or phone 9534 3388 between 10.00am and 3.00pm Mon-Fri, or tickets available at door unless sold out. Box Office opens 45 minutes before start of the show.

Melbourne

Observer BANGARRA DANCE THEATRE

The Long Pigs

● Derek Ives, Nicci Wilks and Clare Bartholomew in The Long Pigs at fortyfivedownstairs. Photo: Ponch Hawkes ■ The Long Pigs is not quite clowning in the traditional sense. Part physical theatre, part black comedy and profoundly disturbing, this new production showing at fortyfivedownstairs is sure to arouse your suspicions about who and what a clown really embodies. The action takes place in a cleverly constructed set representing a factory where three clown comrades work, play and ritualise together as more and more red bloody noses are put through a rusty and rickety production line. Devised and performed by Clare Bartholomew, Derek Ives and Nicci Wilks and directed by Susie Dee, the clowns that these performers bring to life are outright evil at the core and quite frightening, but through cleverly humorous utterings and timeless circus skills the performers bring a sense of apathy and sympathy toward characters and situations where these emotions may not normally play a part. Each clown embodies their own physicality in unique, dark and humorous ways, even when seemingly completely still, and each gives the space a presence that is confronting, yet genuinely funny. As thought provoking as the performance was however, I found myself frustrated by poor stage direction. Unfortunately sitting in the rear seats a lot of crucial action and humorous moments were missed that happened on the floor right in front of the first row. A problem like this could be easily be avoided by having the action happen one metre back from the front row. Apart from this though a clever show, lots of laughs, audience participation, and the creepiest clowns you have ever seen make for a well rounded production. Season: Until March 23 Times: Tue – Sat 8pm , Sun 5pm Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne Tickets: $35 Adult, $28 Concession| $30 Groups 6+ Bookings: fortyfivedownstairs.com or 9662 9966 - Review by Stephen Leeden

● Philippe Magid, new Executive Director of Bangarra Dance Theatre. ■ Bangarra Dance Theatre has just announced Philippe Magid’s appointment as Executive Director after an extensive national recruitment process. Bangarra Chair, Larissa Behrendt, said the board is delighted to be welcoming Philippe Magid into the Bangarra family and believes he will bring to the company great energy and enthusiasm. Philippe Magid’s most recent position was Associate Executive Director of The Australian Ballet, which he held from December 2010. When commenting on his appointment, Mr Magid said it was an honour to be entrusted with leading the business and operations of Bangarra Dance Theatre, the iconic Australian indigenous arts company. “I look forward to working with the Board, Stephen Page and the whole team,” he said.

SHOWS ■ Fab Nobs Inc: Xanadu March 21 - April 5 at 33 Industry Place, Bayswater. Director: Steven Valeris; Musical Director: Simon D'Aquino; Choreographer: Sheona Grigg. Bookings: www.fabnobstheatre.com.au ■ Theatre Works: Person of Interest - Nicola Gunn. March 24 - 29 at Theatre Works, 14 Acland St., St Kilda. Tickets: $15. Bookings: www.theatreworks.org.au (please bring proof of payment to theatre), or phone 9534 3388 between 10.00am and 3.00pm Mon-Fri, or tickets available at door unless sold out. Box Office opens 45 minutes before start of the show. ■ Savage Amusement (commissioned by Theatre Works): Far Away … So Close March 24 - 30 at Theatre Works, 14 Acland St., St Kilda. Tickets: $15. Bookings: www.theatreworks.org.au (please bring proof of payment to theatre), or phone 9534 3388 between 10am and 3pm Mon-Fri, or tickets available at door unless sold out. Box Office opens 45 mins before show. ■ Theatre Works: Tears before Bedtime: A Live Art Exhibitionist March 25 - 29. Yana Alana and Tha Parana at Theatre Works, 14 Acland St., St Kilda. Bookings: www.theatreworks.org.au (please bring proof of payment to theatre), or phone 9534 3388 between 10.00am and 3.00pm MonFri, or tickets available at door unless sold out. Box Office opens 45 minutes before start of the show. ■ Melbourne International Comedy Festival (MICF): March 26 - April 20 at various venues. For full show details and bookings, visit: http://www.comedyfestival.com.au/2014/season/

● Bangarra Dance Ensemble. Photo: Jeff Busby

SHOWS

■ Boutique Theatre: Dog Sees God: Confessions of a Teenage Blockhead (by Bert V. Royal) March 20 - 29 (Tues - Sat at 8.00pm, Sun at 6.00pm) at the Brunswick Mechanics Centre Performing Arts Centre, 270 Sydney Rd., Brunswick. Directors: Byron Bache and Emma Caldwell. Tickets: $36/$29 $28 Preview. Bookings: www.boutiquetheatreco.com

AUDITIONS

■ Cardinia Performing Arts Company (CPAC): The Wedding Singer Information Night Thursday, March 27 at 7.30pm at the CPAC rooms at rear of the Pakenham Sports Club, Henry St., Pakenham. Auditions: April 29, 30 from 6.00pm. Dance audition and callbacks: May 3 at 1.00pm. Audition bookings: 0407 090 354 or www.cardiniaperformingarts.com ■ Williamstown Little Theatre: Six Dance Lessons in Six Weeks (by Richard Alfieri) on March 25 and 27 from 7.30pm at the Newport Baptist Church, Mason St., Newport. Director: Alan Burrows. Audition bookings: 0412 077 761 ■ Playhouse Players Inc: 12 Angry Men (by Reginald Rose) March 29, 30. Director: Andrew Burns. Audition booking and audition kit: 0420 329 198.

www.MelbourneObserver.com.au

Page 44 - Melbourne Observer - Wednesday, March 19, 2014 Melbourne

Observer

Lovatts Crossword No 16 Across

Across

Down

1. Promotion & advertising 6. Job path 11. Double bike 15. Messenger 20. Jump 21. Laughing scavenger 22. Labyrinth 23. ResumĂŠ, curriculum ... 25. Victory cup 26. Of sound mind, compos ... 27. Holy city 29. Letter 32. Forbidden activity (2-2) 34. Neither ... nor that 36. Careworn 39. Pre-Soviet emperors 41. Talks wildly 43. Roof overhangs 46. Lessens 48. More recent 49. Lion's neck hair 51. Stack 52. School principals 55. Love excessively, ... on 56. Louts 59. Awkward 61. Deities 62. Body fluid lump 63. Baby night bird 64. Anger, raise someone's ... 67. Favours 68. Shaggier 70. US coin 71. Odour 72. Perfume sampler 73. Lithe 74. Enthused 75. Red blood cell deficiency 77. Letter cross-stroke 78. Desires 79. Unmask 82. Lettuce side dishes 86. Widen (pupils) 87. Famous volcano 89. Illegal passengers 92. Former 94. African antelope 96. SE Arabian sultanate 98. Sets (table) 100. Smells strongly 101. Slightly open 103. 60s pop dance (2-2) 105. Become more active (3,2) 106. Symbolic picture 108. Brass instrument 111. Wordless play 112. White ants 114. Cannier 116. Citrus peel 119. German Mrs 120. Walkway 121. Non-com (1,1,1) 123. Was in debt to 124. Shrill bark 125. Name one by one 126. Vortex 127. Chair wheels 130. Came first 131. Wasted time 135. Record's secondary track (1-4) 138. Spoils 139. ... out a living 141. Countries' pennants 144. Economise, scrimp & ... 146. And so on 147. Infantryman, ... soldier 148. Crazy 149. Bread bun 150. Exercise club 151. Retained 152. Swallow up 153. The B of NB 155. Soviet Union (1,1,1,1) 157. Numerals system 158. Enclosure 160. Futuristic fiction (3-2) 161. Unsuitable 162. Ultra-virile 163. Which 165. Building block 166. Jug rim 167. ... Baba & The 40 Thieves

168. Mexican dip 169. Dispatch by post 171. Suspect's defence 172. Naval rank, chief ... officer 175. Rare pleasure 176. ... & hearty 179. Dried grape 180. Asian sauce bean 182. Knuckle of veal stew, ... bucco 184. Magazine subscriber 185. Cramped (space) 186. Perish 188. Sir ... Coward 189. Chest bone 190. Ancestry diagram, family ... 191. Wheel-shaft projection 193. On cloud ... 194. Swaggering walk 196. Fashion guru, Christian ... 197. Christmas carol, ... In A Manger 198. CDs, compact ... 200. Declare approval of 205. Olympic Games body (1,1,1) 207. King's title, Your ... 210. Resettlement 211. Bludgeoned 212. Pull heavily 213. Indian garment 214. Slimy substance 216. Red-rind cheese 218. Steer 219. Tibetan oxen 220. Employees 224. USA (5,3) 227. Snout 229. Abominable snowman 230. Antlered beast 231. Mutilates 232. Isolated 233. Towards interior of 235. Plentiful 237. Require 239. Wood-trimming tool 241. Of warships 244. Relaxation routine 246. Waffles 249. Child's guessing game (1,3) 252. Press down (4,2) 254. Toppled (over) 256. Group of six 258. Stuns 259. Sea rhythms 260. Foot arches 263. Queen's dog 264. Jogger 265. Ludicrous failure 267. Flowing away 270. Marmalade fruit 271. Spins 272. Mental stress 273. Leakage 274. Map book 277. Small car 279. Ready money 281. Circular 284. Ayes & ... 286. Security lapse 288. Rev counters 292. Measure of distance 294. Composer's work 295. Islands 298. Illumination 300. Orchestra section 301. Hymn, Ave ... 303. Hoisted (flag) (3,2) 306. Idolise 308. Engage (gears) 309. Lazily 311. Thug 314. Spanish friend 315. Salt, ... chloride 316. Conforming, ... the line 317. Without company 318. Filled pastries 319. Unruly children 320. Bug 321. Preaches 322. Phases 323. Electronic payment for goods 324. Tearing into strips

1. Cripple 2. Salesmen 3. Singer, ... Presley 4. Bury 5. Scottish valley 6. Short sleep 7. Kitchen garment 8. Uncovered 9. Corresponded in sound 10. Swiss lake 11. Most submissive 12. Convent 13. Utters 14. Pulped 15. Confines, ... in 16. Frill 17. Public profile 18. Festival 19. Street 24. Tennis ace, ... Lendl 28. Cries like crow 30. Ayatollah's land 31. Pace 33. Makes speech 35. Pressure line on map 37. Enlarge 38. Widespread 40. Wonkiest 42. Prickle 44. Single-celled organism 45. Respect 47. Donkeys 48. Proximity 49. Tiny fish 50. NSW industrial city 53. Tarmac surface 54. Bliss 57. New Zealand Rugby Union team (3,6) 58. Immersed 60. Into that place 63. Aperture 65. Regrettably 66. Eyelid inflammation 68. Group of cattle 69. Writer, ... Blyton 76. Stretchy tape 79. Smash into 80. Snake poison 81. Royal racecourse 83. Up & about 84. Grant 85. Watch covertly 88. Compass point 90. ... & ahs 91. Current units 93. Study of zodiac 95. Moist 97. Become beached, run ... 99. Music style, rock ... (3,4) 100. Sudden attack 102. Denim trousers 104. Yields, ... in 107. Prison rooms 109. Raise (livestock) 110. Region 111. Mongrel dog 113. Originate 115. Female calves 117. Tinted 118. Mirth 121. Journalists 122. Admitted guilt (5,2) 127. Undemanding (job) 128. Disjoin 129. Refits 132. Magician's chant 133. Bloodsucker 134. Military overthrow, coup ... (1'4) 135. Makes acquaintance of 136. Torvill or Dean (3-6) 137. Able 138. Organised for action 140. Communal bedroom 141. Burned unsteadily

Down 142. Disbelievers 143. Portable weapons (5,4) 145. Closing tactics 151. Food-preparing room 154. Chilly 156. Remains 159. Also known as (1,1,1) 164. Afflict 169. Pancake topping, ... syrup 170. Aggravated 173. Lobe ornament 174. Cigar leaves 177. Ram star sign 178. Abrasive paper 181. Actor, Laurence ... 183. Substitute (5-2) 187. Listing down 192. Music colleges 195. Raise standard of 199. Treated badly (3-4) 201. Police informer 202. Debauched party 203. Delete 204. Milk coffee style, ... latte 206. Hi! 207. Intended 208. Model, ... Macpherson 209. Serving platter 213. Wiry-haired dog, ... terrier 215. Rich 217. Earth's satellite 221. Browned off (3,2) 222. Grind down 223. Polluted air 224. Expends, ... up 225. Terminate 226. Execute (law) 228. Entertainingly 234. Enlivening (7,2) 236. Mooches 238. Dine 240. Spot 242. Fan 243. Scotsman's pouch 245. Work clothes 247. Stupid 248. Concentrated scent 250. Autocue 251. Mounts 253. Actor, Robert De ... 255. Pigmented eye membrane 257. Great ages 258. Eagerly expectant 261. Higher in rank 262. Banishes 265. Girl 266. Actor, Will ... 268. Brazilian dance, ... nova 269. Affable 275. Filled tortilla 276. In present state (2,2) 278. Singer, ... Cole (3,4) 280. Side of sofa 282. Oh dear! 283. Starkers 285. Slight 287. Caresses with lips 289. Nuclear devices (1-5) 290. Distress signal 291. African disease fly 292. Small insects 293. Unknown author 296. Baby wrap 297. Long films 299. Phantom 302. Beatles drummer 304. Love 305. Plumbing trap pipe (1-4) 306. Heat up 307. Crowd sound 308. Sponges 310. Root vegetables 312. Cab 313. Phoned

Melbourne Observer - Wednesday, March 19, 2014 - Page 45

Solution on Page 36

MEGA

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