Resources |
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Brek, Battles Long Ago, Nation, 20 March 1965, 18-19
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Brek, Bleak Houses, Little Expectations, Nation, 17 December 1960, 26
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Brek, Lunch Hour, Nation, 15 May 1965, 20-21
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Brek, Public Cheer and Private Joy, Nation, 21 March 1964, 17
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Brek, The Case For Trust Busting, Nation, 16 December 1961, 20-21
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Brek, The Classius Syndrome, Australian Book Review, 3, 12, October 1964, 251
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Brek, Young man of the house, Nation, 2 December 1961, 17
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'Halsted', Roundabout - People and Events., The West Australian, 2 September 1938, 9
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'Polygon', Drama Festival. The Australian Play. Large Audience Last Night, The West Australian, 10 October 1938, 10
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'Sperans', The Schools. Anniversary Project. Nine Stages of History, Sydney Morning Herald, 24 March 1938, 5.
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'Te Pana', Amateur Stage. Drama League Supported, Courier Mail, 11 November 1940, 6
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'The Rambler', Walter Baker. Hero of Stage Passes., Newcastle Morning Herald and Miners' Advocate, 18 July 1933, 9
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(From the Spectator.) Theatricals, The Australian, 18 January 1833, 4
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A Sydney Correspondent, Betty Roland. Drama in Russia and Australia, The West Australian, 8 October 1938, 12
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Agon, Australian play makes advance, Listener In , 3 December 1955, 0
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Agon, Original Pinter, Listener In , 28 September 1961
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All Greek to Me, The West Australian, 16 March 1983, 11
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An Old Stager, Actors and Actresses I HAVE KNOWN III. GEORGE RIGNOLD., Illustrated Sydney News, 27 August 1892, 8
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An Old Stager, Actors and Actresses I HAVE KNOWN XX.-HENRY R. HARWOOD;, Illustrated Sydney News, 31 December 1892, 18
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An Old Stager, Actors and Actresses I HAVE KNOWN. V.-MONS. C. D. MARIUS, Illustrated Sydney News, 10 September 1892, 8
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An Old Stager, Actors and Actresses I HAVE KNOWN. VII.MRS. HERMAN VEZIN, Illustrated Sydney News, 24 September 1892, 8
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An Old Stager, Actors and Actresses I HAVE KNOWN. IX.EMILY SOLDENE, 8 October 1892, 17
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An Old Stager, Actors and Actresses I HAVE KNOWN. VI.WALTER BENTLEY, Illustrated Sydney News, 17 September 1892, 8
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An Old Stager, Actors and Actresses I HAVE KNOWN. VIII.BARRY SULLIVAN, Illustrated Sydney News, 1 October 1892, 17
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An Old Stager, Actors and Actresses I HAVE KNOWN. XII.GUSTAVUS VAUGHAN BROOKE, Illustrated Sydney News, 29 October 1892, 18
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An Old Stager, Actors and Actresses I Have Known IV: Pattie Laverne, Illustrated Sydney News, 3 September 1892, 8
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BACK STAGE CREW, The Sunday Herald, 10 September 1950, 11
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Back in 1879 - J. C. Williamson, Ltd., Truth, 6 January 1935, 18
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Chico Marx To Appear At Sydney Tivoli, Sydney Morning Herald, 20 May 1948, 7
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Extraordinary lives, RealTime Arts, 47, February 2002, 33
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Highlight, Repertory play makes appeal, Barrier Miner, 16 April 1964, 13
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HISTORY: Tale of The Lame Dog inn , Newcastle Herald, 8 March 2013
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M H, One play of the year!, Australian Theatregoer, 1960, 10
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Mayfair, Heard Here and There, Sydney Morning Herald, 23 June 1938, 24
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Mayfair, Heard Here and There, Sydney Morning Herald, 26 September 1940, 15
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No temperament in all-woman cast., The Sun (NSW), 15 November 1951, 31
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Stroller, Across the footlights, Barrier Miner, 20 October 1962, 3
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Stroller, Across the footlights, Barrier Miner, 21 May 1960, 7
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Stroller, Across the footlights, Barrier Miner, 23 April 1960, 8
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Stroller, Across the footlights, Barrier Miner, 3 March 1962, 5
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Stroller, Across the footlights, Barrier Miner, 9 April 1960, 4
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Thespian, Bouquet for the ladies at Playhouse, The Mercury (Hobart, Tas. : 1860 - 1954), 4 October 1954, 18
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Thespian, New Hobart play is 'different', The Mercury (Hobart, Tas. : 1860 - 1954), 1 October 1954, 8
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Yunupingu, Sunday Territorian, 22 March 1987
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"A Bill of Divorcement", The Telegraph (Brisbane), 5 June 1937, 14
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"A Brother's Crime", The Evening Telegraph, Charters Towers, Qld, 13 February 1903, 3
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"A Doll's House", Barrier Miner, Broken Hill, NSW, 10 August 1891, 2
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"A Doll's House", The Telegraph (Brisbane), Brisbane, Queensland, 13 February 1891, 4
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"AN IDEAL HUSBAND" - 1948, 27 August 1948
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"Arrah-na-Pogue", The Wagga Wagga Express, NSW, 25 April 1901, 2
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"As You Like It" - Successful Production, Honi Soit, SRC, University of Sydney, The University of Sydney, 7, 18, 7 August 1935
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"Berkeley Square", The Daily Telegraph, 18 April 1934, 11
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"Bill of Divorcement". Arts Society Production, The Canberra Times, 30 July 1932, 3
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"Bless the Bride" at Victoria, Newcastle Sun, 5 April 1951, 10
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"Bless the Bride" Presentation, Newcastle Morning Herald and Miners' Advocate, 8 February 1951, 5
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"Busiest Maid In Town", The Age, 3 August 1963, 8
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"Caine Mutiny" on TV, The Age, T.V. Supplement, 9 January 1959
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"Caine" repeat on HSV, Listener In , 21 February 1959
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"Called to Arms", The Australian Star, 1 April 1896, 5
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"Called to Arms", The Australian Star, 27 March 1896, 5
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"Called to Arms", The Australian Star, 31 March 1896, 5
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"Charley's Aunt", The National Advocate, Bathurst, NSW, 28 December 1900, 2
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"Corner" Chronicles, Truth, 15 March 1896, 2
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"Dancing Days", The Sun (NSW), 18 January 1932, 9
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"Doll" may yet please New York, Sydney Morning Herald, 28 January 1958, 1
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"Elizabethan" Headgear, The Australian Women's Weekly, 7 September 1955, 34
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"Every Time A Million", The Register, 8 September 1911, 9
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"FOR ENGLAND" AT THE THEATRE ROYAL, The Daily Telegraph, 3 October 1896, 12
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"Frasquita". Lehar's Tuneful Opera., The Daily News, 11 August 1927, 5
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"Funny Girl" star taken ill, The Age, 3 January 1967, 6
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"Gallipoli Bill", The Sun (NSW), 25 April 1926, 5
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"Gee Whizz". Bright New Show To-night, The Examiner, 20 April 1934, 8
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"Gink From Georgia" at Tivoli, 29 October 1934, 6
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"GOOD-BYE" (1907, October 24), The Australian Star, 24 October 1907, 6
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"HAMLET AND HIS MADNESS.", Leader, 17 August 1867, 24
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"Hamlet" Staging Is Postponed, Newcastle Sun, 21 June 1951, 6
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"Happy and Glorious", The Sydney Mail, 13 July 1932, 12
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"Hasty Heart" Company, The News, 16 August 1946, 5
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"Hay Fever". Modern Comedy Well Played, The Canberra Times, 19 October 1932, 2
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"Healing Wings" at Tivoli, Barrier Miner, 20 July 1938, 4
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"Healing Wings" season ends, Barrier Miner, 21 July 1938, 5
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"Healing Wings" to be staged, Barrier Miner, 5 July 1938, 4
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"Hello, Dolly!", The Australian Women's Weekly, 5 May 1965, 10
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"High Jinks", Goulburn Evening Post, 16 November 1949, 2
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"High Jinks", Goulburn Evening Post, 18 November 1949, 1
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"His House in Order", Sydney Morning Herald, 24 January 1914, 3
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"I'll Leave It To You" To be Presented by Amateur Theatres, The Telegraph (Brisbane), 19 September 1936, 14
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"I'm the Man for the Job," says Stage Star, The Age, 14 January 1964, 5
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"Jill Darling" At Royal, The Advertiser (Adelaide, SA : 1931 - 1954), National Library of Australia, 1 August 1938, 17
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"Julius Caesar" Play, Newcastle Morning Herald and Miners' Advocate, 23 June 1950, 7
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"King Of The Aborigines", The West Australian, 8 July 1926, 10
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"L'Aiglon" Dress Rehearsal, A Successful Production , Honi Soit, 9 August 1933, 1
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"La Mascotte", Toowoomba Chronicle and Darling Downs General Advertiser, Qld, 2, 4 August 1898
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"Leave It to Psmith", The Telegraph (Brisbane), 7 August 1937, 15
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"Lights out" for 'Bugles' in city, The Sun (NSW), 8 April 1950
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"Little Jack Sheppard", The Lorgnette, 18 December 1886, 4
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"Lord Babs", Table Talk, 18 April 1929, 20
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"Macbeth" in Sydney, The Lorgnette, 19 July 1884, 4
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"Maritana" in the School of Arts, Lithgow Mercury, 15 July 1898, 6
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"Mutiny" on HSV, The Sun (NSW), 30 December 1958
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"My Sweetheart". The Kate Howarde Company., The Daily Telegraph, Launceston, Tas., 31 May 1904, 2
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"Night of Opera", Newcastle Morning Herald and Miners' Advocate, 13 November 1952, 5
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"Oklahoma!" rehearsal, Newcastle Sun, 20 April 1961, 33
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"Oklahoma" at Ballarat, The Age, 6 June 1962, 3
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"Oklahoma" Opens To-morrow, Newcastle Morning Herald and Miners' Advocate, 25 October 1953, 4
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"Old Chelsea" To-morrow, Newcastle Morning Herald and Miners' Advocate, 17 October 1951, 4
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"Old Mrs. Wiley", Sydney Morning Herald, 5 November 1927, 12
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"ONE OF THE BEST" OF OUR ACTORS, Sunday Times, 19 April 1896, 2
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"Out of the Box" at Tivoli, Barrier Miner, 29 June 1942, 4
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"Pot Luck" is Popular in Melbourne, Everyones, 11, 549, 27 August 1930, 41
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"Regulars" Missing From First Night, Sydney Morning Herald, 11 January 1956, 7
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"Rhapsodies Of 1935", The Advertiser, 12 August 1935, 19
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"Rhapsodies Of 1935", The Advertiser, 27 August 1935, 10
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"Rhapsodies" here for season, The News, 15 August 1935, 9
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"Rio Rita". Gladys Moncrieff's Choice of Roles, The Advertiser, 22 May 1929, 17
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"Skinny Winnie", The Age, 27 June 1967, 6
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"Snappy Sydney", The Canberra Times, 10 November 1933, 3
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"Snappy Sydney", The Canberra Times, 17 November 1933, 4
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"Snappy Sydney". Revue at Canberra, Sydney Morning Herald, 21 November 1933, 4
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"Sunny" To-night. Empire Theatre Opening, The Sun (NSW), 28 February 1927, 10
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"The Christian", National Advocate, Bathurst, NSW, 29 November 1900, 2
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"The Criterion Burlesque Company", The Riverine Grazier, Hay, NSW, 16 August 1895
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"The Doll" Makes London History, The Age, 25 May 1957
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"The Fire on the Snow". A Dramatic Chronicle, The Narracoorte Herald, 3 June 1941, 4
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"The Forty Thieves", The Daily News, 20 December 1904, 11
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"The Highwayman", The Bulletin, 29 November 1950
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"The New Moon" Season, Barrier Miner, 26 May 1931, 3
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"The Playhouse" To Go, Everyones, 3, 149, 10 January 1923, 36
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"The School for Husbands", The Telegraph (Brisbane), 19 February 1938, 24
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"The Sign of the Cross" at Her Majesty's, The Daily Telegraph, 8 May 1897, 10
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"The World's Verdict", The Ballarat Star, Vic., 10 January 1902, 6
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"To Hell With Culture", The Age, 1 August 1963, 14
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"Tulip Time in Holland", Barrier Miner, 15 September 1942, 2
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"Tulip Time in Holland", Barrier Miner, 26 September 1942, 7
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"Twelfth Night", Honi Soit, SRC, University of Sydney, The University of Sydney, 9, 17, 28 July 1937, 1
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"Vogues of 1935", The Advertiser, 9 September 1935, 16
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"Wattle Farm", The Sun (NSW), 11 November 1928, 6
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"Winterset" Pleases, Barrier Miner, 7 June 1948, 7
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$1 a month for theatre, Sun Herald, 30 August 1978
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$7,000 raised, Sydney Morning Herald, 2 May 1978
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'Australia's answer to Glenda Jackson', Newcastle Herald, 12 June 1985
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'Band' words not trivial, judge rules, The Age, 30 September 1969, 2
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'Botham' on stage, The Canberra Times, 20 November 1981, 7
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'Boys' go back to court, The Age, 14 August 1969, 1
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'Boys' swear in Adelaide, The Age, 15 April 1970, 12
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'Caine' is on tomorrow , The Sun (NSW), 10 January 1959
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'Caine' on tomorrow, The Sun (NSW), 21 February 1959
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'Caine' will be on tv Sunday night, The Sun (NSW), 5 January 1959, 16
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'Dumb Waiter' made major appeal, The Examiner, State Library of Tasmania, Launceston Reference Library, 5 July 1965, 12
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'Dutch Courage', The Sydney Mail, 10 August 1932, 16
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'Enry back in town, The Age, 16 March 1970, 2
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'Favor' for Arts Centre, The Age, 15 May 1981, 10
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'Goldberg' comedian dies, 54, Sydney Morning Herald, 19 June 1978, 2
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'Governor Bligh', The Argus, 10 September 1930, 15
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'Hair' Case, The Age, 19 May 1972, 3
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'Hanging party' could disturb, The Age, 31 March 1972, 22
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'Hyacinth' , Woman's Realm. The Week in Brisbane. Musical Matinee, The Queenslander, 27 November 1930, 44
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'It was liberating': in his bubble, Tony dances alone, The Age, 18 September 2020
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'Jesus' show folds after three weeks, The Age, 10 January 1972, 3
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'King of country' on stage, Canberra Standard, 26 July 1984
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Merrie England," to be performed in the Botanic Gardens tomorrow week, is .charming music — an ideal choice for Sunday afternoon entertainment in a garden setting. It wili have equal appeal to highbrow and lowbrow tastes. Sir Walter Raleigh and Jill- All- Aione will be chronologically incorrect when they sing "It Is the Merry Month of May." ' But in his next solo, the gallant Sir Walter will be "right on the beam." This gay little song is "Dan Cupid Hath a Garden." "Merrie England," a comic opera, was written by the distinguished English composer Sir Edward Ger man. It was first produced at the Savoy Theatre, London, in 1902. Mr Hector Crawford, who will conduct the Melbourne Conserva- torium Symphony Orchestra and the Orpheon Choir of 200 voices, is not worried about the weather. His friends call him "Lucky Craw ford" because in seven years of open air concerts he has suffered only one day of scattered showers. Soloists, choir and orchestra will have their first combined rehearsal on Tuesday night. On Saturday they will rehearse In the gardens. The concert is being sponsored by The Herald. It will be broad cast by 3DB.
'Merrie England' Ideal for Garden Concert, The Herald, National Library of Australia, 23 February 1946, 5
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'Minstrels' producer arrives, The Age, 13 October 1968, 6
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'Neath Southern Skies'. School Pupil's Pageant, Sydney Morning Herald, 23 March 1938, 24
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'Peter Pan' players, Barrier Miner, 13 June 1938, 4
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'Rustless Gold', Sydney Morning Herald, 10 November 1937, 11
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'Significant' breakfast, The Advertiser, 22 June 1965
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'Snappy Sydney'. Revue Season for Women's Hospital, Sydney Morning Herald, 11 October 1933, 12
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'The Doll' becomes one of a trilogy, The West Australian, The University of Adelaide, Library Special Collections, 16 February 1976
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'The Dutch Kitchen', Sydney Morning Herald, 8 July 1939, 9
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'The Little Flower', Sydney Morning Herald, 22 November 1932, 6
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'The Little Flower'. Dramatised Story of St. Theresa, Sydney Morning Herald, 14 April 1937, 8
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'The Sound of Music' repeated, The Canberra Times, 13 February 1979, 12
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'The World Looks Up' At the Tivol, Truth, 1 August 1933, 33
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'Varsity Students' Play. Large Audience, The Sun (NSW), 1 August 1935, 34
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'Veronica' , A Woman's Letter. Weekly Gossip from Brisbane, Cairns Post, 2 December 1930, 2
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'Whose Child?' Miss Preston Stanley's Play. The Rights of Mothers, Sydney Morning Herald, 28 November 1932, 4
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'Within These Walls', The Argus, 21 November 1936, 40S
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'Yes, yes' to Betty Grable, The Age, 8 March 1972, 2
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10 years or his life: that's drama, The Age, 18 February 1975, 2
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150 Women. University Pageant. Clio Peacemaker. Lessons of History, The Sun (NSW), 4 May 1928, 13
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1969 play seasons give the other side of numerous pennies, Masque, 8, February-March, 1969, 22a-22d
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1980 Jane Street Season, Theatre Australia, 4, 12, July 1980, 4
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20s hit musical for Canberra, The Canberra Times, 5 June 1968, 26
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25 Songs ..., The Bulletin, Theatre and Dance Platform, 2, #5, October 1998, 66
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2UW Radio Theatre, Sydney, Construction, 28 June 1944
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300 Attend Funeral of Garnet Carroll, The Age, 26 August 1964, 5
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4 short plays by Repertory, Courier Mail, 20 September 1947, 5
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5.15 PM Tivoli Show, The Argus, 12 March 1945, 5
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80 dismissed and $200,000 gone - but Lido will go on, The Age, 24 February 1970, 3
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9 actors charged with obscenity, The Age, 22 December 1969, 1
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A "Black" Joke, Bell's Life in Victoria and Sporting Chronicle, 12 September 1857, 2
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A "Grand" Corroboree, Singleton Argus, 29 February 1888, 2
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A 'burden" for White's man, The Sun (NSW), 26 May 1963
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A 'friendly'divorce for Diane, Sean, The Age, 27 July 1973, 2
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A A Phillips, Assaying the new drama, Meanjin Quarterly, 2, 1973
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A Black Draft On The Government, Sydney Morning Herald, 28 February 1867, 4
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A Blackfellow Of The Hustings, South Australian Advertiser, 4 June 1860, 3
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A Blackfellow On The Hustings, Sydney Morning Herald, 22 May 1860, 3
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A Camera on the Sydney Social Round Yesterday, Sydney Morning Herald, 23 June 1938, 21
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A Challenging Play. Outward Bound., The Register, 17 July 1928, 14
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A Chat with Jack Fewster, Critic, 7 June 1922, 15
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A Chat with Mr Graham, Critic, National Library of Australia, 30 December 1914, 24
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A CHAT WITH MR. ARTHUR GARNER., The Advertiser, 6 June 1894, 7
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A Child's Christmas in Australia, Sydney Morning Herald, 10 December 1982, 8
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A Child's Christmas in Australia, The Australian, 10 December 1982, 8
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A Chinese Actress, The Age, 31 January 1863, 4
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A Chinese God, Bendigo Advertiser, 23 June 1856, 3
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A city music hall, Sydney Morning Herald, 16 October 1906, 9
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A Commission Corroboree, Kalgoorlie Western Argus, 23 December 1919, 22
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A complicated will. Extraordinary Provisions. Children must work. Stage career banned., The Age, 17 December 1931, 9
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A correspondent, South Australian Weekly Chronicle, 14 October 1865, 5
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A Corroboree At Stroud, Australian Town and Country Journal, 18 June 1870, 17
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A Corroboree At Stroud, The Queenslander, 1 October 1870, 6
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A Corroboree In Queensland, Illustrated Sydney News, 16 September 1867, 4
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A Corroboree On The Stage, Goulburn Herald and County of Argyle Advertiser, 2 June 1860, 4
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A Corroboree, Albury Banner and Wodonga Express, 26 May 1899, 29
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A Corroboree, Bendigo Advertiser, 27 March 1857, 3
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A Corroboree, Border Watch, 16 February 1881, 2
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A Corroboree, Chronicle, 18 February 1905, 11
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A Corroboree, Darling Downs Gazette and General Advertiser, 2 April 1870, 3
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A Corroboree, North Australian and Queensland General Advertiser, 21 April 1857, 4
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A Corroboree, Northern Star, 6 January 1897, 2
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A Corroboree, Northern Territory Times and Gazette, 31 July 1891, 2, 3
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A Corroboree, Sydney Morning Herald, 10 June 1907, 7
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A Corroboree, Sydney Morning Herald, 17 March 1870, 5
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A Corroboree, Sydney Morning Herald, 19 June 1907, 9, 10
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A Corroboree, Sydney Morning Herald, 20 August 1921
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A Corroboree, Sydney Morning Herald, 9 August 1924, 15
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A Corroboree, Tasmanian Daily News, 28 March 1857, 3
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A Corroboree, The Advertiser, 30 June 1914, 14
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A Corroboree, The Age, 14 March 1857, 6
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A Corroboree, The Argus, 13 March 1857, 5
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A Corroboree, The Argus, 17 May 1856, 5
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A Corroboree, The Argus, 28 April 1863, 7
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A Corroboree, The Brisbane Courier, 24 March 1870, 3
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A Corroboree, The Brisbane Courier, 5 July 1921, 7
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A Corroboree, The Colonial Times, 27 May 1856, 2
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A Corroboree, The Cornwall Chronicle, 9 May 1863, 2
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A Corroboree, The Kalgoorlie Miner, 10 April 1913, 4
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A Corroboree, The West Australian, 22 December 1898, 4, 5
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A Corroboree, Western Mail, 23 December 1898, 26, 27
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A Couple of Broken Hearts, Sun Herald, 10 July 1983, 79
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A Crushed Tragedian, The Australian Star, 31 August 1891, 6
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A Day Out, The Brisbane Courier, 15 August 1924, 19
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A Day with the Myalls, Sydney Morning Herald, 4 February 1882, 11
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A detective turns writer, The Australian, 3 July 1969, 24
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A Doll's House, The Ballarat Star, Victoria, 23 April 1891, 4
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A Doll's House, The Brisbane Courier, QLD, 11 February 1891, 5
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A fair dinkum Greek rock musical, The Daily Telegraph, 10 May 1974, 24
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A fast mover at 60, Sydney Morning Herald, 23 January 1977, 17
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A festival of success, The Age, 2 September 1964, 15
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A first night in Melbourne: 'Best play ever written about Australia', The Times, 30 November 1955, 3
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A focus on corruption, Catholic Leader, 16 April 1986
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A Galaxy of Birds. Canary Cottage At The Royal, The Register, National Library of Australia, 22 April 1918, 6
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A Geelong group Comes to Town, The Age, 4 May 1963, 8
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A Generous Company., The Grafton Argus and Clarence River General Advertiser, Grafton, NSW, 1 May 1905, 2
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A gentleman, Clarence and Richmond Examiner, 2 April 1878, 2
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A Good Performance by the Kate Howarde Coy. The Story of "Caste", The Wyalong Advocate and Mining, Agricultural and Pastoral , NSW, 7 October 1903, 3
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A Great Australian, The Newsletter: an Australian Paper for Australian People, 4 November 1911, 3
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A GRIEVANCE. (1898, April 3). , Truth, 3 April 1898, 2
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A Handful of Friends, The Australian, 13 September 1983, 10
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A hard act to follow, On Stage, 12, 2, 2011, 44
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A Hard God Study Guide, Theatre Australia, The University of Adelaide, Library Special Collections, July 1977, 68-69
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A Hit In 405 B.C.: Still Has Modern Flavor, The Sun (NSW), 12 September 1940, 24
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A house that was once a restaurant, The Age, 24 February 1982, 33
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A Howes, The games are over ... now for the festival, Australian Theatregoer, 2, 12 (December), 1962, 40
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A jolly good fellowship, On Stage, 12, 3, 2011, 13
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A Kangaroo Drive, Sydney Morning Herald, 11 August 1881, 9
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A Kangaroo Drive, Sydney Morning Herald, 5 August 1881, 6
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A Licentious Stage, The South Australian Register, National Library of Australia, 16 January 1850, 3
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A Licentious Stage, The South Australian Register, National Library of Australia, 22 January 1850, 3
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A Life of Pleasure, Table Talk, 11 June 1897, 16
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A long-legged Medea, The Age, 31 July 1979, 2
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A love affair blossoms again, The Daily Telegraph, 23 February 1979
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A Lyric Club Welcome, The Register, National Library of Australia, 8 May 1901, 3
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A Man of the Theatre. Robin Lovejoy, Sydney Morning Herald, 12 February 1966, 15
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A matter of metaphors, Brisbane News, 8 May 2002, 10
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A Midnight Mystery, The Evening Telegraph, Charters Towers, Qld, 16 February 1903, 2
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A Million of Money, Table Talk, 14 July 1893, 7
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A Modern Babylon, The Ballarat Star, Vic., 31 December 1901, 6
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A Monster Corroboree, The South Australian Register, 9 February 1869, 2, 3
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A Native Corrobboree, Adelaide Observer, National Library of Australia, 12 February 1898, 44
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A Native Corrobboree, The South Australian Register, National Library of Australia, 29 January 1898, 5
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A New Anna Today in The King and I, The Age, 13 April 1963, 8
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A New Brisbane Watering Place., Queensland Figaro and Punch, 28 April 1888, 3
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A new life for the Cameo Theatre, The Daily Telegraph, 27 January 1946, 28
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A New Mode Of Raising Funds For Benevolent Objects, Sydney Morning Herald, 21 July 1869, 4
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A new take on the Taming, The Canberra Times, 3 October 2009, 22
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A NEW THEATRE COMPANY, Sydney Morning Herald, 8 May 1939, 4s
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A Night in the Arms of Raeleen, Sun Herald, 29 May 1983, 85
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A Night in Uncle Tom's Cabin, Barrier Miner, 11 July 1942, 6
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A Note on the Races. Kate Howarde Company., The Clarence and Richmond Examiner, Grafton, NSW, 12 May 1903, 5
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A noted thespian makes his exit, The Age, 18 July 1972, 2
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A Novel Entertainment, The Morning Bulletin, 25 August 1927, 6
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A novel sight, The Maitland Mercury, 10 January 1860, 3
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A Pageant of the Ages, The Sydney Mail, 18 April 1928, 8
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A parable of genetic science, The Advertiser, 14 November 1992
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A Pedestrian Trip to Ballarat, Mount Alexander Mail, 10 September 1858, 6
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A Perth star in Rose Marie on Ice, Mirror, 26 November 1955, 12
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A Pioneer's Recollection, The Register, National Library of Australia, 4 February 1925, 10
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A Play is Made, The Examiner, National Library of Australia, 23 July 1954, 12
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A Play Takes the Stage, The Examiner, National Library of Australia, 1 March 1949, 1s
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A Popular Manager, The Herald, 14 September 1899
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A Problem for Singer, The Age, 17 October 1964, 3
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A Real Mother-in-Law, Bendigo Advertiser, 22 February 1860, 2
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A Rush to the Mountain Hut, Geelong Advertiser, 28 April 1859, 3
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A Secret Historian, Table Talk, 5 August 1926, 11
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A Shrine to Things Well Done, On Stage, 11, 2, 2010, 47-48
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A Silver Watch, The Star, 26 August 1862, 4
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A Simple Farce. Giving The Bride Away., Sydney Morning Herald, 21 June 1940, 12
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A Soldier for Christmas, Sydney Morning Herald, 2 January 1945, 4
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A Song to Sing O, Sydney Morning Herald, 26 November 1981, 8
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A SPEAKING PART Marlow to Pay £100 Damages SEALY'S £10,000 CLAIM, Truth, 17 October 1926, 16
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A Special Corroboree, The Brisbane Courier, 3 September 1917, 6
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A STAGE ASSAULT CASE. (1904, April 2), The Age, 2 April 1904, 11
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A STAGE SCANDAL. HUDSON'S SURPRISE PARTY. Manager's Monetary Mess. SQUARES WITH CHEQUE FOR £3,000. Self and Satellite Sacked. "Melba's Little Bismark.", Truth (Qld Edition), 5 April 1903, 2
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A Star is Torn, The Advertiser, 17 July 1982, 30
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A Star is Torn, The Advertiser, 6 July 1982, 26
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A symphony in key of Kaye, The Age, 29 July 1975, 2
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A Theatre for the Very Young People. Sydney Borrows Ideas from Moscow, Sydney Morning Herald, 3 April 1939, 13
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A Theatrical Case, Evening News, 26 March 1896, 5
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A Theatrical Case, Evening News, 27 March 1896, 6
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A Toast to Melba, The Australian, 8 November 1983, 10
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A touch of Paris in the cast, The Age, 5 July 1966, 14
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A Travelling Temple, The Age, 28 January 1860, 5
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The announcement that a number of aboriginals would perform at the Exhibi- tion met with general favour. Adelaide people have not now many opportunities of seeing a number of natives in the city. A solitary blackfellow and his lubra come within the city boundaries once in a while, but they are generally regarded as intruders. At any rate the natives don't feel at home as they used to do before Adelaide became a city, and before the white man took away the land they occupied. Some months since it was suggested that a number of blackfellows should attend the opening ceremony of the Exhibition, but very little notice was then taken of the matter. A few weeks ago, however, arrangements were made with the Ex- hibition authorities that a number of natives should see the Exhibition, and that they should give an entertainment in it. Accordingly on Saturday last seventy-seven natives arrived in Adelaide from the Point Macleay and Point Pearce Mission Stations-men, women, and children - forty-six from Point Macleay and thirty-one from the other station. The visitors, who are in charge of Messrs. F. W. Taplin and T. M. Sutton (the Superintendents of the mis- sion stations) and Miss Sutton, rank from various ages, including babes and boys and girls, the oldest man being between 60 and 70 years of age, and the eldest woman about 45. The Old Exhibition Building has been placed at their disposal for a camp. On Monday when they were shown through the Exhibition they were naturally surprised at the " great wonders." They were especially in- terested in the pictures, particularly those in the eastern annexe. Large mirrors, too, in various parts of the Exhibition surprised them perhaps as much as any- thing. It was probably the first time they saw themselves in all their beauty in looking-glasses. Their attention also was considerably attracted on the display of weapons and photos in the armament ball from the Point Macleay Mission Station. It was first proposed to hold the special entertainment in the Adelaide Town Hall, but afterwards the South Australian Branch of the Royal Geo graphical Society, under whose auspices the visitors' programme of engagements will be carried out, agreed to have the entertainment in the Exhibition. The music hall was the place first suggested in which to hold the concert, but as it was thought that that building would be too small to accommodate the public, the Exhibition officials and others preferred to have it in the main building. Accor- dingly on Tuesday afternoon the hall platform was prepared. A wurley was erected of evergreens and shrubs in front of the organ, and the platform was covered with carpet. Bush mats and bags, made by the natives, and spears, boomerangs, waddies, swords, shields, and other weapons were distri- buted over the platform, to make the scene as natural as possible. Original sketches of natives very cleverly drawn with a lucifer match by aboriginals at Port Macleay, and a sketch of houses at Point Pearce shown on the platform testified to the natives having been taught to practically and usefully employ their leisure. The concert was advertised to begin at 7.30 p.m., but long before that time the main hall was crowded, and during the evening the hall and the galleries were completely packed. Over 4,600 persons visited the Exhibition in the evening, and most of them crowded in the main building. The natives took their seats in good time, the men and women on the gallery stairs on the western side of the organ, and the boys and girls on the eastern side. Three lubras, as cheerful and homely as possible, were the first to come on to the platform. They im- mediately entered the wurley and started mat-making, or something of the sort. An old man followed, and amused the audience by illustrating the aboriginal method of making a fire with two sticks. Six native men, tatooed and in their native costume, next made their debut in a tableau illustrating " Savage Life" with aboriginal singing. This company, who were assisted in their wordless song- singing by the women, at once interested the audience. Each man had two small sticks with which he "kept time." Of course none but themselves could under- stand their one continuous chatter. After singing for a quarter of an hour their places were taken by six other men who were not so savage in their movements, and did not excite themselves so much. The second lot were intended to show a tableau representing " Civilized Life." A choir of native children next sang " Jesus Loves Me." The youngsters were very neatly dressed. All the boys wore white trousers, and their neat ap- pearance dispelled any doubts there might have been as to their clean- liness. Their singing was distinct and they evidently felt quite at home. At various periods the children sang other songs - "A New Name" and "Follow On." The last contribution brought forth applause from every quarter of the building- Walter Salisbury, a native lad, gave a solo from the cantata " Robinson Crusoe," and had to respond; and " Do they Pray for Me at Home," sweetly and correctly sung by Susie Wangeneen, surprised the listeners, and she had to respond to an imperative encore. The natives apparently did not understand an encore, but in- structed and prompted by Mr. Sutton and Mr. Taplin, they acknowledged the compliments. Two native girls, Leah Unaipon and Ada Koolmatere, sang "Over the River" with very good taste, and Frank Blackmore, who is very clever and is said to be able to give recita- tion after recitation, recited "The British Flag." The recitation was given very well indeed, the emphasis and pronunciation being especially commendable. The re- citer was rather too fast, however, to be well understood, but he earned the pro longed applause of the audience. The singing altogether showed that the natives have been well trained and that they appreciate good music. Unfortunately they are unable to sing as loudly so their white brethren, or to blend their voices so harmoniously, but they are entertaining in their way, and understand what they are singing. The children used hymnbooks, but they seemed so well acquainted with the song that the books were almost unnecessary. Miss Sutton played the piano accompani- ments. After the National Anthem the aboriginals adjourned to the esplanade, where arrangements had been made for a sham fight. The people stood around the esplanade and crowded the balconies. About 9 o'clock several natives with spears and shields rushed into the enclosure from the western part of the crowd, and treated the spectators with a sham fight-such as it was. The rattling of shields and the tossing and tumbling of the aboriginal soldiers caused considerable merriment. At first only six natives engaged in the affray-three on each side-and, unusual for warriors, when they got tired they thought it wise to rest awhile. Presently the ranks were strengthened, but for a long time it was difficult to tell whether the attacking or defending force had the best of the con- test. The wooden spears flew about in every direction, and there was a regular quarrel, and at last a man on each side was carried off the field, supposed to have been killed. The aboriginals finished their entertain- ment by singing " God Save the Queen." Throughout the utmost good humour prevailed, and nothing objectionable or obscene occurred. It should be men- tioned that these natives themselves object to corroboree. Having been brought under the influence of civiliza- tion they feel that it is degrading to resort to their old bush life, and on the mission stations corroborees are entirely dis- couraged on account of the immoral tendencies. A little dancing was intro- duced by the natives in their ex- citement, but nothing to speak of. The people of Adelaide could see for themselves on Tuesday evening the great alterations made in the manners and customs of the aboriginals, and if the blacks can thus be brought to comparative civilization, it seems desirable that every effort should be made to extend mission work amongst them. On Wednesday evening the special feature was a repetition with slight variations, of the aboriginal entertain- ment as given on the previous night. It is unusual to open the Exhibition on Wednesday evenings, but by special request the authorities agreed to allow the public to once more see the natives before they returned to the mission stations. The programme in the main hall was much the same as on the previous evening. The same songs were contributed, with a song, "Mother is Dead," by a native woman, and two others, "Merry Dick" and "Learn to say no." Both the tableaux and the singing evoked considerable ap- plause. The almost unnatural chattering of the natives caused considerable merri- ment all round, and the audience evi- dently appreciated the novel proceedings. On the esplanade a sham fight took place after 9 o'clock, in which the aboriginals not only amused the spectators but them- selves. By means of the electric light and blue lights the affray was witnessed to advantage, and the crowd had a splendid opportunity of seeing the natives engage in some of their most frantic actions. The aboriginals will, no doubt, return pleased with their visit to Adelaide and the Exhibition.
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Alexander Buzo, The write stuff, The Bulletin, 115/5882, 10 August, 1998, 79-81
-
Alexander Porteous, Some recent Australian plays and problems of their criticism, Australian Literary Studies, 3, October, 1967, 83-97
-
Alexandra Lalak, Back in her 'boppy' box, The Daily Telegraph, 23 September 2009, 58
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Alexandra Lalak, Believe Him or Not, The Daily Telegraph, 3 February 2010, 66
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Alexandra Lalak, My Generation, The Daily Telegraph, 24 February 2010, 60
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Alexandra Lalak, No risk of being left on the shelf, The Daily Telegraph, 5 January 2010, 27
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Alexandra Lalak, Stolen sleep means no one's forgotten, The Daily Telegraph, 12 January 2010, 34
-
Alexandra Ludewig, Hannah Böttcher, Performing Haunting Histories: A Psychogeographical Reading of Two Site-Specific Projects on Rottnest Island, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 66, April 2015, 179 - 201
-
Alexandra Spring, Everybody loves Lally, Vogue Australia, 11, November 2011, 176
-
Alexandra Spring, Turning pages, Vogue Australia, 56, 1, January 2011, 126-127
-
Alexandra Theatre, The Argus, National Library of Australia, 13 June 1885, 13
-
Alfred E Floyd, Music. Three Current Topics, The Australasian, 12 September 1931, 14
-
Ali Gipper, Metro, 1 December 2000, 15
-
Ali Gripper, Metro, 8 December 2000, 15
-
Alice Browning, Success minus the 'strine', The Age, 13 June 1980, 10
-
Alice Burton, Young cast for Bran Nue Dae, Northern Territorian, 1 June 2004, 24
-
Alice Livingstone, SX news, 6 July 2006, 21
-
Alice Wasley, Twisting by the gene pool, Metro, 17 August 2007, 28
-
Alison Barclay, A pollie cracker, The Herald Sun, 26 December 2007, 73
-
Alison Barclay, Beasts Bring Bliss, The Herald Sun, 18 December 2007, 57
-
Alison Barclay, Catherine Lambert, Bridge of Sighs, Sunday Times, Theatre and Dance Platform, 10 February 2008, 19 (Entertainment)
-
Alison Barclay, Coming in from the cold, The Herald Sun, 13 September 2006
-
Alison Barclay, Cool Tour for Melt, The Herald Sun, Theatre and Dance Platform, 20 September 2002, 83
-
Alison Barclay, It's a home winner, The Herald Sun, Theatre and Dance Platform, 12 July 2006
-
Alison Barclay, Life's a cabaret old chum, BAM, 22 February 2003, 3
-
Alison Barclay, Lucy Gets Lucky, The Herald Sun, Theatre and Dance Platform, 2 September 1996
-
Alison Barclay, Medea's black soul, The Herald Sun, Firdt, 17 May 2005, 63
-
Alison Barclay, Mikhail comes on Heavy, The Herald Sun, Theatre and Dance Platform, 15 November 1998, 58
-
Alison Barclay, Pre-loved props, The Herald Sun, 15 August 1997, 80
-
Alison Barclay, The Herald Sun, 21 February 2001
-
Alison Barclay, To Go All the Way with JO'K, Just Shout, The Herald Sun, 3 October 2007, 53
-
Alison Barclay, Town to a Tango, The Herald Sun, Theatre and Dance Platform, 8 August 2003
-
Alison Cotes, A theatrical nothing, Courier Mail, 11 September 1987, 15
-
Alison Cotes, Courier Mail, 1 June 1987
-
Alison Cotes, Courier Mail, 1 May 1987
-
Alison Cotes, Courier Mail, 10 July 1987
-
Alison Cotes, Courier Mail, 10 March 1988
-
Alison Cotes, Courier Mail, 11 August 1988
-
Alison Cotes, Courier Mail, 11 March 1988
-
Alison Cotes, Courier Mail, 12 June 1987
-
Alison Cotes, Courier Mail, 13 November 1987
-
Alison Cotes, Courier Mail, 15 August 1987
-
Alison Cotes, Courier Mail, 15 July 1987
-
Alison Cotes, Courier Mail, 16 June 1988
-
Alison Cotes, Courier Mail, 16 June 1988
-
Alison Cotes, Courier Mail, 17 December 1987
-
Alison Cotes, Courier Mail, 17 June 1987
-
Alison Cotes, Courier Mail, 19 May 1988
-
Alison Cotes, Courier Mail, 2 July 1987
-
Alison Cotes, Courier Mail, 2 June 1988
-
Alison Cotes, Courier Mail, 2 October 1987
-
Alison Cotes, Courier Mail, 22 June 1988
-
Alison Cotes, Courier Mail, 23 September 1987
-
Alison Cotes, Courier Mail, 24 August 1988
-
Alison Cotes, Courier Mail, 25 May 1987
-
Alison Cotes, Courier Mail, 25 November 1987
-
Alison Cotes, Courier Mail, 25 November 1987
-
Alison Cotes, Courier Mail, 27 November 1987
-
Alison Cotes, Courier Mail, 28 May 1987
-
Alison Cotes, Courier Mail, 29 September 1988
-
Alison Cotes, Courier Mail, 31 August 1988
-
Alison Cotes, Courier Mail, 4 December 1987
-
Alison Cotes, Courier Mail, 5 February 1988
-
Alison Cotes, Courier Mail, 7 September 1988
-
Alison Cotes, Courier Mail, 7 September 1988
-
Alison Cotes, Courier Mail, 8 April 1988
-
Alison Cotes, Courier Mail, 8 December 1987
-
Alison Cotes, Courier Mail, 8 May 1987
-
Alison Cotes, Courier Mail, 9 June 1988
-
Alison Cotes, Courier Mail, 9 November 1996
-
Alison Cotes, Enabled to believe in miracles, Arts and Entertainment, 24 August 2001, 45
-
Alison Cotes, Journey of Triumph, Arts and Entertainment, 8 August 2001, 36
-
Alison Cotes, Journey of triumph, Arts and Entertainment, 8 August 2001, 36
-
Alison Cotes, Relaity Reality bites in a satisfying classic, Arts and Entertainment, 18 July 2001, 35
-
Alison Croggon, A mixed-up kid in the shadowy dangers of cyberspace, The Australian, 16 February 2009, 9
-
Alison Croggon, All Hail, The Australian, 29 August 2009, 6
-
Alison Croggon, How Australian Is It?, Overland, 200, 2010, 55-62
-
Alison Croggon, Keene to change, The Herald Sun, 20 February 1989
-
Alison Croggon, More bubble bath than kitchen sink, The Australian, 8 February 2008, 18
-
Alison Croggon, Surreal Exploration Touches the Surface of Desire, The Australian, 14 August 2008, 0
-
Alison Dean, Melbourne Times, 0
-
Alison Dean, They've got the moves, Melbourne Times, Theatre and Dance Platform, 28 November 2007
-
Alison Jones, Opera-Opera, June 2007, 8
-
Alison Jones, Opera-Opera, March 2006, 10
-
Alison Lyssa, Black and White: Australia's History Onstage in Four Plays of the New Millennium, Australasian Drama Studies, 48, April 2006, 203-227
-
Alison Lyssa, Feminist theatre: a monologue to start discussion, Australasian Drama Studies, 2/2, April, 1984, 27-40
-
Alison Lyssa, Feminist theatre: a monologue to start discussion, Australasian Drama Studies, Australasian Drama Studies
c/- Department of English
Uni, 2, 2, April 1984, 27 - 40
-
Alison Richards, Shaking the frame: Erving Goffman and Performance Studies, Australasian Drama Studies, 39, October 2001, 58-75
-
Alison Richards, Yoni Prior, Into the wilderness: Gilgul's 'physical' theatre 1994, Australasian Drama Studies, 41, October 2002, 28-49
-
Alison Richards, Your History: Manning Clarkʻs History of Australia and the end of the New Wave, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 177 - 198
-
Alison Wright, Sunday Territorian, 5 July 1987
-
Alistair Jones, Opera-Opera, June 2005, 12
-
Alix Johnson, David Williamson, playwright: [My country childhood. Australia's best-known dramatist talks about night fishing, brass bands and school mischief in the Victorian bush], Country Style, February 2012, 28-30
-
Alix MacDonald, Geraldene will take the bike bit, The Age, 15 September 1971, 14
-
All but the art at the Nimrod goes conventional, The Australian, 1 June 1974
-
All Greek to Me, Artlook, March 1983, 27
-
All is not 'Stew' at Varsity. Girls Take Part Sports, Art and Music Devotees, The Sun (NSW), 17 June 1937, 37
-
All Local Cast in Minerva Play, The Daily Telegraph, 25 August 1939, 14
-
All My Sons by Repertory, Barrier Daily Truth, 10 September 1965, 13
-
All the world a stage, but not everyone a player, Newcastle Herald, 27 November 1992
-
All-Australian play for London theatre, Sydney Morning Herald, 20 August 1949
-
All-rounder a Number 96 star, Sydney Morning Herald, 8 March 2011
-
Allan Sco, Muse, October 2002, 5
-
Allan WIlkie Co. Launceston Visit. Company's History, Daily Telegraph, 9 February 1927, 5
-
Allan Wilkie Company reconstituted, The Brisbane Courier, National Library of Australia, 25 February 1927, 6
-
Allan Wilkie returns. Short Shakespearean Season., The Argus, National Library of Australia, 24 February 1927, 14
-
Allan Wilkie. Melbourne, Wedensday, Sydney Morning Herald, National Library of Australia, 24 February 1927, 8
-
Allen Robertson, Misha's modern tricks, The Times, 7 June 1999, 19
-
Alma, playwright on the dole, Melbourne Sun, The University of Adelaide, Library Special Collections, 10 March 1976
-
Almost a fire, Mount Alexander Mail, 18 October 1858, 2
-
Alrene Sykes, Contemporary Australian drama: the mythic interest, Span, 7, 1978, 13-18
-
Alrene Sykes, Contemporary Australian theatre, New Literatures Review, 13, 1986, 64-71
-
Alrene Sykes, Keith Richards, Another look at the old war horse: Alan Seymour's 'The One Day of the Year', Australasian Drama Studies, Australasian Drama Studies
c/- Department of English
Uni, 2, 2, April 1984, 65 - 89
-
Alrene Sykes, Ray Lawler talks to Arlene Sykes, Australasian Drama Studies, 3, 2, April 1985, 21 - 30
-
Alyson Campbell, Experiencing Kane: an affective analysis of Sarah Kane's 'experiential' theatre in performance, Australasian Drama Studies, 46, April 2005, 80-97
-
Alyson Campbell, Translating 'gaytown': the collision of global and local in bringing Australian queer play Bison to Belfast, Australasian Drama Studies, 59, October 2011, 141-155
-
Alyssa McDonald, The early bird, The Australian, 23 January 2010, 8
-
Amaara Raheem, Ship Inventory: Preparations Across Twelve Months, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 69, October 2016, 56 - 59
-
Amanda Card, The 'great articulation of the inarticulate': reading the jazz body in Australian and American popular culture in the 1960s, Journal of Australian Studies, September, 1998, 18
-
Amanda Clark, Beat, 10 August 1988
-
Amanda Clark, Beat, 12 May 1988
-
Amanda Ducker, The Daily Telegraph, 23 August 1988
-
Amanda Hainsworth, Mining theatrical coals in Newcastle, The Australian, 4 September 1981, 8
-
Amanda Hooton, Good Weekend, 26 January 2007, 26
-
Amanda Laugesen, Writing the north-west, past and present: the 1930s fiction and drama of Henrietta Drake-Brockman , 8, 1, April 2011, 109-126
-
Amanda Lulham, The Daily Telegraph, 11 March 1988
-
Amanda Shore, The Canberra Times, 10 February 2006, 5
-
Amanda Smith, Company B Bugle, July 2007, 0
-
Amanda Taylor, A fashionable production: advertising and consumer culture on the Australian stage, Journal of Australian Studies, December, 1999, 119
-
Amanda Vaughan, Metro, 11 May 2001, 3
-
Amanda Vaughan, Metro, 12 April 2001, 15
-
Amanda Vaughan, Metro, 4 May 2001, 15
-
Amateur 'Boys' for October, The Age, 20 July 1972, 15
-
Amateur Concert, The Maitland Mercury, National Library of Australia, 18 March 1854, 2
-
Amateur Ethiopian Concert, The Maitland Mercury, National Library of Australia, 5 March 1853, 2
-
Amateur Play at National for Patriotic Funds, The Examiner, National Library of Australia, 14 May 1941, 7
-
Amateur Theatre's Final Play. The Case of the Frightened Lady, The Telegraph (Brisbane), 14 November 1936, 12
-
Amateur Theatre, The Maitland Mercury, National Library of Australia, 31 May 1845, 2
-
Amateurs act Sydney's best plays, The Daily Telegraph, 19 October 1946, 13
-
Amateurs Now Have Own Theatrette, Courier Mail, 30 October 1939, 7
-
Ambulance Carnival, Cairns Post, 31 May 1919, 4
-
America Acclaims Australian Radio Artist, Smith's Weekly, 7 December 1935, 3
-
American Company in Adelaide, The Advertiser, 9 May 1936, 23
-
American Director Critical of TV, The Age, 11 June 1963, 3
-
American Duco, English Tweed, Sydney Morning Herald, 23 December 1944, 9
-
American Farce At Minerva, Sydney Morning Herald, 4 January 1944, 7
-
American girls in Chang production, Barrier Miner, 10 March 1939, 3
-
Americans see us through eyes of Aborigines, The Australian, The University of Adelaide, Library Special Collections, 17 May 1985
-
Among The Buffaloes, The Examiner, 13 June 1907, 2
-
Among the Players No. XVIII - Mr James Brennan, Australian Town and Country Journal, 10 June 1908, 20
-
Amphitryon 38 at Independent, Sydney Morning Herald, 3 February 1950, 2
-
Amphitryon filled with wit and satire, The Argus, 5 August 1947, 3
-
Amusements , Sydney Morning Herald, 19 December 1881, 5
-
Amusements for Christmas Week, Clarence and Richmond Examiner, 24 December 1892, 4
-
Amusements of the Week, The Grafton Argus and Clarence River General Advertiser, NSW, 9 July 1903, 4
-
Amusements, 17 November 1900
-
Amusements, Barrier Miner, 20 January 1893, 2
-
Amusements, Barrier Miner, Broken Hill, NSW, 18 November 1899, 2
-
Amusements, Clarence and Richmond Examiner, 8 May 1886, 5
-
Amusements, Evening Journal, 10 September 1894, 2
-
Amusements, Evening Journal, 23 August 1880, 3
-
Amusements, Evening Journal, 4 August 1894, 4
-
Amusements, Evening News, 13 June 1904, 8
-
Amusements, Evening News, 13 May 1899, 3
-
Amusements, Evening News, 13 September 1890, 4
-
Amusements, Evening News, 16 July 1900, 8
-
Amusements, Evening News, 17 April 1893, 3
-
Amusements, Evening News, 2 June 1879, 3
-
Amusements, Evening News, 21 April 1883, 4
-
Amusements, Evening News, 21 December 1881, 4
-
Amusements, Evening News, 22 March 1882, 7
-
Amusements, Evening News, 22 May 1880, 5
-
Amusements, Evening News, 22 September 1890, 4
-
Amusements, Evening News, 24 October 1887, 5
-
Amusements, Evening News, 25 April 1892
-
Amusements, Evening News, 27 November 1880, 5
-
Amusements, Grafton Argus and Clarence River General Advertiser, NSW, 30 March 1900
-
Amusements, Sporting, &c., Bendigo Advertiser, 16 October 1858, 2
-
Amusements, Sydney Morning Herald, 8 July 1882, 6
-
Amusements, The Advertiser, 27 August 1920, 9
-
Amusements, The Age, 13 May 1901
-
Amusements, The Age, 5 November 1900, 6
-
Amusements, The Age, 7 June 1897, 3
-
Amusements, The Clarence and Richmond Examiner, Grafton, NSW, 9 May 1903, 5
-
Amusements, The Daily News, (Perth, WA : 1882 - 1950) , 23 July 1896, 3
-
Amusements, The Daily News, (Perth, WA : 1882 - 1950) , 25 September 1896, 3
-
Amusements, The Daily Telegraph, 14 June 1890, 6
-
Amusements, The Daily Telegraph, 22 January 1887, 6
-
Amusements, The Daily Telegraph, 26 September 1890, 6
-
Amusements, The Daily Telegraph, 27 October 1885, 6
-
Amusements, The Daily Telegraph, 4 June 1900, 3
-
Amusements, The Daily Telegraph, 7 May 1906, 9
-
Amusements, The Day, The Muswellbrook Chronicle, 27 October 1915, 2
-
Amusements, The Express and Telegraph, 28 August 1894, 2
-
Amusements, The Mail, (Fremantle, WA : 1904 - 1905), 20 October 1904, 1
-
Amusements, The Sydney Daily Telegraph (NSW : 1879 -1883), 8 September 1883, 5
-
Amusements, The West Australian, (Perth, WA : 1879 - 1954), 11 July 1900, 6
-
Amusements. Bijou Theatre., Evening Journal, Adelaide, SA, 4 November 1899, 4
-
Amusements. Granite., The Register, 12 May 1928, 14
-
Amusements. Her Majesty's Theatre. The Pink Lady, The Argus, National Library of Australia, 12 June 1917, 8
-
Amusements. High Jinks., Sydney Morning Herald, 9 September 1918, 5
-
Amusements. Kate Howarde Company., Kalgoorlie Miner, WA, 7 March 1900, 4
-
Amusements. Kate Howarde Coy., Darling Downs Gazette, Qld, 4 August 1900, 2
-
Amusements. Kate Howarde Coy., The Darling Downs Gazette, Qld, 1 August 1900, 2
-
Amusements. Kate Howarde Dramatic Company., The Toowoomba Chronicle and Darling Downs General Advertiser, Qld, 2 August 1900, 2
-
Amusements. Kate Howarde Opera Co. "Les Cloches de Corneville"., Kalgoorlie Miner, WA, 16 December 1899, 8
-
Amusements. Kate Howarde Opera Company, Barrier Miner, Broken Hill, NSW, 13 November 1899, 2
-
Amusements. Kate Howarde Opera Company, Barrier Miner, Broken Hill, NSW, 14 November 1899, 2
-
Amusements. Kate Howarde Opera Company. "Girofle-Girofla"., Kalgoorlie Miner, WA, 15 December 1899, 8
-
Amusements. Kate Howarde Opera Company., Kalgoorlie Miner, WA, 18 December 1899, 8
-
Amusements. Kate Howarde Operatic Company. "Girofle-Girofla", Kalgoorlie Miner, WA, 14 December 1899, 8
-
Amusements. Lyric Club, The Advertiser, National Library of Australia, 17 August 1909, 9
-
Amusements. Lyric Club, The Advertiser, National Library of Australia, 18 August 1909, 9
-
Amusements. Music and the Drama. Theatre Royal, The Inquirer and Commercial News, Perth. WA, 26 January 1900, 10
-
Amusements. Opera House., Sydney Morning Herald, 24 June 1881, 3
-
Amusements. Prize-Winning Plays, Sydney Morning Herald, 24 November 1937, 9
-
Amusements. Repertory Theatre, Sydney Morning Herald, 20 May 1940, 5
-
AMUSEMENTS. ROYAL.—"ABSENT-MINDED BEGGAR.", Sydney Morning Herald, 16 July 1900, 3
-
Amusements. School of Arts., The National Advocate, Bathurst, NSW, 24 April 1903, 3
-
Amusements. So Long, Letty., Sydney Morning Herald, 2 September 1918, 4
-
Amusements. The Kate Howarde Opera Company., Barrier Miner, Broken Hill, NSW, 15 November 1899, 3
-
Amusements. The Kate Howarde Opera Company., Barrier Miner, Broken Hill, NSW, 16 November 1899, 2
-
Amusements. The Kate Howarde Opera Company., Barrier Miner, Broken Hill. NSW, 17 November 1899, 2
-
Amusements. The Opera House. The Criterion Burlesque Company., The Brisbane Courier, Qld., 25 May 1896, 3
-
Amusements. Theatre and the Drama. Theatre Royal., The Inquirer and Commercial News, Perth, WA, 29 December 1899, 7
-
Amusements. Theatre Royal. "Outlaw Kelly", The Daily News, Perth, WA, 12 December 1904, 1
-
Amusements. Theatre Royal. "The Brand of Cain"., 16 December 1904, 5
-
Amusements. Theatre Royal. "The Sign of Seven"., The Daily News, Perth, WA, 28 November 1904, 1
-
Amusements. Theatre Royal. "When the Tide Rises"., 20 December 1904, 11
-
Amusements. Theatre Royal. Miss Kate Howarde's Company. "His Natural Life", The Daily News, Perth, WA, 5 December 1904, 1
-
Amusements. Theatre Royal. Miss Kate Howarde's Company. "The Sins of a City", The Daily News, Perth, WA, 2 December 1904, 1
-
Amusements. Theatre Royal. Miss Kate Howarde's Company. "The Sins of a City", The Daily News, Perth, WA, 3 December 1904, 8
-
Amusements. Theatre Royal. Night Must Fall, Sydney Morning Herald, 21 March 1936, 12
-
Amusements. Theatre Royal., The Grafton Argus and Clarence River General Advertiser, NSW, 13 July 1900, 2
-
Amusements. Tivoli Theatre. The Kate Howarde Company. For the Term of His Natural Life., The Coolgardie Miner, WA, 25 January 1905, 3
-
Amusements: Criterion Theatre, Sydney Morning Herald, 17 September 1931, 4
-
Amusements: The Theatre of Youth, Sydney Morning Herald, 25 July 1930, 6
-
Amusements: Theatre Royal, The South Australian Register, 30 October 1894, 7
-
Amy Ewen, Kate Meikle, Burnt Piano strikes a chord, The Daily Telegraph, 11 March 1999, 13
-
Last night nearly all the township turned out to see a corroboree held by the blacks. The spectators sat on almost precipitous rocks that rose above the flat which the natives had chosen. The" actors, naked from the waist, were painted with broad white bands over face, neck, arms, and body. Some of them had great feather erections on their heads and wore a kind of sporran made of wool. The leader carried in each hand a Maltese cross of wood, each point having a bunch of white feathers attached, and others had the same shaped frame with scarlet threads wound across and across. An old man, clothed in a long coat that looked something like a high priest's robe, stood in front beating two boomerangs and chanting a low monotonous song, to whose time the naked feet of the warriors stamped and beat in unison. A number of women squatted round the fire and kept it supplied with brushwood, and one of them assisted the "high priest" by joining in the chant and beating her hands. The weird character of the scene was one to haunt one's dreams. The moon shining through the background of trees, the blazing fire, with its circle of women and the hideous forms of black and white that simulated the stealthy march, the rush on the foe, the ferocious massacre, the dance of triumph, then the packing up the plunder, the return march through the arid desert, and the slaking of their burning thirst when the longed-for pool was reached.
An Aboriginal Corroboree, Adelaide Observer, National Library of Australia, 3 December 1898, 32
-
An Aboriginal Exodus, Northern Standard, 7 August 1923, 3
-
An Aboriginal Show, The Maitland Mercury, 5 May 1881, 6
-
An Aboriginal Wallace, Western Mail, 27 July 1922, 34
-
An Aborigines' Fete., Australian Town and Country Journal, 31 December 1892, 13
-
An Academic Actress, The Sun (NSW), 3 April 1941, 22
-
An Actor Accidentally Stabbed., The Australian Star, 6 February 1888, 6
-
An All-Australian Photoplay, The Sun (NSW), 7 October 1911, 6
-
An Analysis, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 26 May 1880, 3
-
An Attack Upon The Blacks, The West Australian, 5 May 1898, 5
-
An Australian Comedy. Mixed Reception in London, The West Australian, 9 January 1936, 15
-
An Australian Pageant, Sydney Morning Herald, 25 April 1928, 10
-
An Australian Play, The Bulletin, 24 August 1955, 19
-
An Australian Play, The World's news, 15 May 1920, 5
-
An Australian Play. Summer of the Seventeenth Doll, Australian Elizabethan Trust, Sydney, 1956, 21-22
-
An Australian War Play, Sydney Morning Herald, 24 August 1932, 6.
-
An author who puts family first, Daily Mirror, 22 November 1969
-
An Ibsen Play, The West Australian, 22 February 1932, 12
-
AN INSANE MINSTREL. Mr Horace Copeland, a well-known member of the original Jubilee Minstrels, and who toured with Easton's Uncle Tom's Cabin Company, has become insane, and is now confined in the Fremantle Lunatic Asylum.
An Insane Minstrel, The Kalgoorlie Miner, 19 June 1897, 5
-
An Interrupted Corroboree, Barrier Miner, 4 May 1898, 3
-
An Old Actor Gone. The late Charles Henry Burford, The Australian Star, 10 October 1899, 5
-
An Old Australian Actress
-
An Outback Entertainment, Sydney Morning Herald, 11 April 1927, 13
-
AN UNREHEARSED SCENE. (1904, April 2)., Bendigo Advertiser, 2 April 1904, 5
-
Ana Welham, Ruth Glassey, Koorero with Jim Moriarty, Australasian Drama Studies, 42, April 2003, 57-74
-
Anabel Dean, As you like it, Sydney Morning Herald, Metro, 1 October 1993, 2
-
Anabel Dean, Heaven_Article2, Sydney Morning Herald, Macquarie University, Library, 22 April 1994, (Metro section)
-
Anabel Dean, Letting it all Hung out, Sydney Morning Herald, 3 January 1994
-
Andre Bastian, Recovering Elfriede Jelinek - but for whom? - Creative homesickness as a motor for cultural transfer, Australasian Drama Studies, 59, October 2011, 156-171
-
Andrea Connell, Brent McGregor, Introducing school students to the theatre, Newcastle Herald, 8 August 1988
-
Andrea Pooley, Courier Mail, 6 October 1992, 0
-
Andree Stephens, The Canberra Times, 30 September 2006, 7
-
Andrew Billen, Was I a romeo? I should be so lucky, Evening Standard (London), 2 June 1999, 27
-
Andrew Bovell, La Mama - Coming Of Age Or Just Old Age?, New Theatre Australia, May/June, 5, May 1988, 9-11
-
Andrew Clark, Cast of Hair sheds only perspiration, The Age, 24 April 1969, 2
-
Andrew Clarke, Sydney Morning Herald, 14 December 2005, 18
-
Andrew Crane, Redeeming Ryan, The Herald Sun, 19 September 1994, 59
-
Andrew Filmer, Michael Scott-Mitchell, Paul Gazzola, Rachel Hann, Sam Spurr, Re-viewing the PQ: Responses to the 2011 Prague Quadrennial of Performance Design and Space, Australasian Drama Studies, 61, October 2012, 156-174
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Andrew Filmer, Miranda Heckenberg, Design, space and performance: introduction, Australasian Drama Studies, 61, October 2012, 4-11
-
Andrew Filmer, Re-imagining suburbia with My Darling Patricia, Australasian Drama Studies, 61, October 2012, 30-47
-
Andrew Filmer, The place of theatre practice: training and aesthetic tradition at Belvoir Street, Australasian Drama Studies, 53, October 2008, 111-127
-
Andrew Ford, Sydney Morning Herald, 27 September 2002, 16
-
Andrew Fraser, Review, 15 July 2006, 16
-
Andrew Fraser, The Canberra Times, 7 April 2004, 9
-
Andrew Fuhrmann, Making room for modernism: The 1979 Sydney Theatre Company production of Patrick White's a cheery soul , Australasian Drama Studies, 71, 2017, 89-111
-
Andrew Fuhrmann, Julian Meyrick, director of Do Not Go Gentle, Curtain Call, 24 July 2010
-
Andrew Fuhrmann, Moth, Time Out Melbourne, 1 March 2011, online
-
Andrew Fuhrmann, On the Misconception of Oedipus, Time Out Melbourne, 27 June 2012, online
-
Andrew Fuhrmann, Red: How to Fake a Rothko, Time Out Melbourne, 20 March 2013, online
-
Andrew Fuhrmann, Strands, Time Out Melbourne, 21 October 2011, online
-
Andrew Fuhrmann, The Economist, Time Out Melbourne, 29 November 2011
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Andrew Fuhrmann, The Histrionic, Time Out Melbourne, 1 April 2012, online
-
Andrew Fuhrmann, The Most Excellent and Lamentable Tragedy of Romeo and Juliet, Time Out Melbourne, 25 January 2023
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Andrew Gerstle, Australian Listener, 20 August 1988
-
Andrew Kazar, Junior Times, 28 May 1995, 1
-
Andrew Kazar, The Southside Chronicle, 10 June 2003, 23
-
Andrew Kazar, The Southside Chronicle, 12 August 2003, 25
-
Andrew Kazar, The Southside Chronicle, 13 January 2004, 21
-
Andrew Kazar, The Southside Chronicle, 16 July 2002, 25
-
Andrew Kazar, The Southside Chronicle, 23 July 2002, 25
-
Andrew Kazar, The Southside Chronicle, 23 July 2002, 27
-
Andrew Kazar, The Southside Chronicle, 23 September 2003, 27
-
Andrew Kazar, The Southside Chronicle, 24 September 2002, 27
-
Andrew Kruger, New York critics rave over Aussie playwright, The Australian, 14 January 1986
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Andrew Lamb, Syria Lamonte, On Stage, 11, 1, 2010, 5 - 7
-
Andrew Lamb, The search for Syria, On Stage, 11, 2, 2010, 17-18
-
Andrew Lamb, William Vincent Wallace and Australia, On Stage, 13, 2, 2012, 42-44
-
Andrew Lawrence-King, The Theatre of Dreams: Hypnotism and the Science of Historical Action, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 67, October 2015, 49 - 75
-
Andrew Lynch, 6 UVS FM, 5 May 1990
-
Andrew McCathie, The best and the wurst: All Berlin's a stage for Australian artists, Australian Financial Review, 25 July 2002, 52
-
Andrew McDonald, People and Buildings, Culture Magazine, Theatre and Dance Platform, 7, 1 September 1990
-
Andrew McGarry, The Australian, 29 May 2006, 14
-
Andrew McKay, Lawler is hot property, The Australian, The University of Adelaide, Library Special Collections, 18 June 1981, 10
-
Andrew Parker, Pamela plays up her past, Sunday Telegraph, 29 September 1991, 135
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Andrew Pike, Bailey, Albert Edward (Bert) (1868–1953), Australian Dictionary of Biography Online, 1979
-
Andrew Pike, Martha Rutledge, Carroll, Edward John (1868–1931) and Daniel Joseph (Dan) (1886–1959), Australian Dictionary of Biography Online, 1979
-
Andrew Ross, Dickon Oxenburgh, Not your average flagship, RealTime Arts, 41, February 2001, 12
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Andrew Ross, Theatre in the west, Westerly, 35, 3 (September), 1990, 23-26
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Andrew Scott, The Sunday Herald Sun, 18 February 2001
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Andrew Scott, The Sunday Herald Sun, 4 February 2001
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Andrew Stephens, The Age, 20 October 2007, 19
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Andrew Stephens, Victoria experiential project underpins world AIDS conference, Sydney Morning Herald, 7 July 2014
-
Andrew Taylor, Patrick White's 'The Ham Funeral', Meanjin Quarterly, September, September 1973, 270
-
Andrew Trimboli, Metro, 2 February 2001, 23
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Andrew Urban, Celluloid survivor, The Bulletin with Newsweek, The University of Adelaide, Library Special Collections, 10 December 1991, 46-47
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Andrew Urban, The Australian, 1 July 1987
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Andrew Urban, The Australian, 10 August 1987
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Andrew Urban, The Australian, 11 March 1987
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Andrew Urban, The Australian, 12 January 1987
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Andrew Urban, The Australian, 12 January 1987
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Andrew Urban, The Australian, 13 April 1987
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Andrew Urban, The Australian, 13 February 1987
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Andrew Urban, The Australian, 17 September 1987
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Andrew Urban, The Australian, 19 March 1987
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Andrew Urban, The Australian, 2 April 1987
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Andrew Urban, The Australian, 2 February 1987
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Andrew Urban, The Australian, 2 February 1987
-
Andrew Urban, The Australian, 21 September 1987
-
Andrew Urban, The Australian, 22 July 1987
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Andrew Urban, The Australian, 23 March 1987
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Andrew Urban, The Australian, 23 September 1987
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Andrew Urban, The Australian, 24 April 1987
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Andrew Urban, The Australian, 24 August 1987
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Andrew Urban, The Australian, 25 February 1987
-
Andrew Urban, The Australian, 25 September 1987
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Andrew Urban, The Australian, 26 February 1987
-
Andrew Urban, The Australian, 27 April 1987
-
Andrew Urban, The Australian, 27 February 1987
-
Andrew Urban, The Australian, 27 July 1987
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Andrew Urban, The Australian, 27 March 1987
-
Andrew Urban, The Australian, 29 January 1987
-
Andrew Urban, The Australian, 29 June 1987
-
Andrew Urban, The Australian, 29 June 1987
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Andrew Urban, The Australian, 3 August 1987
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Andrew Urban, The Australian, 30 April 1987
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Andrew Urban, The Australian, 5 February 1987
-
Andrew Urban, The Australian, 5 January 1987
-
Andrew Urban, The Australian, 5 January 1987
-
Andrew Urban, The Australian, 6 January 1987
-
Andrew Urban, The Australian, 7 September 1987
-
Andrew Urban, The Australian, 8 January 1987
-
Andrew Urban, The Australian, 9 February 1987
-
Andrew Urban, The Australian, 9 January 1987
-
Andy Arthurs, Richard Vella, Music education: an industrial evolution, RealTime Arts, 44, August 2001, 10
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Anecdotes and Remarks, Perth Gazette and West Australian Times, 5 July 1834, 315
-
Angaston, The South Australian Register, 26 October 1860, 3
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Angela Bennie, Daughter and keeper of the Buzzo flame, Sydney Morning Herald, 27 July 2007, 13
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Angela Bennie, Have script, will travel, Spectrum, 22 January 2007, 18-19
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Angela Bennie, Miller's crossing, Sydney Morning Herald, 10 August 1996, 15
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Angela Bennie, Spectrum, 1 July 2006, 18
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Angela Bennie, Spectrum, 10 December 2005, 4
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Angela Bennie, Spectrum, 12 March 2005, 4
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Angela Bennie, Spectrum, 20 May 2006, 4
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Angela Bennie, Spectrum, 26 May 2007, 8
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Angela Bennie, Spectrum, 30 December 2006, 8
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Angela Bennie, Spectrum, 4 February 2006, 4
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Angela Bennie, Spectrum, 4 March 2006, 34
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Angela Bennie, Spectrum, 9 April 2005, 35
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Angela Bennie, Street of universal dreams?, Sydney Morning Herald, 9 February 1998, 15
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Angela Bennie, Sydney Morning Herald, 14 January 2005, 18
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Angela Bennie, Sydney Morning Herald, 24 May 2006, 15
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Angela Bennie, Sydney Morning Herald, 30 December 2005, 22
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Angela Bennie, The Australian, 1 January 1988
-
Angela Bennie, The Australian, 1 October 1987
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Angela Bennie, The Australian, 10 March 1988
-
Angela Bennie, The Australian, 10 September 1987
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Angela Bennie, The Australian, 11 April 1988
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Angela Bennie, The Australian, 11 January 1988
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Angela Bennie, The Australian, 12 August 1987
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Angela Bennie, The Australian, 12 February 1988
-
Angela Bennie, The Australian, 12 January 1988
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Angela Bennie, The Australian, 12 October 1987
-
Angela Bennie, The Australian, 14 August 1987
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Angela Bennie, The Australian, 14 January 1988
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Angela Bennie, The Australian, 14 July 1987
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Angela Bennie, The Australian, 15 August 1988
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Angela Bennie, The Australian, 15 August 1988
-
Angela Bennie, The Australian, 16 March 1988
-
Angela Bennie, The Australian, 16 November 1987
-
Angela Bennie, The Australian, 16 October 1987
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Angela Bennie, The Australian, 18 June 1987
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Angela Bennie, The Australian, 19 January 1988
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Angela Bennie, The Australian, 2 November 1987
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Angela Bennie, The Australian, 2 September 1988
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Angela Bennie, The Australian, 20 April 1988
-
Angela Bennie, The Australian, 20 August 1987
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Angela Bennie, The Australian, 22 April 1988
-
Angela Bennie, The Australian, 23 November 1987
-
Angela Bennie, The Australian, 24 February 1988
-
Angela Bennie, The Australian, 24 July 1987
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Angela Bennie, The Australian, 25 April 1988
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Angela Bennie, The Australian, 25 July 1988
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Angela Bennie, The Australian, 25 September 1987
-
Angela Bennie, The Australian, 26 April 1988
-
Angela Bennie, The Australian, 26 January 1988
-
Angela Bennie, The Australian, 26 July 1988
-
Angela Bennie, The Australian, 26 July 1988
-
Angela Bennie, The Australian, 26 June 1987
-
Angela Bennie, The Australian, 26 November 1987
-
Angela Bennie, The Australian, 27 June 1988
-
Angela Bennie, The Australian, 28 June 1988
-
Angela Bennie, The Australian, 28 March 1988
-
Angela Bennie, The Australian, 28 October 1987
-
Angela Bennie, The Australian, 29 February 1988
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Angela Bennie, The Australian, 29 July 1988
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Angela Bennie, The Australian, 30 July 1987
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Angela Bennie, The Australian, 30 November 1987
-
Angela Bennie, The Australian, 30 October 1987
-
Angela Bennie, The Australian, 31 August 1987
-
Angela Bennie, The Australian, 4 March 1988
-
Angela Bennie, The Australian, 6 August 1987
-
Angela Bennie, The Australian, 7 September 1987
-
Angela Bennie, The Australian, 8 April 1988
-
Angela Bennie, The Australian, 8 January 1988
-
Angela Bennie, The Australian, 8 July 1988
-
Angela Bennie, The Australian, 8 March 1988
-
Angela Bennie, The Australian, 9 October 1987
-
Angela Bennie, Theatre at the coalface, Sydney Morning Herald, Spectrum Arts, 5 July 1997, 13
-
Angela Bennie, White: light and shadow, Sydney Morning Herald, 11 November 1989, 89
-
Angela Bennie, Work, rest, play, Spectrum, 3 November 2007, 18 - 19
-
Angela Betzien, After the great man, Courier Mail, 12 August 2000, 3
-
Angela Campbell, Performing Cultural Heritage: Authenticity and the Spirit of Rebellion, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 66, April 2015, 155 - 178
-
Angela Campbell, The Ethics of Writing Performance from the Archive: The Case of Georgiana Molloy, Australasian Drama Studies, 58, April 2011, 55-70
-
Angela Campbell, The Tempest: Creating dialogue from points of difference, Journal of Australian Studies, 28, 82, 2004, 15-24
-
Angela Campbell, Yandy: Walking the uneven lie of a mining boom, Australasian Drama Studies, 56, April 2010, 51-70
-
Angela Neville, Good Times, 16 January 1997, 1
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Angela Thompson, Dancing without the stars, Illawarra Mercury, Theatre and Dance Platform, 8 June 2011, 7
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Anglo-French Play Night, Daily News, 1 June 1940, 7
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Anguish in Adelaide, On Stage, 11, 1, 2010, 20
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Angus Cerini, John Bailey, An exchange: acting, reality & (dis)ability, RealTime Arts, 109, June 2012, 26
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Anita Donaldson, The Advertiser, 15 March 1988
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Anita Donaldson, The Advertiser, 18 March 1988
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Anita Donaldson, The Advertiser, 20 June 1987
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Anita Donaldson, The Advertiser, 25 April 1987
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Anita Donaldson, The Advertiser, 5 March 1988
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Anita Hirschhorn, Sunday Telegraph, 29 September 1985, 0
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Anja Kanngieser, The question of authenticity in 1960s: 1970s Californian body art: posing a challenge to a concept of presence, Australasian Drama Studies, 44, April 2004, 65-77
-
Ann Beveridge, Singer saved our folk songs from fading out, The Daily Telegraph, 25 May 2004, 33
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Ann Blake, Brian Friel and the Irish theatre, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 10, October 1986, 107 - 117
-
Ann Krebs, Taking intriguing, magical theatre to Canberra's children, The Canberra Times, 5 August 1976, 18
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Ann Loveridge, The Canberra Times, 4 December 1988, 2
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Ann Nugent, Australian Listener, 17 August 1988
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Ann Nugent, Events in WA make for topical opening, The Canberra Times, 15 April 1991, 22
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Ann Nugent, Great man of letters: an exile in his own country, The Canberra Times, 8 October 1990, 20
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Ann Nugent, Old and new at 20th Music Hall, The Canberra Times, 16 May 1994, 22
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Ann Nugent, Peacemaker is a winner on all fronts, The Canberra Times, 6 October 1987
-
Ann Nugent, The Age Monthly Review, 1 April 1988
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Ann Nugent, The Canberra Times, 10 July 1987
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Ann Nugent, The Canberra Times, 10 July 1987
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Ann Nugent, The Canberra Times, 12 January 1988
-
Ann Nugent, The Canberra Times, 12 May 1988
-
Ann Nugent, The Canberra Times, 12 October 1987
-
Ann Nugent, The Canberra Times, 13 June 1987
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Ann Nugent, The Canberra Times, 14 December 1987
-
Ann Nugent, The Canberra Times, 14 June 1988
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Ann Nugent, The Canberra Times, 14 November 1987
-
Ann Nugent, The Canberra Times, 15 January 1987
-
Ann Nugent, The Canberra Times, 15 July 1987
-
Ann Nugent, The Canberra Times, 15 July 1988
-
Ann Nugent, The Canberra Times, 16 January 1987
-
Ann Nugent, The Canberra Times, 17 July 1987
-
Ann Nugent, The Canberra Times, 17 March 1987
-
Ann Nugent, The Canberra Times, 18 May 1988
-
Ann Nugent, The Canberra Times, 2 December 1987
-
Ann Nugent, The Canberra Times, 20 January 1988
-
Ann Nugent, The Canberra Times, 20 January 1988
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Ann Nugent, The Canberra Times, 23 May 1987
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Ann Nugent, The Canberra Times, 25 August 1987, 0
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Ann Nugent, The Canberra Times, 25 March 1987
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Ann Nugent, The Canberra Times, 28 February 1987
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Ann Nugent, The Canberra Times, 28 July 1988
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Ann Nugent, The Canberra Times, 28 November 1988, 17
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Ann Nugent, The Canberra Times, 4 December 1987
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Ann Nugent, The Canberra Times, 5 January 1988
-
Ann Nugent, The Canberra Times, 5 July 1988
-
Ann Nugent, The Canberra Times, 5 June 1988
-
Ann Nugent, The Canberra Times, 6 January 1988
-
Ann Nugent, The Canberra Times, 7 April 1987
-
Ann Nugent, The Canberra Times, 7 July 1987
-
Ann Nugent, The Canberra Times, 7 May 1987
-
Ann Nugent, The Canberra Times, 9 October 1987
-
Ann Nugent, [Away], The Canberra Times, 9 November 1987
-
Ann Wilson, 'Our country's good': theatre, colony and nation in Wertenbaker's adaptation of 'The Playmaker', Modern Drama, 34, 1 (March), 1991, 23-34
-
Ann Wilson, Boarder crossing: the technologies of identity in Fronteras Americanas, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 29, October 1996, 7 - 15
-
Anna Bemrose, E. W. O'Sullivan's Coo-ee; or Wild Days in the Bush: people's theatre or political event, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 30, April 1997, 87 - 103
-
Anna Bemrose, The Boy from Mount Gambier: Robert Helpmann's Early Career in Australia (1917-1932), Australasian Drama Studies, 48, April 2006, 49-78
-
Anna King Murdoch, A composer without honor in her own country, The Age, 15 June 1983, 14
-
Anna King Murdoch, A relevant maturity, The Age, The University of Adelaide, Library Special Collections, 10 November 1983
-
Anna King Murdoch, A tale of youth who prefer money to love, The Age, 24 June 1988, 14
-
Anna King Murdoch, Dance company explores a sound that 'inspires movement', The Age, Theatre and Dance Platform, 11 August 1988, 14
-
Anna King Murdoch, Hibberd, a man of many playful words, The Age, 27 June 1995, 24
-
Anna King Murdoch, Living in an ideal world, The Age, Today, 4 January 2000, 5
-
Anna Liebzeit, Ian Moorhead, Kelly Ryall, Kim Baston, Music and Sound Design: A Round Table Discussion, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 67, October 2015, 76 - 94
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Anna Maria Dell 'Oso, Sydney Morning Herald, 7 February 1981, 0
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Anna McAlister, Sydney Morning Herald, 28 June 2006, 13
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Anna Murray, Currents, August 2003, 5
-
Anna Murray, Currents, May 2003, 13
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Anna Patty, Sophie wants to forget about sex, Sun Herald, 17 March 1996, 7
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Anna Randall, Sunday Examiner, 22 October 2000, 13
-
Anna Scheer, Challenging Theatre's Hidden Hierarchies: A Comparison of Christoph Schlingsief and Augusto Boal, Australasian Drama Studies, 58, April 2011, 228-244
-
Annabel Crabb, The Age, Stones concert features rock in role, 4 June 2006
-
Annabel McGilvray, Review, 16 June 2007, 3
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Annabel Ross, Awards honour Australian artists, The Age, Theatre and Dance Platform, 1 March 2016
-
Annabel Ross, Dark Echoes of Love and Death, The Age, Theatre and Dance Platform, 26 September 2016, 24
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Annabel Ross, Kitchen Companion: Lucy Guerin, choreographer, The Age, Theatre and Dance Platform, 29 June 2010
-
Anne C Murch, An intertextual adventure: Donna Giovani after Mozart and Da Ponte, Australasian Drama Studies, Australasian Drama Studies, C/- Department of English, Univ, 7, October 1985, 69 - 80
-
Anne C Murch, Australian Nouveau Theatre, Companion To Theatre In Australia, 1995, 74
-
Anne Crawford, Bringing to Life Dark Tales From Literary Lady of the Bush, The Age, 5 November 2007, 15
-
Anne Crawford, The Age, 4 April 2003, 0
-
Anne Latreille, Classical role a demanding one, The Age, 25 April 1969, 11
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Anne Latreille, Knight in shining armor still sparkles, The Age, 2 November 1970, 2
-
Anne Latreille, The Age, 2 December 1970, 23
-
Anne Latreille, U.S. actors for Oh! Not enough here!, The Age, 21 January 1970, 16
-
Anne Lim, At the end of the tunnel , Weekend Australian, Review, 30 September 2000, 16
-
Anne Lim, Grace Notes, The Australian, Theatre and Dance Platform, 13 September 2002, 16
-
Anne Lim, Magazine, 30 July 2005, 11
-
Anne Lim, Review, 23 April 2005, 3
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Anne Lim, Review, 27 August 2005, 3
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Anne Lim, The Australian, 22 September 1999, 5
-
Anne Marie Morgan, Three approaches to modern theatre in Jakarta in the 1990s: Rendra, Puta Wijaya and Ratna Sarumpaet, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 27, October 1995, 70 - 86
-
Anne Marshall, Casting about for the scent: Researching Aboriginal performance, Australasian Drama Studies, 37, October 2000, 3-13
-
Anne Pender, Eat, Pray, Laugh! barry Humphries, Reg Livermore and Cross-dressed Australian Burlesque, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 63, October 2013, 69 - 83
-
Anne Pender, Theatre Animals: Sumner Locke Elliotʻs Invisible Circus, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 68, April 2016, 54 - 74
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Anne Slaney, Muse, July 2003, 3
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Anne Slaney, Muse, November 2003, 17
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Anne Slaney, Muse, October 2003, 16
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Anne Slaney, Muse, September 2003, 22
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Anne Stelling, The Great Leap Forward, Lowdown: Youth Performing Arts in Australia, Theatre and Dance Platform, 6, 2, 1984, 13-18
-
Anne Thompson, In-Space: conversations in movement, RealTime Arts, 53, February 2003, 40
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Anne Thompson, The strange in dance, Broadsheet, Theatre and Dance Platform, 29, 1, 2000, 9
-
Anne Woodman, Melbourne Sun, 28 March 1988
-
Anne Wyllie, Geelong Advertiser, 12 February 1987
-
Anne-Marie Gaudry, Banvard, Yvonne (Fifi) (1901–1962), Australian Dictionary of Biography Online, 1993
-
Annette Bryan, Cairns Post, 3 September 1987
-
Annette Reschke, Keine Angst, Frankfurter Allgemeine Zeitung, Theatre and Dance Platform, 24 May 2009
-
Annette Shailer, The Canberra Times, 16 July 2003, 6
-
Annie Forbes, From animism to digital animation: puppetry in New Zealand/Aotearoa, Australasian Drama Studies, 51, October 2007, 10-17
-
Annie Leo, Rip It Up, 0
-
Annie Zot, Beat, 10 August 1988
-
Annie Zot, Beat, 10 February 1988
-
Annie Zot, Beat, 13 April 1988
-
Annie Zot, Beat, 13 July 1988
-
Annie Zot, Beat, 24 March 1988
-
Annie Zot, Beat, 25 May 1988
-
Annie Zot, Beat, 26 November 1987
-
Annie Zot, Beat, 29 June 1988
-
Anniversary Day, Barrier Miner, 27 January 1893, 2
-
Anniversary Day, Sydney Morning Herald, 26 January 1895, 7
-
Anniversary Day, The Maitland Mercury, 25 January 1845, 2
-
Anniversary Of The New Swan Lodge, The West Australian, (Perth, WA : 1879 - 1954), 24 August 1895, 7
-
CORROBBOREE.— The Kapunda Herald writes: — 'Fandangos of the corroboree descrip tion -were of frequent occurrence in the early days cf tbe colony, but since the spread of the white people over the face of the land they have become a thing of the past. However, a short lime since a number of the blacks migrated from Mount Remarkable in this direction. On reaching Hamilton they fell in with some more of their countrymen, and immediately^ their exuberance knew no bounds, ' Fire- water' being the height of a blackfellow's human felicity, a plentiful supply of rum was obtained, and a tenaLtless house being espied, it was taken possession of. Then they imagined they were in the midst of a perfect halo of de light; dancing, howling, and yelling followed in quick succession, until the peaceful residents of Hamilton imagined that Pandemonium hid ar rived amotgst them. This sort of amusement was continued the next day, but with this dif ference, that the midnight brawlers nearly frightened the wits of tha children and the fair daires; who had to fly for protection to Mr. Go:d, the lecal schc olniatter. That gentleman, on expostulating, was jeered at, threatened, and assaulted. He therefore sought to have an end put to these orgies, and appeared at the las' sitting of the Magistrates' Court to prosecute one of the ringleaders rejoicing in the name of Jemmy Sprat, who had assaulted him. Mr. Gold did not press the charge, and as Jemmy promised to return to Mount Remarkable, His Worship let him eff with seven days imprisonment.'
Annual Report of Botanic Gardens, The South Australian Register, National Library of Australia, 22 April 1876, 5
-
Another Non-Stop Marcus Show, The Advertiser (Adelaide, SA : 1931 - 1954), National Library of Australia, 24 January 1938, 7
-
Another Picture Palace for Sydney. The New Globe Theatre., The Sun (NSW), 28 June 1914, 7
-
Another success for Sunny, Barrier Miner, 7 November 1941, 1
-
Another Theatre for Flesh and Blood, The Sun (NSW), 2 April 1939, 13
-
Anthea Gleeson, Labourer likes to 'boogie', The Chronicle, Theatre and Dance Platform, 17 May 2011
-
Anthea Lathouras, Dyann Ross, Joanne Loth, Applied Theatre Techniques for Community Workers - Towards a Performative and Anti-Oppressive Ethical Approach, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 68, April 2016, 118 - 142
-
Anthony Clarke, 'Idomeneo' opens for VSO, The Age, 8 April 1982, 10
-
Anthony Clarke, A soprano in her element, The Age, 16 June 1981, 10
-
Anthony Clarke, Blundell full circle, The Age, 27 April 1982, 10
-
Anthony Clarke, Bringing realism to the opera stage, The Age, 14 November 1985, 14
-
Anthony Clarke, Captialising on a talent to abuse, The Age, 11 February 1983, 14
-
Anthony Clarke, Limelight, April 2006, 12
-
Anthony Clarke, Mobile 'Changeling', The Age, 27 May 1982, 10
-
Anthony Clarke, Our new theatre complex stretches the imagination, The Age, 8 May 1984, 14
-
Anthony Clarke, Show people buy Nimrod, The Age, 8 June 1984, 14
-
Anthony Clarke, Subtle study of ignored victims, The Age, The University of Adelaide, Library Special Collections, 4 November 1983, 14
-
Anthony Dennis, Cultural cringe corner, Sydney Morning Herald, 7 November 1988, 32
-
Anthony Dowsley, Progress Press, 6 August 2001, 10
-
Anthony Miller, Imperial Caesar: Shakespeare's Julius Caesar on the Australian stage, 1856 - 1889, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 33, October 1998, 80 - 94
-
Anthropology invesitgation in South Australia, Transcontinental (Port Augusta, SA : 1914 - 1954), National Library of Australia, 4 December 1925, 1
-
Antill ballet tells story of diggers, Sydney Morning Herald, 29 January 1958, 13
-
Antique and Curio Show, Barrier Miner, 14 July 1941, 4
-
Antonette Collins, Sydney Festival: Structure and Sadness, The Program, Theatre and Dance Platform, 12 January 2007
-
Antony Ernst, Larry Sitsky's The Golem: the esoteric opera, Australasian Drama Studies, 45, October 2004, 30-42
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Anzac Festival, Sydney Morning Herald, 20 April 1939, 21.
-
Aoife Monks, 'The souvenir from foreign parts': foreign femininity in Deborah Warner's Medea, Australasian Drama Studies, 43, October 2003, 32-45
-
Appears at Two Theatres Nightly, The Sun (NSW), 7 April 1940, 14
-
Approach to Chekhov play realistic, The Argus, 14 June 1949, 6
-
Arch Argyle, Oh, Those Early Days Of Fun, Romance And Rep, The Canberra Times, 14 May 1998, 14
-
Architectural Association, The Brisbane Courier, 7 March 1896, 5
-
Argus Glances. The Kate Howard Dramatic Co., Macleay Argus, Kempsey, NSW, 4 February 1899, 5
-
Arifa Akbar, Times2, 28 March 2007, 3
-
Aristrocrats of the drama, The Age, 8 January 1958
-
Arlene A Elder, Self, other, and post-historical identity in three plays by Jack Davis, The Journal of Commonwealth Literature, 25, 1 (August), 1990, 204-221
-
Armidale Express and New England General Advertiser, 5 October 1984
-
Arne Sjostedt, Breathing life into tragedy, Times2, 27 July 2007, 3
-
Arne Sjostedt, Comic chase in high farce, Times2, 22 August 2007, 8
-
Arne Sjostedt, Love, violence and demons within, Times2, 25 September 2007, 8
-
Arne Sjostedt, Panorama, 12 May 2007, 6
-
Arne Sjostedt, The Canberra Times, 22 November 2006, 8
-
Arne Sjostedt, Times2, 12 July 2007, 8
-
Arne Sjostedt, Times2, 13 April 2007, 4
-
Arne Sjostedt, Times2, 22 February 2007, 9
-
Arne Sjostedt, Times2, 23 May 2007, 8
-
Aroma Billings, The Canberra Times, 26 November 1982, 15
-
Around the Theatres, Sydney Morning Herald, 30 November 1933, 9
-
Art Club Drama, Newcastle Morning Herald and Miners' Advocate, 22 August 1951, 5
-
Art imitates life on stage, Encore, 8 September 2002, 70
-
Arthur Askey in Adelaide tonight, The News, 26 November 1949, 1
-
Arthur Askey Is Quiet One Of The Family, The Advertiser, 13 October 1950, 15
-
Arthur Askey Season, The Advertiser, 31 August 1950, 6
-
Arthur Hanlon, The Daily News, 19 February 1988
-
ArtPower! Presents Lucy Guerin, San Diego Story, Theatre and Dance Platform, 9 October 2013
-
Arts and Entertainment
-
Arts and Entertainment, 9 March 2004, 17
-
Arts National , September 1985, 12
-
Arts Society. Repeat Performance, The Canberra Times, 2 August 1932, 2
-
As Our Mothers Grow Old, Weekender, 17 December 1982, 12
-
As You Like It, Sydney Morning Herald, 2 July 1887, 9
-
Asher Warren, Mixed Actor Network Reality: a Performance in Three Networks, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 65, October 2014, 191 - 211
-
Ashleigh Wilson, Endless possibilities, The Australian, 5 September 2009, 5
-
Ashleigh Wilson, The Australian, 29 May 2006, 14
-
Ashleigh Wilson, Travels with my haunt., The Australian, 31 May 2002
-
Ashley Hay, The Bulletin, 10 August 2004, 63
-
Ashton's Circus, Ovens and Murray Advertiser, 21 August 1857, 2
-
Ashton's Circus, Ovens and Murray Advertiser, 24 August 1857, 2
-
Ashton, James Henry (Jimmy) (1819–1889), Obituaries Australia
-
Association Ground, The West Australian, 29 December 1909, 2
-
At Alice Springs, The Mercury (Hobart, Tas. : 1860 - 1954), 5 August 1924, 7
-
At last - Ray sees his play, Melbourne Sun, The University of Adelaide, Library Special Collections, 25 January 1977, 2
-
At last, Ray gets his prize, Melbourne Sun, The University of Adelaide, Library Special Collections, 16 December 1976
-
At Poverty Point, The Bulletin, 14 March 1896, 9
-
At The Comedy Harmonists' Concert, The Advertiser (Adelaide, SA : 1931 - 1954), National Library of Australia, 9 October 1937, 14
-
At the Folies Bergere, The Australian Women's Weekly, 27 August 1952, 12-13
-
At The Ice Ballet, The Advertiser (Adelaide, SA : 1931 - 1954), National Library of Australia, 15 July 1940, 5
-
At the Loft, Sydney Morning Herald, 12 April 1980, 23
-
At The Play, Critic, National Library of Australia, 15 October 1919, 10
-
At the Royal, Sportsman, 2 February 1897
-
At The Theatre Royal, The Advertiser, National Library of Australia, 5 August 1929, 10
-
Athenaeum Hall [Eureka Stockade], Melbourne Punch, 17 October 1907, 33
-
Athletic Gathering At Fremantle, The West Australian, (Perth, WA : 1879 - 1954) , 9 December 1889, 3
-
Athos , Old Programmes. Night of Pandemonium, Central Queensland Herald, 18 July 1935, 14
-
Athos , Old Programmes. Rich Fare in 1883, Central Queensland Herald, 17 April 1934, 14
-
Athos , Old Programmes. Rich Fare in 1883. Shakespeare and Opera, The Morning Bulletin, 12 April 1934, 13
-
Athos , Old Programmes. Versatile Boy Mimic. Crowded Months of 1906, Central Queensland Herald, 10 October 1935, 13
-
Atrocious Attempt To Assasinate H.R.H. The Duke Of Edinburgh, Sydney Morning Herald, 27 March 1868, 6, 7
-
Attack by Star "Baffles" Theatre Trust, The Age, 8 December 1964, 5
-
Au Revoir Paris, Theatre Australia, October 1978, 2
-
Aubrey Gibson, Message from the President, Elizabethan Trust News, The Australian Elizabethan Theatre Trust, Number One, December 1971, 9-10
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Auckland Star, 18 May 1972, 0
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Auckland Star, 19 May 1972, 0
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Auckland Star, 24 May 1972, 0
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Audiences are a problem, The Age, 15 March 1973, 22
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Audiences Must be Educated, The Examiner, National Library of Australia, 8 March 1950, 5
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Augie winner's play is 'a find', The Age, 25 May 1972, 21
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Aussies dig in at Stratford, The Argus, National Library of Australia, 10 September 1955, 1S
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Aust and NZ Theatres Ltd, The Argus, 4 May 1942, 4
-
Austen Novel Played At Minerva, Sydney Morning Herald, 18 May 1948, 3
-
Austral Competitions, The Bendigo Advertiser, 27 May 1907, 5
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Austral Dramatic Co., The Kalgoorlie Miner, Kalgoorlie Miner (WA : 1895 - 1950), 23 January 1904, 6
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Australia Council for the Arts, Lucy Guerin Inc Celebrates 15 Years, Theatre and Dance Platform, 28 July 2017
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Australia Day Honours 2012, On Stage, 13, 1, 2012, 42-44
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Australia Duplicates An Elizabethan Theatre, Sydney Morning Herald, 8 February 1964, 2
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Australia Has Talent - Tenor, The Age, 24 June 1963, 5
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Australia Off The Apron Strings, The Times, 17 July 1962, 11
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Australia's 'best lyric theatre' enters new era, On Stage, 12, 2, 2011, 1-2
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Australia's own "Funny Girl", The Australian Women's Weekly, 30 March 1966, 3
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Australia's own "Guys and Dolls", Pictorial Show, 11 November 1957, 26
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Australian Artists Abroad. Mixed Reception to 'The Golden Gander', Courier Mail, 9 January 1936, 12
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Australian Association Picnic, Sydney Morning Herald, 28 January 1895, 6
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Australian Ballet to open here in October, The Age, 5 September 1968, 6
-
Australian Choreographer Awarded Prestigious Bessie, Dancewest, Theatre and Dance Platform, October 1997
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Australian composer returns for musical, The Age, 13 June 1966, 5
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Australian Creative, March 2004, 0
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Australian Discovery And Colonisation, The Empire, 4 August 1865, 2
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Australian Drama Month. Many Groups Taking Part, Sydney Morning Herald, 1 May 1939, 4
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Australian Drama Month. Thirty Plays Presented, Sydney Morning Herald, 30 May 1939, 6
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Australian Drama. Pioneers Produce Five Plays, The Sporting Globe, 22 August 1923, 12
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Australian Drama. Sydney 'Month'. Opportunity for the Playwright, Sydney Morning Herald, 29 April 1939, 10
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Australian Dramatists, The Sun (NSW), 19 May 1940, 21
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Australian folk play here soon, Courier Mail, 19 July 1954, 8
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Australian Friends, The Age, 10 August 1963, 8
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Australian Helps Teach U.S. Army to See War as a Whole, Cairns Post, 27 August 1943, 4
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Australian Jewish Times, 26 November 1981, 33
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Australian Musical News and Musical Digest, July 1948, 14
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Australian Musical News and Musical Digest, November 1948, 23
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Australian National Theatre , Sydney Morning Herald, 19 June 1937, 12
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Australian National Theatre , Sydney Morning Herald, 5 June 1937, 10
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Australian play bought by Sir Laurence Olivier, The Times, 13 March 1958, 3
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Australian play bought, The Sun (NSW), 12 October 1957
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Australian play filmed, The Times, 15 March 1960, 6
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Australian Play for Festival, Theatre Australia, The University of Adelaide, Library Special Collections, February 1979, 41
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Australian Play in London. Critics Not Enthusiastic., The Argus, 9 January 1936, 9
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Australian play in New York, The Times, 25 January 1958, 8
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Australian Play Society, Sydney Morning Herald, 26 March 1932, 6
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Australian play to go to New York, The Times, 18 July 1957
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Australian Play, Courier Mail, 30 September 1940, 6
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Australian plays and players, The Bulletin, 23 October 1957
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Australian Plays. 108 Sent in for Competition, Sydney Morning Herald, 4 March 1932, 4
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Australian premiere for Adelaide, The Advertiser, 10 November 1952, 4
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Australian Showboat, Mirror, 5 June 1943, 20
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Australian Theatre Society, Sydney Morning Herald, 11 February 1933, 10
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Australian Varieties, South Australian Record and Australasian Chronicle (SA : 18, National Library of Australia, 18 April 1840, 5
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Australian Variety News, November 1969
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Australian Variety Theatre Archive, 3 March 2017
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Australian Yesterdays, Sydney Morning Herald, 3 June 1980, 8
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Australian's European premiere, The Age, 30 July 1965, 4
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Australians in London Spotlights, Sydney Morning Herald, 5 January 1952, 6
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Australierin zeigt im Tanzhaus Bilder aus der Unterwelt, Iserlohner Kreisanzeiger und Zeitung (IKZ), 10 January 2017, online
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Author of Prohibited Play Advises Changes in Dialogue, Sydney Morning Herald, 26 October 1948, 3
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Authoress sat trembling, The Herald, 7 October 1957
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Autobiography of an Extra, Sunday Telegraph, 22 December 1982, 2
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Autumn Manoeuvres, Sydney Morning Herald, 24 June 1913, 12
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Ava Hubble, Opera-Opera, May 2003, 1
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Ava Hubble, Opera-Opera, November 2002, 1
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Ava Hubble, Sydney Morning Herald, 21 February 1995, 14
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Award...in the summer of '76, The Herald, The University of Adelaide, Library Special Collections, 14 December 1976
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Ayshé Jenkinson, Interculturality, performance and everyday life, Australasian Drama Studies, 59, October 2011, 8-22
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B Grant, Why 'The Doll' failed on Broadway, Adult Education, March, 1958, 10-12
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B.A.T. to Produce 'Interval', The Telegraph (Brisbane), 29 February 1940, 04
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Babes in Wood Panto Opens, The Daily Telegraph, 28 December 1948, 9
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Baby Baby, Sydney Morning Herald, 16 November 1982, 8
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Baby Boomers - the Musical hits town, Canberra Sunday Times, 23 March 2008, 47
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Back From The Interior, The Mail, 20 September 1924, 1
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Back to the 50s with Grease, The Age, 27 July 1972, 15
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Backstage meeting of two great stars, The Age, 21 June 1965, 1
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Backyard Theatricals, Pix, 19 November 1949, 34
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Backyard, Sydney Morning Herald, 2 August 1980, 23
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Backyard, The Canberra Times, 8 August 1980, 8
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Bad box office, The National Times, 29 July 1978
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Bad Women, The Age, 30 April 1983, 10
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Bagryana Popov, Music, Silence and the Single Note in the Creation of Meaning in Theatre, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 67, October 2015, 28 - 48
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Bairnsdale Hospital Carnival, Bairnsdale Advertiser and Tambo and Omeo Chronicle, 2 March 1909, 2
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Balalaika Is Spectacular, The Mail (Adelaide, SA : 1912 - 1954), National Library of Australia, 9 April 1938, 20
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Ballarat bitter, On Stage, 12, 2, 2011, 4
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Ballarat District Hospital, The Star, 8 January 1859, 4
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Ballarat Star, The Star, 1 May 1860
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Ballarat Star, The Star, 12 May 1860
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Ballarat Star, The Star, 21 May 1860
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Ballarat Star, The Star, 31 May 1860
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Ballarat Star, The Star, 4 May 1860
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Ballarat Star, The Star, 5 May 1860
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Ballarat Visiting and Benevolent Association, The Star, 22 June 1859, 3
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Ballarat, Geelong Advertiser, 14 March 1861, 3
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Ballarat, The Argus, 18 May 1868, 7
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Ballerinas from Japan, Pix, 8 March 1958, 28
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Ballet '76, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 16-17
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Ballet and Theatre Club, The Sun (NSW), 22 March 1950, 24
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Ballet captures Broken Hill, Barrier Miner, 1 August 1951, 2
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Ballet Comes to Sutherland Shire, Shire Pictorial, 17, 8, 4 March 1970, 1
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Ballet Ends Record Run, Truth, 2 May 1948, 2
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Ballet for lowbrows, Barrier Miner, 10 September 1948, 4
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Ballet Girls Insured Against Marriage, The Mail, 31 January 1948, 22
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Ballet in Open-Air Theatre, The Australian Women's Weekly, 11 March 1970, 4-5
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Ballet Master, Pix, 16 December 1950, 5-9
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Ballet Night Triumph For Miss Morgan, Newcastle Morning Herald and Miners' Advocate, 17 May 1951, 5
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Ballet Rambert in auspicious opening, Barrier Miner, 27 January 1948, 5
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Ballet Rambert opens tonight, Barrier Miner, 26 January 1948, 5
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Ballet's king turns up nose at crown, The Age, 6 March 1974, 1
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Ballroom scene sets poser for dramatic club, Singleton Argus, 22 June 1953, 2
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BAM, 30 July 2005, 4
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Ban on auditions commended, Sydney Morning Herald, 15 January 1970, 7
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Ban on Play. Chief Secretary's Action. "Desire Brings Welcome.", Sydney Morning Herald, 11 February 1937, 10
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Band Boys' hearing adjourned, The Age, 8 July 1969, 3
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Bank Embezzlement, The Western Star and Roma Advertiser, Qld, 20 May 1895, 2
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Banned Play Continues, The Advertiser, 25 October 1948, 3
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Banned play finds no new home, The Age, 25 January 1972, 2
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Bar Fashions for May [The Drama], The Australian, 11 May 1832, 3
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Barambah, The Brisbane Courier, 5 October 1925, 19
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Barbara Biggs, The Sunday Herald Sun, 10 March 1998
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Barbara Biggs, The Sunday Herald Sun, 17 May 1998
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Barbara Biggs, The Sunday Herald Sun, 26 April 1998
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Barbara Biggs, The Sunday Herald Sun, 28 December 1997
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Barbara Biggs, The Sunday Herald Sun, 3 May 1998, 84
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Barbara Bolt, Shopping and Th**king, RealTime Arts, 73, 1 June 2006, 2
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Barbara Cosson, From Latvia to the MTC, Times on Sunday, 8 November 1987, 29
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Barbara Hatley, Stage texts and life texts: women in contemporary Indonesian theatre, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 25, October 1994, 17 - 39
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Barbara Hebden, Art Seoul, Encore, 13 October 2002, 70
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Barbara Hebden, Our royal couple, Encore, 28 April 2002, 56
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Barbara Hebden, Sass attack, Encore, 14 September 2003, 64
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Barbara Hebden, Sunday Mail, 1 November 1987
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Barbara Hebden, Sunday Mail, 10 May 1987
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Barbara Hebden, Sunday Mail, 11 October 1987
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Barbara Hebden, Sunday Mail, 13 March 1988
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Barbara Hebden, Sunday Mail, 13 September 1987
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Barbara Hebden, Sunday Mail, 14 June 1987
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Barbara Hebden, Sunday Mail, 21 June 1987
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Barbara Hebden, Sunday Mail, 28 August 1988
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Barbara Hebden, Sunday Mail, 28 August 1988
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Barbara Hebden, Sunday Mail, 29 November 1987
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Barbara Hebden, Sunday Mail, 31 May 1987
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Barbara Hebden, Sunday Mail, 4 October 1987
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Barbara Hebden, Sunday Mail, 5 July 1987
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Barbara Hebden, Sunday Mail, 6 December 1987
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Barbara Hebden, Sunday Mail, 6 March 1988
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Barbara Hebden, Taking the Bait, Encore, 26 August 2001, 70
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Barbara Joseph, Sweet Road (Book Review), Australasian Drama Studies, April 2001, 167-169
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Barbara Wallis, Canecutters inspired earthy new drama, The Australian Women's Weekly, 4 January 1956, 19
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Barbara Wallis, Rita – as her cousin sees her, The Australian Women's Weekly, 3 September 1958, 13
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Barbed wire 'whip' seized after brawl at circus, The Argus, National Library of Australia, 14 November 1955, 3
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Barber of Seville. To-night., The Canberra Times, 14 August 1953, 2
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Barcaldine, The Morning Bulletin, 2 November 1900, 6
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Barney Zwartz, The Glass Soldier, A2, 28 July 2007, 14
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Barrie at Minerva, Sydney Morning Herald, 28 December 1948, 2
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Barrie Kosky, 'Hello Wien!', Australasian Drama Studies, 44, April 2004, 17-35
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Barrie on Tour, The Age, 7 July 1971, 12
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Barrie season begins, The News, The University of Adelaide, Library Special Collections
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Barry Dickins, A perfect discourse on left-wing theatre given by a briquette, Meanjin, 38/4, Summer, 1979, 480-485
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Barry Dickins, The Age, 10 March 1993, 0
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Barry Humphries, Ode to the Melbourne Theatre Company (for Zoe Caldwell), Collins/Angus & Robertson, North Ryde, N.S.W., 1991, 27-29
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Barry Johnson, The Next Step, The Oregonian, Theatre and Dance Platform, 28 May 1999
-
BULLENGAROOK lighting and stage artist Keith Tucker was given an unusual brief for a new dance performance at this year's Melbourne International Arts Festival.
Unlike his previous assignments that included the fish on the Yarra installation during the Melbourne Commonwealth Games, Tucker had to ignore his usual theatrical lighting techniques with Corridor.
Corridor is a performance in a long passageway while the audience watches from the sides.
"The dancers use a very thin passageway with plain inverted-cone fluorescent lights while the audience is spread along the room," he said.
Tucker said choreographer Lucy Guerin wanted the show to be transferable to hospital and school passageways.
"A lot of the lighting has to be provided by the performers themselves who will have to turn the lights on and off and pass them during dances," he said.
Tucker has a long association with Guerin's work which has been commissioned around the world. But he also finds time to set up speakers and stages at local sporting presentations and school productions.
"I have a lot of fun doing what I do but it's great to do some community events to,'' he said.
Tucker said the corridor focused on the mental and physical pressures of living in an increasingly sophisticated world.
"The audience is literally looking at one another and there are great dynamics intertwined into the dance," he said.
Barry Kennedy, Setting a dance show in a corridor, Sunbury Leader, 14 October 2008, 431
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Barry Laing, Physical practice/ imaginal play: undisciplining the performer, Australasian Drama Studies, 53, October 2008, 103-110
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Barry McGloin, bma (bands music action) , 19 April 2001
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Barry O'Connor, Yesterday's realism, Theatre Australia, 5, 1, August 1980, 50
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Barry Oakley, Independent Monthly, 1 July 1990
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Barry Oakley, Independent Monthly, 1 July 1990
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Barry Oakley, Mellowed drama, The Australian Magazine, 29-30 January, 1994, 38
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Barry Oakley, The Sydney Review, 1 August 1988
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Barry Oakley, The Sydney Review, 1 August 1988
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Barry Oakley, Times on Sunday, 1 March 1987
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Barry Oakley, Times on Sunday, 1 March 1987
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Barry Oakley, Times on Sunday, 1 November 1987
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Barry Oakley, Times on Sunday, 10 January 1988
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Barry Oakley, Times on Sunday, 10 January 1988
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Barry Oakley, Times on Sunday, 11 January 1987
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Barry Oakley, Times on Sunday, 11 October 1987
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Barry Oakley, Times on Sunday, 12 April 1987
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Barry Oakley, Times on Sunday, 12 April 1987
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Barry Oakley, Times on Sunday, 13 December 1987
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Barry Oakley, Times on Sunday, 13 March 1988
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Barry Oakley, Times on Sunday, 13 March 1988
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Barry Oakley, Times on Sunday, 14 February 1988
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Barry Oakley, Times on Sunday, 14 June 1987
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Barry Oakley, Times on Sunday, 14 June 1987
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Barry Oakley, Times on Sunday, 15 February 1987
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Barry Oakley, Times on Sunday, 15 March 1987
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Barry Oakley, Times on Sunday, 16 August 1987
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Barry Oakley, Times on Sunday, 17 January 1988
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Barry Oakley, Times on Sunday, 17 January 1988
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Barry Oakley, Times on Sunday, 17 May 1987
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Barry Oakley, Times on Sunday, 18 January 1987
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Barry Oakley, Times on Sunday, 18 January 1987
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Barry Oakley, Times on Sunday, 18 January 1987
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Barry Oakley, Times on Sunday, 18 October 1987
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Barry Oakley, Times on Sunday, 19 April 1987
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Barry Oakley, Times on Sunday, 19 July 1987
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Barry Oakley, Times on Sunday, 19 July 1987
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Barry Oakley, Times on Sunday, 19 July 1987
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Barry Oakley, Times on Sunday, 2 August 1987
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Barry Oakley, Times on Sunday, 20 December 1987
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Barry Oakley, Times on Sunday, 20 December 1987
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Barry Oakley, Times on Sunday, 20 September 1987
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Barry Oakley, Times on Sunday, 20 September 1987
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Barry Oakley, Times on Sunday, 21 February 1988
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Barry Oakley, Times on Sunday, 21 June 1987
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Barry Oakley, Times on Sunday, 21 June 1987
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Barry Oakley, Times on Sunday, 22 February 1987
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Barry Oakley, Times on Sunday, 22 March 1987
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Barry Oakley, Times on Sunday, 22 November 1987
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Barry Oakley, Times on Sunday, 22 November 1987
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Barry Oakley, Times on Sunday, 23 August 1987
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Barry Oakley, Times on Sunday, 23 August 1987
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Barry Oakley, Times on Sunday, 24 January 1988
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Barry Oakley, Times on Sunday, 25 January 1987
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Barry Oakley, Times on Sunday, 26 April 1987
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Barry Oakley, Times on Sunday, 26 July 1987
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Barry Oakley, Times on Sunday, 27 September 1987
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Barry Oakley, Times on Sunday, 27 September 1987
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Barry Oakley, Times on Sunday, 28 February 1988
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Barry Oakley, Times on Sunday, 28 June 1987
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Barry Oakley, Times on Sunday, 29 March 1987
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Barry Oakley, Times on Sunday, 29 March 1987
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Barry Oakley, Times on Sunday, 29 November 1987
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Barry Oakley, Times on Sunday, 29 November 1987
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Barry Oakley, Times on Sunday, 3 May 1987
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Barry Oakley, Times on Sunday, 30 August 1987
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Barry Oakley, Times on Sunday, 4 January 1987
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Barry Oakley, Times on Sunday, 4 October 1987
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Barry Oakley, Times on Sunday, 5 April 1987
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Barry Oakley, Times on Sunday, 5 July 1987
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Barry Oakley, Times on Sunday, 6 December 1987
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Barry Oakley, Times on Sunday, 6 March 1988
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Barry Oakley, Times on Sunday, 6 September 1987
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Barry Oakley, Times on Sunday, 7 June 1987
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Barry Oakley, Times on Sunday, 7 June 1987
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Barry Oakley, Times on Sunday, 8 February 1987
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Barry Oakley, Times on Sunday, 8 March 1987
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Barry Oakley, Times on Sunday, 8 November 1987
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Barry Oakley, Times on Sunday, 9 August 1987
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Barry Oakley, Times on Sunday, 9 May 1987
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Barry Roberts, Catholic Leader, 1 November 1987
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Barry Roberts, Catholic Leader, 10 May 1987
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Barry Roberts, Catholic Leader, 20 September 1987
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Barry Roberts, Catholic Leader, 9 August 1987
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Baryshnikov's White Oak Dance Project to perform on campus, Yale Bulletin and Calendar, 27, 31, 3 May 1999
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Basil Arty, Sex diaries on tour, The Advertiser, Magazine, 18 September 1993, 25
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Basket Weaving for Amateurs, ACT Newsletter, July 1981
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Basket Weaving for Amateurs, Theatre Australia, 5, 9, May 1981, 53
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Bassey could have been one of the world's great strippers!, The Australian, 24 May 1969, 10E
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Bathurst, The Empire, 15 May 1860, 2
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Baton and Buskin, The Messenger, (Fremantle, WA : 1895), 28 June 1895, 8
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Baton and Buskin, The Messenger, (Fremantle, WA : 1895), 29 November 1895, 8
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Bayanihan Dancers, The Australian Women's Weekly, 13 February 1964, 10-11
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Beat, 29 November 2006, 0
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Beatrice Tildesley, Little Theatre Movement in Australia, Manuscripts, No. 4, February 1933, 51-56
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Beatrice Tildesley, Young Actor of Distinction: Emlyn Williams, The Australian Women's Weekly, 6 July 1935, 26
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Beatrix Tracey, David Henry Souter, Explorations in Industry No. III - The Chorus Girl, The Lone Hand, Vol. 3, No. 13, 1 May 1908, 12-20
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Beatrix Tracey, Miss Nellie Stewart, The Lone Hand, Vol. 1, No. 2 , 1 June 1907, 188-189
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Beautiful Moves, Brisbane News, 25 June 2003, 8
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Beauty and the Beast, Queensland Cultural Diary, April 1982, 13
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Beauty and the Beast, Theatre Australia, January 1980, 58
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Beechworth District Hospital, Ovens and Murray Advertiser, 25 July 1859, 3
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Behind the Footlights: Ambitious Productions in Amateur World, Sydney Morning Herald, 4 December 1939, 12
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Behind the scenes 'Aunt Elsie' mends and sews, The Argus, 30 December 1946, 6
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Behind the scenes in Australian theatre, Observer (London), 3 September, 1960, 14-16
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Belinda Ann Sivyer, Confessions of a late starter, TV Week, 19 September 1992, 47
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Belinda Moxon, The Word, November 2006, 0
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Belvoir launches its 2011 season, Stage Whispers, Theatre and Dance Platform, 20 September 2010
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Ben Brooker, Catastrophe & mind time , RealTime Arts, 119, February 2014, 40
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Ben Cubby, Metro, 28 January 2005, 15
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Ben Cubby, Sydney Morning Herald, 1 October 2004, 15
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Ben Dillon, Master and apprentice on the stage, Courier Mail, Theatre and Dance Platform, 16 March 2011
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Ben Eyles, Moruya Examiner, 24 December 2003, 17
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Ben Flett, Lifetime passion for art and drama, The Advertiser, 12 January 2012, 70
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Ben Hart, The Herald Sun, 22 April 1998
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Ben Herman, bma (bands music action) , 9 March 2006, 25
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Ben Holgate, Award for MP's play, The Australian, 5 March 1999
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Ben Holgate, Back to class acts, The Australian, 22 January 1999
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Ben Holgate, Choreography begins at home, The Australian, Theatre and Dance Platform, 1 January 1999, F16
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Ben Holgate, Face to face with the workers, The Australian, 26 April 1999, 18
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Ben Holgate, Ham funeral gets a life, The Australian, 28 July 2000, 14
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Ben Holgate, Tyler bobs up again, Weekend Australian, Review, 30 January 1999, 22
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Ben Houston, Show goes on after hard landing for Circus Oz's pocket rocket, The Canberra Times, 20 February 2006, 4
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Ben Houston, The Canberra Times, 29 August 2005, 4
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Ben Langford, Big shoes to fill, The Northern Territory News, 27 April 2007, 38
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Ben Starick, fortyfivedownstairs, On Stage, 11, 2, 2010, 40 - 41
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Ben Starick, Fringe benefits: theatre of passion, On Stage, 11, 1, 2010, 26-29
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Ben Wyld, Metro, 20 May 2005, 15
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Ben Wyld, Metro, 8 April 2005, 15
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Ben Wyld, Sydney Morning Herald, 14 May 2004, 15
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Ben Wyld, Sydney Morning Herald, 16 July 2004, 15
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Ben Wyld, Sydney Morning Herald, 21 May 2004, 15
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Ben Wyld, Sydney Morning Herald, 28 August 2004, 16
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Ben Wyld, Sydney Morning Herald, 6 August 2004, 3
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Benalla, The Advocate, 22 November 1944, 22
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Benalla, The Argus, 22 March 1897, 6
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Bend Thy Boughs, The Age, 15 June 1962, 8
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Bend Thy Boughs, The Age, 8 June 1962, 5
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Bendigo Easter Fair, Bendigo Advertiser, 14 March 1910, 7
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Bendigo men Untrained, but keen, Bendigo Advertiser, Theatre and Dance Platform, 15 March 2011
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Benedict Andrews, Directors + playwrights: the living and the dead, RealTime Arts, 42, April 2001, 23
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Benedict Andrews, The Australian, 12 July 2005, 14
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Benedict Nightingale, Arts and Leisure, 30 September 2001, 5
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Benedict Nightingale, Uncovering the Humanity In Rootlessness and Race, The New York Times, 30 September 2001, 5
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BENEFIT TO MR. HORACE COPELAND. A number of the professional associates of Mr. Horace Copeland have arranged to give him a benefit performance, as for some time past he has been incapacitated through illness from following his avocation. The programme is being arranged and will be presented at the Town Hall on Thursday evening [7 Jun] next.
Benefit To Mr Horace Copeland, The West Australian, 4 April 1898, 3
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Benito Di Fonzo, Bums On Seats, Metro, 25 July 2008, 13
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Benito Di Fonzo, Dial M For Mockery, Sydney Morning Herald, 11 July 2008, 15
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Benito Di Fonzo, Extreme Makeover, Metro, 6 June 2008, 11
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Benito Di Fonzo, Go figurine, Metro, 9 November 2007, 15
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Benito Di Fonzo, Long Feathers Fly, Sydney Morning Herald, 20 June 2008, 13
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Benito Di Fonzo, Metro, 11 March 2005, 15
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Benito Di Fonzo, Metro, 12 May 2006, 13
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Benito Di Fonzo, Metro, 13 April 2006, 15
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Benito Di Fonzo, Metro, 13 July 2007, 13
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Benito Di Fonzo, Metro, 16 June 2006, 15
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Benito Di Fonzo, Metro, 18 November 2005, 13
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Benito Di Fonzo, Metro, 21 July 2006, 13
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Benito Di Fonzo, Metro, 24 November 2006, 15
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Benito Di Fonzo, Metro, 26 May 2006, 15
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Benito Di Fonzo, Metro, 28 April 2006, 13
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Benito Di Fonzo, Metro, 29 June 2007, 15
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Benito Di Fonzo, Metro, 30 September 2005, 15
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Benito Di Fonzo, Metro, 6 May 2005, 15
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Benito Di Fonzo, Metro, 8 September 2006, 15
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Benito Di Fonzo, Metro, 9 June 2006, 15
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Benito Di Fonzo, Morrissey and me, Metro, 21 September 2007, 15
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Benito Di Fonzo, Murder, he croaked, Metro, 14 September 2007, 15
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Benito Di Fonzo, Night Owl's Delight, Sydney Morning Herald, 20 August 2008, 13
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Benito Di Fonzo, Psst, wanna buy some wheat?, Metro, 24 August 2007, 15
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Benjamin Blair, The News, Series of 8 articles on repertory theatre in Adelaide, The University of Adelaide, Library Special Collections
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Benji Reid: winning body popper, RealTime Arts, 53, February 2003, 38
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Bennett Campbell Ferguson, Lucy Guerin’s Split Returns the Choreographer to Her Minimalist Roots, Willamette Week, 18 October 2018
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Berenice Craig, Julia opened all those theatre door, The Australian Women's Weekly, 2 June 1965, 13
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Bernadette Cruise, A towering operatic role, Times2, 4 October 2007, 8
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Bernadette Cruise, A triumphant musical return, Times2, 17 August 2007, 8
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Bernadette Cruise, Muse, 1 April 2001
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Bernadette Cruise, Panorama, 2 October 2004, 26
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Bernadette Cruise, Panorama, 24 November 2001, 12
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Bernadette Cruise, Panorama, 27 November 2004, 26
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Bernadette Cruise, Such was life for Kelly women, Times2, 5 December 2007, 9
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Bernadette Cruise, The Canberra Times, 29 August 2001, 12
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Bernadette Cruise, The Canberra Times, 5 November 2003, 20
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Bernadette Cruise, The Canberra Times, 9 May 2001, 12
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Bernadette Cruise, Times2, 11 September 2006, 9
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Bernadette Cruise, Times2, 14 October 2005, 3
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Bernadette Cruise, Times2, 17 January 2007, 6
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Bernadette Cruise, Times2, 9 December 2004, 8
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Bernard Zuel, Sydney Morning Herald, 26 June 2003, 15
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Bernd Feuchtner, Gastmahl der Geister: Die australische Komponistin Liza Lim mit ihrer chinesischen Oper Der Mondgeist laben in Berlin, Opernwelt, August 2002
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Bernice May, Music and Drama. Gregan McMahon., The Sydney Mail, 1 January 1930, 39
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Bernth Lindfors, 'The Hottentot Venus' and other African attractions in nineteenth-century England., Australasian Drama Studies, Australasian Drama Studies c/- Department of English, Unive, St. Lucia, Queensland, 1, 2, April 1983, 82 - 104
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Bert Howard is Dead. Mayor of "Poverty Point"., Truth, 1 August 1937, 18
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Best Novel of 1930, The Argus, 16 June 1931, 6
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Beth Dean, U.S. study to follow choreography award, Sydney Morning Herald, 11 February 1969, 15
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Bethany Simons, Dance Massive: In conversation with Lucy Guerin, Aussie Theatre, Theatre and Dance Platform, 19 March 2013
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Bethany Seymour, The Daily News, 4 February 1987
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Betty Best, Sir John Gielgud, The Australian Women's Weekly, 23 October 1963, 12
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Betty Roland, Prosperity around the corner, Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 8, April 1986, 69 - 74
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Betty Roland, War on the waterfront, Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 8, April 1986, 74 - 79
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Beverley Nichols, A memory - and some songs, On Stage, 13, 1, 2012, 28-30
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Beverley Nichols, Melba - or never again, On Stage, 12, 4, 2011, 8-9
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Big Developments in Business of Imperial Films Limited, Everyones, 5, 315, 17 March 1926, 25
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Big drama for Seven, The Herald, 20 February 1959
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Big Hall Taken To House High Tor, Daily News, 6 April 1940, 6
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Big List of Events for Fund, The News, 30 August 1952, 11
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Big Men Fly - Cliff Neate, Barrier Miner, 2 June 1964, 2
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Big new revue show for the Princess, Williamstown Chronicle, 25 September 1953, 2
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Big Revue in December, On Dit, The University of Adelaide, Library Special Collections, 21, 11, 9 September 1953, 1
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Big River, Theatre Australia, April 1980, 11
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Big River, Theatre Australia, April 1980, 15-17
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Big role for singer, The Age, 28 September 1966, 5
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Big Role, The Sun (NSW), 22 August 1950, 25
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Biggest Tour So Far..., Theatre Australia, 5, 1, August 1980, 4
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Bijou Theatre, South Australian Register, Adelaide, SA, 30 October 1899, 7
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Bijou Theatre, The Advertiser, Adelaide, SA, 2 November 1899, 3
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Bijou Theatre, The Advertiser, Adelaide, SA, 30 October 1899, 3
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Bijou Theatre, The Advertiser, Adelaide, SA, 4 November 1899
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Bijou Theatre, The Express and Telegraph, Adelaide, SA, 1 November 1899, 4
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Bijou Theatre, The Express and Telegraph, Adelaide, SA, 2 November 1899
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Bijou Theatre. A Daughter of Eve, The Argus, 20 July 1880, 7
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Bill Caldbeck-Moore, The Daily Telegraph, 3 September 1979, 25
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Bill Caldbeck-Moore, The Daily Telegraph, 30 June 1979, 0
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Bill Calder, Church hall to dance hall, Emerald Hill, Sandridge and St Kilda Times, Theatre and Dance Platform, 26 May 1988, 3
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Bill Dunstone, 'Orders of nature': press, gender and performance in colonial Western Australia 1839-1880, Australasian Drama Studies, 36, April 2000, 105-116
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Bill Dunstone, Helena Grehan, Making - maps 'Speak': e-Mapping Performance on Western Australia's Coolgardie Goldfield, 1894 - 98, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 62, April 2013, 89 - 99
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The multi-purpose Hibernian Hall was built for the Hibernian-Australasian Catholic Benefit Society (HACBS) in 1902 for the ‘instruction, debate and entertainment’ of the Catholic community.1 The history of the Hall for entertainment, and later medical purposes, tells us much about the social experience of ordinary Perth people in the first half of the twentieth century. A Trove search of the West Australian from 1902 to 1954 yields some 4000 items related to use of the Hall, mostly advertisements in the entertainment columns, reviews of performances and reports of events in the social column. A full study of the Hall’s history remains to be done. But the data to date indicates steady use of the Hall by a range of organisations for a variety of community purposes.
From its earliest days, the Hall was a focal point for Irish Catholic identity in Perth. The HACBS hosted its state and national meetings there. Annual St Patrick’s Day Parades began and ended there. The Catholic community organised stage plays, bazaars, card nights and social dances at the Hall to raise funds for Catholic schools and welfare institutions such as the Foundlings Home and Glendalough Orphanage. In 1923 the Governor opened a two-day Fair at the Hall to benefit Catholic charities: the programme included an evening street procession, concerts, national dancing, boxing, log chopping and a band. The Hall also provided a forum for Irish political debate. Perth’s United Irish League met there in 1904 to advance Home Rule. The same year saw a benefit entertainment to elderly Fenians Mr Duggan and Mr Keilly, who had been transported to Western Australia as political prisoners in 1867.
Other interest groups put the Hall to good use. The Fire Brigade Recreation Club held its fancy dress ball there in 1909. The Hall was a popular venue for wrestling and boxing matches: Perth’s Jack Robbo met Fremantle’s Black Paddy there in 1910. Local yachting and cricket clubs and the Perth and East Perth Football Clubs held prize-giving socials at the Hall: Frank Watson, former football star now crippled, was given a benefit performance there in 1918.
The Hall was also a forum for matters administrative, industrial and educational. Local government bodies met at the Hall in 1921 to debate the efficiency and economy of public administration. The Amalgamated Society of Engineers held a strike meeting there in the same year. The Country Teachers’ Branch of the State School Teachers’ Union held regular annual conferences at the Hall in the 1920’s.
The Hall’s central location, seating capacity, and modest rental attracted Perth’s vigorous amateur theatre community from the outset. Early twentieth-century amateur performance was strictly not-for-profit. Its rationale was to recirculate profits back into the community. It was thus a significant form of community subsidy at a time when the fledgling state government had little money for welfare. One of the earliest amateur benefits at the Hall was a Perth Hebrew Literary Society performance of two comedies in 1904. 1905 saw seven amateur productions at the Hall, with benefits to the Home of Peace, St Anne’s Hospital, and the Fidelity Lodge, and an elite Dorcas Society charity performance under vice-regal patronage. The Knobby Grass Dramatic Society donated its takings to the YMCA war effort in 1916. Profits from the première of author and historian Dame Mary Durack’s first play, ‘The Avenger,’ at the Hall in 1929 went towards the construction of nearby St Mary’s Cathedral. Pupils at Perth’s dance, elocution, drama and music schools also performed regularly at the Hall. Few, if any, commercial theatre entertainers played the Hall. Fremantle’s Innisfail Players toured there in 1905; hypnotist Mr Betteridge appeared in 1908. The University Dramatic Society, then based at Irwin Street, performed at the Hall in 1920 and 1922. The Hall’s acoustic suited the many musical recitals and concerts it hosted.
The Trove search provides helpful information about the Hall’s facilities. Modest rentals (£1 in 1906) attracted voluntary organisations. Charges for power and an electrician indicate auditorium electric lights and a form of electric lighting for the proscenium arch stage. The repertoire of concerts and one- and two-act plays would have required no sophisticated lighting or staging. Use of the Hall floor for boxing, wrestling and dancing indicates movable seating and reconfigurable space. The gallery above the front entrance would have been used for spectating and receptions.
The heritage value of the Hibernian Hall is enhanced by its proximity to the Fire Museum, and the fact that it has outlived former theatres St George’s Hall in Hay Street; the Cremorne Gardens between Murray and Hay; and the Assembly Hall and Playhouse in Pier Street. The Hall continued to serve the community first as an RPH Out-Patients Clinic and then as the Perth Chest Clinic from 1948 to the late 1960’s. 1 The information provided in this account of the Hibernian Hall is taken from a Trove search of the West Australian (1902 to 1955).
Bill Dunstone, Hibernian Hall, 17 Murray Street, Perth, 2012
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Theatre in South Terrace, opened 27 September 1904 as Dalkeith Opera House. Architect: F.W. Burwell. Soon renamed King's Theatre.
Designed as a lyric theatre, and briefly designated as an opera house, the King's Theatre appears to have functioned as a multipurpose venue until it closed in 1920. It opened with Maude Jeffries, Julius Knight and a London company in four plays presented by J.C. Williamson. The theatre, built adjacent to the Freemason's Hotel for James Gallop, had a 27-metre Renaissance-style frontage which included five shop fronts at street level. An upstairs supper room gave onto a full-length gaslit balcony above the pavement. The stalls and circle seated about 1200 people, and there was room for more in the gallery. In hot weather the auditorium could be cooled by opening a sliding panel in the roof and numerous decorative ventilators. In response to adverse reports on the safety of the Theatre Royal in Perth, numerous safety measures were incorporated in the King's Theatre, including sprinklers over the stage and 13 fire-escape doors. The provision of backup electricity and gas systems suggests that the King's Theatre was technically well-equipped. The stage measured 18.29 by 12.19 metres, with fly galleries at 7.92 metres and a grid at 15.85 metres above the floor. When the theatre closed part of the building was converted to a panel-beating workshop. Another part was temporarily converted to an ice rink in 1978, and part of this is now a night club.
Bill Dunstone, King's Theatre Fremantle, Companion To Theatre In Australia, 1995, 315-316
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Outdoor pleasure gardens, or amusement parks, became popular in Europe in the mid-18th century. London had the Vauxhall Gardens, the Surrey Zoological Gardens and the Cremorne Gardens. In 1852 a former manager of the Cremorne Gardens, James Ellis, opened pleasure gardens of the same name beside the Yarra River at Richmond, near prosperous goldrush Melbourne. Like the London establishment they copied, they were mainly a summer venue. They offered the Pantheon, a small theatre where Julia Matthews starred; a bandstand and rotunda for outdoor dancing; and a three-dimensional panorama. This was modelled in plaster, canvas and timber to a scale of 1 :48, and painted to represent scenes such as the sieges of Sevastopol or Canton, the eruption of Vesuvius. There was a fireworks show with the panorama, which showed a different historical scene each summer. In 1860 Giuseppe Garibaldi's triumph at Palermo was a topical subject.
Most visitors arrived at the Cremorne Gardens by river on a small paddle-steamer, the Gondola. The gardens proved very popular, though some regarded them, like their London counterparts, as a place of immoral assignation and prostitution. The theatrical entrepreneur George Coppin took over the management in 1856. By 1863, however, over-commitment in other entertainment ventures forced him to close the gardens. They were converted into a private mental asylum.
Similar pleasure gardens, also called the Cremorne Gardens, opened at Mosman's Bay, on the north shore of Sydney Harbour, at Easter 1856. They were never quite as successful as Melbourne's Cremorne Gardens but people flocked there by harbour ferry until 1865. They were especially popular for their bals masqués. Lack of 'respectability' contributed to their closure, long after which the area became known as Cremorne.
The name of Cremorne Gardens also persisted in outdoor entertainment. In Perth in 1895 Mrs Annie Oliver opened the Cremorne Gardens adjacent to the Cremorne Hotel, between Hay and Murray Streets. Well furnished with plants and surrounded by a high wall painted with murals of alpine scenery, 'the Cremorne was a place where in hot weather people [took] their amusements in the open air, while smoking and otherwise refreshing themselves', according to a press report. Around a rotunda were kiosks, each named after a Western Australian goldmining locality, where the public sat to watch 'continental' variety performances by local and visiting artists, including the Harry Rickards Tivoli Company, Pollard's Liliputian Opera Company, the Banvards, Celia Ghiloni, Neva Carr Glynn, Ettie Williams and Millie Finkelstein. About 1899 the rotunda was moved to the Perth foreshore and replaced by a covered outdoor stage with a proscenium arch, drop curtains, an orchestra pit and dressing rooms. Troops were entertained at the Cremorne Gardens during the First World War. The gardens closed in 1920, when Mrs Oliver transferred the equity of the theatre and the hotel to the Young Men's Christian Association.
At the height of Western Australia's goldrush prosperity Kalgoorlie had a Cremorne Gardens. Photographs from 1907 show an open-air auditorium with rows of seats, a proscenium-arch stage with fly tower and backdrop, and an orchestra pit. The building, since roofed, still stands.
By 1911 outdoor theatres called Cremorne Gardens were presenting seaside Pierrot entertainment in the Melbourne suburb of St Kilda, and in Adelaide and Brisbane. By the 1920s there was an Australia-wide circuit, featuring Edward Branscombe's Dandies, Pat Hanna's Diggers Company and similar companies. Many of the Cremorne venues soon became open-air cinemas, while the one in Brisbane was roofed and became the Cremorne Theatre, owned and managed by John N. McCallum, father of the actor John McCallum. The theatre, noted for variety but sometimes used as a cinema, burned down in February 1954.
Bill Dunstone, Mimi Colligan, Cremorne Gardens, Companion To Theatre In Australia, 1995, 167
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Bill Dunstone, Performance and Differnece in Dorothy Hewett's "The Man From Mukinupin", New Literatures Review, 19, 1990, 72-81
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Theatre in Hay Street, Perth, opened 4 December 1879.
Establishment amateur performers, writers and designers who had produced operettas and short comedies in the ballroom at Government House under the patronage of the Governor of Western Australia, Sir William Robinson, found a new multipurpose venue in St George's Hall. It opened under viceregal patronage with a local production of Dion Boucicault's The Colleen Bawn. Henry Prinsep, an English painter, amateur performer and writer of polite comedies, painted the sets and the hall's drop-curtain. His title for the latter 'Come unto these yellow sands', recalls Richard Dadd' s painting of the same title from The Tempest, and may have been a reference to the Perth terrain. Prinsep also designed six iron Corinthian columns for the Howick Street - as Hay Street was then called - gallery of St George's Hall, after the facade of the Lyceum Theatre in London. They were probably the first cast in Western Australia. Touring companies also appeared at St George’s Hall, which was built for Messrs Burt and Stone on Iand they owned. Its facade, including Prinsep's columns, is retained in the present building on the site.
Bill Dunstone, St George's Hall, Companion To Theatre In Australia, 1995, 540
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Theatre in Hay Street, opened 19 April 1897. Seated 1200. Architect: George R. Johnson. Converted to cinema 1936.
The first fully-equipped, purpose-built theatre in Western Australia, the Theatre Royal was the first of several theatres of advanced design built in Western Australia during the gold boom of the 1890s. It was modelled on the Bijou Theatre in Melbourne, with a proscenium stage and a three-tier auditorium. Like Melbourne's Princess Theatre, it had a sliding roof to ventilate the auditorium on hot nights. The Theatre Royal was built for Thomas Molloy and Alexander Forrest and managed by George Jones and George Lawrence, who were known as the Firm of Western Australia. They opened with The Silver King by Henry Arthur Jones and Henry Herman, with C. R. Stanford in the leading role. Jones and Lawrence lost heavily on The Silver King. George Darrell, on tour with The Sunny South and The Queen of Coolgardie (a version of The Duchess of Coolgardie), took over from Stanford and a partner named Barnes on 5 June 1897, in time to save the theatre from closure. Darrell's season was profitable, but by 1898 the management was bankrupt. By 1902 the theatre had housed the English Comedy Company, the Hannibal and Williams Company from New York and Maggie Moore in Struck Oil. The theatre functioned for short alternating periods as a cinema and variety hall from 1916 to 1936, when the auditorium was extended into the stage area. The building remains in use as a cinema, the former dress circle incorporated into an adjoining building.
Bill Dunstone, Theatre Royal Perth, Companion To Theatre In Australia, 1995, 585
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Bill Lang, The Daily News, 3 June 1988
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Bill Mandle, Baker, Reginald Leslie (Snowy) (1884–1953), Australian Dictionary of Biography Online, 1979
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Bill Meyer, Canberra City News, 20 February 2003, 7
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Bill Neilson, Weekend, 19 February 1983, 6
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Bill Perrett, Agenda, 30 November 2003, 24
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Performers Sarah-Jane St Clair and Mark Winter begin this show in the front row of the audience. Winter begins a repetitive catalogue of attractive physical characteristics ("nice legs, nice neck, nice eyes") at a microphone, as St Clair paces the room. Eventually, they're both sitting on the bed, flipping through signs, in the manner of Bob Dylan in the Subterranean Homesick Blues clip.
What follows is the entire history of a romance and relationship, from tentative fumblings in a dance club through jealousy, arguments and reconciliation. There's little dialogue, the couple have recourse (he especially) to the microphone from time to time, including when they're under the covers. It's all very cleverly suggested and energetically enacted.
Both characters make full use of the very limited space, including a window that opens on to Smith Street, from which Winter sings a barely audible song to St Clair. Music is an important element of the performance; highlights include Dean Martin's Cha Cha Cha D'Amour, and an outstanding rendition of The Bangles' Eternal Flame.
Above all, this is a funny show that makes some serious and sometimes painful observations, but never at the cost of taking itself too seriously. The impro element means that there are some creaky bits, but they hardly matter. An inventive and clever piece.
Bill Perrett, Kissy Kissy, The Age, 17 July 2006
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Bill Perrett, The Sunday Age, 3 December 2006, 0
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Bill Phillips, Bacchae: Burning by Water, Sydney Star Observer, 25 January 1995, 0
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Bill Rough, The Canberra Times, 9 March 2001
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Bill Stephens, Artlook, September 2005, 24
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Bill Stephens, City News (Canberra), 10 August 2006, 32
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Bill Stephens, City News (Canberra), 6 April 2006, 20
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Bill Stephens, Muse, July 1994, 4
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Bill Stephens, Muse, September 2003, 19
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Bill Stephens, Times2, 5 January 2005, 8
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Bill Strutton, Office worker's hit play... Thriller set in convent to be staged here, The Australian Women's Weekly, 9 September 1950, 38
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Bill Tully, Pulse (Canberra, ACT), 28 October 1987, 4
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Bill Tully, Pulse (Canberra, ACT), 5 August 1987
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Bill Tully, The Chronicle, 11 October 1988, 8
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Bill Tully, The Chronicle, 7 February 1989, 13
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Bill Tully, The Chronicle, 8 November 1988, 12
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Bill Wood, Times2, 12 August 2005, 4
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Billie – warm, friendly, feminine, The Australian Women's Weekly, 27 July 1960, 13
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Biograph of Barbara Angell
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Biography of David Pledger, Arts Centre Melbourne, Australian Performing Arts Collection
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Biography of Michael Pearce, Arts Centre Melbourne, Australian Performing Arts Collection
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Biography of Nigel Triffitt, Arts Centre Melbourne, Australian Performing Arts Collection
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Biography of Ponch Hawkes, Arts Centre Melbourne, Australian Performing Arts Collection
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Biography of Trina Parker, Arts Centre Melbourne, Australian Performing Arts Collection
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Birdbath in coffee theatre, The Age, 14 October 1971, 20
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Birthday party matinee at Ozone, Recorder, 29 August 1936, 3
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Birthdays for Two Theatres, Sun Herald, 29 August 1954, 69
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Black Nativity for Melbourne, The Age, 17 October 1964, 6
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Black Rainbow, The Canberra Times, 12 April 1983, 15
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Black Rainbow, The Canberra Times, 23 March 1983, 27
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Black Thoughts, Bright Laughter, Nation, 8 September 1962, 12-13
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Blackfellows At Play, The Advertiser, 14 April 1904, 7
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Blackmail in old Hobart, TV Times, 21 April 1965, 18
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Blacks as Concert Performers, The Argus, Melbourne, VIC, 26 June 1936, 5
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Blacks Hold Corroboree, The Argus, 22 December 1919, 7
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Blacks' Camp At Parramatta, Sydney Morning Herald, 14 April 1894, 8, 9
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Blair Thomson, HotHouse Theatre | Trio packed and ready to play , The Border Mail, 23 October 2014
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Blake Nicholson, The Canberra Times, 10 October 2006, 3
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Blake Nicholson, The Canberra Times, 5 October 2006, 8
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Blanche Clark, The Herald Sun, 29 January 2001
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Blanche Stammers [obituary], The South Australian Register, 17 July 1883, 6
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Bland Holt Season, The Daily Telegraph, 22 February 1902, 11
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Bland Holt, The Ballarat Star, 17 December 1901, 4
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Bland Holt, The Ballarat Star, 17 December 1901, 4
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Bland Holtʻs Season, Truth, 27 May 1900, 2
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BLAND HOLT’S GOODBY, Evening Journal, 25 October 1907, 2
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BLAND HOLT’S MELODRAMAS THRILLED MELBOURNE, The Sporting Globe, 9 April 1949, 4
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Blankets For The Aboriginals, Sydney Morning Herald, 5 June 1865, 8
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Blankets For The Aboriginals, The Age, 10 June 1865, 6
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Blatant abuse of White Australia CHEQUERS CHIEF COPS EXTENSIONS, Truth, 4 April 1954, 7
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blaze Magazine, 20 February 2004, 19
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Blazenka Brysha, Noel Tovey's Dance Journey, 20 June 2020
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Blazenka Brysha, The Herald Sun, 26 February 2001
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Blazenka Brysha, The Herald, 11 March 1988
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Blazenka Brysha, The Herald, 17 February 1988
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Blazenka Brysha, The Herald, 23 June 1988
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Blazenka Brysha, The Herald, 25 September 1987
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Blazenka Brysha, The Herald, 26 July 1988
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Blazenka Brysha, The Herald, 4 February 1988
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Blazenka Brysha, The Herald, 7 March 1988
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Blazenka Brysha, The Herald, 8 February 1988
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Blazenka Brysha, Understanding modern dance, The Herald, Theatre and Dance Platform, 12 April 1988, 12
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Bligh's spiritual mutiny, Elizabethan Trust News, The Australian Elizabethan Theatre Trust, Number One, December 1971, 3
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Blind violinist to retire from concerts, Barrier Miner, 1 October 1964, 13
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Some of the loudest ap- plause at yesterday's matinee performance of "Oklahoma," at the Theatre Royal, carne from 20 blind women from the Helen Keller Hostel, Woollahra. The blind women "saw" the performance with the aid of Matron E. R. Smith, and four members of the hostel staff, who described the scenes, costume, and actions. They were the guests of the management of J. C. Williamson Ltd. After the performance they unanimously agreed that it was one of the most pleasant outings they had ever had. The eldest member of the party, Miss H. Runcie, 81, and the youngest Miss Sylvia Barnett 23, were particularly enthusiastic Miss Runcie, a retired school teacher, said: 'I was always very interested in music and the stage You see, when I was a teacher I had to know a bit about singing Although I am rather deaf I enjoyed the programme immensely.' Miss Barnett, who is an elocution teacher at St Lucy's School for the Blind, said: 'I am very interested in stage work, and thought it was grand Because of my work in voice production, I was able to follow the plot clearluy" Arrangements for the women's visit were made by Mr T. C. Faribairn, organising secretary of the Royal Sydney Industrial Blind Institution.
Blind Women "Saw" Stage Performance, Sydney Morning Herald, National Library of Australia, 4 May 1950, 5
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Blinman, November 11, South Australian Advertiser, 23 November 1885, 7
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Blithe Spirit packs theatre, Barrier Miner, 19 August 1952, 5
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Blowing our trumpet, The Age, 1 November 2002
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Blue Goose a play of high humour, Barrier Daily Truth, 19 July 1965, 2
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Blue Goose show next month, Northern Standard, 24 November 1950, 4
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Blythe Waterland's Serenaders, National Library of Australia, 5 June 1850, 2
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bma (bands music action) , 1 July 2001, 12
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bma (bands music action) , 17 July 2003, 26
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bma (bands music action) , 17 June 2004, 27
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bma (bands music action) , 22 April 2004, 27
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bma (bands music action) , 22 March 2001, 27
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bma (bands music action) , 22 September 2005, 5
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bma (bands music action) , 25 April 2002, 25
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bma (bands music action) , 8 September 2005, 23
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bma (bands music action) , November 2001, 40
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Bob Crimeen, Herat-warming times, Melbourne Sun, The University of Adelaide, Library Special Collections, 7 August 1985, 31
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Bob Crimeen, Jacki takes over - soon, Melbourne Sun, The University of Adelaide, Library Special Collections, 13 June 1984
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Bob Crimeen, Melbourne Sun, 23 March 1987
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Bob Crimeen, Melbourne Sun, 24 March 1987
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Bob Crimeen, Melbourne Sun, 31 January 1987
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Bob Crimeen, The Australian, 7 June 1998, 0
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Bob Crimeen, The Sunday Herald Sun, 10 May 1998
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Bob Crimeen, The Sunday Herald Sun, 12 April 1998, 83
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Bob Crimeen, The Sunday Herald Sun, 17 May 1998
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Bob Crimeen, The Sunday Herald Sun, 29 March 1998
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Bob Crimeen, The Sunday Herald Sun, 5 April 1998
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Bob Crimeen, The Sunday Herald Sun, 5 April 1998
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Bob Crimeen, The Sunday Herald Sun, 8 March 1998
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Bob Ellis, The Bulletin, 3 October 1970, 43
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Bob Evans, A decade of taking up the challenge, Sydney Morning Herald, 26 December, 1994, 16
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Bob Evans, A new horizon out west, Sydney Morning Herald, 1 September 1993, 27
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Bob Evans, A youthful venue to kick-start careers, Sydney Morning Herald, 1 August 1994
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Bob Evans, All the Black Dogs, Sydney Morning Herald, 19 June 1987
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Bob Evans, As hard times end, the Ensemble spreads wings, Sydney Morning Herald, 15 September 1994, 21
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Bob Evans, Cutain Falls on Stage 1B, Sydney Morning Herald, 1 February 1989, 4
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Bob Evans, Imaginary Life: the book, the play, Sydney Morning Herald, The University of Adelaide, Library Special Collections, 10 February 1986
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Bob Evans, Paul Robeson: Salute to the voice of freedom, Good Weekend, 19 September 1987
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Bob Evans, Plumbing gay depths, Sydney Morning Herald, Metro, 31 January 1992, 35
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Bob Evans, Stein and Alice are 'dollarless', Sydney Morning Herald, 9 October 1987, 12
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Bob Evans, Sydney Morning Herald, 1 December 1987
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Bob Evans, Sydney Morning Herald, 1 June 1987
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Bob Evans, Sydney Morning Herald, 10 August 1987
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Bob Evans, Sydney Morning Herald, 11 January 1988
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Bob Evans, Sydney Morning Herald, 11 January 1988
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Bob Evans, Sydney Morning Herald, 11 January 1988
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Bob Evans, Sydney Morning Herald, 12 January 1987
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Bob Evans, Sydney Morning Herald, 12 October 1987
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Bob Evans, Sydney Morning Herald, 14 January 1988
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Bob Evans, Sydney Morning Herald, 14 July 1987
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Bob Evans, Sydney Morning Herald, 15 August 1987
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Bob Evans, Sydney Morning Herald, 15 February 1988
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Bob Evans, Sydney Morning Herald, 15 June 1987
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Bob Evans, Sydney Morning Herald, 16 January 1988
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Bob Evans, Sydney Morning Herald, 16 May 1988
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Bob Evans, Sydney Morning Herald, 16 October 1987
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Bob Evans, Sydney Morning Herald, 17 November 1987
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Bob Evans, Sydney Morning Herald, 19 May 1988
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Bob Evans, Sydney Morning Herald, 19 October 1987
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Bob Evans, Sydney Morning Herald, 2 March 1987
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Bob Evans, Sydney Morning Herald, 2 October 1987
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Bob Evans, Sydney Morning Herald, 2 September 1988
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Bob Evans, Sydney Morning Herald, 21 November 1987
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Bob Evans, Sydney Morning Herald, 21 September 1987
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Bob Evans, Sydney Morning Herald, 22 April 1988
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Bob Evans, Sydney Morning Herald, 22 August 1987
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Bob Evans, Sydney Morning Herald, 22 January 1988
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Bob Evans, Sydney Morning Herald, 22 July 1987
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Bob Evans, Sydney Morning Herald, 22 June 1988
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Bob Evans, Sydney Morning Herald, 23 July 1988
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Bob Evans, Sydney Morning Herald, 23 March 1987
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Bob Evans, Sydney Morning Herald, 23 March 1988
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Bob Evans, Sydney Morning Herald, 23 March 1988
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Bob Evans, Sydney Morning Herald, 23 March 1988
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Bob Evans, Sydney Morning Herald, 23 November 1987
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Bob Evans, Sydney Morning Herald, 24 February 1988
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Bob Evans, Sydney Morning Herald, 24 November 1987
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Bob Evans, Sydney Morning Herald, 25 April 1987
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Bob Evans, Sydney Morning Herald, 25 April 1988
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Bob Evans, Sydney Morning Herald, 25 April 1988
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Bob Evans, Sydney Morning Herald, 25 June 1988
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Bob Evans, Sydney Morning Herald, 25 September 1987
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Bob Evans, Sydney Morning Herald, 26 January 1988
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Bob Evans, Sydney Morning Herald, 27 May 1988
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Bob Evans, Sydney Morning Herald, 28 March 1987
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Bob Evans, Sydney Morning Herald, 28 March 1988
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Bob Evans, Sydney Morning Herald, 28 May 1988
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Bob Evans, Sydney Morning Herald, 29 January 1988
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Bob Evans, Sydney Morning Herald, 29 June 1987
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Bob Evans, Sydney Morning Herald, 31 July 1987
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Bob Evans, Sydney Morning Herald, 4 April 1987
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Bob Evans, Sydney Morning Herald, 4 January 1988
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Bob Evans, Sydney Morning Herald, 4 May 1987
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Bob Evans, Sydney Morning Herald, 4 May 1988
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Bob Evans, Sydney Morning Herald, 5 August 1988
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Bob Evans, Sydney Morning Herald, 5 January 1987
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Bob Evans, Sydney Morning Herald, 5 May 1987
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Bob Evans, Sydney Morning Herald, 5 September 1987
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Bob Evans, Sydney Morning Herald, 5 September 1994, 20
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Bob Evans, Sydney Morning Herald, 6 January 1987
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Bob Evans, Sydney Morning Herald, 6 May 1988
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Bob Evans, Sydney Morning Herald, 7 January 1988
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Bob Evans, Sydney Morning Herald, 7 March 1988
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Bob Evans, Sydney Morning Herald, 8 February 1988
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Bob Evans, Sydney Morning Herald, 8 July 1988
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Bob Evans, Sydney Morning Herald, 8 March 1988
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Bob Evans, Sydney Morning Herald, 9 August 1994, 24
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Bob Evans, Sydney Morning Herald, 9 January 1987
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Bob Evans, The 'Visual Storytellers' take centre stage, Sydney Morning Herald, 17 April 1993, 48
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Bold Tales, Theatre Australia, September 1981, 33
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Bomb "threat" to Anzac play: theatre search, Sydney Morning Herald, 25 April 1961, 8
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Bombora, The Advertiser, 1 September 1982, 28
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Bondi Beach Pavillion Theatre, Tharunka, 12 March 1975, 14
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Bonnie Malkin, Metro, 6 June 2003, 28
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Book Censorship. Abolition League's Meeting, Sydney Morning Herald, 29 August 1935, 10
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Booligal, Sydney Morning Herald, 14 January 1878, 2
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Boora, Australian Town and Country Journal, 1 March 1905, 22
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Boothby, Guy Newell (1867–1905), Australian Dictionary of Biography Online, 1979
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Boris Larazki, A question of representation: ideophobia in Australian theatre, Muse, 96, April, 1991, 10-11, 23
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Bottle tops in D-flat, A. M., 16 February 1954, 42
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Bowen denies ASIO check on Viet play, The Age, 28 November 1968, 9
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Boy Meets Girl At Minerva, Sydney Morning Herald, 3 April 1944, 3
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Boy Meets Girl, The Age, 9 February 1970, 2
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Boys in Band may face new charges, The Age, 24 June 1969, 3
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Boys In The Band gets a new look, The Age, 26 October 1972, 22
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Boys in the Band lose appeal, The Age, 24 March 1970, 2
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Boys won't be boys, The Age, 2 June 1969, 2
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Brandon-Cremer Dramatic Co., The Daily News, (Perth, WA : 1882 - 1950) , 27 July 1904, 5
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Brandy, Mime and Soda, Sydney Morning Herald, 12 February 1981, 15
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Breakfast with Julia, Sun Herald, 10 July 1964
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Breakfast with Julia, The Daily Telegraph, 11 June 1964
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Bree Hadley, Dis/identification in contemporary physical performance: NYID's [Not Yet It's Difficult] Scenes of the Beginning from the End, Australasian Drama Studies, 50, April 2007, 111-122
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Bree Hadley, Influences, institutions and outcomes: a survey of Masters and Doctoral theses on actor training in Australia, 1979-2004, Australasian Drama Studies, 53, October 2008, 8-16
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Bree Hadley, Meredith Rogers, Mick Douglas, Editorial Note: Transported issue, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 69, October 2016, 1 - 2
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Bree Hadley, Mobilising the Mobilities Paradigm in Drama, Theatre and Performance Studies: Potentials, Politics and Pitfalls, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 69, October 2016, 7 - 28
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Bree Hadley, Unthinkable Complexity, Brolga, Theatre and Dance Platform, December 2007
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Brenda Harkness, Geelong Advertiser, 9 June 1987
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Brendan Berecry, Currents, May 2003, 11
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Brendan McCallum, [Know No Cure], July 2007
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Brent McGregor, Ken Longworth, The future for the HVTC, Newcastle Herald, 2 March 1985
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Brent McGregor, Theatre Criticism, Newcastle Herald, 16 September 1987
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Brett Debritz, Brothers in arms, The Sunday Mail, 25 July 2004, 68
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Brett Debritz, Laughs aren't enough, Brisbane News, 12 February 2003, 8
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Brett Debritz, Stages beyond Berlin, Event, 18 November 2007, 3
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Brett Oppegaard, Poetry in Motion, The Columbian, 27 May 1999, f16
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Brett Oppegaard, To Sleep, Perchance to Dream, The Columbian, 27 May 1999, f14
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Brett Stenhouse, The Canberra Times, 28 June 2005, 6
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Brett Thomas, Sun Herald, 2 March 1997, 8
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Brevities
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Brevities, Newcastle Sun, 25 March 1946, 8
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Brian Chalmers, Geelong Advertiser, 14 February 1987
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Brian Courtis, Little profit at home for Bluthal, The Age, 13 June 1980, 10
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Brian Courtis, Reyne at crossroads, The Age, 16 September 1983, 14
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Brian Courtis, The Two Ronnie Barkers, The Age, 24 August 1979, 2
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Brian Courtis, Tommy Steele's reflections, The Age, 26 February 1982, 10
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Brian Courtis, [Pam Ayres], The Age, 11 April 1979, 2
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Brian Crow, Empowering the people - African theatre and neo-colonialism, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 15/16, April 1990, 71 - 83
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Brian Hoad, Australiana in the right direction, The Bulletin, 99/5114, 27 June, 1978, 61
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Brian Hoad, Beer and loathing, The Bulletin, 26 March 1991
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Brian Hoad, No brilliant sparks, just a sad flicker, The Bulletin, 21 March, 1970, 48-49
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Brian Hoad, On the chopping block, The Bulletin, 99/5093, 31 January, 1978, 18-21
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Brian Hoad, Rich example of the Australian stage, The Bulletin, 22 October 1985, 110
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Brian Hoad, Serious Money, The Bulletin, 13 September 1988
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Brian Hoad, The Bulletin, 1 December 1987
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Brian Hoad, The Bulletin, 1 March 1988
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Brian Hoad, The Bulletin, 1 March 1988
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Brian Hoad, The Bulletin, 1 September 1987
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Brian Hoad, The Bulletin, 10 May 1988
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Brian Hoad, The Bulletin, 10 November 1987
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Brian Hoad, The Bulletin, 11 August 1987
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Brian Hoad, The Bulletin, 12 May 1987
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Brian Hoad, The Bulletin, 12 May 1987
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Brian Hoad, The Bulletin, 15 December 1987
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Brian Hoad, The Bulletin, 15 March 1988
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Brian Hoad, The Bulletin, 16 August 1988
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Brian Hoad, The Bulletin, 16 August 1988
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Brian Hoad, The Bulletin, 16 February 1988
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Brian Hoad, The Bulletin, 17 February 1987
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Brian Hoad, The Bulletin, 17 February 1987
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Brian Hoad, The Bulletin, 17 February 1987
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Brian Hoad, The Bulletin, 17 March 1987
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Brian Hoad, The Bulletin, 17 May 1988
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Brian Hoad, The Bulletin, 17 November 1987
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Brian Hoad, The Bulletin, 18 August 1987
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Brian Hoad, The Bulletin, 19 April 1988
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Brian Hoad, The Bulletin, 19 January 1988
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Brian Hoad, The Bulletin, 19 July 1988
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Brian Hoad, The Bulletin, 19 May 1987
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Brian Hoad, The Bulletin, 19 May 1987
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Brian Hoad, The Bulletin, 2 August 1988
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Brian Hoad, The Bulletin, 20 January 1987
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Brian Hoad, The Bulletin, 22 March 1988
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Brian Hoad, The Bulletin, 23 February 1988
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Brian Hoad, The Bulletin, 25 August 1987
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Brian Hoad, The Bulletin, 26 January 1988
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Brian Hoad, The Bulletin, 26 January 1988
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Brian Hoad, The Bulletin, 26 January 1988
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Brian Hoad, The Bulletin, 29 March 1988
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Brian Hoad, The Bulletin, 29 September 1987
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Brian Hoad, The Bulletin, 30 August 1988
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Brian Hoad, The Bulletin, 30 August 1988
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Brian Hoad, The Bulletin, 30 August 1988
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Brian Hoad, The Bulletin, 30 June 1987
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Brian Hoad, The Bulletin, 4 August 1987
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Brian Hoad, The Bulletin, 5 April 1988
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Brian Hoad, The Bulletin, 5 July 1988
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Brian Hoad, The Bulletin, 5 May 1987
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Brian Hoad, The Bulletin, 6 October 1987
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Brian Hoad, The Bulletin, 7 April 1987
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Brian Hoad, The Bulletin, 7 July 1987
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Brian Hoad, The Bulletin, 8 December 1987
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Brian Hoad, The Bulletin, 8 December 1987
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Brian Hoad, The Bulletin, 8 September 1987
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Brian Hoad, The Bulletin, 9 August 1988
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Brian Hoad, The Bulletin, 9 August 1988
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Brian Hoad, The Bulletin, 9 February 1988
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Brian Hoad, The Bulletin, 9 February 1988
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Brian Hoad, The Bulletin, 9 February 1988
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Brian Kiernan, Comic-satiric-realism: David Williamson's plays since 'The Department', Southerly, 46/1, March, 1986, 3-18
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Brian Kiernan, From the Ham Funeral to Signal Driver: Patrick White on stage, Sydney Morning Herald, The Good Weekend, 6 March 1982, 46
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Brian Kiernan, Perceptions of Australia, 1915-1965, Australian Literary Studies, 13, 4, 1988, 269-283
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Brian Kiernan, Review: David Williamson, Sons of Cain and collected plays, Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 8, April 1986, 125 - 128
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Brian McCormick, Trance Dance, LGNY: Lesbian & Gay New York, Theatre and Dance Platform, 20 March 1999, 43
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Brian Schaefer, You Can Trance If You Want To, The New York Times, 26 April 2019, 25 (Weekend Desk)
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Brianna Pike, Playwright mines rich narrative, Green Left, 962, 22 April 2013
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Bridal party will call in on The Boy Friend, The Age, 13 February 1969, 2
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Bride looked beaut in the back of a ute, The Age, 26 April 1973, 2
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Bridie Play Tilts At Bureaucracy, Sydney Morning Herald, 13 July 1948, 2
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Brief Mention, The Cumberland Free Press, Parramatta, NSW, 26 June 1897, 1
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Brief Mention, The Raleigh Sun, Bellingen, NSW, 3 February 1899, 2
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Brief Notes, Freeman's Journal, 21 August 1880, 19
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Briefly - Collits' Inn Ball, Sydney Morning Herald, 30 June 1934, 7
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Bright Comedy at Minerva. Priestley's Spring Tide, Sydney Morning Herald, 20 June 1941, 4
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Bright New Show at Minerva, Sydney Morning Herald, 8 September 1943, 9
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Bright New Stage Comedy: While the Sun Shines at Theatre Royal, The Advertiser, 2 September 1946, 7
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Bright revue for Crystal, Barrier Miner, 23 April 1942, 2
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Bright Show at Minerva, Sydney Morning Herald, 27 February 1943, 11
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Bright, Ovens and Murray Advertiser, 28 November 1867, 3
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Brigid Delaney, Metro, 11 April 2003, 16
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Brigid Delaney, Metro, 15 August 2003, 15
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Brigid Delaney, Metro, 8 August 2003, 16
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Brigid Delaney, Voices out of a harsh wilderness, Sydney Morning Herald, 14 April 2003, 17
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Brigid Delaney, Voices out of a harsh wilderness, Sydney Morning Herald, 14 April 2003, 17
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Brings the Folies know-how to our dancers, The Mirror, 13 March 1954, 13
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Brisbane Hospital, The Queenslander, 16 March 1867, 6
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Brisbane News, 14 April 2004, 31
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Brisbane, May 18., The Advertiser, 19 May 1899, 5
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Britain’s oldest dance company Rambert is this year celebrating its 90th anniversary, Norwich Evening News, 29 September 2016
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Broadcast Diary: Worldwide swing to radio talks and plays, National Advocate, The, 13 November 1929, 5
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Broadcasting Age in Sydney. In Line With World's Best, Evening News, 8 January 1924, 10
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Broadsview, ACT Newsletter, October 1981, 11
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Broadway Bound, On Stage, 12, 3, 2011, 34
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Broadway Drama on Delinquency, The Age, 13 April 1964, 5
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Broken Hill Notes, Burra Record, 1 February 1893, 3
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Broken Hill Repertory, Barrier Miner, 29 October 1964, 15
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Broken Hill youth hopes to follow stage career, Barrier Miner, 5 September 1947, 5
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A number of aboriginals aro in town from Pooia-nacca. Thoy aro giving corrobborees with the view of raising funds to provide thorn with means of combating the coming winter. One corrobboree was to be conducted last nijght on the Proprietary paddock, but th j larrikins of the IIill determined to have a bit of fun on their own account. When a number of young scamps who had gathered on the scene began to shout ana throw missiles the aboriginals were seized with fear, and hurriedly paeked up and started up Oxide-street, followed by a crowd of yelling and hooting boys. The procession caused considerable excitement, and the street was blocked against traffic for some distance. The question was asked several times, " Whore are the police?" but not until the un fortunate natives had taken refuge in the atabiea of the Tydvil Hotel was a telephone message sent to the station, and two con stables soon arrived on the scene and dis persed the mob. The blacks were then es corted back to the Proprietary paddock, where Vhey carried out their programme.
Broken Hill, Adelaide Observer, National Library of Australia, 7 May 1898, 28
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Broken Hill, Sunday., Sydney Morning Herald, 2 May 1898, 5
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Broken Hill, The Advertiser, 5 May 1898, 5
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Broken Hill, Wednesday., Sydney Morning Herald, 5 May 1898, 7
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Bron Sibree, The Canberra Times, 15 July 2003, 9
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Bronwen Arthur, From tacky spoof to seamless solo style, The Australian, 23 July 1999, 11
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Bronwen Gora, Aborigine to upset wog's comfort zone, Sunday Telegraph, 15 January 1995, 49
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Bronwen McNulty, The Daily Telegraph, 16 March 1988
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Bronwyn Halls, Melbourne Sun, 3 December 1987
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Bronwyn Loudon, The Canberra Times, 2 August 2006, 4
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Bronwyn Tweddle, David O'Donnell, Toa Fraser: shifting boundaries in Pacific Island comedy, Australasian Drama Studies, 42, April 2003, 123-137
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Bronwyn Tweddle, The Johnny Depp effect: using contemporary film to teach Brechtian concepts, Australasian Drama Studies, 57, October 2010, 68-81
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Bronwyn Watson, Copuntry music unmasked, Sydney Morning Herald, 28 November 1986, 2
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Brook Turner, The alter boy, Australian Financial Review, 25 February 2012, 58
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Brooke Kelly, Set for Dance treat, Moonee Valley Leader, Theatre and Dance Platform, 16 July 2007
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Broome News, 1 October 1990
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Bruce Elder, Metro, 22 February 2002, 17
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Bruce Elder, Sydney Morning Herald, 24 August 1987
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Bruce Elder, Sydney Morning Herald, 24 August 1987
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Bruce Grant, Another score for the Australian playwright, The Age, 12 October 1957, 19
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Bruce Grant, London's Welcome to "The Doll", The Age, 2 May 1957, 5
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Bruce Johnson, Mike Sutcliffe, Barbara James: a career in Australian popular music, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 21, October 1992, 123 - 137
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Bruce Montgomery, The Australian, 11 August 1987
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Bruce Montgomery, The Australian, 12 May 1987
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Bruce Montgomery, The Australian, 17 February 1988
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Bruce Parr, Peter Kenna's The Cassidy Album: a call for re-viewing, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 24, April 1994, 77 - 98
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Bruce Parr, Shane Rowlands, Tim Benzie, Introduction to Lesbian/Gay/Queer Theatre & Performance ADS issue, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 31, October 1997, 3 - 4
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Bruce Parr, Sweetmeats as space of desire, Theatre Research International, 26, 1 (March), 2001, 95-106
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Bruce Parr, The misfit male body in Adelaide theatre, 1959, Australasian Drama Studies, 46, April 2005, 20-37
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Bruce Wilson, 'Hot and cold' on theatre, The Age, 25 October 1967, 6
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Brungle News, The Gundagai Times and Tumut, Adelong and Murrumbidgee Dist, NSW, 29 August 1905, 2
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Bryan Patterson, Dynamic duo unite to bring Jugglers Three, The Age, 6 February 1973, 2
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Bryan Patterson, The Sunday Herald Sun, 4 February 2001
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Bryant's Playhouse, Sydney Morning Herald, 4 March 1939, 6
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Bryant's Playhouse. , Sydney Morning Herald, 12 January 1935, 12.
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Bryant's Playhouse. , Sydney Morning Herald, 19 January 1935, 10
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Bryant's Playhouse. , Sydney Morning Herald, 26 November 1938, 6
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Bryant's Playhouse. , Sydney Morning Herald, 7 September 1935, 14
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Bryants' Playhouse. , Sydney Morning Herald, 19 September 1935, 10
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Bryce Hallett, Ah Vienna, may the farce be with you , Sydney Morning Herald, 6 March 2008, 16
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Bryce Hallett, Caged heat, Spectrum, 22 September 2007, 8-9
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Bryce Hallett, Clout! The Opera, Sydney Morning Herald, 24 March 2001, 4
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Bryce Hallett, Curtain call, Sydney Morning Herald, 5 April 2008, 20
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Bryce Hallett, Family Tackles Burning Issues, Sydney Morning Herald, 12 March 1999, 15
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Bryce Hallett, Feminine touch for the new Belvoir season, Sydney Morning Herald, Theatre and Dance Platform, 16 September 2010
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Bryce Hallett, Getting down and dirty, Sydney Morning Herald, 3 May 2000, 16
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Bryce Hallett, Journey to the point of no return, The Australian. Canberra edition., 21 July 1992, 12
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Bryce Hallett, Metro, 7 October 2005, 13
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Bryce Hallett, Metro, 8 February 2002, 13
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Bryce Hallett, Metropolitan, 8 September 2001, 5
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Bryce Hallett, No hiding place from Balodis, The Australian, 6 January 1992, 10
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Bryce Hallett, Phantom Menace, Sydney Morning Herald, 16 May 2008, 4
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Bryce Hallett, Queen claims her crown in a polished, high-spirited retread, Sydney Morning Herald, 13 October 2008, 0
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Bryce Hallett, Rocky Horror won't do the time walk again, Sydney Morning Herald, 16 August 2007, 16
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Bryce Hallett, Sequins in the Shire, Sydney Morning Herald, 29 March 2008, 18
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Bryce Hallett, Spectrum, 1 October 2005, 4
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Bryce Hallett, Spectrum, 17 February 2007, 8
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Bryce Hallett, Spectrum, 18 February 2006, 33
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Bryce Hallett, Spectrum, 18 February 2006, 6
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Bryce Hallett, Spectrum, 25 June 2005, 6
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Bryce Hallett, Spectrum, 3 September 2005, 33
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Bryce Hallett, Spectrum, 30 July 2005, 4
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Bryce Hallett, Spectrum, 7 May 2005, 34
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Bryce Hallett, Spectrum, 8 July 2006, 8
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Bryce Hallett, Sydney Gay & Lesbian Mardi Gras Festival Guide, 9 February 2001, 6
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Bryce Hallett, Sydney Morning Herald, 1 August 2005, 11
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Bryce Hallett, Sydney Morning Herald, 1 May 2006, 13
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Bryce Hallett, Sydney Morning Herald, 10 July 2006, 11
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Bryce Hallett, Sydney Morning Herald, 12 January 2007, 25
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Bryce Hallett, Sydney Morning Herald, 13 January 2006, 12
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Bryce Hallett, Sydney Morning Herald, 13 March 2005, 11
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Bryce Hallett, Sydney Morning Herald, 13 September 2001, 26
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Bryce Hallett, Sydney Morning Herald, 14 July 2006, 13
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Bryce Hallett, Sydney Morning Herald, 17 October 2003, 15
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Bryce Hallett, Sydney Morning Herald, 17 October 2003, 7
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Bryce Hallett, Sydney Morning Herald, 2 April 2007, 14
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Bryce Hallett, Sydney Morning Herald, 2 August 2005, 15
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Bryce Hallett, Sydney Morning Herald, 2 January 2004, 23
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Bryce Hallett, Sydney Morning Herald, 2 March 2007, 14
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Bryce Hallett, Sydney Morning Herald, 20 October 2003, 14
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Bryce Hallett, Sydney Morning Herald, 21 May 2002, 13
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Bryce Hallett, Sydney Morning Herald, 22 December 2003, 21
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Bryce Hallett, Sydney Morning Herald, 23 June 2004, 16
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Bryce Hallett, Sydney Morning Herald, 23 June 2006, 16
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Bryce Hallett, Sydney Morning Herald, 29 December 2006, 23
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Bryce Hallett, Sydney Morning Herald, 30 October 2006, 14
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Bryce Hallett, Sydney Morning Herald, 6 January 2006, 21
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Bryce Hallett, Sydney Morning Herald, 6 June 2007, 14
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Bryce Hallett, Sydney Morning Herald, 8 August 2005, 13
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Bryce Hallett, Sydney Morning Herald, 9 March 2007, 14
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Bryce Hallett, Sydney Morning Herald, 9 May 2006, 12
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Bryce Hallett, Sydney Morning Herald, 9 September 2005, 17
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Bryce Hallett, The Australian, 10 March 1998
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Bryce Hallett, The Australian, 12 March 1998
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Bryce Hallett, The Australian, 15 October 1996
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Bryce Hallett, The Australian, 18 October 1996, 11
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Bryce Hallett, The Australian, 24 December 1997
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Bryce Hallett, The fringe dwellers, Sydney Morning Herald, 4 June 1999, 4
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Bryce Hallett, The Goat or Who Is Sylvia?, Sydney Morning Herald, 3 April 2006, 14
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Bryce Hallett, The Wild One rocks again as musicals head for a showdown, Sydney Morning Herald, 2 October 2007, 12
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Bryceson Treharne, The Adelaide Repertory Theatre: Its History, Its Ideas, Its Intentions., The University of Adelaide, Library Special Collections
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Bryoni Trezise, Journey into the unexpected, RealTime Arts, 71, February 2006, 30
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Bubbly and a beaut blonde, Daily Mirror, 12 July 1964
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Bubbly and Scrim, The Canberra Times, 1 March 1966, 11
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Buchner's past was like the present, The Age, 20 April 1972, 16
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Budgerees "Wake". Corroboree Staged., The Brisbane Courier, 14 August 1924, 16
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Buena Vista, Melbourne Times, 11 August 1982, 12-13
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Buffalo Bill, The Daily Telegraph, 28 September 1885, 7
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Buffaloes Can't Fly, The Advertiser, 9 April 1981, 18
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Building and Works. Remodelling the Theatre Royal, Sydney Morning Herald, 17 November 1920, 9
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Building Improvements for 1878, The South Australian Register, 23 March 1878, 4
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Bulli, Monday, Sydney Morning Herald, 15 January 1895, 8
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Bunty Turner, Googie and John, On Stage, 12, 3, 2011, 44-45
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Burke's Expedition. Howitt's Journal, The Brisbane Courier, 21 November 1861, 2, 3
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Burn Victim, Sydney Morning Herald, 2 July 1982, 8
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Burnie, The North Western Advocate and the Emu Bay Times, Tas., 10 October 1900, 2
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Burnie, The North Western Advocate and the Emu Bay Times, Tas., 9 October 1900, 2
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Burning of a Chinese Theatre, Mount Alexander Mail, 7 February 1862, 5
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At last the building so long known to Melbourne citizens as the theatre par excellence of the city has gone, following closely in the wake of the Haymarket. At half-past 12 this (Wednesday) morning the warning notes of the fire-bell rang out, and the word soon spread, first that the conflagration was in the heart of the city, and next that the Theatre Royal was the scene of the disaster. The announcement was only too true. The edifice built by Mr. Black nearly twenty years ago, and in which nearly every actor of eminence who has visited Australia has appeared, from Brooke to Carden, was soon seen to be hopelessly committed to the flames. St Georges-hall, it was feared at first, would be involved in the destruction. In the hurry and rush of the sudden tumult it was no easy matter to glean any information as to the how and the where of the commencement of the fire. The only thing certain was that the body of the Theatre Royal was in flames; that pit, stalls, and dress circle were blazing in a fire about which there was no sensational effect beyond that furnished by stern reality. It appears, from what we can hear, that shortly after 12 o’clock Mr Pitt, the lessee of the Café, was sitting with his wife in Mr M’Donalds, the photographer’s when he was informed that the theatre was on fire at the back. Previously to this smoke had been noticed by some passers-by, and warning had been given to the brigade. But when Mr. Pitt reached the spot he found that the back portion of the stage, between the paint-frame and the dressing rooms, was on fire. The painters labourer, Kenneth Douglas, was at work with the hose, which is always kept on the premises, and Mr Pitt at first felt confident of keeping the fire under or at least in the rear of the paint frame. It was found, however, impossible to do this, and both Mr. Pitt and his assistants had to retreat, the flames rapidly catching the flies, and, subsequently, the body of the house. By this time the brigade were on the ground, the full force of the water was played on to the blazing mass, and all Melbourne knew that the Theatre Royal was on fire. The scene of the burning house was being played out in earnest. Seen from the street the effect was perhaps, not quite so gorgeously terrible as was the burning of the Haymarket. The fire was confined entirely to the theatre itself, and the vestibule being comparatively closed in, there was not the seething, boiling sea of fire shut in by red-hot iron gates, which was visible to the crowd in the case of the Haymarket. The continuous and active exertions of the firemen enabled them to keep down the fire, and by 2 o’clock it became evident that beyond the body of the theatre itself no damage would be done. St Georges hall was uninjured, the front of the Café was untouched, and though Mr Pain’s collection had to be carried out into the street, no damage was done to any property in the neighbouring buildings. But the old theatre itself has gone. The stage to which so many favourites have been recalled to receive warm applause was at 1 o’clock this morning a raging mass of flames and falling timber, the roaring and the crackling of burning wood, and the hissing of the rapidly played out water, taking the place of applause or encore. Independently of being deluged with water, the Café itself was not injured, and we believe also that Mr Pitt is fully insured. Of the origin of the fire nothing is as yet known, but it is believed to have originated in the property-room, which, with the dressing-room, is just behind the paint-frame on which Hennings prepared so many of his masterpieces. How the mischief began no one can tell. – telegraph.
BURNING OF THE THEATRE ROYAL, MELBOURNE. (1872, March 27)., The Mercury (Hobart, Tas. : 1860 - 1954), 27 March 1872, 3
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The Melbourne Argus of the 20th describes at considerable length the destruction of the Theatre Royal, early that morning, by fire; and further particulars are given in the issue of the 21st. The first sign of the disaster was seen shortly after midnight of the 19th, when the fire-bell sounded, and a cloud of dark smoke and then a long narrow flame were observed ascending from the back of stage portion of the theatre. Not many moments after – the volume of smoke having largely increased – a portion of the back roof fell in, a pillar of fire 50ft. high shot up towards the sky, and before one could count a hundred, the flames shot along the roof of the theatre with a speed that resembled the ignition of a train of powder. From the point above described the flames proceeded with steady pace, first to spread over the stage, and thence over the whole of the vast interior of the house. The area of the Theatre Royal stage was enormous, and it was crowded with light wooden work in the shape of the frames of scenery, dressing-rooms, properties, and suchlike. These were soon enveloped in roaring rose-coloured flames the mere heart of which was sufficient to ignite the wood seats in the pit, and then the box circle, the upper box tier, and the galleries, which reached to the ceiling. The iron roof lasted after this but a second or so, and then there rose to the sky such a vast volume of bright fire as made the few thousand persons in the street (for at no time were the spectators particularly numerous) yell in their mad excitement.
The United Insurance Brigade and other brigades soon arrived at the fire, and at imminent risk poured streams of the Yan Yean into the roaring flames. At first the water appeared only to add new fuel; but in time the value of the efforts made was apparent. The fire was kept within the four walls of the theatre, and what promised to be an unsurpassable disaster was stayed within an hour and a half of the first outbreak.
The building was actually on fire for some time before the fact became known outside. A watchman named English, who slept on the premises, had lain down on a sofa but had not fallen asleep, when he observed signs of burning in the neighbourhood of the dressing rooms. He aroused the gasman, Goulding, who was asleep, and the two got the hose, and did what they could to extinguish the fire. A painters labourer, and Mr. Pitt, the lessee of the café in front, came to their aid. The fire, however, had gained a hold on very inflammable materials such as the light wooden frames and the canvass of the scenery, and increasing rapidly, compelled them to beat a retreat. People then were hammering at the back door, and were admitted by Goulding; but, as English stated, from the time when he first saw the fire till he ran away only about ten minutes elapsed, and in that time the flames had spread as if the place were made of tinder.
Great alarm and confusion were caused by the fire in Little Bourke-street, and in James Lane, behind the theatre, where swarms of Chinese inhabit miserable tenements, but these were protected by the height of the theatre walls. In Bourke street, in the immediate neighbourhood, were St Georges Hall, Pain’s Museum of Australia and Polynesian curiosities, Mr McDonald’s photographic establishment, and the Café de Paris. Here the chief mischief was done by the crowd, who rushed in and recklessly turned the contents of the houses into the streets. At St Georges Hall this work of destruction was soon checked (as was also the danger from the fire itself, at one time very great), so they contented themselves with howling and dancing on the stage and endeavouring to compel the manager, whom they had captured, to give them a song. At Mr Macdonald’s cameras, cases of negatives, packages of portraits &c, were tossed out in confusion. At Mr Pain’s the collection of works of art, of entomological specimens, and curiosities of various sorts, brought together by Mr Pain and his wife as the work of their lifetimes, were hurried into the street. Fortunately, however, the loss really suffered in this case was but trifling. Mr Pain was not insured.
In the theatre the destruction has been complete. All traces of dress-circle, stalls, boxes, pit, and gallery have been swept away, saving a few charred fragments, while the stage, and all the apartments attached thereto, have entirely vanished. From the division wall which cuts off the café, cloaking room, &c, from the auditorium of the theatre at the one end to the property-room abutting on Little Bourke street at the other, is simply a blank space, with not a stick standing to obstruct the view. The framework of the dress circle, boxes, and gallery, which dropped into the pit and stalls, have been completely devoured by the flames, and the roof of the building has shared the same fate. Instead of tiers of boxes and rows of seats, over-looking a stage and orchestra, there is now a yawning space and floor of blackened embers. No vestige of roof remains, and bare brick walls mark the place where a fine theatre lately stood. In St George’s Hall the flames actually penetrated the roof, and the rest at one time was imminent, but the actual damage can be easily repaired, and the performances have not been interrupted. Mr Pitt, of the café was fully protected his insurance amounted to £700, and the damage to about £800. Mr MacDonald held an insurance for £700, and a special one for £100 upon a grand piano, which the crowd rolled down the staircase. Mr Joseph, a draper, has lost a large amount of valuable stock by the clearing out process, which his insurance is not expected to cover. Mr Coppin’s position, it appears, is worse that was at first believed. The theatre was originally insured for £4000, and it was thought that there was still current a policy for £1000, but it turns out that this policy expired a few months ago, and that the insurance company refused to take the risk again.
As to the remains of the build, the City surveyor has expressed the opinion that the side walls, especially the western one, have been rendered unsafe by the action of the fire.
BURNING OF THE THEATRE ROYAL, MELBOURNE. (1872, March 28), The Maitland Mercury, 28 March 1872, 3
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Burrowa, The Cowra Guardian and Lachlan Agricultural Recorder, NSW, 5 October 1901, 8
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Bus, Son of Tram, Melbourne Times, 9 December 1981, 19
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Bushmen's Greeting, The Brisbane Courier, 11 April 1927, 15
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Buzz Bracaren, The Star Weekly, 24 April 1986
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By George, there's lots more..., Belfast News Letter, Theatre and Dance Platform, 2 November 2005
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C B de Boehme, Pirates of Penzance and trial by Jury, The University of Adelaide, Library Special Collections
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C C D Brammall, Australia's Little Theatre Movement is Strongly Alive, South West Pacific, New Series 21, 1949, 58-61
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C G Kerr, The Advertiser, 14 November 1959, 0
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C G Kerr, The Advertiser, 23 May 1959, 0
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C O'Brien, Stretching our imaginations, Westerly, 4, December, 1975, 24-33
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Caine Mutiny - on again, The Sun (NSW), 21 February 1959
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Caine Mutiny - on again, The Sun (NSW), 21 February 1959
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Cairns Hall, The Mount Lyell Standard and Strahan Gazette, Queenstown, Tas., 5 November 1900, 3
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Cairns Jubilee, Cairns Post, 1 September 1926, 4
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Cairns Jubilee, Cairns Post, 27 October 1926, 5
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Caitlin Newton-Broad, Hello/goodbye PACT, RealTime Arts, 48, April 2002
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Caitlin Newton-Broad, More than the usual suspects, RealTime Arts, 44, August 2001, 33
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Calcutta cast to face court, The Age, 11 October 1971, 1
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Camelot panned by U.K. press, The Age, 21 August 1964, 4
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Cameron Kelly, An Interview with Lucy Guerin, Proximity, Theatre and Dance Platform, April 2011, 12
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Cameron Woodhead, Artfully turning back history's tide, The Age, 24 August 2006, 20
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Cameron Woodhead, Asian arts extravaganza challenges our Anglocentric status quo, The Age, 30 January 2020
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Cameron Woodhead, Australia! The Show!, The Age, 6 August 2011
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By Henrik Ibsen. Adapted by Mat Sweeney and Jesse Rasmussen. Four Larks Theatre, Richmond, until tomorrow Running time: 85 minutes fourlarkstheatre.com
PEER Gynt is notoriously difficult to stage, largely because it wasn't written with the stage in mind. A sprawling fantasy in verse, the play features trolls and shipwrecks, monsters and adventure. It presents many technical challenges. Some of these Ibsen resolved through music, commissioning Edvard Grieg to compose a score that has become arguably more famous than the play itself.
Four Larks Theatre, a company of young artists from Australia, the US and Britain, takes a leaf out of Ibsen's book. Music is key to its enchanting production.
Most of the performers double as musicians, and some scenes are memorably captured in song: Solveig (Kate Berry) and her sister (Ramona Ray-Greig) join in haunting folk harmonies; an all-male vocal quintet sings of Peer's stint as a Moroccan businessman; and the Statue of Memnon (Genevieve & Jezabel) comes to life in a hypnotising solo harp performance.
By necessity, the play is heavily cut. Occasionally this reduces it to pantomime - as with the caricatured portrayals of Anitra (Chris Hewitt) and Peer's mother Ase (Caitlin Williams). But more often than not this is a virtue. The direction (Mat Sweeney and Jesse Rasmussen) is taut and imaginative.
Given the resources they had, this Peer Gynt is an extraordinary achievement. Four Larks is a team of theatre-makers to watch.
Cameron Woodhead, Folk tale enchants in song, The Age, 17 May 2008, 23
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THEATRE REVIEW: AVAST: A MUSICAL WITHOUT MUSIC The Black Lung Theatre, Upstairs @ Kent Street Bar, 201 Smith Street, Collingwood, until May 20 Running time: 40 minutes
THE Black Lung Theatre is a new space. It promises to be a site where almost anything is possible. Its inaugural production, Avast, is a bewildering and unkempt bit of fringe. The title - a nautical word meaning "stop or desist" - plagues the mind during this merciless spectacle.
Only theatrical convention stops you screaming it from the forward deck. But you could, for Avast is theatre that breaks rules.
The show concerns two demented brothers (Thomas Wright and Gareth Davies), whose whaler dad (Dylan Young) has died. Their father's meaningless bequest provokes sibling rivalry, and there the plot frays into meta-theatre. The actors shoot cannonballs through the fourth wall, the production pirates its way onto the audience's ship, and the play begins to take water in a serious way.
Avast sees Artaud and Beckett - and their theatres of cruelty and the absurd - resurrected in a danse macabre. One character is stuck in a washing machine; another is a blind man in underpants; another remains silent before his gibbering monologue towards the end. There are grotesque constraints, physical and psychic anguish, and a stage clogged with futile oddments.
It's an alienating and occasionally comic performance but it's more visually successful than anything else. Director Thomas Henning needs, above all, to slow his actors down. At the moment, Avast is full of sound and fury. Lines are lost, some segments devolve into verbal diarrhoea, and it lacks the discernibly human patterns of speech and interaction that make Beckett so powerful.
Henning also needs to sort the good ideas from the theatrical masturbation. The play's Pirandello-like disintegration has the potential to work well, but does anyone outside drama class seriously contemplate juxtaposing Khachaturian's Sabre Dance and the Divinyls with a heart-rending rendition of Danny Boy?
Avast really puts the mental back into experimental theatre. Guaranteed to make you squirm, this is an invigorating show, hideously marred by immaturity.
Cameron Woodhead, No method to this madness, The Age, 11 May 2006, 21
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Cameron Woodhead, The Age, 1 January 2007, 0
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Cameron Woodhead, The Age, 12 September 2005, 0
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Cameron Woodhead, The Age, 30 November 2006, 0
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Candida at National, The Examiner, National Library of Australia, 24 October 1938, 5
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Carol Langley, Borrowed Voice: The Art of Lip-Synching in Sydney Drag, Australasian Drama Studies, 48, April 2006, 5-17
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Carol Payne, Elaine ready to party, North Shore Times, 22 March 1995, 32
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Carol Payne, Good times Szeps' double fun, North Shore Times, 3 March 1993, 26
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Carol Payne, Lipstick is new role for Lorraine, North Shore Times, 19 April 1989, 3
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Carol Payne, North Shore Times, 5 August 1987
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Carol Payne, Poignant story of longing, North Shore Times, 15 July 1992, 33
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Carol Williams, The Herald Sun, 1 December 1997
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Caroline Baum, The Bulletin, 11 October 2005, 62
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Caroline Ross, Melbourne Sun, 21 July 1988
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Caroline Ross, Melbourne Sun, 29 April 1987
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Carolyn Canham, bma (bands music action) , 1 August 2001, 36
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Carolyn Collins, The News, 27 April 1988
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Carolyn Oei, Metal: An Improbable Alchemy of Dance And Heavy Metal, ArtsEquator, 28 February 2020
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Carolyn Pickett, Linda Aronson, Companion To Theatre In Australia, 1995, 60
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Carolyn Webb, The Age, 13 January 2006, 3
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Cassie Proudfoot, Untold stories of heroism and suffering in wartime, The Canberra Times, 24 April 1998, 17
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Cast changes in Repertory show, Barrier Miner, 19 October 1948, 7
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Cast of 46 - With Not One Male, The Age, 7 May 1963, 9
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Castlemaine Town Council, Mount Alexander Mail, 30 November 1859, 2
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Cat that Sat on Clark Gable's Knee, The Sun (NSW), 4 October 1942, 3
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Catherine Blanch, Rip It Up, 18 October 2001
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Catherine Keenan, Metro, 1 June 2001, 15
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Catherine Keenan, Metro, 14 November 2003, 14
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Catherine Keenan, Metro, 15 November 2002, 15
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Catherine Keenan, Metro, 18 January 2002, 15
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Catherine Keenan, Metro, 22 August 2003, 16
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Catherine Keenan, Metro, 22 June 2001, 15
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Catherine Keenan, Metro, 25 April 2003
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Catherine Keenan, Metro, 25 October 2003, 15
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Catherine Keenan, Metro, 26 October 2003, 16
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Catherine Keenan, Metro, 4 July 2003
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Catherine Keenan, Metro, 8 June 2001, 3
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Catherine Keenan, Metropolitan, 14 June 2003, 3
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Catherine Keenan, Metropolitan, 9 November 2002, 3
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Catherine Keenan, Sydney Morning Herald, 3 March 2004, 15
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Catherine Keenan, Two Brothers, Spectrum, 14 May 2005, 34
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Catherine Lambert, Forging New Art, The Herald Sun, 23 February 2020, 8
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Catherine Lambert, The Australian, 31 December 1995, 0
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Catherine Lambert, The Sunday Herald Sun, 18 February 2001
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Catherine Lambert, The Sunday Herald Sun, 25 February 2001
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Catherine Lambert, The Sunday Herald Sun, 25 February 2001
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Catherine Lambert, The Sunday Herald Sun, 25 February 2001
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Catherine Lambert, The Sunday Herald Sun, 28 January 2001
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Catherine Lambert, The Sunday Herald Sun, 4 March 2001
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Catherine Maclaurin Mackerras, Adelaide Festival, Twentieth Century, Winter, 1962, 347-353
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Cathy Alexander, The Canberra Times, 16 March 2007, 2
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Cathy Pryor, The Australian, 23 September 2003, 13
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Cathy Pryor, The Australian, 25 September 2003, 14
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Cathy Reid, The Southside Chronicle, 8 October 2002, 21
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Celtic music comes to city, Arts & Entertainment, 18
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Chris Boyd, Melbourne Times, 29 June 1988
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Chris Boyd, Melbourne Times, 9 March 1988
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Chris Boyd, Streetcar Named Desire, Melbourne Times, 13 May 1987
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Chris Boyd, The Australian, 15 December 1995, 0
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Chris Butler, Dr. Jack brings new life to Melba, The Advertiser, The University of Adelaide, Library Special Collections, 19 January 1976
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Chris Butler, Pitfalls of a Poetic Licence, The Saturday Review, The University of Adelaide, Library Special Collections, 9 October 1976, 18
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Chris Chalke, The News, 6 January 1988
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Chris Dobney, Melbourne Star Observer, 22 May 1987
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Chris Hay, Black, White, and Red Faces: Race and Performance at NIDA, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 70, April 2017, 57 - 85
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Chris Kohn, The sweet breath of the Black Lung, RealTime Arts, 74, August 2006, 43
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Chris Kohn, The Sweet Breath of the Black Lung, RealTime Arts, 74, August 2006, 43
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Chris Reid, Urban, aural, visceral, RealTime Arts, 72, April 2006, 30
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Chris Sexton, Helpmann, Sir Robert Murray (1909–1986), Australian Dictionary of Biography Online, 2007
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Chris Wallace-Crabbe, The Sunday Age, 29 July 2007, 13
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Chris Walls, Penrith Press, 1 December 1987
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Chris Walls, Penrith Press, 23 June 1987
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Chris Walls, Penrith Press, 3 May 1988
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Chris Walls, Penrith Press, 8 September 1987
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Chris Westwood, Report on The Women and Theatre project, Australasian Drama Studies, 1, 1, October 1982, 51 - 63
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Chris Westwood, The Women and Theatre project 1980 - 81, Australasian Drama Studies, 1, 1, October 1982, 39 - 49
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Chris Wilson, The Canberra Times, 21 March 2001
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Chris Wortham, Tom Burvill, Foreword, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 33, October 1998, 3 - 8
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Chrissie Camp, Wogs on the job!, TV Week, 5 August 1989, 19
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Chrissie Shaw, Muse, June 2002, 5
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Christa de Jager, Artlook, August 2005, 25
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Christa de Jager, Artlook, July 2005, 25
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Christa de Jager, Artlook, June 2004, 12
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Christa de Jager, Artlook, June 2005, 26
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Christa de Jager, Artlook, November 2004, 14
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Christa de Jager, Muse, 1 October 2001, 23
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Christa de Jager, Muse, October 2002, 7
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Christa de Jager, Muse, September 2003, 4
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Christabel Hirst, Sunday Mail, 17 July 1988
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Christchurch theatres face death and destruction, On Stage, 12, 2, 2011, 3-4
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Christian Thompson, Minus the special effects, RealTime Arts, 73, June 2006, 4
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Christianising The Corroboree, Clarence and Richmond Examiner, 8 August 1896, 8
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Christina Myers, The Southside Chronicle, 1 October 2002, 19
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Christina Myers, The Southside Chronicle, 11 February 2003, 19
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Christina Myers, The Southside Chronicle, 11 February 2003, 20
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Christina Myers, The Southside Chronicle, 14 January 2003, 20
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Christina Myers, The Southside Chronicle, 18 February 2003, 17
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Christina Myers, The Southside Chronicle, 28 May 2002, 27
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Christina Myers, The Southside Chronicle, 4 February 2003, 19
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Christina Vogelsang, Tribune, 27 July 1988
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Christine Comans, La Boite Theatre Company: a distinctive history, Australasian Drama Studies, 52, April 2008, 180-202
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Christine Hogan, From the shadows, a king is born, Sydney Morning Herald, 20 July 1978, 6
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Christine Hogan, The Australian, 13 September 1979, 8
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Christine Jowers, A conversation with lucy guerin, The Dance Enthusiast, Theatre and Dance Platform, 26 November 2012
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Christine Morris, Rock Festival in Transylvania, The Age, 21 July 1977, 23
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Christine Morris, Rock's passing goes with bang, The Age, 9 February 1978, 26
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Christine Morris, Triumphs, disaster and Phar-lap, The Age, 10 March 1977, 21
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Christine Morris, [Desire Under the Elms], The Age, 3 November 1977, 27
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Christine Morris, [Doctor in Love], The Age, 9 June 1977, 26
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Christine Morris, [The Polish Girl], The Age, 1 December 1977, 26
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Christmas at Nepabunna, he United Aborigines messenger, National Library of Australia, 1 February 1935, 9
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Christmas Day In Fremantle Prison, The West Australian, 31 December 1888, 3
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Christmas Eve at an Out-Station, Illustrated Sydney News, 24 December 1870, 2
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Christopher Reilly, Bridge Span's Collapse Underscores 'Structure', Patch, Clayton-Richmond Heights, MO, Theatre and Dance Platform, 30 September 2011
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Theatre in Cleveland Street, Redfern, Sydney, opened 1983.
Mike Mullins set up the Performance Space for experimental theatre and dance in an old railway workers' union hall that had been occasionally used for performances since his New Blood in 1980. His ambition was to provide a professional venue for what he called 'new form '. Many individuals and the University of Sydney's Theatre Workshop helped to turn the hall into a theatre and it officially opened in 1983 with Mullins's Long Long Time Ago . Its uses have gradually encompassed the visual arts - particularly with a performance, temporal or installation aspect-theory and criticism. In mid-1983 the present writer joined Mullins as co-ordinator and brought Entra’acte Theatre to the Performance Space as resident company. Nicholas Tsoutas followed with his All Out Ensemble.
Christopher Allen, Performance Space, Companion To Theatre In Australia, 1995, 431-432
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Christopher Balme, New Maori theatre in New Zealand, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 15/16, April 1990, 149 - 166
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Christopher Beckey, Hom(m)oerotics? or to queer the male body on stage, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 31, October 1997, 33 - 47
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Christopher Bedloe, Muse, July 1992, 35
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Christopher Bedloe, Plays before 'The Doll', Muse, 145, (September), 1995, 6-7
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Christopher Braddock, Layne Waereaʻs Public Laughter, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 69, October 2016, 60 - 81
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Christopher Hay, 'What is to count as knowledge': the evolving directing programme at the National Institute of Dramatic Art, Australasian Drama Studies, 60, April 2012, 194-207
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Christopher Hook, Brief escape lets in new light, The Daily Telegraph, 16 September 2009, 56
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Christopher Mooney, John Ramsland, Out of the dark: the first successful all-black musical Aboriginal celebrity and protest, Victorian Historical Journal, 78, 1, 2007, 63-79
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Christopher Pearson, The Australian, 30 November 1987
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Christopher Reardon, Your Money or Your Life, Village Voice, 10 August 1999, 57
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"Can you write something about writing?" That’s what Troy asked me to do. Nothing too onerous, just a page or two about the way I work, perhaps with a focus on how I went about writing The Bridge. Sounds easy enough…until you try and sit down and capture on paper how you capture things on paper. It’s a little bit like when you try and think about how you breathe…suddenly your breathing becomes completely erratic and forced, and, as you lapse into hyperventilation, you wind up convincing yourself that you’ll probably never breathe properly again.
I’m not sure that I know exactly how I go about writing…and I’m even less sure about whether I want to know. When I was studying filmmaking at College, the first thing my lecturer said was, "…don’t worry too much about what’s going on inside the camera…it’s what’s going on outside that you should worry about…as far as you’re concerned, there’s tiny little gremlins in there that make everything work…just worry about what you’re giving them to work with…" I kind of liked that…the idea that you don’t need to understand everything about a process for the process to work, that intuition plays a part, that there’s a little bit of mystery involved.
What I do know is that I go about writing different projects in different ways, and that being a writer for performance (theatre, film or television) isn’t as solitary an occupation as the clichés would have it. I didn’t always know that. I used to think that the ideas, the characters and the stories were all totally mine, regardless of how they came to me. Now I know that that is only sometimes true. A few weeks ago, I was asked to write a paragraph about what I thought a writer was. This is what I wrote:
Sometimes a writer is a straight-out storyteller, digging into the imagination to make up characters and events to tell a tale that is just for fun and entertainment. Other times, a writer is a mirror, creating a story that is a reflection of who we are and what we feel or hope for. On occasions, a writer is a filing cabinet, storing away stories in dusty corners that can be brought out later and told again, or even passed on to others. A writer can be a translator or interpreter, taking one or more set of complex events and turning them into a story that is easier to understand or deal with than the raw truth; a writer can be a hired gun, using the skills of language and imagination to bring another person’s idea to life; and a writer can even be a hunter-gather, sniffing out the juicy roots of a story through the anecdotes and memories and ponderings of others.
Another thing I know, is that you don’t always work in a consecutive way, which is to say that you don’t always have an idea and write it, then have another idea and write that and so on. At least that doesn’t seem to be the way I work. For me, particularly in the past four or five years, writing has been a bit like that spinning plates routine you see at the circus. You get one plate spinning nicely, and then another and another…then one starts to wobble or spin oddly and you go back and give that some attention…and one slows down, so you work with that for a while…or, on a bad day, one spins right off and crashes to the ground and you have to find a new plate…but eventually, with a bit of skill, some luck, some ‘showmanship’ and a good diary, you get all those plates up and spinning nicely…and everyone applauds. At least you hope that’s how it works out.
#G1#So, back to what Troy asked me for…how did I go about writing The Bridge. In fact the period during which The Bridge was conceived, developed, written, re-written and re-written again probably provides an interesting snapshot of what being a writer can involve.
The idea for The Bridge first came up in 1996. I don’t know why, it just did. It wasn’t even The Bridge then, it was just an idea about writing a play that touched on the subject of youth suicide. Coincidentally, 1996 was also the beginning of HotHouse Theatre. At our first Artistic Directorate meeting, each of us offered up a project that we might like to create for our new theatre company. My offering went up onto the whiteboard with the less than subtle title of ‘The Suicide Project’. The idea didn’t move very far from the whiteboard for the next couple of years. Then, in September 1998, we started to get serious and began applying for funding. This, of course, required some additional thought on my part…what sort of play would this be? What would it be about? And what would it be called? (certainly not Suicide Project!) So, the first actual writing was a sketchy outline for a play that was then going to be called Esteem. (still not a great title, but better than Suicide Project) At that time, the idea for this play was all structure and no story. It was going to be performed in schools as a three-stage piece presented as an incomplete story that then invited the audience to offer ways of completing it, and then used the actors’ improvisational skills, to perform those ideas as a number of possible resolutions. In effect, I was going to write about three-quarters of the play, and then the audience and actors would finish it off. Already, this was no longer a singular effort.
Esteem hung around as an idea for more than a year until, in early 2000, I heard a talk-back radio discussion about how to stop people jumping off the Westgate Bridge in Melbourne. Although the idea had been slowly coming into focus in my head for four years, it wasn’t until then that I actually wrote anything down. It was five pages under the heading of ‘The Bridge’, and included six short character descriptions and a handful of events that occur in a regional town called Hopetoun, including the all-important death of the character of Donny (although whether Donny would be seen as a character, and how or why he died wasn’t yet certain). Three months later, to the creative team took those five pages into the rehearsal room for a week of exploration and development. For a writer, this is a rare luxury. Usually, you need to produce a first draft of a script before you get to ‘play’ with it. It also increases the number of ideas, points of view and inputs that will influence the writing process. The writing process in this project is definitely not an isolated one.
#G3#Around this time, The Bridge plate is starting to spin nicely, but other plates have started to spin as well. To my great surprise I find out that an application I sent to the Australia Council has been successful and I have received a grant to write a children’s show for actors and an orchestra. To my even greater surprise, a television project I have been involved with has been given the go-ahead, and over the next seven months I will write or co-write thirteen half-hour episodes of a new Cable-TV series called ShockJock. Now the plates are really spinning…it never rains but it pours.
So, back to The Bridge. With an enormous number of possibilities scrawled in my notebook, swirling in my head and plastered over half a dozen lengths of butchers paper, I leave the luxury of the creative development week and head off to an even greater luxury…a month in a house by the sea on The Great Ocean Road. Here, I set up a little office (with an ocean view, if you don’t mind) where I spend the days tapping away at my laptop turning all that wonderful stuff from the creative development week into the first draft of the play.
For me, writing is as much about what happens away from the desk as it is about what happens when me and my pen (or me and my keyboard) are facing the blank page (or screen). The writers retreat by the sea is such a romantic fantasy, but it is also a very good environment within which to let ideas stew and tumble and roll around in your imagination before committing them to words. This process happens for different writers in different ways. For me, there are two places where inspiration visits me more often than anywhere else. One is in the shower…and the other is while walking. The shower part can happen anywhere, but walking by the sea or in the bush is infinitely more productive than walking along High Street in Northcote. Many of the knottiest problems in the writing of The Bridge got untangled in the Angahook National Park, or walking along the beach at Fairhaven. I don’t know why showering or walking is where I’m most likely to solve my writing problems…perhaps I slip into neutral and let my mind wander so that instead of staring a problem straight in the eye, I glance sideways at it and catch it off guard. Who knows? Like my film lecturer said, "…don’t worry too much about what’s going on inside…"
So, it turns out that a month is not as long as it might be. Before I know it, I’m back in Melbourne with the creative team and we’re reading the first draft. I’m also starting to gather research for the play I got the grant for, and I also have my first meeting with the writing team that will contribute to the scripts for Shock Jock. The beach seems a long way away and the plates are all spinning and wobbling, but nothing broken as yet.
By February of 2001, I have completed a second draft of The Bridge and in the same period of time I’ve written those thirteen episodes of Shock Jock. It strikes me as strange that as we start to develop the third draft of The Bridge, all thirteen episodes of ShockJock have been written, re-written, finalised, shot and are going to air. Writing for theatre and writing for television, I have discovered, are two entirely different things. And that other play has been completely shelved for the time being.
And just when the plates look like they might be spinning well, it all changes again. The latest draft of The Bridge has another reading in The Butter Factory and we decide that the structure of letting the audience and actors complete the story doesn’t really work, so it’s back to the drawing board (and butchers paper) to write a new draft, this time for a more complete play that will work in the HotHouse subscription season rather that as a performance in schools.
#G2#To cut a long story short, the remainder of 2001 and the beginning of 2002 were pretty much focussed on getting The Bridge completed and ready for rehearsal. In that time, there was also a second series of Shock Jock to write and, of course, that play I got the grant for. These three projects, in their own ways, represent three entirely different writing processes. With The Bridge, it began as my idea but slowly took on more and more points of view. The trick this presents for the writer is to know when to listen to others, when to make changes and when to dig your heels in on something you strongly believe in. That’s the nature of writing in collaboration. With Shock Jock, the idea didn’t come from me…it came from Tim Ferguson. Slowly I got drawn into the world he wanted to create so that what I eventually wrote satisfied me as a writer and served his vision for the project. On top of that, we had a writing team of four other writers who would give feedback on the scripts and offer their own ideas, lines, jokes and so forth. Quite a different process from The Bridge. And then, of course, there’s that other play. In that case, I was writing something that relied solely on my ideas and my imagination. No creative development. No pressing deadline for the start of rehearsals. Just the writer and his idea. Perhaps that’s why it took me so long to get around to it. But I did eventually write it. As The Bridge was going into production at HotHouse, the second series of Shock Jock was going to air and I was finishing its first draft. The plates were finally all spinning nicely.
And so, here I am sitting in a little cottage in North Adelaide, where I’m spending a few weeks while my wife is performing in a play here. And what am I doing? Well, I’ve got all those plates spinning again…and a couple of new ones as well. I’ve been making a final draft of The Bridge, one that includes all those little bits and pieces that become clear to you when you finally see the play on stage. And I’m thinking about writing a third draft of that other play, which is going to have a reading later this year. And I’m working on some characters and storylines that might become a new television series sometime in the future. And I’m completing a script that will be used by young people in next year’s Biting Dog Theatre Festival. Oh, yes…and finally writing that thing about writing for Troy.
Did I mention that one of the writer’s skill is dealing with deadlines? Maybe that’s another story…
Christopher Thompson, HotHouse Theatre, The Complex Life of a Writer, HotHouse Theatre, 22 October 2002
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Cinderella comes to Moomba Melbourne, The Age, 5 March 1974, 1
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Claims Sydney's largest amateur stage, Daily News, 6 April 1940, 6
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Clare Barker, Piccinini's Enigmas, Poster Magazine, Theatre and Dance Platform, 2003, 46-48
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Clare Britton, Imogen Ross, Miranda Heckenberg, Nick Schlieper, Ralph Myers, Sean Bacon, Practitioners' round table: Australian theatre design - past, present and future, Australasian Drama Studies, 61, October 2012, 48-75
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Clare Kermond, Enter, Stage Melbourne, The Age, 8 November 2007, 19
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There have been for the last few days about twenty aborigines camped close to Clare, who enliven us every evening with their corrobsiics, which are well worth the trouble of seeing. Each blockfellow is marked with white chalk in broad lines and daubs all over his face, breast, and shoulders, which gives them the appearance of so many demoas as they dance clo3o to a large fire, and especially when connected with their unearthly jells. Two or three times during the performance one of them carried round a hat, stating that tbe smallest contriDuuon wouia do manktmiy received, wnioa l am sure was liberally responded to by the spectators.
Clare, The South Australian Register, National Library of Australia, 13 February 1860, 3
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Colin Duckworth, Performance: betrayal or consummation?, Australasian Drama Studies, Australasian Drama Studies, C/- Department of English, Univ, 7, October 1985, 23 - 30
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Colin Duckworth, Review: Philip Brockback, ed. Players of Shakespeare, Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 8, April 1986, 138 - 140
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Colin Kerr, East and West Meet on Stage, The Advertiser, 23 April 1960, 0
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Colin Robert Badger, New season for the Union Theatre, Adult Education, 10 (March), 1966, 16-18
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Colin Robert Badger, The writing on the wall for the Elizabethan Theatre Trust unless..., Critic, 5, 14 February, 1964
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Colin Robert Badger, What next for the Trust?, Adult Education, 10 (September), 1965, 6-10
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Colin Robert Badger, You can trust the Trust to make a complete hash of it, The Bulletin, 86, 11 April, 1964, 24
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Colin Rose, Hot tickets, Sun Herald, 10 August 2003, 5
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Colin Rose, Solo wimmin's business bares raw, funny attitude, Sydney Morning Herald, 19 September 1997, 18
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Colin Rose, Writing the wrongs, Sun Herald, Time out, 30 May 1999, 18
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Collette Swindell, Love Me Tender, X-Press Magazine, Theatre and Dance Platform, 23 August 2007
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Collin O'Brien, Elephant Stamps - Perth, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 14
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Collit's Inn Breaks New Ground. Inspiration in a Country Toy Store., Women's Supplement, 4 January 1934, 8
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Colonial Extracts, Illawarra Mercury, 29 May 1860, 4
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Column 8 [Heartbreak House], Sydney Morning Herald, 31 January 1950, 1
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Come to our show "The Boys" ask SM, The Age, 27 June 1969, 8
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Comeback by McKern, The Age, 14 July 1971, 2
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Comedienne looks at the future, The Age, 18 February 1965, 13
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Comedienne Turns to Williams Drama, The Age, 4 May 1963, 8
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Comedy range makes top show, The Queensland Times, 17 November 2007, 22
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Comic Opera Company, Darling Downs Gazette, Qld, 3 August 1898, 2
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Comic Opera Company. Miss Kate Howarde. Successful Season., Darling Downs Gazette, Qld, 5 August 1899, 7
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Coming here with "The umbrella", The Age, 7 December 1957
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Comments From The City, Northern Argus, 18 March 1898, 2
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Commercial success with Australian plays, The Sun (NSW), 18 June 1939, 11
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Commercial, Herald, Coolgardie, WA, 22 February 1900, 3
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Commercial, The Tumut Advertiser and Farmers and Settlers' Adviser, 3
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Commercial, The Tumut Advocate and Farmers and Settlers' Adviser, NSW, 3, 25 August 1903
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Communicated, The Australasian, 6 January 1877, 19
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Communicated, The Australasian, 8 April 1876, 18
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Community Playhouse , Sydney Morning Herald, 9 August 1930, 12
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Community Playhouse, Sydney Morning Herald, 14 March 1931, 7
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Community Playhouse, Sydney Morning Herald, 16 September 1930, 4
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Community Playhouse, Sydney Morning Herald, 4 December 1930, 4
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Community Playhouse. Play Tournament, Sydney Morning Herald, 8 December 1930, 4
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Community Playhouse. The Murder Next Door, 27 May 1931, 12
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Company B Bugle, January 2007, 0
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Company B Bugle, January 2007, 0
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Company B Bugle, January 2007, 0
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Con Castan, Greek Australian Plays, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 12/13, 1988, 17 - 33
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Con Castan, Theodore Patrikareas, The Uncle from Australia: a play from an 'ethnic' space., Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 15/16, April 1990, 85 - 148
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Concentrates, Barrier Miner, 2 November 1906, 2
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Concerning a Portrait and its Original, The Daily Telegraph, 11 November 1921, 4
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Concert a la Musvrd, Adelaide Independent and Cabinet of Amusement (SA : 1841), National Library of Australia, 11 November 1841, 3
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CONCERT AT EAST FREMANTLE.
To-night a concert in aid of the Indian
Famine Relief Fund will be held in Pearse's-hall, Canning-road, East Fremantle. Mr. Moss (Mayor of East Fremantle) will preside. The concert will be under the patronage of the East Fremantle Council, and Messrs. A. B. Kidson, M.L.C., H. Briggs, M.LC, D. K. Congdon, M.L.C.,- and J. J. Holmes, M.L.A. The following ladies and gentlemen will give their services : — -Misses Isabel Reid. Ethel Humble, and Hunting, Mrs. Freeman, Clough's Orchestral Band, and Messrs. Jack, Moss, Fanning, Lea Hot, Rogers, Needham and Drake.
Concert at East Fremantle, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 20 April 1900, 12
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CONCERT AT FREMANTLE ASYLUM.
Yesterday afternoon the monthly concert
organised by Mr. W. O. Mason was given at the Fremantle Lunatic Asylum. A really good programme had ¡been made up, the contributors being Mrs. Turner, Misses Elsie Coghill, R. Hamburger, Dixon, L. Hamburger, Ashton, D. O'Hara, J. Thorpe, O. Cole, T. Garrick, N. Harken, E. Harken, C. Harken, Hawkins, and Richards, and Messrs. McKnight, M. Waugh, Turner, R. Flanders, W. Speed, and D. Cusack. Among the visitors were Messrs. E. Solomon, M.L A., and J. Lilly, acting Resident Magistrate, the former presiding.
Concert at Fremantle Asylum, The West Australian, (Perth, WA : 1879 - 1954) , 15 June 1899, 5
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Concert at Fremantle Lunatic Asylum On Wednesday afternoon the 83rd concert, given to the patients in the Fremantle Lunatic Asylum, took place. Among those who contributed to the programme were Mesdames E. Cohen; J. A. Turner, and E. Bridgwood, Misses E: Greene, C. Tonkins, J. Thorpe, Webster, J. Willis; C. Jones. Olive Cole, G. Willis, N. Harken and E. Harken Messrs. F. Bateman, J..A Turner, and Miss Cole's pupils. Mr. R. Fairbairn R.M., presided, and Mr. O. Mason acted as musical director.
Concert at Fremantle Lunatic Asylum, The West Australian, (Perth, WA : 1879 - 1954) , 21 June 1900, 5
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Concert at Fremantle, The Daily News, (Perth, WA : 1882 - 1950) , 4 April 1896, 4
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Concert at Lunatic Asylum, Fremantle.
A successful concert was given at the
Fremantle Lunatic Asylum yesterday afternoon. An excellent programme was submitted by -Mr. W. 0. Mason, who organises an entertainment for the inmates of the Asylum every mouth. Yesterday's entertainment was the 31st given in the institution, and among those who contributed to its success were: Misses Teresa Garrick, Julia Thorpe, E. Gorrie, Olive Cole and pupils. Ethel Humble, Florence Owens, Gertie Willis, Florrie Cook, Nellie Harken, Tina Macken: Master Gorrie, and Messrs. F. J. Hird, J.S. Turner, and W. O. Mason. The chair was occupied by Mr. F. J: Hird, and Dr. J. W. Hope and other visitors were present.
Concert at Lunatic Asylum, Fremantle, The West Australian, (Perth, WA : 1879 - 1954) , 17 May 1900, 5
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Concert at N. Lambton for Children's Homes, Newcastle Sun, 15 December 1945, 4
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Concert at Pitt-Street Church, The Daily Telegraph, 12 November 1887, 6
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CONCERT AT THE LUNATIC
ASYLUM. The thirtieth weekly concert in con
nection with the Fremantle Lunatic Asylum took place at that institution yesterday afternoon, when Mr. R. Fairbairn, R.M., presided. Misses J. Willis and C. Jones opened the entertainment with a well-played pianoforte solo. Songs were rendered. by Mrs. E. firidgewood, Misses N. Harken, G. Willis. E. Waldron, and B. Willis, and Messrs. F. Hird, H. Brown, A. J. Lea Holt, J. A. Turner, and F. Bateman. Miss Olive Cole and her pupils were seen in graceful dances. Miss Florrie Cook played a pianoforte solo, and Miss E. Greene and Mr. W. O. Mason acted as accompanists. Altogether the concert was most enjoyable.
Concert at the Lunatic Asylum, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 20 April 1900, 12
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CONCERT AT THE LUNATIC ASYLUM - The fourth monthly concert organised by Mr. W. O. Mason for the entertainment of the inmates of the Lunatic Asylum at Fremantle was given yesterday afternoon [2 Nov] at the institution. The Rev. Canon Sweeting presided. A long programme was gone through, and all the items were highly appreciated. The overture was played by Misses Hawkins and Richards, and songs were contributed by Misses Leroi, Dora Taylor, Thorpe, Sophia Saunders, Hunting, O'Hara, Hatchett, Harkin, Feltham, and Gurry, and Messrs. C. Glasson, Cowan, Carney, and Smith. Miss Rosa Lee gave a club-swinging exhibition, and an acrobatic performance by the Valazio Bros, delighted the onlookers greatly. A laughable sketch, in which most of the company took part, brought an enjoyable entertainment to a close.
Concert at the Lunatic Asylum, The West Australian, 3 November 1898, 4
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The inmates at the Lunatic Asylum, Fremantle, wore entertained yesterday afternoon [7 Sep]with a concert organised by Mr. W. O. Mason. Judging by the enthusiasm which prevailed, the programme was highly appreciated. A diverting character sketch [...] was greeted with tumultuous applause, and in fact the
whole entertainment appeared to be a great source of enjoyment to the poorunfortunates incarcerated in the institution.
Concert at the Lunatic Asylum, The West Australian, 8 September 1898, 4
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Concert at Victoria Park An excellent programme of music was gone through the other evening at the Victoria Park Town Hall, consisting of glees, solos, and duets. The performers were Mrs. H. Pope, the Misses Jessie and Louie Tremere Legge, Miss Hudson. Miss Fletcher, and Misses F. and W. Parsons ('cello and violin), Messrs. O. Hudson, J. E. Andr-ew, M. Smith (horn solo). and R. Thompson. Mr. E. E. Andrew, who was in good voice, rendered "Kings of the Road" in his admirable style. Miss Hudson was well received in her song. "My Dearest Heart" (Sullivan). For an effective rendering of the duet "Hark to the, Mandoline," the Misses Tremere Legge received an encore, as also did Mrs. Harold Pope, whose mezzo-soprano voice was heard to advantage in "The Land of Yesterday. Miss Fletcher gave "For Ever and for Ever" (Tosti) in good style. "Gondola Dreams," by Mr. Thompson; with 'cello obligate by Miss Parsons, was tastefully rendered. "In the Hour of Softened Splendour" and "The Sea Hath its Pearls," quartettes, were very creditably given, and two male quartettes, "The Chapel" and "Lovely Night,"' by Messrs. Nicholls, Thompson, Andrew, Hudson, aind Kent, were amongst the best numbers of the evening. Other items were a duet "Love and War," Miss Hudson and Mr. H. A. Devenish, a three-part glee, "The Chough and Crow," by about a dozen voices: a horn polo by Mr. A. D. Smith, given with good tone; a trio, violin, cello, and piano, by the Misses Parsons and Mr. F. Parsons; a 'cello solo, by Miss Winifred Parsons; and last. but not least. "Rule Britannia," a solo by Mr. J. E. Andrew, with chorus, given with telling effect. At the close of this the curtains parted, and a tableaux "Britannia," in the person of Miss Alice Kell, gave, with the assistance of coloured lights. a brilliant finish to a pleasant entertainment. Mrs. A. G. Russell made a capable accompanist. A word of praise Is due to Mr. H. A. Devenish for having arranged so excellent a programme, and also to Mr. Kent for hins assistance as basso profundo. The proceeds of the entertainment are devoted to the Victoria Park Congregational Church Building Fund.
Concert at Victoria Park, The West Australian, (Perth, WA : 1879 - 1954) , 19 July 1900, 4
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Concert Engagements, Sydney Morning Herald, 1 May 1912, 20
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Concert off: Marlene Dietrich ill, Sydney Morning Herald, 30 September 1975, 1
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Concert Version of "Lohengrin", The News
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CONCERT.
On Wednesday night last we did ourselves the pleasure to attend the musical entertainment given by Messrs. Wallace and Deane. To those who are already acquainted with me respective excellence which these gentlemen have attained in their profession, it will not now be necessary to say more in their praise. To those (and we hope they are few,) who. know it but by report, we can only say that we regret they were not present on this occasion, to witness how truly that report has spoken. The Concert opened with the overture to Der Friestchulz, which was executed by the Band of the Fourth, with their usual success. Miss Wallace sang the difficult air of Una Voce, and the ballad of Black-eyed Susan, with all the effect that can result from the union of power of voice, scientific method, and diligent study. Portrait Charmant was beautifully sung by the gentleman amateur, who has lately made his debut at our Sydney concerts. The Concerto on the flute of Mr. Josephson was played well, although in our opinion, some of his performances at previous Concerts were far superior. The Solo on the Violoncello, by Master Deane, was a juvenile performance, surprising, and clearly shewed that the natural talent of this young gentleman must be very great, and his study unremitting. He also distinguished himself in two Ducts with Miss E. Winstanley. This young lady, as far as her tender age will allow an opinion to be formed, possesses great capabilities as a singer, and we have no doubt that under the able tuition of Mr. Deane (of whom she is at present a pupil), they will be brought into such celebration as to render her in time a most excellent singer. O'Pescator dell 'Onda was sung as a duet by Miss E. Wallace and the Amateur, in a manner both tasteful and harmonious. We must not forget Miss Deane's performance on the piano forte, which obtained for her high and well merited applause. Of Mr. Wallace's performance on the violin, it is really unnecessary for us to write, his execution on that instrument being so well known ; but we cannot refrain from a passing tribute to his Concerto of Mayseder, and to express our deep regret at the public announcement of his intended departure from this Colony. The members of the Band sung; two glees in the course of the evening, and were much applauded. The room was nearly full, and every person left highly delighted with the various performances of the evening.
Concert, The Australian, George Williams, Sydney, NSW., National Library of Australia, IV, 373 , 7 February 1837, 2
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Condamine, The Queenslander, 17 August 1872, 2
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Consecration of the New Masonic Hall Sydney, The Daily Telegraph, 24 January 1884, 5
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Conservatorium Recital, 4 November 1946, 1
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Continental and Corroboree, The Kalgoorlie Miner, 25 January 1906, 5
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Continental and Corroboree, The Kalgoorlie Miner, 26 January 1906, 6
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Continental Concert and Corroboree, The Kalgoorlie Miner, 29 January 1906, 6
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Continental Concert, The Kalgoorlie Miner, 1 February 1906, 6
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Continental Concert, The Kalgoorlie Miner, 6 February 1906, 6
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Continental Concerts, The Kalgoorlie Miner, 30 January 1906, 4
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Contracts [the Fourth Concert], The Australian, 20 November 1829, 3
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Contralto Will Sing From Wings, The Age, 26 June 1963, 13
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Controversial Buzo play taken up by Film Australia, The Canberra Times, 16 December 1987, 12
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Convent buys home at Springfield, The Mail, 24 January 1953, 3
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Copper, The Queenslander, 30 January 1875
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Copper, The Queenslander, 30 January 1875, 7
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Copy of Advertising, The Berrigan Advocate, Cobram, NSW, 29 July 1904, 3
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Coralie Wood, Public Eye, 11 September 1992
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Coralie Wood, Public Eye, 22 April 1993
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Coralie Wood, The Chronicle, 13 July 1992, 29
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Coralie Wood, The Chronicle, 19 October 1992, 22
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Coralie Wood, The Chronicle, 7 September 1992, 22
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Cordelia in King Lear, The Age, 6 April 1963, 8
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Coriolanus Production, The Age, 22 September 1964, 6
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Coroner's Inquest, South Australian Gazette and Colonial Register (Adelaide, S, National Library of Australia, 17 March 1838, 3
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Coroners Inquests, The Sydney Monitor, 8 June 1833, 2
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Corowa, Albury Banner and Wodonga Express, 12 February 1897, 17
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Correspondence, The Advertiser, 20 November 1900, 9
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Correspondence, The Morning Bulletin, 31 March 1899, 5
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Correspondence, The West Australian, (Perth, WA : 1879 - 1954), 15 January 1896, 9
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Corridor calls to Guerin, The Sunday Herald Sun, 20 July 2008, 19
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Corrie Perkin, A dancer's date with Destiny, The Australian, 28 August 2007, 14
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Corrie Perkin, Review, 10 March 2007, 0
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Corrie Perkin, Review, 21 July 2007, 18
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Corrie Perkin, Review, 5 August 2006, 16
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Corrie Perkin, The Age, 28 April 2006, 16
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Corrie Perkin, The Australian, 13 June 2006, 14
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Corrie Perkin, Weekend Australian, 2 June 2007, 11
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Corrie Perkin, [Back with a Vengeance], The Australian, 21 December 2006, 5
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Corroboree At Glenelg, The Advertiser, 3 April 1905, 6
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Corroboree At Henley Beach, The Register, 18 April 1905, 4
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Corroboree At Milang, South Australian Advertiser, 21 May 1885, 5
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Corroboree At Osborne, The West Australian, 16 December 1898, 6
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Corroboree at Sandgate, The Brisbane Courier, 3 December 1917, 6
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Corroboree At South Grafton, Clarence and Richmond Examiner, 22 November 1898, 8
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Corroboree at Warrangesda Mission Station, Illustrated Sydney News, 7 July 1883, 3
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Corroboree ballet coming, Barrier Miner, 24 July 1951, 2
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Corroboree Before The Governor, Bathurst Free Press and Mining Journal, 11 January 1860, 3
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Corroboree Before The Governor, Sydney Morning Herald, 7 January 1860, 5
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Curious Procession Creates Interest Darwin residents were amazed on Sunday to find aborigines, hideously bedaubed with mud and ochre and armed with bundles of spears, con ducting a corroboree in the main street. The natives chanted, shouted, and danced down the street, to the ac companiment of yells of delight from a crowd of blacks clad in cast-off Euro pean garments, until they reached the corner of the aboriginal compound. There they began a corroooree and took possession of the whole road, but the superintendent of the compound (Mr. L. Samut) tactfully induced them to gointo the compound and to con clude their tribal ceremonies on the compound beach. The corroboree was part of a cere mony conducted by natives who re cently came from Bathurst Island. There are considerable numbers of aborigines in Darwin. They have come in for the shelter afforded at the compound during the wet season. Tlie procession in the street was a curious one. The. abo rigines conducting the proceedings were In then' wildest state, probably the same as they were before white men settled the country, but others were dressed in odd particles of cloth Ing. A few even wore collars and ties, while the procession was followed by several blacks riding push bikes. When -the corroboree in the com pound 'was finished, the blacks con ducted a game of Australian football, at which they are expert.
Corroboree in Darwin Street, Adelaide Chronicle and South Australian Literary Record, Chronicle (Adelaide, SA : 1895 - 1954), National Library of Australia, 21 February 1935, 47
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Corroboree On Boxing-Day, Sydney Morning Herald, 11 January 1860, 5
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Corroboree – Command Performance, The Australian Women's Weekly, 10 February 1954, 17
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Corroboree!, Border Watch, 16 February 1881, 3
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Corroboree.—It was represented by circu- lars all over the town, a few days ago, that one of these common exhibitions, on a grand scale, was to come off on Monday evening last. In consequence of this notice, no fewer than at least a thousand persons attended on the Park Land to witness it. The corroboree turned out, however, to be a mere trifle. Three small parties of blacks skipped about in the moon- light, hemmed in closely by dense masses of whites, of both sexes; while the dust they kicked up, and the rich exhalations from their perspiring greasy limbs, formed the only part of the enjoyment of which the eager spectators outside the "sacred circle" could partake; while those in immediate contact with the odo- riferous performers must certainly have had a benefit of their contiguity, in which the ma- jority, posted in less favourable situations, did not anywise appear anxious to participate.
Corroboree, Adelaide Times, 18 December 1848, 4
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Corroboree, Chronicle, 12 March 1898, 15
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Corroboree, Clarence and Richmond Examiner, 16 November 1895, 8
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Corroboree, Clarence and Richmond Examiner, 26 November 1898, 2
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Corroboree, South Australian Advertiser, 5 October 1860, 3
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Corroboree, South Australian Weekly Chronicle, 6 October 1860, 2
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Corroboree, The Queanbeyan Age, 29 August 1861, 2
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We find that the corroboree, which induced so many hundreds of our fellow-citizens to enjoy a moonlight walk through our beautiful Park Land, was bespoken by several persons interested in the natives, and anxious, to draw attention to the closing discussion to be held on the subject of the Aborigines, at the Mechanics' Institute, on Thursday next. We are happy to hear that upwards of four pounds was collected on Saturday and Monday. A report was spread among the Victoria Lake tribe (not lake Alexandrina), hitherto strangers in Adelaide, that they were to be gathered together for the purpose of being shot. Happily the faith of the other tribes in the kind intentions of their patrons prevailed over the timid ; and for the first time, without being ordered to do so, but simply in deference to the white man, every one joining in the corroboree was partly clothed. The spectators must have numbered at least a thousand, and among them were several natives who professed themselves too much civilized to join in the corroboree. One of the tribes introduced a brief attempt at English colloquy, in which a nonchalant aboriginal was supposed to tell a stingy settler, who denied him a mouthful of bread, that he could get plenty at the Port. The way in which some of the blacks instructed the new comers to keep at a proper distance, with a civil 'so,' and a patronising 'all right,' seemed to be highly pleasing to the stranger
Corroboree, The South Australian Register, 13 December 1848, 2
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Corroboree, The South Australian Register, 2 February 1872, 4, 5
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Corroboree, The South Australian Register, 26 March 1872, 5
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COSTUMES IN "THE PRODIGAL SON.", The Australasian, 24 February 1906, 43
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Count Almaviva, The Canberra Times, 6 May 1959, 24
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Country News, Kempsey, Tuesday, Sydney Morning Herald, 1 February 1888, 10
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Country News, Leader, 6 April 1867, 12
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Country News, Melrose, March 10, The South Australian Register, 18 March 1870, 3
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On Saturday evening the aborigines, in ac cordance with an advertisement In the Oncer, dian, held a corrobboree at the rear of the Sir John Franklin Hotel before a moderate atten dance. At first their antics were gone through by the light of a bonfire; but as that was against a by-law of the Corporation, it was soon doused. However, they_went on, and some benevolently- ! minded individuala procured some fundlns, which made the darkness visible. The perfor mance concluded about quarter-past 9 o'clock.—
Country News, South Australian Advertiser, National Library of Australia, 26 March 1872, 3
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Country News, Sydney Morning Herald, 14 November 1895, 5
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Country News, Sydney Morning Herald, 15 March 1897, 5, 6
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Craig Borrow, The Herald Sun, 23 May 2001, -1
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Craig Munro, P. R. Stephenson and the early Workers' Theatre Movement in London, Australasian Drama Studies, Australasian Drama Studies c/- Department of English, Unive, St. Lucia, Queensland, 1, 2, April 1983, 125 - 137
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Craig Walker, James Reaney's The Donnellys and the recovery of 'the ceremony of innocence', Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 29, October 1996, 188 - 196
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Creative Regions, Tales of the Underground wraps up, Mount Morgan Argus, 7, 13, 5 July 2012, 1
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Cremorne Theatre, The Daily News, (Perth, WA : 1882 - 1950) , 13 August 1904, 6
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Cremorne Theatre, The Daily News, (Perth, WA : 1882 - 1950) , 21 September 1904, 1
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Creswick, The Argus, 21 January 1864, 6
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Cricket, Sydney Morning Herald, 12 January 1897, 6
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Criterion Burlesque and Comedy Company, Berrigan Advocate, Cobram, NSW, 20 November 1896, 2
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Criterion Burlesque Co., The Dubbo Liberal and Macquarie Advocate, Dubbo, 5 October 1895, 3
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Criterion Burlesque Company, Criterion Burlesque Company, The Queanbeyan Age, 4 November 1896, 2
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Criterion Burlesque Company, The Hay Standard and Advertiser for Balranald, Wentworth, M, 17 August 1895, 3
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Criterion Burlesque Company, The Narrandera Argus and Riverina Advertiser, 20 August 1895, 2
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Criterion Burlesque Company, The Shoalhaven News and South Coast Districts Advertiser, 22 June 1895, 2
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Criterion Burlesque Company, Wagga Wagga Advertiser, NSW, 12 September 1896, 2
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Criterion Burlesque Opera Company, The Queanbeyan Observer, Queanbeyan, 19 July 1895, 2
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Criterion Comedy Co., The Yass Courier, Yass, 30 July 1895, 2
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CRITERION THEATRE - "YOU CAN'T TAKE IT WITH YOU " , Sydney Morning Herald, 14 January 1939, p. 5
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Criterion Theatre - Dante, Sunday Times, 5 August 1933, 10
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Criterion Theatre. Mr R White's Plans., Sydney Morning Herald, 15 May 1939, 6
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Critics of Australian playwright challenged, The Age, 7 September 1965, 18
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Crystal Clear 1986_articles and reviews submitted by Ross Wallace, Flinders University, Academic Commons, 25 January 2022
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Crystal had live shows for 60 years; old stars recalled, Barrier Miner, 29 November 1960, 15
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Crystal Theatre Gala Plans, Barrier Miner, 4 November 1949, 2
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Crystal Theatre Rear Wall, Barrier Miner, 19 March 1949, 5
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Crystal Theatre reopening, Barrier Miner, 9 August 1940, 2
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Crystal Varieties, Barrier Miner, 2 June 1942, 6
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Crystal Varieties, Barrier Miner, 23 July 1942, 8
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Cultural Move On Nth. Shore, The Sun (NSW), 26 March 1945, 8
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Culture is Popular, The Examiner, National Library of Australia, 12 April 1948, 2
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Cup Stayed in Family, The Mercury (Hobart, Tas. : 1860 - 1954), National Library of Australia, 2 June 1952, 6
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Current Affairs Bulletin, Australian drama and theatre, Current Affairs Bulletin, 22/4, July, 1958, 115-128
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Current News, Camperdown Chronicle, 16 March 1897, 2, 3
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Current News, The Newcastle Morning Herald and Miners' Advocate, NSW, 22 October 1904, 4
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Current Topics, Geelong Advertiser, 10 November 1864, 2
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Current Topics, Geelong Advertiser, 3 April 1867, 2
-
Current Topics, Geelong Advertiser, 4 January 1859, 2
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Current Topics, The Examiner, Launceston, Tas., 4 October 1900, 4
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Current Topics, The Examiner, Launceston, Tas., 6 October 1900, 9
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Current Topics, The Examiner, Launceston, Tas., 8 October 1900, 4
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Current Topics., The Examiner, Launceston, Tas., 4 October 1900, 5
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Currents, February 2005, 0
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Currents, March 2006, 0
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Curtains for Sydney's Royal?, On Stage, 12, 4, 2011, 4
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Curtains to lift on war, Sydney Morning Herald, 3 August 1995, 7
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Custody of Children. Play Achieves Object. Miss Preston Stanley's Success, The Argus, 28 November 1932, 8
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Customs Reports, The Brisbane Courier, 8 August 1887, 7
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Cuteness Of Aborigines, Clarence and Richmond Examiner, 25 February 1896, 3
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Cutting edge talent for international festival, Shout Magazine, Theatre and Dance Platform, #16, October 2003
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Cycling, The Daily News, (Perth, WA : 1882 - 1950) , 7 February 1893, 2
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Cyd 'yes', No, no Betty, The Age, 9 May 1972, 2
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Cynthia Troup, Ingesting the world, RealTime Arts, 74, August 2006, 47
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Czech Polka, Daily News, 29 November 1939, 1
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D B Valentine, Postcard from Beijing: Performance art is alive and kicking, Eyeline Contemporary Visual Arts Magazine, 77, 2012
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D Douglas, Australian theatre and the stages wrongs, Overland, 91, May, 1983, [no pages]
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D J O'Hearn, Australian language and Australian theatre: D.J. O'Hearn, Meanjin, 43, 1 (Autumn), 1984, 180-184
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D Pulford, America and the Australian Performing Group, Antipodes, 14, 2 (December), 2000, 111-114
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D S Abeyagunawardena, Times2, 2 February 2005, 8
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Daggers and Sweet Dreams, Melbourne Times, 5 August 1981, 11
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Daily Mirror, 24 January 1975
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Daily Mirror, 24 November 1975
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Daily Mirror, 26 September 1963, 9
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Daily Mirror, 27 November 1975
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Daily Mirror, 6 November 1984
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Dalby, The Queenslander, 29 April 1871, 11
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Damien Millar, Currents, October 2006, 0
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Damien Woolnough, The Herald Sun, 9 March 1998
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Damon Cronshaw, Newcastle Herald, 7 February 2004, 7
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Dan Mack's Dramatic Coy, Camden News, 21 September 1911, 6
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Dan Stapleton, bma (bands music action) , 19 April 2001
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Dan Stapleton, bma (bands music action) , 29 August 2002, 25
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Dan Stapleton, Muse, June 2003, 6
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Dan Stapleton, Times out, 19 June 2003, 4
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Dan Thompson, The News, 10 March 1988
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Dan Thompson, The News, 22 June 1987
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Dan Thompson, The News, 7 March 1988
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Dan Thompson, The News, 7 September 1987
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Dan Thompson, The News, 8 March 1988
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Dance brings poetry to life, The Southside Chronicle, 2 October 2007, 27
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Dance Hall Remodelled for Phillip Street Theatre, Sydney Morning Herald, 7 March 1961, 17
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Dance of the wilds, Pix, 14 October 1950, 20-21
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DanceNSW, January 2005, 5
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DanceNSW, January 2005, 8
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DanceNSW, July 2004, 0
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DanceNSW, July 2004, 0
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DanceNSW, July 2004, 0
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DanceNSW, March 2005, 4
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DanceNSW, March 2005, 6
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DanceNSW, May 2005, 4
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DanceNSW, May 2005, 5
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DanceNSW, May 2005, 6
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DanceNSW, May 2005, 7
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DanceNSW, May 2005, 8
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Dancer and Daughter, The Age, 11 June 1963, 6
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Dancers Now Need Good Voices, The Age, 19 April 1963, 16
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Dancetrain, February 2004, 0
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Dancing her way through life, The Australian Women's Weekly, 8 March 1967, 7
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Dancing through chaos, The Australian, Theatre and Dance Platform, 14 March 2005, 13
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Dancing up a storm, Port Lincoln Times, Theatre and Dance Platform, 24 March 2011, 17
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Dangerous Corner for Repertory, Barrier Miner, 16 September 1949, 12
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Daniel Keene, A Theatre of Difference, Australasian Drama Studies, 50, April 2007, 5-17
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Daniel Schlusser, Two ways of looking at Blackbird, RealTime Arts, 71, February 2006, 10
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Daniel Schlusser, Darrin Verhagen, James Paul, Sound (Image, Text): Audiovisual Relationships in M + M, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 67, October 2015, 109 - 130
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Daniel Vigilante, Hotel Obsino, Vigilante Citizen, 6 September 2007
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Daniel Williams, Two-shoes O'Connor, Sydney Morning Herald, 21 April 1989
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Daniel Ziffer, The Age, 17 October 2005, 8
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Daniel Ziffer, The Age, 4 April 2007, 5
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Danielle Brady, Julie Robson, Lekkie Hopkins, From practice to the page: multidisciplinary understandings of the written component of practice-led studies, Australasian Drama Studies, 57, October 2010, 188-199
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Danielle Cronin, The Canberra Times, 24 September 2002, 3
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Danielle Koopman, The Telegraph (Brisbane), 28 August 1987
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Danielle Wood, [Fish], The Mercury (Hobart, Tas. : 1860 - 1954), 9 October 1998, 25
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Danielle Wood, [For The Term of his Natural Life -The Musical], The Mercury (Hobart, Tas. : 1860 - 1954), 7 February 2004, 71
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Dante for the Crystal, Barrier Miner, 7 July 1936, 2
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Daren Pope, Kicking up the heels, BNews, Theatre and Dance Platform, 29 November 2007
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Daring Safe Robbery at the Empire Theatre, Wagga Wagga Express and Murrumbidgee District Advertiser, 9 July 1901, 2
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Darling, what sort of question is that?, The Age, 1 July 1969, 1
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Darren Burton, Oh Mamma - what a night, The Chronicle, 16 August 2002, 27
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Darren Devlyn, 'You'd rather have a night out with your car than your girlfriend!', TV Week, 24 March 1990, 14-15
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Darren Devlyn, Chekhov, Shakespeare...Acropolis Now What a. What a classic!, TV Week, 4 April 1992, 58-59
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Darren Devlyn, How 'Effie' became a drama Queen, TV Week, 4 April 1992, 58-59
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Darren Devlyn, Nick tastes the fruits of success, TV Week, 14 October 1989, 29
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Darren Devlyn, Two gowns, two rings, two receptions...TOO MUCH!, TV Week, 31 October 1992, 10-11
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SIMON: I've just opened in a show in Albury at the Hothouse Theatre called The Bridge. My only other professional work has been in a couple of episodes of John Safran's Music Jamboree for SBS. I've done a lot of acting at school and amateur theatre and have performed in two Melbourne Fringe Festivals. I finished year 12 last year and am studying arts at Melbourne Uni.
DARREN: I was born in Brisbane, graduated from NIDA in Sydney in 1988 and have worked professionally since. I've worked in musicals, TV, film, radio, ads and done a lot of theatre, from Shakespeare to contemporary plays.
I'm currently performing in Richard III, my 11th production with Bell Shakespeare, and am now an associate artist with the company. Last year I did three plays and a TV series called Dossa and Joe (written and directed by Caroline Aherne, The Royle Family) back to back. I just came off 14 months of work. I spent three of the last five years on Full Frontal and Totally Full Frontal as a series regular, which I was mixing with Bell tours. I've toyed around with TV and done guest parts in soaps and small parts in a couple of American films.
People who last in the theatre are those who develop very strong stagecraft. They're capable of doing 200 shows on the trot and can make people who've paid $50 a ticket feel like they've got their money's worth.
SIMON: Do you have to do much work that you don't enjoy, in order to pay the bills and to get the good roles?
DARREN: It's a constant battle, particularly when you start off. In the beginning it's important to get your face out there, and that means auditioning for everything that comes along. A lot of times you don't know where your work is going to lead you. So much of the industry works on connections.
SIMON: Is it necessary to go to drama school?
DARREN: There's no definitive way of getting into acting, although drama school helps a great deal, particularly if you're doing theatre. It also introduces you to agents and the chance of meeting and being taught by directors. However, if you grow up doing a lot of community or school theatre, you can learn it other ways. These days there's a big push to go to drama school, but there are people in this company who haven't been. My involvement in this company has happened after many years of being committed to the industry. If you take it on flippantly, it just won't last. With acting, you have to be thick-skinned and a bit obsessive, a bit single-minded about it.
SIMON: When I was 15, I sent my photo and bio to as many agents as I could. I had a few interviews, but the agent I went with was the only one that asked me to prepare something to act for them. How do you find an agent?
DARREN: If you ring an agency - and there are plenty of them - the common response is: "Our books are full.'' It's a catch-22, but the easiest way to get an agent is to get a job to show you're making an income. An agent will be interested if they can make money out of you. In the meantime, as well as submitting your bio and chasing up your application, you can offer agents free tickets to any of your performances.
SIMON: Until I've reached the stage where I've done a lot of work, I'm going to need my agent to tell me about upcoming auditions. I don't know anyone at my level who gets work without one. Also I want to make sure I get more professional work.
DARREN: That desire never changes. A lot of the time you don't know, but if you've got the passion for it, something looks after you. If you keep your ear to the ground and make sure every job you do is your best, and keep a positive attitude, you'll hear about work. The employment statistics can be bleak, but don't focus on those. You could land one ad that can give you a mortgage, or land four days' work on an American film and get enough money to look after you for three months. In between, whether you do acting classes or voice training, yoga, or play readings, so much of the industry is about existing in a place where you're always working towards increasing your skill level and opportunities. Don't sit by the phone waiting for your agent to ring, or in coffee shops with cynical actors lamenting the state of the industry. It doesn't help in any way to focus on the possibility of failure. The people I find continuously working in this industry don't stop and question if they will be successful, they just make a go of it. And your first job unravels that very first thread.
Darren Gilshenan, Marcella Bidinost, Simon Stone, The Age, My Career: A Desire to Be Under the Spotlight, The Age, 4 May 2002, 24
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Darren Levin, The heart of the matter, The Age, First, 9 June 2005, 3
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Darrin Farrant, Sydney Music Journal, 27 February 2003, 15
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Darrin Farrant, The Age, 20 April 1998
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Darrin Farrant, The Age, 7 April 1998
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Darrin Farrant, The Age, 8 April 1998
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Darwin Colours, The Advertiser, National Library of Australia, 28 July 1924, 11
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Darwin Peace Celebration, Northern Territory Times and Gazette, 26 July 1919, 15
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Darwin play for London, The Age, 22 November 1966, 6
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Darwin's Defence Importance, The Advertiser, National Library of Australia, 29 June 1939, 20
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Darwin, Little Fanny Bay. 17-7-1884, North Australian, 18 July 1884, 2-3
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Das Normale und seine Abweichung, Marbacher Zeitung, Theatre and Dance Platform, 25 June 2001
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Dave at Crystal Theatre, Barrier Miner, 30 August 1940, 3
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David A Williams, Killing the Audience: Forced Entertainment's First Night, Australasian Drama Studies, 54, April 2009, 68-86
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David A Williams, Political Theatrics in 'The Fog of War', Australasian Drama Studies, 48, April 2006, 115-129
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David Allen, The Australian, 16 March 1998, 13
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David Allen, The Australian, 23 April 1998
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David Allen, The Australian, 24 April 1998
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David Allen, The Australian, 6 March 1998
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David Allen, What the theatre needs is... criticism, Island Magazine, 9/10, March, 1982, 50-52
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David Atfield, Muse, May 2002, 5
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David Baird, The private life of Stan Laurel, Melbourne Sun, The University of Adelaide, Library Special Collections, 14 September 1978, 39
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David Bay, Newcastle Sun, 7 June 1972, 0
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David Bradley, Eugene Schlusser, The Old Dolphin, On Stage, 11, 3, 2010, 22-24
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David Bradley, The Alexander Theatre at Monash University, Komos: a quarterly journal of drama and the arts of the theatre, 1, 1967, 1-3
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David Bray, Courier Mail, 10 July 1987
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David Bray, Courier Mail, 11 July 1988
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David Bray, Courier Mail, 17 August 1988
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David Bray, Courier Mail, 20 July 1988
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David Bray, Courier Mail, 8 July 1988
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David Bray, [Sons of Cain], Courier Mail, 10 April 1986, 18
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David Bretton, Review: Rachel McAlpine, Driftwood, Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 8, April 1986, 122 - 123
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David Brien, Guardian Messenger, 18 October 2006, 52
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David Britton, Career heading in the right direction, The West Australian, 19 August 1988, 32
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David Britton, The West Australian, 1 February 1988
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David Britton, The West Australian, 1 October 1987
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David Britton, The West Australian, 10 January 1987
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David Britton, The West Australian, 12 February 1987
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David Britton, The West Australian, 12 February 1987
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David Britton, The West Australian, 12 February 1988
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David Britton, The West Australian, 14 February 1987
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David Britton, The West Australian, 14 March 1988
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David Britton, The West Australian, 15 February 1988
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David Britton, The West Australian, 15 January 1987
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David Britton, The West Australian, 15 January 1987
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David Britton, The West Australian, 15 July 1987
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David Britton, The West Australian, 16 February 1988
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David Britton, The West Australian, 16 March 1987
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David Britton, The West Australian, 16 March 1987
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David Britton, The West Australian, 17 February 1988
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David Britton, The West Australian, 17 February 1988
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David Britton, The West Australian, 18 April 1988
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David Britton, The West Australian, 18 February 1988
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David Britton, The West Australian, 19 August 1988
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David Britton, The West Australian, 19 November 1987
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David Britton, The West Australian, 2 January 1988
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David Britton, The West Australian, 2 May 1988
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David Britton, The West Australian, 20 July 1987
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David Britton, The West Australian, 22 June 1988
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David Britton, The West Australian, 23 April 1987
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David Britton, The West Australian, 23 May 1987
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David Britton, The West Australian, 25 September 1987
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David Britton, The West Australian, 27 July 1987
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David Britton, The West Australian, 29 August 1987
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David Britton, The West Australian, 3 December 1987
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David Britton, The West Australian, 30 December 1986
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David Britton, The West Australian, 30 May 1988
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David Britton, The West Australian, 31 January 1987
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David Britton, The West Australian, 5 October 1987
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David Britton, The West Australian, 6 April 1988
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David Britton, The West Australian, 6 July 1987
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David Britton, The West Australian, 6 November 1987
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David Britton, The West Australian, 7 June 1988
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David Britton, The West Australian, 7 March 1988
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David Britton, The West Australian, 8 April 1987
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David Britton, The West Australian, 8 February 1988
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David Britton, The West Australian, 8 February 1988
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David Britton, The West Australian, 8 May 1987
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David Britton, The West Australian, 9 January 1987
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David Britton, The West Australian, 9 May 1988
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David Britton, [H.M.S. Pinafore ], Centrestage Australia, 1, 10, June 1987, 29
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David Britton, [the Hope], Centrestage Australia, 1, 11, 1 July 1987, 23-24
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David Carnegie, Review: Bruce Mason, Every kind of weather, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 11, October 1987, 89 - 94
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David Colville, The Daily Telegraph, 14 February 1987
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David Colville, The Daily Telegraph, 15 January 1987
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David Colville, The Daily Telegraph, 21 March 1987
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David Colville, The Daily Telegraph, 24 January 1987
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David Colville, The Daily Telegraph, 26 March 1987
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David Colville, The Daily Telegraph, 31 January 1987
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David Colville, The Daily Telegraph, 5 February 1987
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David Colville, The Daily Telegraph, 6 January 1987
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David Colville, The Daily Telegraph, 7 February 1987
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David Cregan, 'There's something queer here': modern Ireland and the plays of Frank McGuinness, Australasian Drama Studies, 43, October 2003, 66-75
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David Crofts, Melbourne Times, 28 September 2005, 0
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David Curry, Good Times, 25 August 2004, 4
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David E R George, Casebook: The Tempest in Bali - a director's log, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 15/16, April 1990, 21 - 46
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David Evans, A Taste of Excellence, Entertainer, 12 September 2002, 9
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David Garrett, Opera-Opera, July 2006, 12
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David Garrett, Opera-Opera, November 2005, 12
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David Garrett, Opera-Opera, September 2005, 12
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David Gyger, Opera. Performances in Adelaide, Melbourne, Perth and Sydney, Theatre Australia, 5, 1, August 1980, 41-43
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David Hare, Sydney Morning Herald, 15 July 2005, 14
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David Hobson, The Canberra Times, 21 March 2001
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David Hough, Australian provincialism writ large, Westerly, 35, 3 (September), 1990, 20-22
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David Hough, Financial Review, 1 May 1987
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David Hough, Financial Review, 12 February 1988
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David Hough, Financial Review, 20 March 1987
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David Hough, Financial Review, 22 April 1988
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David Hough, Financial Review, 25 April 1988
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David Hough, Financial Review, 27 November 1987
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David Hough, Financial Review, 31 July 1987
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David Hough, Times on Sunday, 22 March 1987
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David Kellett, Hearty play on a sober subject, The News, The University of Adelaide, Library Special Collections, 12 November 1981, 62
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David Malouf, Isherwood and his times, The Australian, The University of Adelaide, Library Special Collections, 7 January 1986
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David Manne, Enter, stage left, the absent playwright, The Age, Extra, 31 August 1996, 10
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David Marr, Au revoir Paris, The National Times, 3 September 1979, 43
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David Marr, McNeil's drama has one act to go, The Bulletin, The University of Adelaide, Library Special Collections, 22 March 1975
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David Matthews, The First Born, The Herald, 9 May 1988
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David Matthews, The Herald, 12 November 1987
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David Matthews, The Herald, 13 October 1987
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David Matthews, The Herald, 15 October 1987
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David Matthews, The Herald, 22 June 1988
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David Matthews, The Herald, 23 June 1988
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David Matthews, The Herald, 25 July 1988
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David Matthews, The Herald, 27 June 1988
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David Matthews, The Herald, 3 August 1988
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David Matthews, The Herald, 7 April 1988
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David McLennan, The Canberra Times, 3 April 2006, 4
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David McNicoll, Sun Herald, 10 October 1971, 129
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David Mills, Sydney Star Observer, 5 June 2003, 13
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David Myers, The Morning Bulletin, 21 November 1987
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David O'Donnell, Kia ora begorrah: performing Irishness in Aotearoa, Australasian Drama Studies, 43, October 2003, 164-173
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David O'Donnell, Lisa Warrington, Teaching the unteachable: a dialogue in Director Training, Australasian Drama Studies, 57, October 2010, 129-147
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David O'Donnell, Politics of place and extended family in Taki Rua Productions 25th year: Strange Resting Places and Te Karakia, Australasian Drama Studies, 55, October 2009, 10-29
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David Pentherby, Swimmers - Sink or Swim, On Dit, May 1990, 21
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David Rowbotham, A look at Stan before he met up with Ollie, Courier Mail, 7 June 1979, 20
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David Throsby, Glenn Withers, What Price Culture?, Journal of Cultural Economics, 9, 2, December 1985, 1-34
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David Tickell, Elephant Stamps - Brisbane, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 13
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David Tredinnick, Tintookie man, the last of his tribe: a story of Peter Scriven, Australasian Drama Studies, 51, October 2007, 57-69
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David Vance, Illawarra Mercury, 21 March 1987
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David Watt, Art and working life: Australian trade unions and the theatre, New Theatre Quarterly, 6, 22, 1990, 162-173
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David Watt, Community Theatre: a progress report, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 20, April 1992, 3 - 15
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David Watt, J Lee, Decentering the theatre, Meanjin, 50, 2-3 (Winter-Spring), 1991, 231-240
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David Watt, The Trade Union movement, Art & Working Life, and Melbourne Workers' Theatre, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 14, April 1989, 3 - 18
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David Williams, Are you gonna kill the kids tonight honey?, RealTime Arts, 54, April 2003, 39
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David Williams, Out-of-body performance, RealTime Arts, 71, February 2006, 35
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David Williams, The doom complex, RealTime Arts, 71, February 2006, 32
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David Williams, Wronged animals, bodily remains, RealTime Arts, 74, August 2006, 47
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David Williamson, Actors, writers and the Carlton theatres, Elizabethan Trust News, Summer, 1972
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Dawn Albinger, Resisting Romantic Love: Transforming the Wound of Amputation into a Caress, Australasian Drama Studies, 56, April 2010, 24-37
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Day Must Break at Theatre Royal, Catholic Freeman's Journal, 4 November 1937, 20
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Day Must Break, Smith's Weekly, 20 November 1937, 23
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Day-by-day Colleen settles on new plans, The Age, 20 July 1972, 14
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Dean Tuttle, Street Arts: counting the community, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 20, April 1992, 33 - 53
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Deanie Carbon, The West Australian, 16 February 1987
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Deanie Carbon, The West Australian, 29 January 1987
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Deanie Carbon, The West Australian, 31 January 1987
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A well developed entertainment from an amusing situation is worked out in "Dear Ruth," now playing at the Comedy. Letters written enthusiastically by a "kid-sister" in her elder sister's name to a soldier overseas as part of the bobby-soxer's many enterprises to help the war effort have their perplexing results when -the possessive soldier returns looking ardently for his "Dear Ruth," who has just announced her engagement to Albert, a sedate young man who is not able to keep pace with the rapid turn of events. There is plenty of humour to keep the brew merrily simmering and the characters are well played by a thoroughly efficient cast. Claude Fleming is well suited with the role of the father of the girls, Judge Wilkins, and Gladis Griswold and Anne Lincoln give polished presentations of the mother, Mrs. Wilkins, and the daughter, Ruth, respectively. Gwenda Wilson is well cast as the younger sister, Miriam, the imp of mischief behind all the trouble. The supporting parts are strbngly filled, though John Stacy's interpretation of Albert strikes a farcical note that is discordant in the key in which the comedy is played. It is amusing, nevertheless. The play is, as usual, expertly produced by Gerald Kirby, and the stage set by George Upward and assistants is a work of art.
Dear Ruth, The Advocate, National Library of Australia, 9 January 1946, 20
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Death & Dying im Mousonturm, Journal Frankfurt, Theatre and Dance Platform, 12/09, 29 May 2009
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Death of an Actress. Miss Sadie Macdonald., The Australian Star, 30 November 1896, 5
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Death of Dr. Barnett, Western Mail, (Perth, WA : 1885 - 1954), 5 November 1897, 17
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Death of La Stupenda, On Stage, 11, 4, 2010, 2
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Death of Madame Fanny Simonsen, The Argus, 21 September 1896, 5
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Death of Miss Violet Varley, The Argus, 4 June 1895, 6
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Death of Mr George Coppin, A Remarkable Career, Sydney Morning Herald, National Library of Australia, 15 March 1906
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Death of Mr. Charles Turner, The Daily Telegraph, 12 July 1894, 6
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Death of Mr. Chas. Turner., Evening News, 12 July 1894, 6
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Death of President McKinley, The Burrowa News, NSW, 20 September 1901, 2
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Death of Sam Lazar, Evening News, 15 November 1883, 2
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Death of Theatre Figure, The Advertiser, 20 April 1954, 3
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Death of Wm. Rignold, Sydney Morning Herald, 30 January 1905, 6
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Death, The Hobart Town Courier, 13 February 1857, 2
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Debbie Cameron, Tamworth play all sweet, no sour, The Canberra Times, 3 August 1984
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Debbie Kruger, Variety, 11 August 1987
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Debbie Kruger, Variety, 13 April 1988
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Debbie Kruger, Variety, 14 October 1987
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Debbie Kruger, Variety, 14 October 1987
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Debbie Kruger, Variety, 17 February 1988
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Debbie Kruger, Variety, 2 September 1987
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Debbie Kruger, Variety, 20 April 1988
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Debbie Kruger, Variety, 3 February 1988
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Debbie Kruger, Variety, 3 June 1987
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Debbie Kruger, Variety, 6 July 1988
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Debbie Kruger, Variety, 6 May 1987
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Debbie Kruger, Variety, 6 May 1987
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Debbie Kruger, Variety, 7 August 1987
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Debbie Kruger, Variety, 7 July 1987
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Debbie Kruger, Variety, 9 December 1987
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Debbie Kruger, Why the Dramaturg's Task Is So Demanding, The Australian, 30 October 1986
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Deborah Bailey, A librarian who was 'discovered', The Canberra Times, 29 January 1974, 11
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Deborah Cornwall, The Advertiser, 10 March 1988
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Deborah Cornwall, The Advertiser, 15 January 1988
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Deborah Cornwall, The Advertiser, 16 April 1988
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Deborah Cornwall, The Advertiser, 4 March 1988
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Deborah Forster, Buzo fusses to get it right, to the last detail, The Age, The University of Adelaide, Library Special Collections, 1 March 1980
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Deborah Forster, Graeme Blundell: A Man for Seven Reasons, The Age, 15 March 1979, 2
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Deborah Forster, Neuroses finish second, at last, The Age, 4 July 1979, 2
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Deborah Jones, Belvoir and STC programs play at mix-and-match, The Australian, Theatre and Dance Platform, 3 November 2011
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Deborah Jones, Director puts writers centre stage, Arts & Entertainment, 27 August 1992, 14
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Deborah Jones, Last dance as Murphy and SDC part, The Australian, 29 October 2007, 3
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Deborah Jones, Life for some is more than equal to its parts, The Australian, 21 January 1992, 10
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Deborah Jones, Seriously sizzling, sinuous action, The Australian, 1 November 2007, 11
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Deborah Jones, Structrure and Sadness, The Australian, Theatre and Dance Platform, 2009
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Deborah Jones, The Australian, 15 June 2007, 14
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Deborah Jones, The Australian, 17 March 2006, 19
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Deborah Jones, The Australian, 20 August 2004, 14
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Deborah Jones, The Australian, 27 April 2004, 12
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Deborah Jones, The Australian, 5 June 2007, 15
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Deborah Jones, The Australian, 8 July 2005, 16
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Deborah Jones, The Australian, 8 September 2005, 11
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Deborah Jones, The Australian, 9 August 2007, 11
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Deborah Jones, The Australian, 9 February 2001
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Deborah McIntosh, Keeping up appearances, Sun Herald, 15 October 1995, 159
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Deborah Stone, Goodbye Piccadilly, hello Australia fair, The Age, 16 November 1998, 19
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Deborah Stone, Where dance takes alternative steps, The Australian, Theatre and Dance Platform, 12 April 1988, 10
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Debra Aldred, Arts and Entertainment, 2 September 2004, 29
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Debra Aldred, Arts and Entertainment, 26 January 2004, 16
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Debra Aldred, Ballet scored, Arts and Entertainment, 20 July 2001, 49
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Debra Aldred, Be careful what you eat, Arts and Entertainment, 2 July 2002, 14
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Debra Aldred, Chook raffle with a twist, BAM, 25 May 2002, 8
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Debra Aldred, Cloudstreet's tour de force lights up the town, Courier Mail, 21 July 2001, 11
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Debra Aldred, Cloudstreet's tour de force lights up the town, Courier Mail, 21 July 2001, 11
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Debra Aldred, Energy on tap, Supplements, 10 October 2002, 17
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Debra Aldred, It's a dream time for indigenous dance, Courier Mail, 21 June 2001, 3
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Debra Aldred, Journey Man, Arts and Entertainment, 12 July 2001, 17
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Debra Aldred, Just desserts, Courier Mail, 27 July 2004, 17
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Debra Aldred, Mental peaks and dark despair in a political play, Courier Mail, 28 March 2001
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Debra Aldred, Poet makes pilgrimage to celebrate husband, Courier Mail, 16 September 2002, 4
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Debra Aldred, Q-pack, Arts and Entertainment, 27 March 2003, 19
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Debra Aldred, Theatre fishing for an audience, BAM, 17 July 2004, 5
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Debut with a star, The Age, 2 November 1967, 6
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Delamore McNicoll, Sunday Telegraph, 9 September 1973, 13
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We have to record the total destruction of the Haymarket Theatre in Bourke Street by fire. This place of amusement has now been closed for several years, with the exception of a few nights at intervals, when it has been opened for occasional entrainments. At the time of the fire it was under lease to Mr Coppin, also the lessee of the Theatre Royal. Although so rarely open to the public, it was in complete order as a theatre. Its stage was supplied with scenery and fittings; the pit, dress circle, and a gallery were in their usual condition, and the premises were carefully looked after. Those to whom the building is familiar will remember that the establishment consisted of two portions. That fronting Bourke street consisted on the eastern side of Allen’s Haymarket Hotel, and on the Western side (separated from the other by the pit entrance, some 14 ft wide) where ticket offices, &c. The first floor was occupied by the main portion of the Apollo-hall. Behind these front buildings was a courtyard, with a fountain in the centre; but the premises were carried along on each side till they reached the theatre at the back. On the right of this yard were lattice work arbours, fitted with benches and tables, and above was a long covered passage leading to the dress-circle. On the opposite side was a bar, an unused kitchen, and a storeroom in which Mr Allen kept his wines and spirits. Adjoining the latter forum was the staircase leading to the gallery. Above this last range of buildings was a wing of the Apollo Hall. It must be understood that this courtyard led to the chief entrance to the th3eatre. Last evening m(Friday) the hotel was open and doing business, but the rest of the establishment was unused and unoccupied, save by the watchman employed by Mr Coppin to take care of the place. At about 8 o’clock last evening (Friday) the fire was first observed. The watchman of the theatre, Reuben Sweeny by name, was standing at the stage door in Little Collins street, when a boy going past gave him the alarm of fire. Running into the street, he saw smoke issuing form the building he had left, at a point about the middle of its length. He immediately went into the theatre, and on to the stage, where he saw signs of fire in the north-eastern corner, at the point where, on the other side of the party wall, were the kitchen and spirit room. He then got out the two hose with which the theatre was supplied, and, assisted by Mr Lasson, a neighbouring oyster dealer, and Charles Marshall, a stage carpenter (who ran in with him when he gave the alarm), tried to throw water on the burning place. This they were unable to do. The fire spread with extraordinary rapidity, and they had to escape at the back to avoid suffocation. According to Marshalls account, the pressure of water in the hose so sued was very weak. By this time, however, the alarm had been given more fully, and the United Insurance Fire Brigade, under superintendent Hoad, appeared on the scene. Their first place was to carry the hose into the courtyard, but from this they were soon driven away by the increasing flames and smoke. Firemen were also stationed at other points of the building, their endeavours being directed to prevent the flames spreading to adjoining houses. In this work they were speedily joined by the Emerald Hill, Hotham (under Mr Cook) and East Collingwood (under Mr Daskein), local fire brigades. Altogether nine streams of water were directed on the burning premises. Fortunately the united energetic efforts of the fire brigades proved successful, and with some small exceptions the damage was confined within the walls of the theatre and front buildings, stretching from Bourke to Little Collins streets. On the western side a number of houses were closely adjoining the theatre buildings, but a strong nearly south-westerly wind kept the flames from them. On the eastern side were a row of small one-storey market stalls, usually occupied by poulterers, green grocers, and other produce dealers. Those of these shops which adjoined the theatre premises extending from Bourke street to the point level with the courtyard, were saved with little injury; but those actually alongside the theatre were destroyed by the falling of the theatre wall. Beyond these little shops were the open sheds of the Eastern Market, which could not readily catch fire. The neighbouring houses in Little Collins Street, were saved by the southerly wind.
Although the progress of the fire afforded one of the grandest spectacles ever seen in Melbourne, it was singularly uneventful. Some six or seven minutes after the first alarm was given, the flams burst through the roof, and tongues of fire issued from the row of ventilating apertures under the eaves. This was in about the middle of the building as before described, but with a speed which could scarcely be told in minutes, so rapid was it, the flames extended through the theatre on one side, and into the Apollo hall on the other, till they streamed out through the windows facing Bourke street. In ten minutes more the iron roof of the theatre fell in with a crash, and a huge volume of black smoke issued forth to be changed in another second to an enormous body of rolling, roaring flames. The wind being high, blew clouds of burning fragments across the street, and but for that interval of space, the houses for a considerable distance must have been placed in serious jeopardy. At this stage the fire was utterly beyond control. It does not, indeed, happen often in aby mans life to see flames of such volume and brilliancy. The whole city was lit up by the glare, and every spire and tower stood out in bold relief, as the reflected the ruddy light. The firemen directed jets of Yan Yean from every point of vantage, but it was obviously not to quench the fire, but to keep the walls as cool as possible. Nevertheless, they managed to subdue the conflagration in the front premises. After the fire had been nearly twenty minutes burning, the upper portion of the eastern wall of the theatre gave way, and fell outwards, crushing a number of the small market stalls before alluded to. Being mostly of wood, they soon caught fire, nut were speedily extinguished. About half an hour after the fire broke out, it was at its height. It then gradually burnt out, utterly destroying everything within the four walls extending the entire length of the establishment, except the bar room of Allens’ Haymarket Hotel, which though little injured by fire, was utterly swamped by water. The Bourke Street front remains but inside, from end to end, is only smoking ruins.
The origin of the affair is believe to be, that during the day a fire was lit in the kitchen of the hotel (ordinarily unused) to enable the boys to clean some pint pots.. The fire was left unextinguished, and some hot cinders may have fallen on the “composition” floor, and set it on fire. This would account form a smell of pitch which was said to be observable when the fire was first discovered. It seem that the fire certainly broke out at that particular spot. It should be mentioned, however, that the neighbourhood is alive with rumours as to a previous strong expectation that the theatre was to be burned down on the previous evening. A little girl, named Sarah Anne Brown, the daughter of a neighbour, told Mrs M’Gee, landlady of the Adam and Eve Hotel in Little Collins Street, that the theatre was going to be burnt down that night (Thursday).
Fatal Accident at the Fire
(From the Herald)
About half past seven o’clock this morning (Saturday), two men, named respectively John Jones and ---- Wyatt, were standing amongst the debris in what had been the pot of the Haymarket Theatre. Whilst gazing on the scene of ruin and smouldering ashes, the suddenly heard an ominous kind of cracking indicative of danger, and Wyatt immediately changed his position, and by so doing probably escaped serious injury, or sudden death. Jones, a young managed twenty-three years, residing at Hotham, and a stage carpenter by trade, did not move, and in another moment an iron pillar, or as some state a girder, came plunging down, striking Jones on the head, and crushing him to the ground. As soon as possible a cab was obtained by Constable Baird, who in company with Wyatt, went with the wounded man to the hospital, where surgical aid was at once rendered. The poor fellow, who of course was utterly insensible, was placed on a bed, and his hair was removed with the object of enabling Dr Lawrence to arrive at some conclusions as to the extent and nature of the injuries sustained by Jones, and it then became clear that they were so serious as to give but slight hopes of his recovery. Ice and other strong remedies were applied with promptitude and skill but without avail, as the unfortunate man succumbed to the violence of the injury sustained by him, and died at ten minutes to one o’clock, without having shown a moments consciousness. We understand that the deceased was related to Mr Geo. Loyal, the gymnast.
DESTRUCTION OF THE HAYMARKET THEATRE BY FIRE. (1871, September 27)., The Hamilton spectator., National Library of Australia, 27 September 1871, 1
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Destruction of the Victoria Theatre, Sydney Morning Herald, 24 July 1880, 6
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Devonport Repertory Society Wins Drama Festival Trophy, The Examiner, National Library of Australia, 13 March 1950, 7
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Diana Plater, The Canberra Times, 25 August 2003, 9
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Diana Simmonds, Review, 3 June 2006, 6
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Diana Streak, The Canberra Times, 16 April 2008, 5
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Diane Beer, Pat Lives for the Theatre, The News, 6 May 1986
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Disco Inferno cools down and chills out, Port Phillip Leader, Theatre and Dance Platform, 16 August 2002
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THE THEATRE—A drama called Ellen Wareham was produced at the Theatre on Monday evening. It is quite of an Old Bailey character. Ellen marries Creswell, never having loved him. He, not aware of this most important matrimonial fact, is under the necessity of going abroad, and being apprehended as a spy, is imprisoned for years in an Austrian dungeon, from which he at length escapes by a stratagem, the consequence of which is to lead his wife and her friends to believe him dead. Nearly two years after Creswell was supposed to have been quietly inurned, Ellen marries one (Hamilton) to whom her whole heart and soul are devoted. Not many months after, the first husband returns -hears she is again married—has an interview with her, in the course of which she explains the circumstances which led lo her second marriage, but admits that she never loved him. Doating fondness on his part gives way to desperate passion and thirst of revenge, and he causes her to be indicted for bigamy, of which she is found guilty. [The jury must have been a strange set, seeing that the first husband had studiously circulated a report of his own death, and there was no proof that his wife participated in the secret!] The sympathy of the Judge, however, is excited, and Ellen is merely "fined and discharged." Creswell having thus rendered himself the mark of universal odium, at length repents; but weary of life, swallows poison —sends for his wife and children, blesses them in his dying moments; and having obtained the forgiveness of Ellen, bestows her, with his own hand, upon Hamilton-the second husband, and real object of her affections, and expires. Now these incidents are strained and unnatural-yet they give rise to several affecting scenes. The weight of the piece rested on Mrs. Taylor and Mr. Lazar. Mr. L. manifested a very accurate conception of the part allotted to him, though we could point out many objections to his reading and pronunciation ; but as not one of the company-male or female-is unamenable to similar censure, why should we particularise him? Mrs Taylor appeared to please the audience, and therefore, the odds are against our opinion that she cannot pourtray deep feeling. The scenes of which she endeavours to make the most excite a sense of the ridiculous-the convulsive catching of the breath, and extravagant contortions of the head and frame (as if pulled about by a wire), are complete antidotes to sympathy. Mrs. Taylor's line is, in our opinion, quiet comedy of the higher class, or the parts of pert, intriguing, singing chambermaids. Spencer, though he is entitled to the praise of general correctness, was either out of place or out of spirits on this occasion. The incidents in which he is supposed to be a participator, would, we should think, have roused the passions of an anchorite-yet Spencer was cold as monumental marble. The rest of the characters require no particular notice, with the exception of that sustained by Miss Winstanley, who, upon this and several other occasions lately, has shewn a capability to become the very best actress on the Sydney stage, in that line of character which she generally assumes. At the conclusion of the first piece Miss Lazar danced, as usual, very prettily. Then there was some tightrope foolery ; and lastly, the farce called The Young Reeler, of which Miss Lazar, though a very clever child, is too young to play the hero not even a shadow of illusion is preserved owing to this circumstance.
Domestic Intelligence , The Sydney Herald, Ward Stephens and Others , Sydney, NSW., National Library of Australia, VII, 592, 29 June 1837, 2
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Don't Stand on Ceremony, Melbourne Times, 9 March 1983, 11
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Don't Stand on Ceremony, The Age, 25 February 1983, 9, 12
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Donald Horne, The Age, 21 January 1988
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Donald Maynard, National School of Drama: dream or reality?, Overland, 14, Autumn, 1959, 35
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Donald Peers and Jaycee, Barrier Miner, 10 June 1955, 3
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Done for the Money, The Advertiser, 5 July 1980, 14
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Donna Sadka, A grand gesture or foolhardy?, The West Australian, 13 July 1978
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Donna Sadka, Alan Cassell: Profile, Theatre Australia, 5, 1, August 1980, 13
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Donna Sadka, Perth's Festival, Masque, 1/4, March-April, 1968, 33-35
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Donna Sadka, The West Australian, Hewett observed (perhaps with olive branch), 23 August 1979, 31
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Donna Sadka, The West Australian, Hewett observed (perhaps with olive branch), The West Australian, Australian Jewish Historical Society Archives, 23 August 1979, 31
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Doreen Fernandez, The past is present: the development of modern Philippine theatre, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 25, October 1994, 104 - 116
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Doris Fitton's Independent Theatre is 25, Sun Herald, 22 May 1955, 55
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Doris Fitton's record, Pix, 9 December 1950, 32-35
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Doris Hayball, Australian Literature Society, A.L.S. Annual Drama Night, All About Books for Australian and New Zealand Readers, 5, 11, 13 November 1933, 191
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Dorothy Green, William Forster and the drama of ideas, Australasian Drama Studies, 1, 1, October 1982, 21 - 37
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Dorothy Grimm, Centralian Advocate, 11 March 1987
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Dorothy Grimm, Centralian Advocate, 13 April 1988
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Dorothy Grimm, Centralian Advocate, 2 December 1987
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Dorothy Grimm, Centralian Advocate, 22 May 1987
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Dorothy Grimm, Centralian Advocate, 26 June 1987
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Dorothy Hewett, Creating heroines in Australian plays, Hecate, 5, 2, 1979
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Dorothy Hewett, Mrs Porter and the Angel, Dorothy Hewett: The Feminine as Subversion, 1992, 21
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Dorothy Hewett, There's no business like show business, Meanjin, 43, 1 (Autumn), 1984, 26-32
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Double act exciting mix, Wynuum Herald, 5 December 2007, 57
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Doug Anderson, Face to Face, Sydney Morning Herald, 8 March 1988
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Doug Anderson, Radical Yet Plausible, Sydney Morning Herald, 29 January 1992, 12
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Doug Anderson, Sydney Morning Herald, 11 March 1988
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Doug Anderson, Sydney Morning Herald, 12 March 1988
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Doug Anderson, Sydney Morning Herald, 2 September 1988
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Doug Anderson, Sydney Morning Herald, 25 July 1988
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Doug Anderson, Sydney Morning Herald, 27 February 1988
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Doug Anderson, Sydney Morning Herald, 28 May 1988
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Doug Anderson, Sydney Morning Herald, 4 December 1987
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Doug Anderson, Sydney Morning Herald, 4 July 1987
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Doug Anderson, Sydney Morning Herald, 5 October 1987
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Doug Anderson, Sydney Morning Herald, 6 June 1988
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Doug Booth, The Herald Sun, 12 January 2001
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Doug Kennedy, Gold Coast Bulletin, 1 June 1987
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Doug Kennedy, Gold Coast Bulletin, 10 June 1988
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Doug Kennedy, Gold Coast Bulletin, 12 March 1988
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Doug Kennedy, Gold Coast Bulletin, 13 March 1987
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Doug Kennedy, Gold Coast Bulletin, 14 April 1988
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Doug Kennedy, Gold Coast Bulletin, 14 November 1987
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Doug Kennedy, Gold Coast Bulletin, 18 August 1988
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Doug Kennedy, Gold Coast Bulletin, 18 June 1987
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Doug Kennedy, Gold Coast Bulletin, 2 February 1988
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Doug Kennedy, Gold Coast Bulletin, 2 July 1987
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Doug Kennedy, Gold Coast Bulletin, 25 June 1988
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Doug Kennedy, Gold Coast Bulletin, 26 August 1988
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Doug Kennedy, Gold Coast Bulletin, 26 August 1988
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Doug Kennedy, Gold Coast Bulletin, 27 August 1988
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Doug Kennedy, Gold Coast Bulletin, 27 March 1987
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Doug Kennedy, Gold Coast Bulletin, 28 May 1988
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Doug Kennedy, Gold Coast Bulletin, 29 August 1987
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Doug Kennedy, Gold Coast Bulletin, 31 May 1988
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Doug Kennedy, Gold Coast Bulletin, 4 June 1988
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Doug Kennedy, Gold Coast Bulletin, 4 October 1987
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Doug Kennedy, Gold Coast Bulletin, 5 February 1988
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Doug Kennedy, Gold Coast Bulletin, 7 May 1988
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Douglas Aiton, Baton makes Kaye a classic clown, The Age, 4 August 1975, 2
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Douglas Aiton, Spotlights on an age of pleasure, The Age, 29 July 1975, 2
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Douglas Kennedy, Pantomime at its best, Gold Coast Bulletin, 11 January 2001, 11
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Douglas Leonard, Barry Schwartz: dangerous beauty, RealTime Arts, 44, August 2001, 41
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Douglas Leonard, Clown's eye iew, RealTime Arts, 71, February 2006, 31
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Douglas Leonard, The border artist, RealTime Arts, 74, August 2006, 35
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Douglas Leonard, We who get slapped, RealTime Arts, 73, June 2006, 31
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Douglas Stewart, The playwright in Australia, Australian Elizabethan Trust, Sydney, 1956, 9, 27
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Dr. Carver's Wild America, Sydney Morning Herald, National Library of Australia, 3 February 1891, 6
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Drama at Minerva: The Paragon, Sydney Morning Herald, 9 November 1948, 2
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Drama award to college society, The Examiner, State Library of Tasmania, Launceston Reference Library, 18 June 1962, 9
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Drama Award to Hobart, The Examiner, National Library of Australia, 9 April 1951, 4
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Drama Award to Players, The Examiner, National Library of Australia, 12 April 1948, 5
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Drama Award, The Examiner, State Library of Tasmania, Launceston Reference Library, 26 June 1961, 3
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Drama Festival Begins Today, The Advertiser, 17 August 1953, 4
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Drama Festival Continues, The Examiner, National Library of Australia, 6 April 1951, 4
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Drama for, and by, teenagers, The Age, 30 August 1966, 16
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Drama group tours again, The Age, 18 June 1969, 28
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Drama Week, Sydney Morning Herald, 4 December 1935, 9
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Drama, The Sydney Gazette and New South Wales Advertiser, G. Howe , Sydney, NSW., National Library of Australia, XXXV, 1311, 2 March 1837, 2-3
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There is no doubt that the chief thing to make a good actor, is genius. It must be remembered, that a performer is not merely an orator ; he must do something more than declaim ; he must represent a certain character, and that justly. Genius is the perfection of the human understanding, au union of the collected powers of the mind, imagination, sensibility, penetration, and judgment, directed to the same point of excellence, with a happy facility of attaining truth. The genius of acting consists in a fine and ready imagination, an acuteness of observation, and a correct judgment, working on the sure principle of an ardent love for the drama, joined to the love of fame. Happy natural talents are necessary to make an actor ; labour and study may do a great deal, but it will after all be a tedious journey to find dramatic excellence. The player who is not rich in talents may indeed labour to amass wealth of the understanding ; but he will be but a mere labourer after all, and will rarely ever find stock in trade enough for a master, in the art. The art of acting, requires such happy resemblances of nature, that the copies may not be known from the original. Thus the performer who has true genius assimilates himself without difficulty, to the character, he has to represent. The more nature assists him the better; and it is only when she refuses, that he must borrow from Art her best likeness, and yet how few possess the fascinating gaite de cœur, of genteel comedy, the grandeur of mind and manners necessary to tragedy, or the happy humour that constitutes farce. On Thursday evening The Wonder was played for the third time at the Sydney Theatre. Mrs. Cameron made her second appearance on the Sydney Boards as Donna Violante. This lady's style of acting in genteel comedy is peculiarly her own; ease and grace in every motion, combined with a certain embodying of herself with the character, which is the very essence of genuine performers. We say without hesitation that Mrs. C. has stamped herself as the leading actress of the Sydney stage. Mrs. Taylor is the only performer we have, who can feel offended at these remarks, but when she remembers that to Mrs. Cameron is she alone indebted for her theatrical success, that it was under the tuition of this lady, at Hobart Town, she made her first appearance on any stage, playing a second character, to Mrs. C.'s Mrs. Haller in the Stranger, it is not to be expected she could with but little instruction, reach to the theatrical celebrity of an acknowledged clever actress. She must therefore however unwilling see the justice of our remarks. Don Felix by Mr. Cameron, was very respectably performed; if that gentleman could divest himself of a certain solemnity of style, and play genteel comedy, in a smarter manner, it would be more pleasing; he must get rid, too, of a particular fashion he has of pointing his hands together: this is too stiff for comedy. Mr. Buckingham's Don Pedro was natural ; Mr. Lane's Don Lopez, was both lame and tame ; Mr. Peat got through Don Frederick, but he should have an eye to his unruly legs, which appear to have much pleasure in crossing each other, every stride he takes; Mr. Lees, Gibby, was very passable, considering he is totally unacquainted with the Highland tongue ; Lissardo, by Mr. Simes, was a good representation of a fop; of a serving man Miss Winstanly's, Isabella, was a fascinating and true impersonation, this young lady becomes a more general favourite in comedy every time she appears. Mrs. Jone's Flora was a lively character, to which she did full justice. By the by, we had nearly omitted to mention Mr. Gordon's Col. Britton. This gentleman is too unwieldly built for genteel comedy, he resembles a young elephant, in his motions, and at the fifth act, he broke down forgetting every syllable of the dialogue which materially inconvenienced the leading performers; Mr. Knowles ought to fine him at the least one week's salary, if he does not, it will be an injustice to the public, as the promptor could be heard all over the house. Master S. Jones recited between the pieces, the famous speech from Henry V.' Who wants more men from England, My cousin Westmoreland ! no my fair cousin." And got through it well, accompanied by appropriate action and gesture. Mr. Fitzgerald followed with an hornpipe, we thought of Mackay but comparisons are odious; the afterpiece was the laughable farce of the Two Gregories, to which full justice, was done by the performers.
Drama, The Sydney Gazette and New South Wales Advertiser, G. Howe, Sydney, NSW., National Library of Australia, XXXIV, 2878, 29 October 1836, 2
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On Tuesday night, was produced, the drama of " Angelo round Verona." The piece has been so often in representation, that the actors are quite at home in their respective parts, so that it's a pleasure to witness the performance, instead of having to sit for hours to hear them stutter and stammer; which is not only painful to the hearer, but to obtain even a meaning of the dialogue is totally out of the question. To this succeeded a comic dance, by Mr. Fitzgerald, and it so pleased the gods, that they loudly vociferated for an encore, which being complied with, they insisted upon a hornpipe, and their wish was again accorded to. The amusements of the evening concluded with what is styled, " The Grand Burlesque, Operatic, Farcical, Bombastic, Extravaganza," called " Othello Travestie." The immortal bard's splendid tragedy, frittered down into two acts of the vilest doggerel imaginable. It is a complete stretch of the absurd which cannot go further. The piece we should pronounce to be a miserable failure as a performance, although individually, each of the company, did their best to support it. Not one of the actors, with the exception Miss Winstanley, could deliver the lines with any thing like propriety - certainly she had but little to do, but that little showed that she had studied on which part of the dialogue the emphasis should be placed, of this the rest were totally deficient! It is a performance that would answer very well for a benefit night, but can never become either a favorite with the public, or a stock piece. There is a variety of singing, which went off execrably, and set our teeth on edge. Mr. Collins was the Duke of Venice; he was tolerably successful. Brabantio, an old codger, and senator of Venice, was sustained by Mr. Dyball very fairly. Othello, Moor of Venice, formerly an independent from the Island of Hayte, by Mr. Wintors was a failure; he out-Heroded Herod. lago, Othello's officer, once a native of the Gaultee Mountain, county of Tipperary, province of Munster, and Kingdom of Ireland, was played by Mr. Buckingham, who appeared not to be perfect in his part, judging from one or two blunders, one of which kept the audience waiting at least a couple of minutes. Roderigo, a very silly youth, and very partial to Mrs. Othello, by Simes, was the most comic character in the piece; it was evident that he had studied it. Cassio, a man of note, but still an injured man, rather in liquor, or the liquor there, was sustained by Mr. Lee, the worst specimen of burlesque comedy we have ever seen that gentleman attempt. Lodovico, a very respectable gentleman, whose chief duties consisted in carrying an umbrella over the Duke's head, and sporting a broad brim hat, tied under his chin, by a red cotton handkerchief, was enacted by Mr. Peat. Mr. Fitzgerald as Montano, caught in a row with Cassio, but not disposed to fight, was successful. Mr. Shribbs was a very knowing first police- man, armed with a hot poker. Mrs. Larra was a bouncing Desdemona, a very good natured lady, wife of Othello, and not a bit too well treated by him; poor Mrs. O in every embrace, appeared on the point of being suffocated. Miss Winstanley looked very engaging and interesting as Emely. Mr. Knowles did the ghost of Desdemona, and looked sufficiently frightful for the occasion. There was miserable scene shifting, and the whole piece appeared to have seagoing in the most careless manner. On Thursday night was produced the tragedy of " Richard the Third," it having been performed the preceding Monday for the benefit of Mr. Spencer, which gentleman upon this occasion again enacted the character of the "crooked backed tyrant," on the whole, most ably; it is unquestionably his chef draws, and has not been surpassed by anything that has been played upon the Sydney boards. His dress, looks, action, and manner, were all in keeping, and fully shewed that Mr. S. bad well conceived the character. In the tent scene he was particularly effective, and every passage drew down a round of applause, which was well deserved. There is another point, and one of no small consideration, in Mr. Spencer's acting-he strives to please, and therefore never fails in giving satisfaction in his Shakespearian characters, to which he must confine himself in this line he has no equal here -we do not except Knowles himself- but out of Shakespeare his manner is too stiff and formal, Mr. Knowles doubled the characters of Buckingham and Richmond without the slightest occasion, and with bad effect; the illusion was destroyed. Mr. Peat should unquestionably have played the former. Be that at it may, Mr. K. was about as imperfect at usual that is, without knowing many complete sentences in either character. Mrs. Jones, as Prince of Wales, played very passably; her dress became her much. Master S. Jones was interesting as the Duke of York. Mr. Lane made a hit as King fleury, and was applauded; it is a pity he does not always play with the same feeling and effect. We did not approve of Mr. Collin's Stanley; he had a very disagreeable motion of the logs, and appeared to be calculating " what next?" Mr. Peat was very fair as the Lord Mayor; it is a part in which no one can shine. Ratcliffe and Tyrrel were both sustained by Mr. Lee effectively. Mr. Buckingham was respectable as Norfolk. Mr. Dyball, as Lieutenant of the Tower, played very fairly. Miss Douglass was successful as Queen Elizabeth; the workings of her paternal feelings were well developed. Miss Winstanley was rather interesting as Lady Ann, but she delivered the greater part of her sentences in too high a key. Mrs. Larra was effective as the Duchess of York, The piece as a whole went off well. The house upon the rising of the curtain was thinly attended, but filled at half-price. During the first part of the evening it was difficult to distinguish either stage or actors, from the house being filled with smoke arising from the lamps. The orchestra appeared horribly out of tune, and did anything but draw forth dulcet tones. Monday next being Easter Monday, will be brought out "The Dog of Montargis" and "Don Giovanni," in the latter piece Mr. Buckingham will play the character of Leporello, in the place of Mr. Knowles, who upon this occasion has been shelved. The dog Brain will perform. Mrs. Taylor enacts the Don.
Drama, The Sydney Gazette and New South Wales Advertiser, G. Howe, Sydney, NSW., National Library of Australia, XXXV, 1321, 25 March 1837, 2
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On Monday last, being Easter Monday,
was performed " The Forest of Bondi, or
the Dog of Montargis," which went off
well, and elicited continued applause
from a numerous audience. "Giovani
in London" concluded the evening's
entertainments, in which Mrs. Taylor
sustained the character of the Don very
ably. Mr. Buckingham for the first
time enacted the part of Leperello, and
made a dead hit. The house was very
numerously attended, and every one left
apparently well satisfied.
On Tuesday night was produced, for
the second time at the Sydney Theatre,
the domestic drama of " Lyinesheo
Lovel, or tho Gipsey of Ashburnham
Dell." The piece went off creditably and
received a due proportion of applause
Mr. Spencer dressed the character of Sir
Edward Mowbray properly upon the
occasion, as a private gentleman instead
of mounting the doublet and hose. Miss
Winstanley appeared to be suffering
under severe indisposition, and must
have played the character of Emily
Hathenden with much pain to herself.
To the drama succeeded the matrimonial
duet between Master and Miss Jones,
which they played in a manner that
reflects much credit on those who instruct
them. The evening's amusements con-
cluded with ''The Dog of Montargis,
or the Forest of Bondi," it was very
well got through. Some mischievous
fellow in tho pit attempted to withdraw
the attention of the dog by whistling,
but, fortunately, failed. The house was
well attended for a Tuesday night.
Drama, The Sydney Gazette and New South Wales Advertiser, G. Howe, Sydney, NSW., National Library of Australia, XXXV, 1323, 30 March 1837, 2
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On Saturday night was performed the drama of the " Dog of Montargis; or, the Forest of Bondi." It having been frequently performed, the plot is so well known as to require no repetition at our hands. The piece went off much as usual, that is to say, successfully; but we observed a deficiency in study of both Messrs. Lee and Spencer, which was to us a matter of surprise, considering on how many occasions they have enacted the same characters. ln the concluding sentence before the fall of the curtain, at the end of the first act, Mr. Spencer had to give the cue to Mr. Lee three times, thereby spoiling the effect. To the drama succeeded a Naval Hornpipe by Mr. Fitzgerald, which was well performed. The extravaganza of " Giovanni in London; or, the Libertino Reclaimed " concluded the evening's amusements; on this occasion, Mrs. Taylor sustained the character of the Don for the twenty-third time at that theatre, and with continued success ; she had the good sense to keep her visible muscles within due bounds upon this occasion, not with standing the attempts of the whiskered monkeys in the lower boxes to annoy her, Mr. Buckingham again improved in the character of Leporello, and was remarkably successful in the songs, one of which was encored. We were glad to observe that Miss Winstanley had taken our hint respecting the child, she played the character of Mrs. Leporello very well. The house was very thin upon the rise of the curtain, but filled up well at half price.
Drama, The Sydney Gazette and New South Wales Advertiser, G. Howe, Sydney, NSW., National Library of Australia, XXXV, 1325, 4 April 1837, 2
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Duncan Macdougall, of Playbox Theatre fame, has gone to his rest, closing an exciting chapter in the history of the theatre in Sydney, where he was a vital figure for nearly 20 years. As a young fellow I was admitted to Duncan’s inner circle, and was associated with him in all his ups and downs and many battles until he gave up the role of actor-manager for teaching dramatic art and gardening at Artarmon (Sydney). As a boy Duncan was with Angus and Robertson in its early years ; later he went abroad and had a repertory company of his own in London, where he lived with Ramsay MacDonald, and in New York, where he was a friend of Eugene O’Neill. Returning to Sydney about 1920, he gave a season of plays at the St. James’s Hall, Phillip street, which set the critics buzzing. All the plays were new to Sydney audiences, and I can still recall my excitement at seeing O’Neill’s “The Hairy Ape,” Ernest Toller’s “Masses and Man,” and Georg Kaiser’s “From Morn to Midnight.” Calling upon Duncan with an offer of help in the work he was doing to put new life into the theatre in Sydney, I was promptly recruited to play a part in a play by Anatole France. I was a flop, and Duncan decided that I would be more use to him as his publicity-manager. By then he had started his Playbox Theatre in Rowe-street, which I described as a “lane that had strayed from the Latin Quarter of Paris,” which delighted Duncan immensely. On a pocket-handkerchief stage, with hardly a penny in his pocket, but with all the pluck in the world, he set out to give Sydney some thing new in the way of drama. The commercial theatre was pursuing its old course of giving the usual run of musical comedies, revivals and tame London successes. Gregan McMahon had not long moved in from Melbourne, and was doing a good service with plays which would otherwise not have been seen in Australia. Duncan, who was as revolutionary as McMahon was conservative, left McMahon to the production of safe repertory pieces by Milne, Drinkwater, Maugham and Chesterton, and went in for new, bolder and experimental productions. The two men were keen rivals. At Rowe-street, and later at Crown-street, East Sydney, and Young-street, near Circular Quay, the' Playbox Theatre packed them in with such plays as Sean O’Casey’s “Juno and the Paycock,” Karel Capek’s “R.U.R.,” O’Neill’s “The Emperor Jones,” Marc Connelly’s “Green Pastures,” Frank Wedekind’s “Spring’s Awakening” and half-a-hundred more — all lively box-office attractions with a kick in them. Duncan made no money, but he knew how to pick and produce a play, and he turned out some fine young actors and actresses. As an actor he was best in parts like the “Paycock” himself, or the downtrodden pushcart vendor in Anatole France’s “Crainquebille.” Duncan dearly loved a fight, and often got into holts with the critics. I witnessed many a verbal battle between him and such men as Paddy Nolan, Billy O’Neill, Gerald Thompson and the redoubtable C. N. Baeyertz. Once, he and Gregan McMahon fought it out for weeks in the pink pages of the old “Sunday Times,” until the editor, Mick Shanahan, threatened to shoot both of them if he saw them about the premises. The theatre and old books were his great loves. He lived a bread-and-butter existence to produce the plays he wanted to produce in his own way, despite tempting offers by commercial interests, and Sydney playgoers are indebted to him for many a brave performance. Sydney will miss the little pink - cheeked, silver - haired Duncan with his musical voice and merry, smile, his zest for life and his ever-ready helping hand to anyone in distress. W.E.F.
Duncan Macdougall [Obituary], The Bulletin, 74, 3816, 1 April 1953, 35
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Duncan Macdougall, the Man who played God, Smith's Weekly, 31 December 1932, 21
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Eden House gets arts subsidy, The Age, 5 April 1969, 2
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Described by Felber as “a music/theatrical installation for seven voices” this work explores the liminal zones at the edges of sculpture, painting, dance, sound art through a playful reinscription of Ad Reinhardt’s 25 Lines Of Words On Art: Statement of 1958 into a late 20th century hybrid aesthetic combining retro fit design invoking both earlier avant gardes and contemporary cutting edge graphics. The audience enters a Futurist mise en scene of huge swinging steel rods with light bulbs at the end of them and 7 steel tubes suspended from the ceiling each broadcasting one of the voices from Elliott Gyger’s composition. But one of the most effective elements is the video projection of Lucy Guerin’s 3 movement pieces which haunt the space silently, interrogating the audience from the floor beneath their feet.
The opening of the event featured a live performance from Guerin, one of Australia’s most sought after dancers, whose choreography also echoed elements of the Reinhardt text (#16 verticality and horizontality, rectilinearity, parallelism, stasis). The space (not designed for live arts) was absolutely packed which meant that for most of the performance parts of the audience were unsighted. This resulted in a strange theatre of frustration where members of the audience shrugged their shoulders, huffed and puffed, rolled their eyes, unconsciously entering the piece as they unexpectedly reacquired their bodies in the absence of a line of sight. Reinhardt would have loved it…#24 the completest control for the purest spontaneity.
Though all the disparate elements of the work arise from a reading of the Reinhardt text, no attempt has been made to force them into a hokey mimetic relationship. They simply accompany each other and gaze at each other disinterestedly, allowing room for an audience to move, at least in an intellectual sense…The piece is accompanied by a beautifully finished book which features interviews with the artists and reproductions of Felber’s images, stills from Guerin’s dances and the musical scores for the 25 songs with a CD. Credit Suisse (among others) sponsored this piece and you can see where the money went! Thankfully it has been put to good use.
Edward Scheer, 25 Songs On 25 Lines Of Words On Art Statement For Seven Voices And Dance, RealTime Arts, Theatre and Dance Platform, 31, June 1999, 40
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Edward Scheer, Performance art, life crisis rituals, RealTime Arts, 44, August 2001, 29
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Edward Scheer, The Goat or Who Is Sylvia?, The Monthly, June 2006, 62
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eg, 12 May 2006, 17
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Egyptian Hall and Palace of Mystery, The Daily Telegraph, 19 June 1880, 5
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Eight Bells. Minerva Theatre's Latest Show., Sydney Morning Herald, 1 August 1941, 5
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Eight Hours Day., The Advertiser, 13 October 1910, 7, 8
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Einstein, Courier Mail, 14 July 1982, 2
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Einstein, Melbourne Times, 23 June 1982, 8
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Einstein, Sun Herald, 7 February 1982, 87
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Einstein, Sunday Sun, 29 August 1982, 94
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Einstein, The West Australian, 24 September 1982, 32
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Eisteddfod. Canberra Contests, The Canberra Times, 5 May 1939, 4
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El'Vira Jones, Box plan open for Repertory, Barrier Miner, 3 August 1964, 6
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Elaborate preparations for the staging of "Journey's End", Barrier Miner, 20 August 1942, 3
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Elaine Morgan Coming Home, Newcastle Sun, 11 August 1954, 4
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Elaine Morgan's New Triumph, Newcastle Sun, 17 May 1951, 6
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Eleanor Brickhill, Gilrs just wanna...?, RealTime Arts, 53, February 2003, 39
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Eleanor Brickhill, Movement Study, Dance Magic, RealTime Arts, 71, February 2006, 6
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Eleanor Brickhill, The history of our dancing bodies is becoming hot, RealTime Arts, 22, December 1997, 33
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Electric Spark of N.T.L, Tribune, 10 November 1939, 4
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Elena Lonergan, Currents, June 2007, 0
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Elena Lonergan, Currents, March 2007, 0
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Elena Lonergan, Currents, October 2006, 0
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Elena Lonergan, Unsolved mysteries, Currents, September 2007, 0
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Elicia Murray, Relax, 17 April 2005, 2
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Elicia Murray, Sydney Morning Herald, 21 July 2006, 15
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Elicia Murray, Sydney Morning Herald, 28 June 2006, 13
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Elicia Murray, Sydney Morning Herald, 3 July 2006, 13
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Elicia Murray, Sydney Morning Herald, 6 June 2006, 11
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Elicia Murray, The Canberra Times, 2 April 2005, 4
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Elicia Murray, The Canberra Times, 5 July 2003, 1
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Elisabeth Kumm, Winging It (Part 10), On Stage, 11, 1, 2010, 12 - 14
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Elisabeth Kumm, Winging It (Part 11), On Stage, 11, 2, 2010, 28-30
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Elisabeth Kumm, Winging It (Part 12), On Stage, 11, 3, 2010, 31-33
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Elisabeth Kumm, Winging It (Part 13), On Stage, 11, 4, 2010, 35-37
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Elisabeth Kumm, Winging It (Part 14), On Stage, 12, 1, 2011, 9-11
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Elisabeth Kumm, Winging It (Part 15), On Stage, 12, 2, 2011, 12-14
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Elisabeth Kumm, Winging It (Part 16), On Stage, 12, 3, 2011, 32-34
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Elisabeth Kumm, Winging It (Part 17), On Stage, 12, 4, 2011, 23-25
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Elisabeth Kumm, Winging It (Part 18), On Stage, 13, 1, 2012, 20-21
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Elisabeth Kumm, Winging It (Part 19), On Stage, 13, 2, 2012, 16-19
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Elisabeth Kumm, Winging It (Part 20), On Stage, 13, 3, 2012, 18-21
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Elisabeth Kumm, Winging It (Part 21), On Stage, 13, 4, December 2012, 12-15
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Elise Davidson, Metro, 9 September 2005, 4
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Elissa Blake, Success more than beginner's luck, Sydney Morning Herald, Theatre and Dance Platform, 10 September 2011
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Elissa Blake, The Age, 3 December 1996
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Elissa Lawrence, Passion Project, Courier Mail, 9 November 2019, 19
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Elizabeth Ashley, Catching up with Lucy Guerin on ‘Split’, Dance Informa Magazine Australia, August 2018
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Elizabeth Butel, Williamson's new play takes on the bad guys, The National Times, 22 March 1985, 29
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Elizabeth Dempster, Sally Gardner, Interview with Lucy Guerin, Writings on Dance, Theatre and Dance Platform, 16, 1997, 46-53
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Elizabeth Goater, [Wildfire], The Mercury (Hobart, Tas. : 1860 - 1954), 20 March 1987
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Elizabeth Hale, The Lost Echo: Introduction, Australasian Drama Studies, 56, April 2010, 103-108
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Elizabeth Hale, The Pursuit of Youth: Adolescence, Seduction and the Pastoral in Act One of The Lost Echo, Australasian Drama Studies, 56, April 2010, 117-130
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Elizabeth Hunter, Daily Sun, 16 June 1988
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Elizabeth Loder, The Ham Funeral: its place in the development of Patrick White, Southerly, v. 23, n. 2, 1963, 78
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Elizabeth Perkins, Form and transformation in the plays of Alma de Groen, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 11, October 1987, 4 - 21
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Elizabeth Perkins, Too real or not reel: a decade of directions in Australian drama, LinQ, 7, 1, 1979, 17-33
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Elizabeth Schafer, Appropriating Aphra, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 19, October 1991, 39 - 49
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Elizabeth Schafer, Meredith Rogers, Lineages, Techniques, Training and Tradition, Australasian Drama Studies, 53, October 2008, 3-7
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Elizabeth Silsbury, The Advertiser, 11 June 1988
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Elizabeth Silsbury, The Advertiser, 26 June 1987
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Elizabeth Swallow, Antonia cuts out suds, Daily Mirror, 25 April 1989
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Elizabeth Wagland, This Week in Canberra, 13 May 1988, 1
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Elizabeth Wagland, This Week in Canberra, 30 October 1987, 1
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Elizabeth Webb, [Reedy River], The Telegraph (Brisbane), 3 August 1954
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The second theatre in Australia and the first outside Sydney was a makeshift building about 56 km to the west at the penal settlement of Emu Plains. Popular plays of the time were performed there, with much ingenious contrivance of properties, lights and costumes, to audiences of local gentry, prison officials and prisoners between 1825 and 1830. In a letter in the Sydney Gazette on 21 July 1825 ‘A Lover of Rational Pleasures' noted that the convicts at Emu Plains 'have erected a theatre, and established dramatic performances, thus providing for themselves a congenial relief from the rigours of compulsory servitude'. A recent performance of W. B. Rhodes's popular 1810 burlesque Bombastes Furioso and David Garrick's 1741 comedy The Lying Valet had been attended by many of the local gentry including Sir John Jamison, a wealthy landowner. The acting, the scenery - 'painted with great taste' - and the dresses, some supplied by the ladies of the neighbourhood, had all received great applause.
The most detailed account of this theatre comes from Ralph Rashleigh, a novel supposedly written in the 1840s by James Tucker, who had been a prisoner at Emu Plains in 1827. According to Tucker, the theatre was a slab-and-bark building, with the gaps in the walls filled with mud, and whitewashed with pipe clay inside. It was fitted out with conventional pit and boxes. The seating was made from local timber. Canvas for the scenery was scrounged from bags, bedding and clothing, and painted with more pipe clay, other coloured earths and charcoal. Oil lamps and candles donated by prison officials provided light.
The theatre's leading light, whom Tucker calls Jemmy King, was 'at once architect, manager, carpenter, scenepainter, decorator, machinist, mechanician, and to crown all, a very passable comic actor'. He was especially adept at devising properties and costumes. Tucker tells of Bombastes Furioso, in which King Artexomines's crown was made from pieces of tinplate and copper garnished with bits of window glass and his wig was contrived from sheepskin powdered with bone ash. All the costumes were similarly made from odds and ends of old clothes and other castoff materials. Tucker says the theatre even had an orchestra, composed of a violin-apparently made by Jemmy King from tinplate - a fife, a tambourine and a huge drum.
Tucker describes a performance attended by Sir John Jamison and other guests. Sir John chose the pieces - Monk Lewis's 1800 melodrama Raymond and Agnes and a 1732 ballad opera, The Devil to Pay, in abridged form. The program was even more ambitious when Sir John took his guests to the theatre in 1830. As reported by the Sydney Gazette on 10 July, it consisted of Isaac Pocock's 1818 Rob Roy and George Colman the younger's 1803 comedy John Bull. Apparently more than 200 people squeezed into the Emu Plains theatre for this performance.
In 1825 'A Lover of Rational Pleasures' had suggested 'the expediency of giving public notice in future of their performances, as their fraternity do at home'. In 1830 the convicts began to do just that, advertising in the Sydney Gazette to attract the theatre-starved public of Sydney. This unfortunately brought the Emu Plains theatre to the notice of Governor Sir Ralph Darling, who was then fighting all attempts to establish a theatre in Sydney on the grounds that such an amusement was inappropriate for a convict settlement. Under this policy, he ordered the closure of the Emu Plains theatre in November 1830.
Elizabeth Webby, Emu Plains convict theatre, Companion To Theatre In Australia, 1995, 204
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Aborigines probably first appeared on stage in The Australian Bunyips, performing war dances and a corroboree. Novel touches in local scenery and effects in this melodrama were accompanied, however, by poorly developed characterisation according to reviews. No script survives reviewers’ plot summaries show the characters to have been the usual melodramatic types, even to their names. Rookly, a villainous wealthy squatter, plots to marry off his stepdaughter Flora, to another evil crony, Crafty. He also employs Trapp, a bushranger, to destroy the hero, Lawrence by causing him to fall off a bridge into the Bunyip’s Glen. Lawrence is, however, saved by a helpful and loyal Aborigine, King Billy (played by a white actor). All ends happily with the death of the villain and the uniting of Flora and Lawrence.
Elizabeth Webby, The Australian Bunyips, Companion To Theatre In Australia, 1995, 71
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Elizabeth Zimmer, From Down Under, a working-class dance, Metro New York, Theatre and Dance Platform, 28 September 2009
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Elizabeth Zimmer, Outstanding Room, Village Voice, Theatre and Dance Platform, 30 September 1997
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Elizabeth Zimmer, Review, 1 July 2006, 16
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Elizabeth Zimmer, Review, 28 January 2006, 17
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Elizabeth Zimmer, Review, 29 July 2006, 16
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Elizabeth Zimmer, Review, 7 July 2007, 16
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Elizabeth Zimmer, Straining the equilibrium, The Australian, 26 July 2007, 11
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Elizabeth Zimmer, The Australian, 24 November 2006, 20
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Elizabeth Zimmer, The Australian, 29 September 2005, 14
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Elizabethan Theatre Trust Appeal, The Canberra Times, 3 April 1954, 2
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The action in Lucy Guerin’s contemporary dance piece, Corridor, is confined to a narrow stretch of space that runs between two single rows of chairs for the audience. The dancers begin by casually strolling back and forth talking on cell phones, but their movement gets more physical as the piece progresses. Interested in spatial arrangements as well as movement, the choreographer collaborated with a fellow Australian, the lighting designer Keith Tucker, to create visual tension in this confined space. “She was very keen for it to be non-theatrical in a traditional sense,” says Tucker, who toured with Guerin’s company on a recent trip to New York City, where Corridor was seen at the Baryshnikov Arts Center, and Structure and Sadness was seen at Dance Theatre Workshop.
There are no traditional theatrical fixtures in Corridor, but instead, 12 white metal industrial fixtures hang over the performance strip, with 500W clear glass globes controlled via Entertainment Technology Horizon Control software on a laptop. The light follows the dancers as well as a series of translucent acrylic mirrored screens that move on wheels. “The idea is to help focus the eye rather than sculpt the light,” says Tucker. In one scene, additional lighting comes from a set piece that looks like a six-armed monster made of white, long-necked desk lamps run via battery to accent the dancers as they put on and take off rustling white paper lab coats.
“The light in the first half of the piece uses standard incandescent lamps and is very warm,” notes Tucker. “In the second half, fluorescent and discharge lamps create a colder light.” Two light boxes with vertical fluorescent tubes—one behind each row of chairs—allow light to spill through the audience onto the dancers. The reflective screens are also used to represent a shower, lit starkly by one of the overhead fixtures at full, creating one of the most visually arresting moments in Corridor.
Tucker also served as production manager for Structure and Sadness, an emotional piece based on a tragic bridge collapse in Australia. His company, Megafun, has done design and production projects on everything from Guerin’s work to the opening ceremonies for the 2006 Commonwealth Games in Melbourne and a giant waterfall of liquid chocolate. “I am interested in interactive media and engaging people,” says Tucker. “Everything we do is grounded in lighting and technical theatre, taking those skills and turning them into other experiences, from commercial to very edgy.”
Ellen Lampert-Greaux, Loadout: Shock Corridor, Penton Insight, 8 December 2009, Online Exclusive
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Ellie Harvey, Dad's Army, Sydney Morning Herald, 18 July 2008, 11
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Ellie Harvey, Get Thee Behind Me, Saturn, Sydney Morning Herald, 15 August 2008, 13
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Ellie Harvey, Here Come The Hot Steppers, Sydney Morning Herald, 8 August 2008, 13
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Ellie Harvey, Here Come The Hot Steppers, Sydney Morning Herald, 8 August 2008, 13
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Ellie Harvey, Hot to Foxtrot, Sydney Morning Herald, 12 September 2008, 13
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Ellie Harvey, Lunar Tunes, Sydney Morning Herald, 5 September 2008, 11
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Elspeth Tilley, Different kinds of doubling: comparing some uses of character doubling in The Ghosts Trilogy, by Janis Balodis, and The Captive, by Ben Ellis, Australasian Drama Studies, 60, April 2012, 56-70
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Emeri Fetzer, Engineers Learn to Dance, TDF Stages: A Theatre Magazine, Theatre and Dance Platform, 6 November 2012
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Emily Dunn, Ballet keeps men on their toes, Sydney Morning Herald, 13 August 2007, 17
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Emily Dunn, So, they think they can dance, Sydney Morning Herald, Theatre and Dance Platform, 22 August 2009, 11
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Emily Dunn, Sondheim threat to send off the clowns, Sydney Morning Herald, 21 July 2007, 1
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Emily Dunn, Sydney Morning Herald, 19 December 2006, 3
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Emily Dunn, Sydney Morning Herald, 22 November 2006, 15
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Emily Sherlock, Food & Wine, 4 April 2007, 3
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Emily Sherlock, Senator brings down the house, The Canberra Times, 30 September 2007, 6
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Emily Sherlock, The Canberra Times, 10 August 2006, 5
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Emily Taylor, Lucy Guerin Links Collapse of 35W Melbourne Bridge in Powerful Dance Work, Walker Blogs, Theatre and Dance Platform, 5 October 2011
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Emma Cox, Negotiating cultural narratives: all Aboriginal Shakespearean dreaming, Southerly, 64, 3, 2004, 15-27
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Emma Cox, Reconciling Shakespeare and indigneity in Australia: star-cross'd communities and racial Tempests, Australasian Drama Studies, 44, April 2004, 78-95
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Emma Rodgers, ABC News, 7 March 2006, 0
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Emma Tinkler, The Canberra Times, 25 June 2005, 4
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Emma Tinkler, Times2, 17 May 2005, 2
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Emma Tom, Koories with clout, Sydney Morning Herald, Metro, 20 September 1991, 25
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Emma Williams, City News (Canberra), 14 April 2005, 16
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Emma Willis, A Thousand Hills: Responding to the Ethical Nightmare, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 66, April 2015, 131 - 154
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Emma Willis, George Parker, Ryan Reynolds, Sharon Mazer, Simon Troon, Victor Rodger, Reflections on Theatre and Performance in the (post-)Earthquake Zone, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 62, October 1995, 68 - 88
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Emma Willis, ʻA Rare Opportunity to Failʻ: STABʻs Legacy of Theatrical Experimentation, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 70, April 2017, 86 - 112
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Encore [Fayette], Critic: the Federal Weekly, 3 March 1900, 12
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Encore, Critic, 7 February 1903, 15
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Encounter Bay, The South Australian Chronicle and Weekly Mail., 31 October 1863, 3
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Encouragement for Playwrights, The Age, National Library of Australia, 16 January 1954, 9
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English star is "Lola Montez", The Australian Women's Weekly, 29 October 1958, 39
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Enric Dausset, Weather: Danse avec probabilite de sacs plastiques, Théâtral magazine, Theatre and Dance Platform, 1 January 2015
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Enter - La Stupenda, The Age, 28 June 1965, 2
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Entertainers Coming., Cairns Post, Cairns, QLD, 14 September 1909, 4
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Entertaining Comedy, The Mercury (Hobart, Tas. : 1860 - 1954), National Library of Australia, 8 August 1942, 4
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Entertaining The Fleet, The Brisbane Courier, 1 April 1924, 17
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Entertaining The Fleet, The Brisbane Courier, 25 March 1924, 7
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Entertainment at Richmond, Freeman's Journal, 10 October 1912, 31
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ENTERTAINMENT AT THE LUNATIC ASYLUM. Last Wednesday [21 Sep] the inmates of the Lunatic Asylum, Fremantle, were entertained at a performance given by Messrs. Farmer and Imray's amateur company. The first part consisted of songs, ballads, choruses, negro sketches and jokes, which were highly appreciated by the audience. The performance concluded with a series of splendid dissolving views shown by Mr. Farmer. The pictures were twelve feet in diameter, and finer views have never been exhibited in the colony. The comic slides and startling effects produced seemed to be thoroughly enjoyed by the patients. At the conclusion Dr. Barnett highly complimented Messrs. Farmer & Imray and their company, and stated that it was the second time these gentlemen had gratuitously given their valuable services in arranging an entertainment for the delectation, of the inmates of the Asylum.
Entertainment at the Lunatic Asylum, Inquirer and Commercial News, 28 September 1887, 6
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ENTERTAINMENT AT THE LUNATIC ASYLUM. On Thursday afternoon [30 May], through the instrumentality of Messrs. Farmer and Imray, of Fremantle, [...] the inmates of the Lunatic Asylum, Fremantle, were afforded an
opportunity of witnessing a performance of Professor Jensen in his "congress of cabalistic wonders. The dining-room in the female department was fitted up for the entertainment, the stage consisting of several large tables, while a miniature screen was arranged for the use of the conjurer and his assistants. The female inmates were seated on the left of the stage, and were in charge of the matron Miss Armstrong, and the male patients occupied the seats on the right, so that everyone had a full view of the mysterious paraphernalia of the professor. The superintendent Mr. John and the warders were also present, and the total number in the room was upwards of 100. The visitors were Dr and Mrs Barnett, Mr. Henry Briggs, the Rev. Mr and Mrs. Bird, while other ladies and gentlemen were prevented from being present owing to the inclemency of the weather. The audience was very orderly. A commencement was made by Professor Jensen exhibiting his wonderful kid glove, which was made to assume any shape at the pleasure of the performer. The disappearing pocket handkerchief mystified all, and the experiment of tearing two handkerchiefs to shreds, and ultimately producing them in their original state was loudlyapplauded. The marvellous manoeuvres of Ibixus the animated skull, were duly exhibited and appreciated, after which Mrs. Jensen gave an enjoyable performance with the skipping rope, finishing with a sailor's hornpipe. The Japanese juggler Oko Moto gave his celebrated butterfly act, and the wonderful production of the rolls of ribbon from the remnants of the butterflies, caused the females to give vent to their astonishment in a rather too forcible manner. [...] Dr Barnett expressed his thanks to Mr. W. Farmer for his forethought in giving the inmates such a pleasing entertainment, and he also thanked Professor Jensen for his attendance. Mr. W. Farmer replied on behalf of the professor and expressed the pleasure it always gave him to give an entertainment to the inmates. Subsequently the company visited the various rooms in the Asylum, and the grounds, after which they were entertained at Dr Barnett's residence. Success and prosperity to Dr and Mrs. Barnett was given in the usual manner, after which Dr Barnett presented Professor Jensen with the skull of an aboriginal, discovered many years ago in Adelaide-street when building a house, and it is the intention of the Professor to manipulate the ghastly relic on Saturday evening when it will give a similar performance to that of Ibixus, the occasion being a benefit to the Fremantle Fire Brigade.
Entertainment at the Lunatic Asylum, The West Australian, 1 June 1889, 3
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Entertainment in the Town Hall, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 19 July 1895, 4
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Entertainments, The Daily News, (Perth, WA : 1882 - 1950) , 17 January 1895, 2
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Entertainments, The Daily News, (Perth, WA : 1882 - 1950) , 27 July 1904, 5
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Entertainments, The Daily News, (Perth, WA : 1882 - 1950) , 28 April 1896, 3
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Entertainments, The Daily News, (Perth, WA : 1882 - 1950) , 4 April 1896, 4
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Entertainments, The West Australian
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 1 December 1900, 6
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 10 August 1900, 6
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 10 November 1902, 4
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 11 July 1904, 3
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 13 July 1900, 2
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 15 August 1904, 9
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 15 February 1901, 6
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 15 October 1904, 7
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 16 March 1901, 3
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 18 May 1901, 5
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 2 April 1913, 7
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 2 July 1904, 9
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 20 March 1899, 2
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 21 October 1904, 8
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 22 June 1899, 6
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 23 July 1904, 9
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 24 August 1898, 7
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 24 November 1900, 5
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 27 September 1904, 6
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 28 July 1904, 6
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 28 September 1904, 7
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 29 June 1904, 6
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 3 December 1900, 5
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 4 December 1900, 2
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 6 July 1904, 8
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 7 July 1904, 5
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 8 September 1898, 2
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Entertainments, The West Australian, (Perth, WA : 1879 - 1954), 9 July 1904, 9
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Entertainments, Western Mail, (Perth, WA : 1885 - 1954), 23 June 1899, 46
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Entertainments, Western Mail, (Perth, WA : 1885 - 1954), 24 March 1899, 44
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Entertainments, Western Mail, (Perth, WA : 1885 - 1954), 26 May 1899, 49
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Entertainments, Western Mail, (Perth, WA : 1885 - 1954), 30 September 1898, 49
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Entertainments. "For the Term of His Natural Life"., The Kalgoorlie Miner, WA, 29 December 1904, 5
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Entertainments. Allan Wilkie Season. Three new productions., The Argus, National Library of Australia, 9 February 1927, 20
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Entertainments. Canary Cottage, Courier Mail, National Library of Australia, 17 May 1918, 8
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Entertainments. F.F.F. To-night., The West Australian, 29 September 1920, 8
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Entertainments. F.F.F., The West Australian, National Library of Australia, 2 October 1920, 10
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Entertainments. Fremantle Town Hall. "Maritana"., The West Australian, Perth, WA, 22 January 1900, 6
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Entertainments. Gaiety Theatre., The Brisbane Courier, Qld, 10 January 1898, 6
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Entertainments. Her Majesty's Theatre. "Sins of a City"., The Kalgoorlie Miner, WA, 27 December 1904, 6
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Entertainments. Her Majesty's Theatre. The Cycle Whirl., The Kalgoorlie Miner, WA, 5 January 1905, 6
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Entertainments. Her Majesty's Theatre., The Kalgoorlie Miner, WA, 2 January 1905, 5
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Entertainments. High Jinks, The West Australian, National Library of Australia, 20 May 1920, 8
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Entertainments. Kate Howarde Dramatic Company., The Kalgoorlie Miner, WA, 20 January 1905, 6
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Entertainments. Musical Comedy Company. The Girl in the Taxi, The West Australian, National Library of Australia, 17 May 1920, 8
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Entertainments. So Long Letty., Courier Mail, 21 May 1918, 8
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Entertainments. The Kate Howarde Company., The Brisbane Courier, Qld, 17 January 1898, 7
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Entertainments. The Kate Howarde Opera Company., The West Australian, Perth, WA, 19 January 1900, 6
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Entertainments. The Little Theatre. Four Australian Plays, The Argus, 6 October 1932, 8
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Entertainments. The Pantomime., The Brisbane Courier, Qld, 24 January 1898, 6
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Entertainments. Theatre Royal, The Brisbane Courier, Qld, 2 February 1903, 4
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Entertainments. Theatre Royal. "A Soldier of the Queen"., The West Australian, Perth, WA, 30 January 1900, 7
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Entertainments. Theatre Royal. "Boccaccio"., The West Australian, Perth, WA, 10 February 1900, 2
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Entertainments. Theatre Royal. "East Lynne"., West Australian, Perth, WA, 6 February 1900, 4
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Entertainments. Theatre Royal. "For the Term of His Natural Life"., The West Australian, Perth, WA, 5 December 1904, 7
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Entertainments. Theatre Royal. "For the Term of His Natural Life"., The West Australian, Perth, WA, 6 December 1904, 7
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Entertainments. Theatre Royal. "For the Term of His Natural Life"., The West Australian, Perth, WA, 7 December 1904, 8
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Entertainments. Theatre Royal. "For the Term of His Natural Life"., The West Australian, Perth, WA, 8 December 1904, 9
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Entertainments. Theatre Royal. "Outlaw Kelly", The West Australian, Perth, WA, 12 December 1904, 5
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Entertainments. Theatre Royal. "Outlaw Kelly"., The West Australian, Perth, Wa, 5
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Entertainments. Theatre Royal. "Silver King"., The Brisbane Courier, Qld, 26 January 1903, 6
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Entertainments. Theatre Royal. "Sinbad the Sailor", The West Australian, Perth, WA, 27 December 1899, 6
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Entertainments. Theatre Royal. "The Brand of Cain"., The West Australian, Perth, WA, 16 December 1904, 6
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Entertainments. Theatre Royal. "The Kelly Gang", The West Australian, Perth, WA, 23 January 1900, 6
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Entertainments. Theatre Royal. "The Sign of Seven"., The West Australian, Perth, WA, 28 November 1904, 5
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Entertainments. Theatre Royal. "The Sign of Seven"., The West Australian, Perth, WA, 29 November 1904, 6
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Entertainments. Theatre Royal. A Night for the Contingent., The West Australian, Perth, WA, 31 January 1900, 6
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Entertainments. Theatre Royal. Kate Howarde Comic Opera Co., The West Australian, Perth, WA, 8 January 1900, 2
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Entertainments. Theatre Royal. Kate Howarde Comic Opera Company., The West Australian, Perth, WA, 12 January 1900, 6
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Entertainments. Theatre Royal. Kate Howarde Comic Opera Company., The West Australian, Perth, WA, 18 January 1900, 6
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Entertainments. Theatre Royal. Kate Howarde's Comic Opera Company., The West Australian, Perth, WA, 3 January 1900, 5
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Entertainments. Theatre Royal. Kate Howarde's Comic Opera Company., The West Australian, Perth, WA, 3 January 1900, 7
-
Entertainments. Theatre Royal. Miss Howarde's Benefit., The West Australian, Perth, WA, 12 February 1900
-
Entertainments. Theatre Royal. Miss Kate Howarde Dramatic Company., The West Australian, Perth, WA, 17 December 1904, 11
-
Entertainments. Theatre Royal., The Brisbane Courier, Qld, 13 August 1898, 6
-
Entertainments. Theatre Royal., The Brisbane Courier, Qld, 28 January 1903, 5
-
Entertainments. Theatre Royal., The Brisbane Courier, Qld, 30 January 1903, 5
-
Entertainments. Theatre Royal., The West Australian, Perth, WA, 1 December 1904, 8
-
Entertainments. Theatre Royal., The West Australian, Perth, WA, 10 December 1904, 11
-
Entertainments. Theatre Royal., The West Australian, Perth, WA, 13 December 1904, 6
-
Entertainments. Theatre Royal., The West Australian, Perth, WA, 14 December 1904, 8
-
Entertainments. Theatre Royal., The West Australian, Perth, WA, 15 December 1904, 5
-
Entertainments. Theatre Royal., The West Australian, Perth, WA, 30 November 1904, 7
-
Entertainments. Town Hall, Fremantle. The Kate Howarde Opera Company., The West Australian, Perth, WA, 20 January 1900, 6
-
Entertainments. You're in Love., Courier Mail, 10 May 1918, 3
-
Epitome Of General News, Launceston Examiner, 15 August 1884, 3
-
Equity, 17
-
Eric Cummins, Wal Cherry, Drama is successful when it helps the community to an understanding of what is significant in its life, The Australian, 17 February, 1967, 7
-
Eric Irvin, George Crichton Miln: an individualist on the Australian stage , Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 19, October 1991, 94 - 106
-
Eric Irvin, Ned Kelly on stage, Quadrant, 19, 6 (September), 1975, 79-85
-
Eric Irvin, The great Australian play, Quadrant, 20, 1 (January), 1976, 19-24
-
Eric Irvin, Was John Lang really a four-word dramatist?, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 11, October 1987, 23 - 36
-
Eric Irvin, William Archer: The prophet of Ibsen at the fee of false gods, Australasian Drama Studies, 1, 1, October 1982, 7 - 19
-
Eric Scott, Rock'n'roller coaster ride, Catholic Leader, 2 September 2001, 11
-
Eric Shorter, Scarborough fare, The Australian, 15 August 1975, 10
-
Erica Peril, Melbourne Times, 18 May 1988
-
Erika Kinetz, Arts and Leisure, 24 April 2005, 25
-
Erin Brannigan, Dance Evolution in the Age of Robotics, RealTime Arts, 71, February 2006, 2
-
Erin Brannigan, Fast moves, still lives, RealTime Arts, 59, February 2004, 30
-
Erin Brannigan, garry stewart: dance evolution in the age of robotics, RealTime Arts, 71, March 2006, 2
-
Erin Brannigan, Here's Lucy, Dance Australia, Theatre and Dance Platform, December 1997, 26-27
-
Erin Brannigan, Making more than one of yourself, RealTime Arts, 42, April 2001, 6-7
-
Erin Brannigan, Slippery Path, RealTime Arts, 73, June 2006, 40
-
Erin Brannigan, Solo Power: Recharged, Refocus, RealTime Arts, 73, June 2006, 40
-
Erin Brannigan, The fine lines of creation, RealTime Arts, 61, June 2004, 48
-
Erin McWhirter, The Canberra Times, 7 October 2006, 13
-
Erin Miller, The Southside Chronicle, 1 April 2003, 24
-
Erin Miller, The Southside Chronicle, 15 April 2003, 25
-
Erin Miller, The Southside Chronicle, 15 July 2003, 21
-
Erin Miller, The Southside Chronicle, 22 April 2003, 23
-
Erin Miller, The Southside Chronicle, 24 June 2003, 19
-
Erin Miller, The Southside Chronicle, 29 April 2003, 10
-
Erin Miller, The Southside Chronicle, 4 March 2003, 19
-
Erin Miller, The Southside Chronicle, 8 July 2003, 19
-
Erin O'Dwyer, Making progress, Supplements, 29 August 2002, 21
-
Esperance News, Albany Advertiser, 1 June 1897, 3
-
Esperance, June 4., The Kalgoorlie Miner, 5 June 1900, 5
-
Esperance, May 28., The West Australian, 29 May 1897, 5
-
Esquire Theatre Bandbox Type, The Daily Telegraph, 16 February 1946, 9
-
Essendon Gazette, 11 April 1957, 0
-
Essendon Gazette, 11 July 1957, 10
-
Essendon Gazette, 15 August 1957, 0
-
Essendon Gazette, 16 September 1959, 0
-
Essendon Gazette, 18 July 1957, 0
-
Essendon Gazette, 23 September 1959, 0
-
Essendon Gazette, 4 July 1957, 0
-
Essendon Gazette, 8 August 1957, 0
-
Essendon Gazette, 9 September 1959, 0
-
Esther van Doornum, Urbanists: Dynamic Dance Duo, MINI International Melbourne, Theatre and Dance Platform, 2007, 25
-
Ethel Lorie, Stage Celebrities: Grace Palotta, The Red Funnel, December 1906, 483-487
-
Ethioian Concerts, The Maitland Mercury, National Library of Australia, 30 March 1853, 2
-
Euan Kerr, Australian dancers examine a bridge collapse, MPR News, Theatre and Dance Platform, 6 October 2011
-
Eugene O'Donnell, Age of the old, BAM, 19 January 2002, 4
-
Eugene O'Donnell, Climbing Ambition, Arts and Entertainment, 23 April 2002, 15
-
Eugene O'Donnell, Quit when you're ahead, Arts and Entertainment, 3 April 2002, 32
-
Eugene O'Neill, Staging a revolution, Social Alternatives, 8, 3 (October), 1989, 8-9
-
Eugene Van Erven, The theatre of liberation of India, Indonesia and the Pillipines, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 10, October 1986, 3 - 18
-
Eulea Kiraly, Artlook, July 2005, 21
-
Eulea Kiraly, Artlook, May 2005, 17
-
Eulea Kiraly, Muse, 1 September 2001, 8
-
Eulea Kiraly, Muse, April 2003, 5
-
Eulea Kiraly, Muse, July 2002, 7
-
Eulea Kiraly, Muse, November 2001, 9
-
Eulea Kiraly, Muse, October 2002, 16
-
Eulea Kiraly, Muse, September 2003, 17
-
Eunice Hanger, Australian drama now, Modern Drama, 8, 1, 1965, 79-81
-
Eunice Hanger, Australian drama now, The Literary Criterion, 6, 3, 1964, 76-82
-
Eunice Hanger, Playwrights have not had final word on 'Australian-ness', Australian Theatregoer, 1, 4 (May-July), 1961, 52-54
-
Eunice Hanger, Queensland drama, Southerly, 20, 4, 1959, 216-225
-
Eunice Hanger, The Kellys in Australian drama, The Australian Highway, 40, 3, 1959, 62-64
-
Evelyn Tildesley, Drama and television, The Australian Quarterly, 25/2, 1953, 124-127
-
Evelyn Tildesley, The Australian Elizabethan Theatre Trust, The Australian Quarterly, March, 1955, 53-60
-
Evening Entertainments. "Girofle-Girofla" at the Theatre Royal., The Brisbane Courier, Qld, 11 August 1898, 7
-
Evening Entertainments. Criterion Burlesque Company, The Daily Northern Argus, Rockhampton, 1 April 1896, 3
-
Evening Entertainments. Criterion Burlesque Company, The Daily Northern Argus, Rockhampton, 2 April 1896, 3
-
Evening Entertainments. Criterion Burlesque Company, The Daily Northern Argus, Rockhampton, 31 March 1896, 3
-
Evening Entertainments. Gaiety Theatre., The Brisbane Courier, Qld, 4
-
Evening Entertainments. Gaiety Theatre., The Telegraph, Brisbane, Qld, 10 January 1898, 2
-
Evening Entertainments. Gaiety Theatre., The Telegraph, Brisbane, Qld, 17 January 1898, 5
-
Evening Entertainments. Gaiety Theatre., The Telegraph, Brisbane, Qld, 24 January 1898, 5
-
Evening Entertainments. Gaiety Theatre., The Telegraph, Brisbane, Qld, 31 January 1898, 4
-
Evening Entertainments. Gaiety Theatre., The Telegraph, Brisbane, Qld, 5
-
Evening Entertainments. The Gaiety Theatre., The Brisbane Courier, Qld, 28 December 1897, 5
-
Evening Entertainments. Theatre Royal, The Telegraph, Brisbane, Qld, 2 February 1903, 4
-
Evening Entertainments. Theatre Royal. Miss Kate Howarde's Company., The Telegraph, Brisbane, Qld, 28 May 1900, 7
-
Evening Entertainments. Theatre Royal. Miss Kate Howarde's Company., The Telegraph, Brisbane, Qld, 30 January 1903, 5
-
Evening Entertainments. Theatre Royal., The Telegraph, Brisbane. Qld, 4 June 1900, 7
-
Evening Entertainments. Theatre Royal., The Telegraph, Brisbane, Qld, 27 January 1903, 4
-
Evening Session, Cairns Post, 4 November 1926, 5
-
Events and Rumours, The Armidale Express and New England General Advertiser, NSW, 23 June 1896, 5
-
Events of the Month, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 27 March 1872, 3
-
Everybody's, 8 August 1962, 10
-
Ewart Shaw, The Advertiser, 24 February 1997, 33
-
Ewin Hannan, Classic play, contemporary context, The Australian, 9 April 2008, 5
-
Excelsior Lodge, I.O.G.T, The Daily News, (Perth, WA : 1882 - 1950) , 14 November 1894, 3
-
Exciting dancing by Negro group, The Age, 13 February 1962, 3
-
Excursion To Yarrabah, Cairns Post, 12 December 1924, 4
-
Exhausted Edmunds happy with wash up, artsHub, Theatre and Dance Platform, 1 November 2006
-
Exiles, Geelong Advertiser, 17 September 1845, 2
-
Expenses of Sunny paid before show opens, Barrier Miner, 1 November 1941, 3
-
Expert in Fear, Sydney Morning Herald, 3 February 1983, 8
-
Exploration. Search for the remains of Leichhardt, and party, Inquirer and Commercial News, 8 September 1869, 4, 5
-
Exploration. Search for the remains of Leichhardt, and party, Perth Gazette and West Australian Times, 10 September 1869, 3
-
Extended Season for Inge Play, The Age, 18 May 1964, 8
-
Ezprezzo Congo, Sydney Morning Herald, 5 May 1981, 8
-
F Alexander, The Trust's work in W.A., Critic, 5, 6 Mar, 1964, 15-17
-
F Alexander, Tyrone Guthrie's Authorised Biography, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 28-29
-
F Keith Manzie, Four Fragile Beauties of Old China, The Argus, National Library of Australia, 10 December 1956, 3
-
F Keith Manzie, Hell popped but premier not amused, The Argus, 15 October 1949, 3
-
F Keith Manzie, Ken Dicker, The Fifth Man, The Argus, 20 April 1951, 6S
-
F Keith Manzie, Repertory has played a big part in preserving drama in Australia, Focus, August 1948, 4-5
-
F R Harvey, Max Harris, Athens of the South, Australian Theatre Year, F.P. Publications, Sydney, 1960
-
F R Harvey, The first five years - what lies ahead? Neil Hutchinson discusses the past and future of the Elizabethan Theatre and the role of the trust, Australian Theatregoer, 1, 3 (Feb/Apr), 1961, 21-26
-
F W L Esch, "Rusty Bugles" for London, The Sunday Herald, 9 April 1950
-
F.F.F. Next Saturday, The Register, 25 August 1920, 10
-
F.F.F. To-day. At Prince of Wales's Theatre, The Register, 28 August 1920, 9
-
Facing a cultural limbo, The Advertiser, Saturday Extra, 19 August 1989, 12
-
Facing the lights once again, The Age, 14 October 1971, 20
-
Fact and Comment, Clarence and Richmond Examiner, 7 July 1910, 4
-
Fact and Rumour, Clarence and Richmond Examiner, 26 June 1909, 4
-
Facts and Rumours, The Clarence and Richmond Examiner, Grafton, NSW, 18 July 1899, 5
-
Failing in Love Again, Sydney Morning Herald, 5 June 1980, 12
-
Fairfield Catholic Younger Set, The Biz, National Library of Australia, 17 June 1948, 6
-
Fairs And Fetes, The Advertiser, 1 December 1898, 6
-
False Alarm of Bushrangers at Long Creek, The Maitland Mercury, 23 February 1864, 2
-
Falsehoods Extraordinary!, The Sydney Gazette and New South Wales Advertiser, 29 July 1830, 2
-
Family act in the Ice Frolics, Barrier Miner, 20 April 1955
-
Family Comedy At Minerva, Sydney Morning Herald, 25 July 1944, 5
-
Family Notices, The West Australian, (Perth, WA : 1879 - 1954), 10 May 1910, 2
-
Famous Australian play for London, The Times, 15 March 1957, 3
-
Famous Ballet Rambert to dance in all States, The Australian Women's Weekly, 13 September 1947, 11
-
Famous plays to be broadcast by 2GB, The Australian Women's Weekly, 20 December 1941, 29
-
Fancy Bazaar, The Maitland Mercury, National Library of Australia, 15 January 1848, 2
-
Fancy Dress Football Carnival, The Advertiser, 14 October 1911, 18, 19
-
Fancy Dress Parade at Theatre, Sydney Morning Herald, 21 December 1948, 9
-
Farce looks a winner, The Advertiser, 23 June 1965
-
Farewell Social to Mr A.J. Diamond, The West Australian, (Perth, WA : 1879 - 1954), 29 June 1891, 3
-
Faruk Avdi, Theatre Australasia, 1 August 1994
-
Fatima Chebchoub, The female artist in Morocco: with reference to actresses, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 27, October 1995, 53 - 62
-
Faust Produced by Two Colleges, The Age, 30 June 1964, 14
-
Federal Tour, The Queenslander, 10 September 1921, 11
-
Federation, Kalgoorlie Western Argus, 12 March 1901, 31
-
Felicity Biggins, Newcastle Herald, 1 May 1985, 0
-
Felicity Biggins, Newcastle Morning Herald and Miners' Advocate, 29 February 1980, 0
-
Felicity Biggins, Tearing at the Anzac spirit, Newcastle Herald, 20 April 1985
-
Felicity Rogers, Commuting between operas, The Age, 11 August 1987, 14
-
Felix Werder, The Age, 6 April 1968, 6
-
Festival of Dance, Sydney Morning Herald, 11 November 1949, 9
-
Festival of Drama, The Examiner, National Library of Australia, 29 May 1947, 4
-
Festival of Drama, The Examiner, National Library of Australia, 7 June 1947, 3
-
Festival Win, The Examiner, State Library of Tasmania, Launceston Reference Library, 20 April 1959, 7
-
Fidelio , Australian comdey and drama, The West Australian, 2 November 1957, 13
-
Fidelio , Music and the Theatre, The West Australian, 14 November 1936, 23.
-
Fidelio , Music and the Theatre, The West Australian, 15 August 1936, 23
-
Fidelio , Music and the Theatre, The West Australian, 23 February 1952, 16
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Fiery dances of Yugoslavia, The Australian Women's Weekly, 21 October 1959, 3
-
Fifty Years Ago, The Morning Bulletin, 7 June 1913, 9
-
Fifty Years Ago, The Register, 6 October 1910, 6
-
Figaro, June 2003, 2
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Figaro, The Lorgnette, 8 May 1884, 4
-
Film Ace-Pot in big radio presentation. 2GB's new theatre show, The Australian Women's Weekly, 3 January 1942, 24
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Film Censorship. Appointment of Boards, The Daily Advertiser, 18 January 1930, 4
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Film Debut, Western Mail, National Library of Australia, 23 August 1951, 41
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Films for Richbrooke, Sydney Morning Herald, 15 July 1974, 8
-
Final performance of The Women, Barrier Miner, 3 December 1945, 8
-
Final play by Repertory, Barrier Miner, 12 November 1951, 9
-
Final presentation of Sunny, Barrier Miner, 13 November 1941, 1
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Final rehearsal of The Silver Lining, Barrier Miner, 17 November 1942, 2
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Finalising preparations for big pageant, Barrier Miner, 15 October 1937, 1
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Financial loss by Repertory Society; review of work, Barrier Miner, 20 December 1950, 5
-
Finding Structure, Drum Media, Theatre and Dance Platform, 7 February 2008, 40
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Fine End to Minerva's New Thriller, Sydney Morning Herald, 7 September 1948, 2
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Fine Presentation of Spanish Comedy, The Examiner, National Library of Australia, 11 March 1950, 7
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Fined over Oh! Calcutta!, The Age, 19 October 1971, 3
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Finesse In Acting. Room For Two At Minerva Theatre., Sydney Morning Herald, 25 September 1940, 7
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Fingers crossed for a lucky lion, The Age, 31 March 1972, 22
-
Finnis Springs, The United Aborigines messenger , National Library of Australia, 8, 1 January 1940, 11
-
Fiona Adolph, Encore, 18 August 2002, 63
-
Fiona Gregory, High-Cultural Histrionics: Judith Anderson's 1955 Australian Tour, Australasian Drama Studies, 48, April 2006, 99-114
-
Fiona Gregory, Vanishing acts: The actress and the archibald prize, Australasian Drama Studies, 75, December 2019, 126-149
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Fiona Gruber, Tender look at youthful troubles, The Australian, 29 August 2011, 17
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Fiona Mackrell, Lucy Guerin's 'Untrained' on tour, artsHub, Theatre and Dance Platform, 31 March 2011
-
Fiona Morrisby, The Australian, July 2001, 17
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Fiona Scott-Norman, A bomb in a bauble, Review, 27 October 2007, 18-19
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Fiona Scott-Norman, A3, 8 October 2003, 13
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Fiona Scott-Norman, Choreographer who dances on the limits, The Age, Theatre and Dance Platform, 20 July 2007
-
Fiona Scott-Norman, Foot Lucy and fancy free, The West Australian, Theatre and Dance Platform, 25 August 2007
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Fiona Scott-Norman, It's Dangerous my Petal, The Age, 26 October 2007, 9
-
INSANITY and genius are two qualities often associated with creative people, and often exploited successfully in the theatre. Characters who are inspired, crazy and unpredictable are far more fun and interesting than characters who fall within the accepted range of normalcy.
This precept has been exploited to great effect by Tom Wright in Hideous Portraits, his adaptation of Thomas Bernhard's play Ritter, Dene, Voss. The production, which also marks actor Wright's debut as a director, is a fast, eccentric, rant and rave of a show that has only the most fleeting relationship with reality.
Hideous Portraits is set in the Melbourne ancestral home of three neurotic and intellectually pretentious brothers. Melba and Moncrieff are actors involved in ridiculously arty shows who babble constantly about their craft, and nervously await the arrival at dinner of their famous philosopher brother, Burchett, who has just been released from a mental institution.
The three brothers are bound together in a seething mess of sibling rivalry, love, fear and loathing, which manifests in nervous, almost orgiastically affectatious philosophising and petty quibbling. Melba (Jerome Pride) and Moncrieff (Christoper Davis), who have lived a long time together like a pair of sparring old maids, have struck a precarious balance, but this evaporates when Burchett (Ben Rogan) descends the stairs to the dinner table and injects a solid dose of maniacal ravings and extravagant, unpredictable behavior.
This production is fantastic fun, a romp stuffed with brilliant language and some excellent slapstick. Wright has directed Hideous Portraits with intense discipline, and the actors perform their very exaggerated absurdist roles with relish and skill. This is an unpredictable production with a high level of nervous energy that not only challenges the audience but takes them along for the ride. There is an undercurrent of darkness in the play, which makes Hideous Portraits even sharper, but it avoids pathos and elects instead to occupy the dizzying world of hysteria, paranoia and mental agitation.
Fiona Scott-Norman, Ranting Out Of Reality, The Age, 17 June 1997, 4
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Fiona Scott-Norman, Risky Business Pays Off in Cabaret, The Age, 4 May 2007, 9
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Fiona Scott-Norman, The Age, 10 April 1998
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Fiona Scott-Norman, The Age, 12 February 2001
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Fiona Scott-Norman, The Age, 14 April 1998
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Fiona Scott-Norman, The Age, 14 April 1998
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Fiona Scott-Norman, The Age, 16 February 2001
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Fiona Scott-Norman, The Age, 16 January 2001
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Fiona Scott-Norman, The Age, 16 November 2007, 9
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Fiona Scott-Norman, The Age, 18 April 1998
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Fiona Scott-Norman, The Age, 18 April 1998
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Fiona Scott-Norman, The Age, 19 February 2001
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Fiona Scott-Norman, The Age, 2 April 1998
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Fiona Scott-Norman, The Age, 20 January 2001
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Fiona Scott-Norman, The Age, 23 January 2001
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Fiona Scott-Norman, The Age, 23 June 1997
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Fiona Scott-Norman, The Age, 24 April 1998, 17
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Fiona Scott-Norman, The Age, 26 April 1998
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Fiona Scott-Norman, The Age, 26 January 2001
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Fiona Scott-Norman, The Age, 26 January 2001
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Fiona Scott-Norman, The Age, 29 January 2001
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Fiona Scott-Norman, The Age, 3 April 1998
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Fiona Scott-Norman, The Age, 4 April 1998
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Fiona Scott-Norman, The Age, 4 April 1998
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Fiona Scott-Norman, The Age, 5 April 1997
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Fiona Scott-Norman, The Age, 6 April 1998
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Fiona Scott-Norman, The Age, 7 April 1998
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Fiona Scott-Norman, The Age, 8 April 1998
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Fiona Scott-Norman, The Age, 8 August 1997
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Fiona Scott-Norman, The Age, 8 January 2001
-
Fiona Scott-Norman, The Age, 9 April 1998
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Fiona Scott-Norman, The Age, 9 March 1998
-
Fiona Scott-Norman, The Australian, 16 June 2007, 8
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Fiona Scott-Norman, The Australian, 16 May 2006, 15
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Fiona Scott-Norman, The Australian, 2 August 2005, 14
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Fiona Scott-Norman, The Australian, 24 June 2005, 21
-
Fiona Scott-Norman, The Australian, 28 June 2007, 14
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Fiona Scott-Norman, The Australian, 3 August 2006, 36
-
Fiona Scott-Norman, The Australian, 6 February 2006, 16
-
Fiona Scott-Norman, Women on top, The Age, 23 May 2008, 9
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Fiona Todd, Fitzroyal Mail, October 2003, 0
-
Fiona Winning, The Arts: What Next - Lost: a space, RealTime Arts, 42, April 2001, 12
-
Fiona Winning, Creativity and Flexibility: The Nexus between Infrastructure Space and Art, Australasian Drama Studies, 56, April 2010, 7-24
-
Fiona Winning, Cultural policy and community theatre, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 22, April 1993, 73 - 78
-
Fire at the Opera, The Age, 10 February 1959, 3
-
Fire at Geelong. Mechanics' Hall burnt. Damage exceeds £20,000. Theatrical Company's Loss., The Argus, National Library of Australia, 22 June 1926, 11
-
Fire at Launceston, Sydney Morning Herald, National Library of Australia, 15 December 1906, 14
-
Fire Brigades Procession at Fremantle, The West Australian, (Perth, WA : 1879 - 1954), 9 November 1898, 4
-
Fire damages B. Hill Palais: Heavy loss in instruments, band music, Barrier Miner, 8 September 1955, 1
-
Fire destroys city theatre, Barrier Miner, 29 December 1964, 1
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Fire sweeps theatre, Barrier Miner, 29 November 1960, 1
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Fire this morning at Crystal Theatre, Barrier Miner, 20 July 1931, 3
-
First Night For A New Thriller, Sydney Morning Herald, National Library of Australia, 28 June 1949, 6
-
First Nighter, Private Lives Staged By Local Repertory Club, Barrier Miner, 14 June 1946, 4
-
First Royal Tour, The Mail, National Library of Australia, 23 April 1927, 1
-
First Royal Visitor, The Mail, 23 April 1927, 1
-
First Woman Professor of Dance with Group in Australia and NZ, Pix, 4, 12, 16 September 1939, 48-49
-
Flare Path to Open - Musical Events, The Mercury (Hobart, Tas. : 1860 - 1954), 25 March 1944, 5
-
Flesh and Blood Theatre Boom, Pix, 23, 4, 23 July 1949, 22-25
-
Florence Desmond captivates, The Advertiser, 10 May 1954, 4
-
Florence Desmond is coming here, The Argus, 19 December 1953, 14
-
Florence Young, The Australian Chorus Girl, The Lone Hand, Vol. 3, No. 14, 1 June 1908, 143-145
-
Flying From Darwin - An Auspicious Start, The Advertiser, 15 December 1919, 9
-
Flying Fruit Fly Circus, Melbourne Times, 9 September 1981, 9
-
Flying Fruit Fly Circus, Sydney Morning Herald, 2 September 1982, 8
-
Flying Show Boat, The Advertiser, National Library of Australia, 19 November 1932, 10
-
Focus, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 23-26
-
Folies Bergere come to town, and their 'No. 1 Nude' is born housewife, The Argus, 29 January 1953, 7
-
Folies show did not shock police, The Argus, 18 February 1953, 3
-
Following the Family Tradition, Sydney Morning Herald, 3 April 1939, 12
-
Football Notes. Miss Kate Howarde Coy., The Northern Star, Lismore, NSW, 18 July 1903, 5
-
Football, The Capricornian, 21 October 1899, 35
-
Football, The Morning Bulletin, 13 July 1899, 6
-
Football, The Morning Bulletin, 19 October 1899, 6
-
Footlight Flashes, Referee, Sydney, NSW, 3 June 1891, 7
-
For Actors AND Audience It's a ... Test of Strength, Sun Herald, 18 April 1954, 44
-
For Charity, The Register, 30 September 1911, 16
-
For the ladies, Quiz, 18 April 1890, 10
-
Forbes Advocate, 10 February 1950, 2
-
Forbes Advocate, 3 February 1950, 7
-
Forbes Advocate, 31 January 1950, 2
-
Forbes, Wagga Wagga Express and Murrumbidgee District Advertiser, 17 February 1866, 2
-
Formation of B.H. Repertory Society, Barrier Miner, 25 October 1944, 2
-
Fort show a unique history lesson, Newcastle Herald, 2 January 1985
-
Fort show blasts off Monday, Newcastle Herald, 7 January 1985
-
Fortnight's Inter-varsity Drama Festival, The Herald, 13 August 1946, 8
-
Fortune: The Fortune Theatre Company, Muse, ACT Heritage Library, 59/60, Oct/Nov 1986, October 1986, 5-6
-
Forty-eight hours, 4 October 2003, 11
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Forty-six Women, The Age, 4 May 1963, 8
-
Foundation Day, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 3 June 1891, 3
-
Foundation Day. A National Holiday, The Argus, 27 January 1893, 5, 6
-
Foundation Day. In Melbourne., The Advertiser, 27 January 1893, 5
-
Foundation Of Hobart, The Daily News, 19 February 1910, 13
-
Four One-Act Plays. Repertory Club Productions, Sunday Times, 30 June 1935, 6S.
-
Four play season at St. Martin's, The Age, 20 July 1972, 14
-
Four plays, one important theme, The Mercury (Hobart, Tas. : 1860 - 1954), 18 October 2007
-
Four ways to say it, but one offends, The Age, 11 July 1969, 3
-
Four-letter actor arrested, The Age, 21 April 1969, 3
-
Fourth Young Playwrights Weekend..., Theatre Australia, 5, 1, August 1980, 5
-
Fowler's Bay, August 5, The Advertiser, 14 August 1906, 4
-
Fran Hernon, The Daily Telegraph, 25 July 1987
-
Fran Hernon, The Daily Telegraph, 25 July 1987
-
Frances Devlin-Glass, 'Teasing the audience with the play': feminism and Shakespeare at the Melbourne Theatre Company, 1984 - 93, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 33, October 1998, 21 - 39
-
Frances Devlin-Glass, Reading and Performing Abjection: Staging Joyce, a Professional Reflection, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 67, October 2015, 155 - 175
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Frances Frangenheim, Dreamers: Lucy Guerin, Map Magazine Street Editors, Theatre and Dance Platform, 7 April 2011
-
Frances Holz, Newcastle Herald, 27 April 2001, 0
-
Frances Simmons, Currents, February 2005, 0
-
Frances Simmons, Currents, May 2005, 0
-
Frances Simmons, Currents, November 2004, 0
-
Frances Simmons, Only an actor, Currents, March 2008, 0
-
Frances Thompson, Newcastle Herald, 29 May 2003, 0
-
Francesca Rendle-Short , Muse, July 2003, 17
-
Francesca Rendle-Short , Muse, June 2003, 5
-
Francis Brewer, Music and the Drama - Some Sydney First Appearances, Old Times, Mitchell Library, State Library of New South Wales, April 1903, 35-44
-
Frank Cassidy, The Canberra Times, 2 August 2004, 4
-
Frank Cassidy, The Canberra Times, 30 October 2004, 5
-
Frank Cassidy, Times out, 6 February 2003, 4
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Frank Crook, The Sun (NSW), 27 January 1988
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Frank Crook, The Sun (NSW), 3 June 1985, 4
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Frank Doherty, It wasn't funny but they tittered, The Argus, 21 April 1951, 15
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Frank Dunhill, Sunday Times, 9 November 1958, 11
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Frank Furedi, Excess of the elders deprives our young, The Australian Literary Review, 6, 5, June 2011, 3 - 4, 22
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Frank Gauntlett, Daily Mirror, 1 July 1987
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Frank Gauntlett, Daily Mirror, 1 July 1987
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Frank Gauntlett, Daily Mirror, 10 February 1987
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Frank Gauntlett, Daily Mirror, 10 September 1987
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Frank Gauntlett, Daily Mirror, 10 September 1987
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Frank Gauntlett, Daily Mirror, 11 January 1988
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Frank Gauntlett, Daily Mirror, 12 April 1990, 0
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Frank Gauntlett, Daily Mirror, 12 November 1987
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Frank Gauntlett, Daily Mirror, 13 May 1987
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Frank Gauntlett, Daily Mirror, 14 April 1987
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Frank Gauntlett, Daily Mirror, 14 April 1988
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Frank Gauntlett, Daily Mirror, 14 January 1987
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Frank Gauntlett, Daily Mirror, 15 October 1987
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Frank Gauntlett, Daily Mirror, 17 June 1987
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Frank Gauntlett, Daily Mirror, 17 September 1987
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Frank Gauntlett, Daily Mirror, 18 February 1987
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Frank Gauntlett, Daily Mirror, 19 November 1987
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Frank Gauntlett, Daily Mirror, 2 April 1987
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Frank Gauntlett, Daily Mirror, 2 August 1988
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Frank Gauntlett, Daily Mirror, 2 August 1988
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Frank Gauntlett, Daily Mirror, 2 May 1988
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Frank Gauntlett, Daily Mirror, 20 January 1988
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Frank Gauntlett, Daily Mirror, 20 May 1987
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Frank Gauntlett, Daily Mirror, 21 June 1988
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Frank Gauntlett, Daily Mirror, 22 July 1987
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Frank Gauntlett, Daily Mirror, 22 October 1987
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Frank Gauntlett, Daily Mirror, 23 August 1988
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Frank Gauntlett, Daily Mirror, 23 June 1988
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Frank Gauntlett, Daily Mirror, 23 May 1988
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Frank Gauntlett, Daily Mirror, 24 September 1987
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Frank Gauntlett, Daily Mirror, 24 September 1987
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Frank Gauntlett, Daily Mirror, 25 February 1987
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Frank Gauntlett, Daily Mirror, 25 January 1988
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Frank Gauntlett, Daily Mirror, 25 November 1987
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Frank Gauntlett, Daily Mirror, 26 November 1987
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Frank Gauntlett, Daily Mirror, 27 August 1987
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Frank Gauntlett, Daily Mirror, 27 May 1987
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Frank Gauntlett, Daily Mirror, 28 April 1988
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Frank Gauntlett, Daily Mirror, 28 April 1988
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Frank Gauntlett, Daily Mirror, 28 January 1988
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Frank Gauntlett, Daily Mirror, 28 July 1988
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Frank Gauntlett, Daily Mirror, 28 June 1988
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Frank Gauntlett, Daily Mirror, 29 April 1987
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Frank Gauntlett, Daily Mirror, 3 September 1987
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Frank Gauntlett, Daily Mirror, 30 November 1987
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Frank Gauntlett, Daily Mirror, 31 May 1987
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Frank Gauntlett, Daily Mirror, 4 August 1988
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Frank Gauntlett, Daily Mirror, 4 February 1987
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Frank Gauntlett, Daily Mirror, 4 January 1988
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Frank Gauntlett, Daily Mirror, 5 May 1988
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Frank Gauntlett, Daily Mirror, 5 November 1987
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Frank Gauntlett, Daily Mirror, 6 May 1987
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Frank Gauntlett, Daily Mirror, 6 September 1988
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Frank Gauntlett, Daily Mirror, 7 January 1988
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Frank Gauntlett, Daily Mirror, 7 January 1988
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Frank Gauntlett, Daily Mirror, 7 July 1988
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Frank Gauntlett, Daily Mirror, 8 April 1987
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Frank Gauntlett, Daily Mirror, 9 August 1988
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Frank Gauntlett, Daily Mirror, 9 June 1988
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Frank Gauntlett, Group plays close to home, Daily Telegraph-Mirror, Weekend Extra, 21 September 1991, 96-97
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Frank Gauntlett, On to another stage, The Australian, The University of Adelaide, Library Special Collections, 20 September 1995
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Frank Gauntlett, Rare double act for Henri, Daily Telegraph-Mirror, 4 March 1993, 34
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Frank Gauntlett, Rollling the bone along, Daily Telegraph-Mirror, 22 May 1993, 100
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Frank Gauntlett, Self-delusions of a sex diary, Daily Telegraph-Mirror, 28 October 1993, 46
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Frank Gauntlett, Serious Money, Daily Mirror, 11 August 1988
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Frank Gauntlett, Snatches of History, Daily Telegraph-Mirror, 9 September 1991, 0
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Frank Gauntlett, The brothers grim, Daily Telegraph-Mirror, 26 February 1991, 34
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Frank Gauntlett, The cosy nostra, Daily Mirror, 30 November 1989, 23
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Frank Gauntlett, Work for the wogs, Daily Mirror, 10 November 1988, 33
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Frank Gauntlett, [Lydie Breeze], Daily Mirror, 28 January 1987
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Frank Gauntlett, [Othello and Desdemona], Daily Mirror, 8 January 1987
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Frank Harris, Daily Mirror, 24 September 1963
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Frank McKone, Change is as good as a laugh away, Times2, 25 February 2008, 8
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Frank McKone, CT Magazine, 13 January 2006, 4
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Frank McKone, Panorama, 1 July 2006, 22
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Frank McKone, Panorama, 10 February 2007, 23
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Frank McKone, Panorama, 16 October 2004, 23
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Frank McKone, Panorama, 18 November 2006, 19
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Frank McKone, Panorama, 19 February 2005, 19
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Frank McKone, Panorama, 20 September 2003, 8
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Frank McKone, Panorama, 22 April 2006, 19
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Frank McKone, Panorama, 27 January 2007, 19
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Frank McKone, Panorama, 3 March 2007, 19
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Frank McKone, Panorama, 3 March 2007, 8
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Frank McKone, The Canberra Times, 23 April 2001, 12
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Frank McKone, The Canberra Times, 23 August 2002, 11
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Frank McKone, The Canberra Times, 27 April 2007, 4
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Frank McKone, The Canberra Times, 27 February 2001
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Frank McKone, The Canberra Times, 29 October 2001, 10
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Frank McKone, Times out, 28 August 2003, 4
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Frank McKone, Times2, 1 December 2006, 3
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Frank McKone, Times2, 10 February 2006, 4
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Frank McKone, Times2, 14 February 2006, 7
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Frank McKone, Times2, 15 February 2005, 8
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Frank McKone, Times2, 15 February 2006, 8
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Frank McKone, Times2, 15 June 2005, 8
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Frank McKone, Times2, 15 November 2006, 8
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Frank McKone, Times2, 15 October 2004, 4
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Frank McKone, Times2, 2 August 2006, 8
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Frank McKone, Times2, 2 March 2006, 9
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Frank McKone, Times2, 21 December 2006, 4
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Frank McKone, Times2, 22 February 2005, 12
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Frank Murphy, The theatre in Melbourne today, Twentieth Century, 12, 1958, 343-348
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Frank Murphy, Theatre in Melbourne, Twentieth Century, 21, 1966, 354-361
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Frank Murphy, Theatre in Melbourne, Twentieth Century, 24, 1969, 84-89
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Frank Sullivan, The Australian, 20 November 1991, 0
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Frank van Straten, $3m refit for Geelong's performing arts flagship, On Stage, 11, 2, 2010, 1-3
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Frank van Straten, Bendigo's new theatre - a link to the clink, On Stage, 13, 3, 2012, 1-3
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Frank van Straten, Coral Browne comes home, On Stage, 12, 2, 2011, 16
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Frank van Straten, Entertainment Down Under, On Stage, 12, 1, 2011, 35
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Frank van Straten, Final Curtain, On Stage, 12, 1, 2011, 44
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Frank van Straten, For Hamer Hall as we know it, the final chord has sounded, On Stage, 11, 3, 2010, 1-4
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Frank van Straten, Hayes, Vina Evelyn (Evie) (1912–1988), Australian Dictionary of Biography Online, 2007
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Frank van Straten, Ian Smith, By Gosh, it's pleasant entertainment (Part 2), On Stage, 13, 3, 2012, 22-25
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Frank van Straten, Ian Smith, By Gosh, it's pleasant entertainment (Part 3), On Stage, 13, 4, December 2012, 6-9
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Frank van Straten, In the Ath pit, On Stage, 11, 2, 2010, 7
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Frank van Straten, It's so nice to have you back where you belong, On Stage, 12, 3, 2011, 30-31
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Frank van Straten, Lee Gordon 1923-1963: The Big Showman, Live Performance Australia Hall of Fame, 2007
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Frank van Straten, Lovely to look at, On Stage, 11, 4, 2010, 20-23
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Frank van Straten, Meanwhile, will the Palais' lights go out?, On Stage, 11, 3, 2010, 25
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Frank van Straten, Percy would be pleased!, On Stage, 11, 2, 2010, 25
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Frank van Straten, Play it again, Reg, On Stage, 11, 3, 2010, 10-13
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Frank van Straten, Play it again, Reg, On Stage, 11, 4, 2010, 42-44
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Frank van Straten, Princess, Launceston, turns 100, On Stage, 12, 3, 2011, 10-13
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Frank van Straten, Reprieve for 'significant icon', On Stage, 11, 2, 2010, 19
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Frank van Straten, The last of the matinee idols, On Stage, 13, 1, 2012, 24-25
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Frank van Straten, The Lynch Mob, On Stage, 12, 1, 2011, 6 - 8
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Frank van Straten, The Myer Mural Overhaul, On Stage, 12, 4, 2011, 10-11
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Frank van Straten, The Sound of Music - 50 years on, On Stage, 12, 4, 2011, 38-40
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Frank van Straten, Tunnel vision, On Stage, 11, 3, 2010, 14
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Frank van Straten, Victoria Victorious, On Stage, 11, 2, 2010, 4
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Frank van Straten, Who? What? Where? When?, On Stage, 12, 3, 2011, 1-2
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Frankly Thring, Melbourne Times, 13 January 1982, 9
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Franx, Theatre Australia, July 1980, 47
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Fred Blanks, Sydney Morning Herald, 7 April 1988
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Fred Pawle, Limelight, May 2005, 128
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Freda Young, Kept Aussie Humor and Wooly Undies, The Australian Women's Weekly, 12 August 1953, 17
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A number of the publicans have resorted to the practice of holding, what is termed, a " free and easy," in their houses on Saturday nights, at which a number of tradesmen spend a great part of their earnings, and leave their families in starvation during the ensuing week. Next to masters paying their servants in public houses, this is the greatest evil to which the working classes can be subjected, and it is to be hoped, that the police will look strictly after the houses where they take place, and see that they are cleared and closed at the hours allowed by their license.
Free and Easy Concerts, The Sydney Herald, 18 February 1841, 3
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By the courtesy of Fullers' Theatres Ltd. the Returned Soldiers' League has for distribution among war widows, widowed mothers, war orphans and disabled soldiers, a number of tickets for admission to the pantomime Robinson Crusoe, on any night excepting Saturday next week. Application for tickets should be made in writing to Mr. C. W. Joyce, the secretary, Anzac House, and should be accompanied by a stamped envelope and the regimental particulars of the soldier.
Free Pantomime for Disabled A.I.F. Men, The Age, 4 February 1928, 16
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Freetrade Association, The Tumut and Adelong Times, NSW, 8 March 1901
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Fremantle Asylum Concert The
monthly concert to the inmates of the Fremantle Lunatic Asylum was held on Wednesday afternoon last. Mr. R. Fairbairn, R.M., occupied the chair. By permission of Messrs. Jones and Lawrence, several members of their vaudeville company took part in the entertainment, amongst them being the Lingard Sisters, the Gonzales Sisters, Miss Emmie Smith, Messrs. A. Jarvis and R. Shepherd, and the Warsaw Brothers. The orchestra was conducted by Mr. Genge Wilson, and what might be termed the "'professional" .part of the entertainment was under the direction of Mr. Akarman. Amongst the other contributors were Mrs. Maywood, Misses Dolly Maywood, Clegg, and E. Green, and Mr. McAdam. Dances were given by the pupils of Miss Cole. Miss Garrick and Mr W. 0. Mason acted as accompanists. The entertainment was a thorough success, and the members of Messrs. Jones and Lawrence's company were especially thanked for the part thar took in it.
Fremantle Asylum Concert, The West Australian, (Perth, WA : 1879 - 1954) , 19 October 1900, 4
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Fremantle Asylum Concert The
usual monthly concert arranged by Mr. W. O. Mason for the entertainment of the inmates of the Fremantle Asylum was held yesterday afternoon. The acting-superintendent, Dr. Hope, occupied the chair. The programme was contributed to by the following :-Misses G. and R. Birch, B. and G. Willis, E. Waldron, F. Cook. O. Cole and pupils, "Little Rosalie," Mrs. .W. . Mason, lasters 0. and G. Davidson, Messrs. F. Bateman, G. Newman, and W. O. Mason.
Fremantle Asylum Concert, The West Australian, (Perth, WA : 1879 - 1954) , 23 August 1900, 4
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Fremantle Asylum Concert The
thirty-seventh Fremantle Lunatic Asylum concert took place yesterday afternoon, under the presidency of Dr. Hope. Mesdames Droney and J. A. Turner, Misses G. Willis. E. Green, and M. Turner, and Messrs. Frank Bateman, J. A. Turner Fisher Beard, and Mason contributed to the entertainment. The songs by Miss May Hatchett and by Mr. T. A. Turner were received with applause.
Fremantle Asylum Concert, The West Australian, (Perth, WA : 1879 - 1954) , 29 November 1900, 4
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Fremantle Asylum, The Daily News, (Perth, WA : 1882 - 1950) , 12 August 1905, 9
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Fremantle Bicycle Club, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 14 September 1894, 11
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Fremantle Hospital Benefit Concert, The West Australian, 22 February 1898, 4
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Fremantle Hospital For Insane, The Daily News, (Perth, WA : 1882 - 1950), 28 July 1906, 7
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Fremantle League Of The Cross, West Australian Catholic Record, (Perth, WA : 1888 - 1922), 7 December 1895, 7
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Fremantle Lunatic Asylum Concert. - The monthly concert under the direction of Mr. W. O. Mason, at the Fremantle Lunatic Asylum, was held yesterday afternoon. Misses Hay and Carrie Halchett, Gracie Mills (P. McKenna, M. Ashton, L. and M. Hamburger, Lina Chester, pupils of Miss May Waugh), E., T. and N. Harken. Hawkins, and Richards and Messrs. A. and R. Flanders and Arnold Bill, contributed towards the enjoyment of the patients, their friends and the public. The special features of the entertainment were the dancing of the children (pupils of Miss May Waugh) and the songs and instrumental solos of Miss May Hatchott, Messrs. A. and R. Flanders, and Mr. Arnold Bill. Dr. Hope presided, and after a hearty vote of thanks to those who assisted and to Chief Warder Hawkins, Miss Patterson and their assistants, the company dispersed. A word of praise is due to Mrs. Henderson for her carefully played accompaniments to the dances.
Fremantle Lunatic Asylum Concert, The West Australian, 11 May 1899, 5
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FREMANTLE LUNATIC ASYLUM. Last Wednesday [22 Jun] , in the large dining-room attached to the females' portion of the Fremantle Lunatic Asylum, the inmates of the asylum, to the number of about 80, were tendered an enjoyable concert, the items being contributed by Misses G. F. Langdon, Daphne O’Hara, M. Feltham, L. Feltham, M. Hatchett, Harken, Ruby Cameron, and O'Hara, and Messrs. W. O. Mason, Stanley E. Evans, Duncan, C. A. Pattison, Con. Glasson, and Butcher. At the conclusion of the concert the acting superintendent of the institution (Dr. J- W. Hope), on behalf of the inmates and the officials, warmly thanked Mr. W. O. Mason for having prepared the programme, and the ladies and gentlemen for having contributed towards the success achieved. Such entertainments, he said, did a huge amount of good, as they broke the monotony of the lives of those who were forced to remain within the walls of the institution. He hoped that the musical people of Fremantle would come forward at intervals and give the demented patients a treat which would brighten their existence
Fremantle Lunatic Asylum, Inquirer and Commercial News, 24 June 1898, 8
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Fremantle Lunatic Asylum. The
thirty-fourth. monthly concert organised by Mr. W. O. Mason for the entertainment of the inmates of the Fremantle Lunatic Asylum took place yesterday afternoon. Dr. J. W. Hoije presided, and the programme was contributed to by Mrs. E. Bridgwood,, Misses Garrick, Stotter, J. Thorpe, G. Willis, Clive, Cole and pupils, E. Greene, E. Waldron, and A. O'Hara, and Messrs. F. Hird, T.Mulvaney, A. J. Lea Holt, Gardiner, and W. O. Mason.
Fremantle Lunatic Asylum, The West Australian, (Perth, WA : 1879 - 1954) , 19 July 1900, 4
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Fremantle Lunatic Asylum The
thirty-sixth monthly concert, organized by Mr. W. O. Mason, for the entertainment of the inmates of the Fremantle Lunatic Asylum. was given yesterday afternoon. Dr. J. W. Hone presided. The following ladies and gentlemen contributed to an interesting programme of songs, instrumental numbers, recitations, and dances:--Mrs. E. Bridgwood, Misses C. Mews. G. Willis. Johnson (2), E. Greene. Ranford, Webster (2), Harken (2). Savage, Waldron. Olive Cole and pupils, and Messrs. Fisher Beard, F. Bateman, W. O. Mason. and Master N. Doig.
Fremantle Lunatic Asylum, The West Australian, (Perth, WA : 1879 - 1954) , 20 September 1900, 4
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FREMANTLE LUNATIC ASYLUM.- Another
of the periodic concerts to the inmates of the Fremantle Lunatic Asylum was.given yesterday aiternoon. Mr. W. O. Mason played the overture, and songs were given by Mr. A. J. Lea Holt, Mr. and Mrs. J. A. Turner, Misses May Hatchett, May Wobber, Lily Webber, Bertha Willis, and Master Bertie Willis. .Miss Olive Cole contributed a dance, as also did several of her pupils. The medical superintendent (Dr. J. W. Hope) presided, and heartily thanked the performers for having provided the entertainment.
Fremantle Lunatic Asylum, The West Australian, (Perth, WA : 1879 - 1954) , 23 November 1899, 4
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FREMANTLE LUNATIC ASYLUM.-An excellent concert for the enter raininent of the inmates of the Fremantle Lunatic Asylum was given in the institution referred to yesterday afternoon. The patients who were, to the number of about 100, permitted to attend the concert, enjoyed the proceedings, and they maintained throughout a very orderly demeanour. Among those who contributed to the programme were the Misses Hilda Hawkins, Florrie Richards, Webster, J. Thorpe, N. Hunting, N. Harken, Ruby Cameron, and Lucy Craggs, and Messrs. TV. O. Mason, Con. Glasson, F. Ball, and W Bowden.
Fremantle Lunatic Asylum, The West Australian, 19 January 1899, 4
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Fremantle Lunatic Asylum The
38th monthly concert given at the Lunatic Asylum, Fremantle, yesterday afternoon, for the amusement of the inmates, was one of the most successful entertainments yet held at that institution. Dr. Walters presided, and an excellent programme of over twenty items was carried out, much to the delight of the audience, who gave unmistakable evidence of their appreciation of the various songs, dances, dumb-bell and club swinging exercises, phonograph selections, musical numbers, etc. kindly contributed by the following ladies and gentlemen:- Mrs. Maywood, Misses J. Willis, E. Green, T. Garrick, G. Willis, Watson, O. Thomas, Weymess, D. Maywood, Ward, Reynolds, B. Willis, T. Harken, Simpson; Messrs. F. Bateman, J. H. Otto, C. Hawkins, W. O. Mason, and Masters Cavanagh, W. Hatchett, Green, Townsend, W. Crowley, F. Harken, Dwyer, and Thomas.
Fremantle Lunatic Asylum, The West Australian, 20 December 1900, 4
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FREMANTLE LUNATIC ASYLUM.-A concert was given in the presence of a large number of visitors at the Fremantle Lunatic Asylum yesterday afternoon, with the object of affording the inmates some
relaxation from the oppressiveness of their confinement. Dr. Hope, the Government medical officer, and the ladies and gentlemen who took part, are deserving of every commendation for their charitableness in having organised the entertainment for the benefit of the patients. The various items on the programme were received with every mark of pleasure by the inmates of the institution who were present. Musical selections were contributed by Misses Hatchett, Feltham, O'Hara (2), Cameron, Langdon and Harken. Mr. C. A. Pattinson was applauded for his rendering of "To err is human," and Messrs. Butcher, C. Glasson and S. Evans materially assisted in the success of the entertainment. It is the intention of the asylum authorities to give similar performances at regular intervals.
Fremantle Lunatic Asylum, The West Australian, 23 June 1898, 4
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FREMANTLE LUNATIC ASYLUM. In the Fremantle Lunatic Asylum yesterday afternoon [27Jul] a concert took place, the inmates attending. A large number of ladies and gentlemen were present, and the unfortunates for whose enjoyment the entertainment was intended were apparently well pleased, as the various vocal and instrumental selections [...]were received with marked signs of approval. The comic element was wellrepresented in the entertainment. Musical selections were contributed by Misses Langdon, Webster, Hatchett, Thorpe, Feltham, and Gillian, and Messrs. Meeks, Dix, Webster, Glasson, Farmer, and Cowan.
Fremantle Lunatic Asylum, The West Australian, 28 July 1898, 4
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Fremantle Lunatic Asylum Yesterday afternoon, the inmates of the Fremantle Lunatic Asylum, were treated to a gramophone entertainment, provided by Miss Haga and Captain G. Waage, of the barque Charles Racine. The gramophone selections, which were quite novel to many of the patients, were greatly appreciated.
Fremantle Lunatic Asylum, The West Australian, 8 November 1900, 4
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Fremantle Notes., The Daily News, (Perth, WA : 1882 - 1950) , 14 January 1896, 2
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Fremantle Notes., The Daily News, (Perth, WA : 1882 - 1950) , 28 April 1896, 3
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Fremantle Notes., Victorian Express, (Geraldton, WA : 1878 - 1894), 20 October 1893, 4
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FREMANTLE SAILORS' REST.
On Saturday evening last a, concert,
organised by Miss C. Mews, was held in the hall of this institution. The programme was a varied one, and gave every satisfaction. The following ladies and gentlemen took part-: — Mrs. Cumming, Misses O. Cole, Webster, Hill, N. Harken, and C Hagh, and Messrs. H. Cole, Walker, Turner, Clare, Stacy, Mathieson, Pendington, Sefton, and A. J. Lea Holt. Miss Young and Mr. W. 0. Mason presided at the piano, and played the accompaniments in a satisfactory manner.
Fremantle Sailors' Rest, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 20 April 1900, 12
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Fremantle Sailors' Rest, The Daily News, (Perth, WA : 1882 - 1950) , 1 July 1895, 5
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The social and concert held at the Sailors'
Rest Iast Tuesday evening, was a distinct success. Captain Rodick acted as chairman, and the following ladies and gentlemen took part in the programme, which was arranged by Misses Craggs and Chamberlain: -Mrs. Cummins. Misses Cable, Alexander, Pickett (two), Hamburger; Messrs. Bridgwood (two) Viner, Glover, Nicholls and Bolton. The proceeds are to be devoted to a piano fund for the Y branch of the W.C.T.U. This was the first of a series of similar concerts.
Fremantle Sailors' Rest, The West Australian, (Perth, WA : 1879 - 1954) , 19 July 1900, 5
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Fremantle Sailors' Rest, Western Mail, (Perth, WA : 1885 - 1954), 8 April 1898, 54
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Fremantle Spring Fete, The Daily News, (Perth, WA : 1882 - 1950) , 25 September 1896, 4
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Fremantle Was Insulted, The West Australian, Perth, WA, 14 May 1949, 23
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Fremantle., Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 20 February 1867, 3
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French play by theatre group: first production in English, The Advertiser, 16 April 1948, 5
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French stage era ends, The Advertiser, The University of Adelaide, Library Special Collections, 5 October 1987
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Freshness, effect in Rebecca, The Mercury (Hobart, Tas. : 1860 - 1954), 20 November 1947, 7
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Friday 1, March, South Australian Gazette and Mining Journal (Adelaide, SA :, National Library of Australia, 2 March 1850, 3
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Friday, January 26, 1866, Sydney Morning Herald, 26 January 1866, 4
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Friday, July 5, 1901. Kate Howarde Co., The Grafton Argus and Clarence River General Advertiser, NSW, 5 July 1901, 2
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Friday, Mosquito Plains Caves, The South Australian Chronicle and Weekly Mail., 12 June 1869, 10
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Friday, October 19, 1883, The Daily News, (Perth, WA : 1882 - 1950) , 19 October 1883, 3
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Frocking at B.A.T. Production of "Ballet", The Telegraph (Brisbane), 26 September 1941, 7
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From callboy to big place in the theatre, Barrier Miner, 8 July 1946, 5
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From Here to Maternity, Theatre Australia, July 1981, 56-57
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From inside the walls, The Age, 5 October 1972, 21
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From stage to screen: Joe Egg, Elizabethan Trust News, The Australian Elizabethan Theatre Trust, Number One, December 1971, 10-11
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From the De Grey to Port Darwin; Journal of Exploration: By Alexander Forrest, F.R.G.S., The West Australian, 30 January 1880, 3
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From the world's first movie studio, On Stage, 13, 1, 2012, 30
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From toot to plunk, The Age, 1 May 1969, 25
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From tough cop...to Elvis, the king of rock, The News, The University of Adelaide, Library Special Collections, 17 October 1986
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Front Seat at a Stone Age Drama, The Advertiser, National Library of Australia, 26 September 1936, 11
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Fryer's Creek, Mount Alexander Mail, 18 January 1861, 4
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Full Dress Rehearsal of Princess Ida, The Canberra Times, 22 July 1963, 6
-
Full house for "Umbrella" at Glen Innes, Inverell Times, 8 May 1957, 2
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Fuller's Majestic. Newtown Vaudeville House. Official Opening, The Sun (NSW), 3 June 1917, 2
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Fuller's Palace theatre, The Argus, 30 October 1916, 10
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Fun At The Oval, The Advertiser, 16 October 1911, 11
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HOWARD STANLEY, a promising young eccentric in a city which has become bare of them, is causing confusion at the top end of Collins Street. He has put a poster in the window of No 105, the Paraphernalia Art Gallery, and it says: "I, Howard Stanley, will do anything, to the best of my ability, to or for anybody, as long as it is not hugely illegal or dangerous to the participant or myself. Payment for this service is cheque which has been returned to me from my bank marked either Refer to Drawer or Present Again." Inside the art gallery he sits happily at a table right next to the window where he can look out at passers-by who pause, read his notice in disbelief and then gaze in at him. What is the man up to? You can see the surprise appear on the faces of everyone who reads the notice. Is he mad or something? Here is a man called Howard Stanley who' offers to do anything you want him to, provided you pay him a dud cheque. The poster is specific on this. A further part of it says that if your cheque is "paid", it will be returned to you, and the deal is off. The good folk of Melbourne, reading this notice, don't understand it and don't want to. You can tell that at once. They've got enough troubles just bustling down windy Collins Street, or thinking of the cat or their tax. It is only some of the young who laugh. The rest look puzzled or angry and hurry on, as if they had stumbled on a murder and don't want to be involved. What on earth is Howard Stanley up to? Exactly what he says. For example: You can walk into 105 Collins Street and say: "I want you to stand on the top, of Nauru House, waving the flag of Monaco and singing The Pilgrims' Chorus from Tannhauser." Mr. Stanley will take your cheque for any amount and agree to your request ... Once the cheque has bounced, he will carry out the agreement, provided you meet any expense such as the cost of a Monaco flag. Yes, but why? To understand this, you need to know a bit 'about Mr. Stanley, who is 25, lives at Prahran and describes himself as a "performer". You may recall that he made news last September when, as a part-time deliverer of cakes, he handed out printed notices to his customers announcing that he would sing 'Clap Hands, Here Comes the Brockhoff Baker' repeatedly as he went on his rounds. The public didn't want to know about that either. He is also the person who organised The Mongrel Dog Show at La Mama. He had a cast of 24 (12 human and 12 canine) and they came on to the . stage without rehearsal and then Just did whatever they thought fit. Anyone who has closely followed Mr. Stanley's amazing career will agree that his art reached unprecedented heights in a show called Kabarate which he organised for the Flying Trapeze restaurant in Fitzroy. One of his songs was a big hit. It was called 'Pick My Nose, Or A Song', and he delivered it himself to a fascinated audience: "I can pick my nose, It is very close / To me, it is / Can you see my nostrils beaming out at you, / My hair, my holes, my God, too good to be true". Yes. Mr. Stanley is probably the most promising theatrical eccentric we have seen since the young Barry Humphries. What he is doing now In Collins Street is holding a happening, to which he has given a lot of careful thought. He sees it all as theatre. He sees everything as theatre, and everyone as a participant. Even the puzzled people who hurry away are playing their parts. He has isolated four reasons he should accept dud cheques for his services. The first is that he says he cannot understand value for money in terms of ideas. But he can ; understand the reverse that money can have a negative value, and that a cheque written for $5000 or 5 is still worthless if it bounces. His second reason is that he can give-people the only chance they will probably have in their lives to exercise total power over another human being (that's him). Thirdly, his happening is a comment on the money side of the art world, which he describes as incredibly money-oriented. "A lot of artists shy away from the art world because they can't come to terms with the business side," he says. "It's a pity the happening does not exist in a really expensive gallery where wealthy people buy investments and not the work of art itself." And the fourth reason is that he's curious. He wants to see what people will do when confronted with this situation. "It's interesting that some people who have come in to talk about my poster have been apologetic," he says. For various reasons they won't, take part in the happening. They've got a new overdraft or a new bank manager, and they're scared they will blow their financial credibility." Yesterday was Mr. Stanley's third day of the happening. By lunchtime he had received only one request. A man gave him a cheque, allegedly dud, to go on a 10-day rice fast whatever that means. Is there any money in this for Mr. Stanley? He says not. He's not connected with the gallery or the present show there, and is being allowed to use the premises through the kindness of the proprietor, Paul Kraft. He doesn't expect many more passers-by to participate. I think he'd attract much more custom if, in addition to having his poster in the window, he stood at the door and sang 'Pick My Nose, Or A Song'. Can't you picture a scene like that? I don't think the good people of Collins Street would actually faint but I'd love to see the looks-on their faces.
Fun Comes Bouncing Back, The Age, 21 July 1978, 4
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Fun in the deep, The Canberra Times, 24 August 1977, 29
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Furious Lovers, Theatre Australia, May 1980, 10
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G Branson, What's wrong with the theatre: some case histories, The Bulletin, 83/4275, 20 January, 1962, 21
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G F Moore, Excursion to the Northward, Perth Gazette and West Australian Times, 2 May 1835, 486-487
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G L Fischer, Chapman, Edgar (1831–1886), Australian Dictionary of Biography Online, 1969
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Gabby McMillan, bma (bands music action) , 23 October 2003, 27
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Gabby McMillan, bma (bands music action) , 4 November 2004, 25
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Gabby McMillan, bma (bands music action) , 5 May 2005, 12
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Gabby McMillan, bma (bands music action) , 6 October 2005, 10
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Gabriel Wilder, Metro, 29 December 2000, 3
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Gabriel Wilder, Metro, 8 February 2002, 13
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Gabriela Zabala, Voices unheard: the representation of Australian Aborigines by left-wing playwrights 1940s - 1960s, Australasian Drama Studies, 60, April 2012, 42-55
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Gabriella Coslovich, Staging a successful workers' uprising, The Age, 9 August 1999, 5
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Gabriella Coslovich, [Back with a Vengeance], The Age, 21 December 2006, 3
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Gabrielle Hyslop, Has Ariane Mnouchkine sold out?, Australasian Drama Studies, Australasian Drama Studies, C/- Department of English, Univ, 7, October 1985, 31 - 44
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Gae Anderson, Harry Rickards: The singer and his songs, On Stage, 12, 3, 2011, 36-40
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Gaieties Revue, Barrier Miner, 25 August 1948, 8
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Gaieties Show, Barrier Miner, 21 October 1949, 8
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Gaiety Theatre, The Telegraph, Brisbane, Qld, 4 February 1898, 5
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Gaiety Theatre, The Zeehan and Dundas Herald, Tas., 30 October 1900, 3
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Gaiety Theatre. "Sins of a City"., The Zeehan and Dundas Herald, Tas., 29 October 1900, 2
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Gaiety Theatre. Pantomime: Sinbad the Sailor, The Telegraph, Brisbane, Qld, 4
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Gaiety Theatre. Pantomime: Sinbad the Sailor., The Telegraph, Brisbane, Qld, 28 December 1897, 4
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Gail Priest, Acoustic essences, RealTime Arts, 73, June 2006, 39
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Gail Priest, Curating, caretaking & growing their own, RealTime Arts, 119, February 2014, 34
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Gail Priest, Partner Art pt 2, RealTime Arts, 123, October 2014
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Gail Priest, Partner Art, RealTime Arts, 122, August 2014
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Galsworthy Plays. Repertory Society Production, The Canberra Times, 1 November 1933, 3
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Garage troupe has theatrical success, The Advertiser, The University of Adelaide, Library Special Collections, 21 February 1978
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Gareth Griffiths, Experiments with form in recent Australian drama, Kunapipi, 2/1, 1980, 70-87
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Gareth Griffiths, Fugard still charts a divided nation, The Australian, The University of Adelaide, Library Special Collections, 26 April 1996, 8
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Gareth Griffiths, The Australian, 19 August 1998, 14
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Gareth Griffiths, The Australian, 19 November 1997
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Gareth Griffiths, The Australian, 6 November 1997
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Gareth Griffiths, The parochial metropolis: a view from the west, Meanjin, 53, 3 (Spring), 1994, 460-466
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Gareth Wilder, Metro, 8 February 2002, 14
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Garrett Bithell, Daggers of dissent, SX news, 25 October 2007, 12
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Garrett Bithell, Melting pot, SX news, 29 November 2007, 24
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Garrett Bithell, Survival techniques, SX news, 30 August 2007, 15
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Garrie Hutchinson, A brief chronology of the theatre in Australia, Theatre Quarterly, 7, 26, 1977, 50-55
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Garrie Hutchinson, Elephant Stamps - Melbourne, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 12
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Garrie Hutchinson, Ten years of Carlton Theatre, Theatre Australia, 2, 4, 1977, 8-11
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Garry Wotherspoon, Foy, Harry Sidney (1901–1942), Australian Dictionary of Biography Online, 2005
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Gary Smith, Bridge to Lost Lives, The Daily Telegraph, Theatre and Dance Platform, 8 December 2006, 72
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Gaslight and Gravy, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 6-8
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Gavin Findlay, No good guys/bad guys, RealTime Arts, 42, 1 April 2001, 28
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Gavin Findlay, Obituary: David Branson, RealTime Arts, 47, February 2002, 12
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Gavin Findlay, Splinters, Mapping Tangible and Intangible Cultural Heritage: The Splinters Archive Project, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 62, April 2013, 113 - 129
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Gay Mackie, The Advertiser, 2 March 1988
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Gay McAuley, Performance studies in the Australian academy - a reply, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 27, October 1995, 151 - 162
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Gay McAuley, Performance studies: a personal view, Australasian Drama Studies, Australasian Drama Studies, C/- Department of English, Univ, 7, October 1985, 5 - 22
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Gay McAuley, Performance Studies: definitions, methodologies, future directions, Australasian Drama Studies, 39, October 2001, 5-19
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Gay McAuley, The Sydney Trinity: Performance Space and the Creation of a 'Matrix of Sensibility', Australasian Drama Studies, 58, April 2011, 71-87
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Gay McAuley, Theatre practice and critical theory, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 28, April 1996, 140 - 145
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Gay Theatre Co., Campaign, 52, April 1980, 32
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Gaye Poole, Casebook: Darlinghurst Nights, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 12/13, 1988, 102 - 123
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Geelong Rejoicings, Bathurst Free Press and Mining Journal, 14 December 1850, 3
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Geelong, The Argus, 26 August 1858, 6
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Geelong, The Colonist, 20 April 1839, 3
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Gemma O'Donoghue, Currents, June 2007, 0
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Gemma O'Donoghue, Currents, June 2007, 0
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General Gossip, Referee, 20 June 1900, 10
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General Gossip, Referee, 8 June 1910, 16
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General Intelligence, The Empire, 13 January 1860, 4
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General News, Adelaide Express, 9 October 1865, 3
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General News, Colac Herald, 19 July 1911, 1
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General News, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 10 July 1891, 4
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General News, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 15 March 1895, 15
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General News, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 17 January 1896, 8
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General News, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 2 December 1891, 4
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General News, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 2 November 1892, 5
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General News, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 22 June 1892, 2
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General News, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 25 December 1896, 10
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General News, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 25 January 1893, 4
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General News, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 26 October 1892, 2
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General News, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 3 January 1896, 8
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On Friday the Stanley Opera Company proceeded to Fremantle, where they gave a gratuitous entertainment to the afflicted inmates of the Lunatic Asylum. The performance, which consisted of singing, dancing, and character representations was immensely enjoyed by the unfortunate spectators, who warmly evinced their thanks for the delightful treat Mr. Stanley's generous kindness had afforded them. This is the first time such a pleasant break has occurred in the depressing monotony of the patients' ordinary daily routine of life for about 8 years.
General News, Inquirer and Commercial News, 14 October 1885, 3
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GENERAL NEWS. The Trinity Christian Endeavour Society gave a musical entertainment for the delectation of the inmates of the Fremantle Lunatic Asylum last Saturday evening. The programme consisted of glees, piano solo by Miss Scrymgour, songs by Miss Adams, Mrs. A. Gregg, Messrs J. Q. Taylor, M. Randell and J.Halliday, and a recitation by Mr. Genge. The singing was conducted by Mr. J, G Taylor. The visitors left by the 7 o'clock train for Perth, having had the satisfaction of giving an hour's amusement and enjoyment to the inmates of the institution.
General News, Inquirer and Commercial News, 17 September 1892, 4
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GENERAL NEWS. During the past few weeks Mr. Ready has got together at Fremantle a town band, who perform very well. The band kindly gave an instrumental performance at the Asylum on Saturday [23 Jan] for two hours and supplied a great amount of pleasure to the inmates. At the conclusion of the
performance the band were warmly thanked by Dr. Hope, Acting Surgeon Superintendent of the Asylum.
General News, Inquirer and Commercial News, 29 January 1892, 4
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General News, Maryborough Chronicle, Wide Bay and Burnett Advertiser, Qld, 10 February 1898, 2
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General News, Maryborough Chronicle, Wide Bay and Burnett Advertiser, Qld, 11 August 1899, 2
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General News, Maryborough Chronicle, Wide Bay and Burnett Advertiser, Qld, 12 August 1899, 2
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General News, Maryborough Chronicle, Wide Bay and Burnett Advertiser, Qld, 14 August 1899, 2
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General News, Maryborough Chronicle, Wide Bay and Burnett Advertiser, Qld, 15 February 1898, 2
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General News, Maryborough Chronicle, Wide Bay and Burnett Advertiser, Qld, 16 February 1898, 2
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General News, The Advertiser, 16 October 1911, 8
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General News, The Advertiser, 18 December 1911, 8
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General News, The Advertiser, 7 October 1911, 18, 19
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General News, The Advertiser, 7 September 1911, 8
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The enclosure at the police-station ont Tuesday morning'reminded onlookers of a blacks' camp,, owing to the presence ther« - ; of about a dozen^ natives, with their bag- gage and inevitable tribe of dogs. Tha natives had heard at their wurlies at Encounter Bay of the approaching ¡visit of fhe / King's son, and, ' burning with curiosity, ihad walked to town to weU come him to their native land. Their dis- appointment was great when they were told1 " their visit wa» premature, and it was greater when they were informed they, Would have to return whence they cama to await the Duke's arrival. The blacks . were gathered together in the police yard on Monday and they spent the night there. Early in the morning they held a corrob boree, and as a return for their labors they were given some breakfast. Throughout the morning the dusky visitors were to be . seen lolling ¿about in the sun, smoking and " speculating on the forthcoming tour in South Australia of the Royal party. They became reconciled to the idea of having to return to ibheu- wurlies, and promised to come to the city again when the Royal visi« tors arrive.
General News, The Advertiser, National Library of Australia, 15 May 1901, 4
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 1 November 1892, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 1 September 1890, 3
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 10 June 1893, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 11 March 1895, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 11 March 1896, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 12 December 1894, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 12 July 1894, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 14 December 1894, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 14 October 1893, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 15 February 1893, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 15 March 1895, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 16 August 1894, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 16 March 1891, 3
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 16 November 1891, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 17 July 1891, 3
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 17 November 1891, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 18 October 1893, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 20 September 1895, 4
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 24 August 1893, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 27 March 1894, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 28 February 1891, 3
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 3 February 1893, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 31 October 1894, 2
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 6 December 1890, 3
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General News, The Daily News, (Perth, WA : 1882 - 1950) , 9 August 1893, 2
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NOTES AND NEWS. The Trinity Christian Endeavour Society gave a musical entertainment for the delectation of the inmates of the Fremantle Lunatic Asylum last Saturday evening. The programme consisted of glees, piano solo by Miss Scrymgour, songs by Miss Adams, Mrs. A. Gregg, Messrs J. Q. Taylor, M. Randell and J.Halliday, and a recitation by Mr. Genge. The singing was conducted by Mr. J, G Taylor. The visitors left by the 7 o'clock train for Perth, having had the satisfaction of giving an hour's amusement and enjoyment to the inmates of the institution.
General News, The Daily News, 11 April 1892, 2
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General News, The Daily News, 11 May 1894, 2
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General News, The Daily News, 18 May 1905, 3
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General News, The Daily News, 22 February 1894, 2
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GENERAL NEWS. On Saturday evening last [20 Aug] the inmates of the Fremantle Lunatic Asylum derived considerable pleasure from a concert organised by Mr. Clough the well-known violinist. The programme included songs by Miss May Feltham, Miss Strachan, Messrs, A. Andrews, Fred. Vincent and Jagge. Mr. Clough contributed two violin solos and Miss Letty Feltham supplied violin accompaniments. Mr [?] presided at the piano, At the close of the entertainment performers were thanked by Dr Hope, [...] who also supplied light refreshments.
General News, The Daily News, 25 August 1892, 2
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General News, The Daily News, 28 March 1895
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General News, The Maryborough Chronicle, Wide Bay and Burnett Advertiser, Qld, 3 February 1903, 2
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General News, The Premier's Trip North, The Queenslander, 24 December 1887, 1027
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General News. Kate Howarde Co., The Mount Lyell Standard and Strahan Gazette, Queenstown, Tas., 26 November 1901, 2
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General, The Adelong and Tumut Express and Tumbarumba Post, NSW, 5 March 1901, 2
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Genevieve Read, [Aussie Rules - The Musical], The Mercury (Hobart, Tas. : 1860 - 1954), 20 November 2003, 28
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Genny O'Loughlin, The Northern Territory News, 14 May 1988
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Genny O'Loughlin, The Northern Territory News, 18 March 1988
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Geo Reeve, Eliza Winstanley : A Famous Australian Actress and Writer, The Sydney Mail, 24 September 1924, 31
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Geoff Andrew, Scene Stealer, Time Out, 14 October 1992, 27
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Geoff Atkinson, The Northern Territory News, 18 March 1987
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Geoff Gaskill, Melbourne Times, 9 December 1987
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Geoff Gibbs, The West Australian, 24 February 1988
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Geoff Hawke, The Canberra Times, 26 September 1991
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Geoffrey Borny, Williams and Kazan: the creative synthesis, Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 8, April 1986, 33 - 47
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Geoffrey Dutton, A prism's light shinning in flawed glass, The Bulletin, 1 June 1982, 62
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Geoffrey Dutton, Australian letter, Landfall, 16, 1962, 371
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Geoffrey Havers, Lest we forget?, Honi Soit, 24 April 1958, 4
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Geoffrey Hutton, Adelaide: meeting place of the arts, Australia Today, [no publication details], 1962
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Geoffrey Hutton, Australia 1955-56: A year of new hopes, International Theatre Annual, 1, 1956
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Geoffrey Hutton, Bolton Wanderer, The Age, 10 February 1968, 12
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Geoffrey Hutton, Life-likeable characters, The Age, 12 February 1968, 6
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Geoffrey Hutton, Max Lamshed, Adelaide Festival 1966, Walkabout, 32, November, 1966, 30-32
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Geoffrey Hutton, No stopping Tasmania's one-man theatrical band, The Australian, The University of Adelaide, Library Special Collections, 29 September 1981, 12
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Geoffrey Hutton, Play's new style. Moliere in modern dress, The Age, 16 May 1967, 4
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Geoffrey Hutton, Playwrights in search of a direction, Overland, 67, 1977, 17-21
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Geoffrey Hutton, Strange new world of Harlod Pinter, The Age, 21 October 1961, 19
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Geoffrey Hutton, The professional, The Age, The University of Adelaide, Library Special Collections, 29 March 1978
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Geoffrey Hutton, The theatre in Australia, International Theatre Annual, 2, 1957, 128-145
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Geoffrey Hutton, They didn't turn a hair, The Age, 6 June 1969, 6
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Geoffrey Hutton, Voice of a playwright in the present tense, The Age, 1 July 1961, 17
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Geoffrey Hutton, War satire unwanted, The Age, 27 November 1968, 3
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Geoffrey Hutton, Welcome change for Melbourne, The Age, 15 April 1969, 5
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Geoffrey Milne, A Beautiful Life (Review), Australasian Drama Studies, April 2001, 88-101
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Geoffrey Milne, Arena Theatre Company, Companion To Theatre In Australia, 1957, 57
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In its seven-year life the Australian Contemporary Theatre Company - also known as the Church after its theatre – presented 50 productions or co-productions with itinerant alternative groups, mostly of plays by contemporary Australian playwrights. There were challenging works, including music-theatre, by lesser-known local playwrights andd by some better-known Australian and overseas writers who were largely ignored elsewhere in Melbourne. The Church also housed some splendidly staged plays for children, especially Dorothy Hewett’s Golden Valley and adaptations of children’s classics by Ernie Gray. The lofty spaces and flexible seating of the old church, formerly home of Pilgrim Puppet Theatre, encouraged visual excitement in production and generally more interesting actor-audience relationships than in most mainstream theatres. The chronically underfunded company closed down in February 1990, when state and federal subsidies were withdrawn.
Geoffrey Milne, Australian Contemporary Theatre Company, Companion To Theatre In Australia, 1995, 71
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Geoffrey Milne, Australian Listener, 13 August 1988
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Geoffrey Milne, Australian Listener, 17 September 1988
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Geoffrey Milne, Australian Listener, 27 August 1988
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Geoffrey Milne, Australian theatre in crisis (again)?, Eureka Street, 9, 8 (October), 1999, 39-40
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Geoffrey Milne, Australian Theatre in the 1980s: Trends and Movements, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 9 - 23
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Geoffrey Milne, Black and white in Australian drama: Melbourne 1988, Meridian, 9, 1 (May), 1990, 33-43
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Geoffrey Milne, Changing stages, Eureka Street, 10, 9 (November), 2000, 40-41
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Geoffrey Milne, Cho Cho San: 'a triumph of collaboration', Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 12/13, 1988, 85 - 101
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Geoffrey Milne, Community theatre in Melbourne: The Bridge, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 20, April 1992, 70 - 72
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Geoffrey Milne, Crazy Brave (Review), Australasian Drama Studies, April 2001, 88-101
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Geoffrey Milne, Features of Blown Youth (Book Review), Australasian Drama Studies, April 2001, 169-175
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Geoffrey Milne, Georgia (Book Review), Australasian Drama Studies, April 2001, 102-105
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Geoffrey Milne, Go West, Eureka Street, 5, 9, November 1995, 49-50
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Geoffrey Milne, Going for broke, Eureka Street, 8, 5 (June), 1998, 42-43
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Geoffrey Milne, Judging drama, Eureka Street, 6, 10, December 1996, 45
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Geoffrey Milne, Laura Ginters, Lisa Warrington, Mary Ann Hunter, Rachel Forgasz, Richard Fotheringham, ADS at thirty: three decades of Australasian Drama, Theatre, Performance and Scholarly Research, Australasian Drama Studies, 60, April 2012, 6-19
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Geoffrey Milne, Lighthouse: a 'mainstage' ensemble experience, Australasian Drama Studies, 53, October 2008, 42-57
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Geoffrey Milne, Liza-Mare Syron, Indigenous performing arts training in Australia: Liza-Mare Syron, in conversation with Geoffrey Milne, Australasian Drama Studies, 57, October 2010, 148-162
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Geoffrey Milne, Playbox at the Malthouse: a new home for Australian writing, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 19, October 1991, 3 - 12
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Geoffrey Milne, Polly Blue, Australasian Drama Studies, April 2001, 169-175
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Geoffrey Milne, Promoting agency or 'Stepping stones R Us'?: recent Melbourne youth theatre, Australasian Drama Studies, 47, October 2005, 121-139
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Geoffrey Milne, Puppetry as cultural exchange in Indigenous communities: Sandy McKendrick in conversation with Geoffrey Milne, Australasian Drama Studies, 51, October 2007, 90-103
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Geoffrey Milne, Shakespeare under the stars: a new 'Elizabethan' tradition, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 33, October 1998, 65 - 79
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Geoffrey Milne, Shakespeare under the Stars: A New Populist Tradition, Australasian Drama Studies, 33, 1998, 65-79
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The 'National Theatre'/'National Theatre Movement'The National Theatre Movement was founded in Melbourne in 1935 by Australian opera singer Gertrude Johnson on her return to Australia from England, where she had enjoyed a modest operatic career for some years. Despite the lofty ideals of its founders (Johnson and a number of leading figures in Melbourne's then largely amateur music, opera, ballet, and theatre world, many of whom served on its board for many years) the National was rarely a genuinely serious professional theatre organisation and it never took off as a national movement, although a South Australian entity bearing the name of 'South Australian National Theatre Movement' flourished for a time in the early 1950s, while a Sydney rival – Clarice Lorenz – registered the name 'The National Opera of Australia' in 1953.i The National's heyday as a professional producer was arguably in the years between World War II and about 1954, during which years it mounted a high-profile series of eight annual three-arts festivals at the Princess Theatre, featuring its professional off-shoots: a National Theatre Ballet Company, a National Theatre Opera Company and a National Theatre Drama Company. Its significance as a would-be 'national', professional performing arts organisation was gradually lost following the development, after 1954, of the Australian Elizabethan Theatre Trust and its growing network of what were to become the 'state theatres', the Australian Ballet and the Australian Opera. Vestiges of the National's ambitions were still to be seen in various briefer 'professional' opera, ballet and music theatre seasons between 1960 and 1964 in various venues; a major drama season, in association with Garnett H. Carroll, at the Princess in 1967; a final attempt at a three-arts festival at the Princess in 1969; and a brief, one-off opera season in 1971 under the rubric of 'The Melbourne Opera'.ii The National was also Melbourne's first state-subsidised theatre, receiving Victorian Government subsidy from an early stage of its life, probably the late 1940s. After about 1971, the National ceased mounting productions as a professional production/presenting company and concentrated solely on its role as a training institution. While few of its most ambitious ideals were met, the National was a serious training ground for countless aspiring actors, singers, dancers and other people interested in a career in the theatre – not only via its various production programmes, but mainly through its three training schools: the National Theatre Opera School, the National Theatre Ballet School and the National Theatre Drama School, which were founded from the beginning of the organisation's life, two of them continuing to the present day (as at 2010). The Opera School was amalgamated with/ceded to the Victorian College of the Arts in 1980. ------------------------- 'National Theatre' ORGANISATIONS represented in AusStageThe 'National' (as it has always been colloquially known) has undergone several name-changes over its lifetime. Its first production was launched in 1936 under the name of 'National Theatre Movement, Victoria'. In April 1940, the organisation changed its name to 'The National Theatre Movement of Australia' and, in November 1961, to 'Australian National Theatre Limited'. In 1970, it was re-named 'Australian National Memorial Theatre', its official name today – although it is still generally known simply as 'The National'.
Since there are no Events listed at the moment in AusStage under the Organisation 'National Theatre Movement, Victoria', there are just three entities related at present to the organisation: The National Theatre Movement of Australia: Organisation ID 8200. This contains the vast bulk of the National's production output: 1936 – 1961. Australian National Theatre Limited: Organisation ID 9189. This contains a thin listing of National productions 1961–1970. Australian National Memorial Theatre: Organisation ID 33602. This contains a few listings of events produced by the National Theatre's schools since 1970.
RESEARCHERS SEEKING INFORMATION ABOUT THIS ORGANISATION ARE ADVISED to search via these three entities. Within these three broad chronological records, entries will also be found for productions mounted by the subsidiary production entities – the National Theatre Opera, Ballet and Drama Companies and the National Theatre Ballet, Opera and Drama Schools. Information about which arm of the National was the production company (where known) is in all cases listed within the "Description" field.
------------------------------ 'National Theatre' VENUES represented in AusStageThe National has also occupied various different venues over its lifetime. (At least two of the theatres it purchased at different times as its proposed administrative and production bases burned down before they could ever be used. A third was used for some years before succumbing to the same fate!) However – with the exception of the various theatres it hired for its mainstage professional productions, notably the Princess and the Palais – these are again narrowed to three: Saint Peters Hall (from 1938 – 1961) Venue ID 2807 (Also colloquially known as 'The National') The National Theatrette (1961 – 1968) Venue ID 4108 The National Theatre, St Kilda (since 1974) Venue ID 700. (Mainly a hired venue for community and other outside groups, but also used as a home base for the Ballet and Drama Schools and – occasionally – for their productions).
The national also occupied premises for brief periods (as administrative bases and/or as homes for the Schools) at Carlton St, Prahran, at Jackson St, South Yarra, and at Toorak Rd, Toorak. These addresses are sometimes noted within individual records for 'National Theatre' events. ---------------------------------- Sources: National Theatre Website: www.nationaltheatre.org.au Frank Van Straten, National Treasure: The story of Gertrude Johnson and the National Theatre. (Melbourne: Victoria Press, 1994) John Andrews, 'The National Theatre Movement'. in Parsons (with Chance), eds, Companion to Theatre in Australia. (Sydney: Currency, 1995). ---------------------------------
Geoffrey Milne 21 July 2010
NOTES i This 'National Theatre', located in Melbourne, has nothing to do with – and is no relation to – the entities in Perth known as the National Theatre Inc (AusStage Organisation ID 4037) or the National Theatre Company (essentially the same company; Organisation ID 8233) or the National Theatre of Western Australia (same company again; Organisation ID 9704).
ii Again, no relation to a much newer entity trading by that name in Melbourne in the later 2000s.
Geoffrey Milne, The 'National Theatre'/'National Theatre Movement', Flinders University, Academic Commons, 21 July 2010
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Geoffrey Milne, The Festival of the Dreaming: Intimate, contemporary, true, Australasian Drama Studies, 37, October 2000, 27-39
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Geoffrey Milne, The mother of all theatres, Eureka Street, 7, 6 (Jul-Aug), 1997, 48-50
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Geoffrey Milne, The other side of the story: multicultural drama in Australia, Meanjin, 53, 3 (Spring), 1994, 495-503
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Geoffrey Milne, The passage of time in A Stretch of the Imagination, Viewpoints, 1987, 1987, 209-216
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Geoffrey Milne, Who's Afraid of the Working Class (Book Review), Australasian Drama Studies, April 2001, 169-175
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Geoffrey Rush, Neil Armfield, Tearing the Cat, Australasian Drama Studies, 36, April 2000, 4-18
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Geoffrey Thomas, The ABC Weekly, 13 March 1954, 14
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Geological Expedition, The Advertiser, 25 January 1902, 9
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George Farwell, Adelaide's second festival, Walkabout, March, 1962, 12-14
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George Kanarakis, The Greek literary presence in Australia, New Literatures Review, no.15, 1988 periodical issue, 1988, 1-10
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George Landen Dann, Australian drama from Sunny South to Fire on the Snow, Queensland Writing, 1954, 1954, 22-26
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George Molnar, Am Impression...An Apology to Many Noses, Australian Elizabethan Trust, Sydney, 1956, 23
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George Molnar, Nights at the Elizabethan, Australian Theatre Year, 1959-1960, 1960, 36-40
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George Mulgrue, Perth's new Festival Director looks far ahead, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 26-27
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George Stephenson Beeby, The Drama in Australia, All About Books for Australian and New Zealand Readers, 4, 4, 14 April 1932, 52
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George V, The West Australian, 9 May 1910, 4
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George Williams, The Daily News, 17 February 1988
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George Willoughby Limited. An old firm, a new name, Table Talk, 25 September 1913, 28
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George's Head, Bradley's Head, and Athol Gardens., Australian Town and Country Journal, 7 October 1871, 20
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Georgia Curry, Canberra Sunday Times, 27 January 2002, 10
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Georgia Curry, Drama buys into sexual politics, The Canberra Times, 7 June 1995, 19
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Georgie Boucher, Sarah French, Postfeminist Pleasure and Politics: Moira Finucane and The Burlesque Hour, Australasian Drama Studies, 58, April 2011, 193-211
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Georgie Boucher, Sarah French, Viewing the Burlesque Hour: The Pleasures of the Masochistic Gaze, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 63, October 2013, 6 - 21
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Georgie Nicholson, [Yet Each Man Kills the Thing he Loves], Inpress, 12 November 2003, 0
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Georgina Binns, Buck, Vera Winifred (1903–1986), Australian Dictionary of Biography Online, 2007
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Georgina Curry, Canberra Sunday Times, 29 July 2001, 11
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Georgina Safe, 'Risky' Bach puts fest in black, The Australian, Theatre and Dance Platform, 3 November 2000
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Georgina Safe, Black activist's art to imitate life's struggle, The Australian, 8 September 2003, 8
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Georgina Safe, Body for all the right moves, The Australian, Theatre and Dance Platform, 8 August 2003, 15
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Georgina Safe, The Australian, 22 August 2002, 9
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Georgina Safe, The Australian, 6 January 2001
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Here we have a pencilled Pasquinade of Mr. George Rignold, an actor who has been popular in Australia for 23 years past, since he first, on August 28, 1876, appeared on the Australian stage. Then, in the prime of early manhood, and of handsome personality, he appeared as Henry V. He at once became a favorite and earned a popularity which he for years continued to enjoy, and which, in some degree, is still his. That he fails to attract the public now to anything like the extent he did some years ago is unfortunately true. This lies, not however, so much with the actor as with the audience. As Truth has already pointed out Sydney audiences do not want good drama. Though Mr. Rignold gave as fine pro ductions of the higher drama and Shakespeare as Australia ever saw, the public, which had cultivated a taste for shrieking sensationalism and melodramatic monstrosities commenced to stay away, patronising in preference to Rignold and Shakespeare, those dramas in which fires, railway accidents and shipwrecks played the principal part. Mr. Rignold tried to follow popular taste. Appearing in melodrama and in the character of persecuted heroes, the public found Mr. Rignold was a d — d bad actor. So he was — in those roles. His training was to blame. He had never been taught to vault through a hoop, nor to throw a flipflap. He never even learned how to properly regulate his limelight. Increasing years and increasing girth, in addition to this lack of training, soon made Rignold absolutely unfit for juvenile leads — even with the aid of the limelight. Still he might have retained a great hold on the public had he 'played down' to them a little more. Finding audiences were not taking to his juveniles, he should have sunk himself and let some younger man take his place. He, however, was ill-advised enough not to do this, and soon it came about that people said ' Rignold is done.' His last season in Sydney was anything but successful. Audiences could not understand the introduction of the old school of acting into the new drama ; and they did not care for a portly hero. So he failed. Mr. Rignold intends shortly commencing a season of Shakespeare, when he will appear as Othello. This season will commence at the Criterion at Easter. The character of the jealous Moor is one in which Mr. Rignold should be successful, if a too long acquaintance of late years with the melodramatic stodge of a 'Tommy Atkins,' etc., has not spoiled him. Anyway, Truth, without wishing in the slightest to prejudge the performance, is anticipating a success. Much of course will depend upon the support accorded him, and it is to be hoped Mr. Rignold will lose no chance of securing the very best talent available. In view of the approach of this season, Truth thinks this an opportune time to re view some of Mr Rignold's successes in the higher drama, as far as Australia is concerned. As already said, his first appearance, was as Henry V. and at the Theatre Royal on August 28th, 1876. It was a fine performance and was received with spontaneous enthusiasm. Supporting Mr. Rignold in the important roles of Fluellin and Pistol were Messrs Thorne and Bartlett respectively. The whole production was on a high plane and ran for several weeks. When he left us seven years elapsed before he again appeared, then, on the 12th February 1883, the Theatre Royal curtain once more rose on Rignold and Henry V. The Catherine of this production was Miss Emily Fitzroy. Again a big success was scored. Mr. Rignold's Henry V. was indeed a truly fine piece of work, rich in dramatic intensity, perfect in elocution, and Shakespearian in conception. Another lapse and again we find Rignold at the Royal. This time, however, we have not Shakespeare. Instead, is given drama with a taste of that scenic and spectacular splendor for which he afterwards earned so big a name. Thus we saw him in "Called Back," a dramatisation of Hugh Conway's successful but gloomy novel, and "Youth," a military drama. Here, Mr. Rignold did good business, a fact which may have had much to do in inducing him to take the important step of leasing, in partnership with the late Mr. James Allison, the then building theatre which has since become the most popular play-house in Sydney — Her Majesty's. It was on September 10, 1887, that the curtain rose for the first time in the hand some theatre at the corner of Market and Pitt Streets. An enormous audience graced the occasion. The bill provided was even more than was demanded. 'Henry V.' was the attraction, and it was produced on a scale of magnificence such as has rarely been seen in any theatre in the world. It was interpreted, too, by a fine cast which included, among others, BrienDarley, Greville, E. C. Corlesse, Sterling White, C.Holloway J. Tolano, all then in their prime, and the Misses Emily Fitzroy, Annie Taylor and Lillian Clithero. Then succeeded a season of fine productions in which Shakespeare was varied by melodrama — melodrama of the wholesome and clean type which we now rarely see. " In the Ranks," " The Lights of London," "The Vendetta" (a dramatisation of Mr. Barnes of New York), "Madame Midas," and "Faust," comprised a succession of highly estimable performances. On August 24th, 1889, a superb production of " Julius Caesar" delighted Sydney. In this performance Mr. Rignold appeared as Marc Antony, which impersonation many people think eclipsed even his great Henry V. Mr. J. F, Cathcart was a very fine Brutus, and Mr. Harry Jewett's Cassius, with Miss Kate Bishop's Portia, left little to be desired. Green in the writer's memory of that production are recollections of Mr. Rignold intensely dramatic and feeling delivery of Marc Antony's oration, and the fine scene in the tent between Brutus and Cassius. Mr. Rignold was tendered a public dinner to commemorate this event. The fine tragedy — remarkable for the general excellence of the acting brought to bear on its interpretation, and the superb nature of its mounting and scenic effects — ran for eight weeks, attracting big audiences nightly. Still another Shakespearian treat was in store for playgoers when on the Christmas Eve following was produced " A Midsummer Night's Dream," with every advantage that dressing, scenery and general mounting could give it. The grand old play was warmly received and had a big run. Melodrama again succeeded, and a very fine production of "Now-a-days" was given, remarkable not alone for the drama's success but also for the first appearance in Sydney of Mr. William Rignold, who during his stay in Australia won all hearts by his very fine performances in a round of trying characters. Shakespeare was soon again invoked, "Macbeth" being the bill. However, the result was by no means satisfactactory. Mr. Rignold's interpretation of the title role was good, and on the same high plane as his previous Shakespearian work. Unfortunately Lady Macbeth proved herself unequal to the demands made upon her. Charming and clever actress though she was, Miss Janet Achurch was by no means a satisfactory Lady Macbeth and the Macduff of the production, Mr. Charrington, can only be described as being distinctly bad. Following " Macbeth" were fine performances of " The Corsican Brothers " and "The Lyons Mail." Then came the production of " The Merry Wives of Windsor,' a production, the like of which for all round excellence has rarely, if ever, been seen in Australia. Mr. William Rignold was the Sir John Falstaff, and of those who had the fortune to witness his fine work who is likely to forget it ? Physically fitted for the part, rich in rolling, unctuous humor it is questionable if a more perfect Falstaff can be imagined. The cast all through was good. Mr. George Rignold's Ford was fine, and Misses Kate Bishop and Roland Watts Phillips made a pair of very excellent wives. That production is something to look back on ; its equal is something to long for. Vainly? Let us hope not. Since Mr. Rignold left Her Majesty's Theatre, he has drifted hither and thither making fugitive appearances at various theatres. The hero in melodrama has been his highest work. He has been distinctly bad in this line, and Truth is supremely anxious never to see him in such roles again. In his forthcoming season at the Criterion, Truth wishes him success as long as he keeps to that line of drama for which his ability and brain eminently fit him. Given Shakespeare and the higher drama, and Truth is on the side of Georgius Rex. Let him degrade himself again into playing juveniles in melodrama, and Truth will pray for his speedy damnation. With this brief sketch we leave Handsome George. Veteran he is ; superfluous ? Well, not yet ; far from it.
Georgius Rex. Handsome Geore Rignold. His Australian Career., Truth, 26 February 1899, 8
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Gerald Mayhead, Not just any Wednesday, The Age, 26 May 1965, 15
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Gerald Mayhead, That Soup girl, The Age, 16 August 1967, 15
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Geraldine McFarlane, The teachers: Irene Webb, On Stage, 11, 1, 2010, 32-33
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Geraldine O'Brien, 'Wow!' No ..., Sydney Morning Herald, The University of Adelaide, Library Special Collections, 2 December 1978, 16
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Geraldine O'Brien, Bizarre mix of naturalisn and fantasy, Sydney Morning Herald, The University of Adelaide, Library Special Collections, 9 October 1981
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Geraldine O'Brien, Currents, February 2005, 0
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Geraldine O'Brien, Currents, October 2006, 0
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Geraldine O'Brien, Finding Sally Morgan, Sydney Morning Herald, The University of Adelaide, Library Special Collections, 10 October 1992, 35
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Geraldine Pascall, Elephant Stamps - Sydney, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 12
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Geraldton, June 12, Inquirer and Commercial News, 18 June 1879, 3
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Germaine Leece, Currents, August 2003, 7
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Germaine Leece, Currents, May 2003, 15
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German Play is So Different, The Age, 14 April 1964, 6
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Germanton, The Albury Banner and Wodonga Express, NSW, 25 September 1896, 16
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Gerry Turcotte, 'Let the turtle live!': a discussion on adapting radiance for the screen by Louis Nowra and Rachel Perkins , Metro Magazine: Media & Education Magazine, 135, 2002, 34-40
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Gerry Turcotte, 'The circle is burst': Eschatological discourse in Louis Nowra's Sunrise and The Golden Age, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 11, October 1987, 64 - 77
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Getting his own way, The Age, 10 May 1979, 2
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Ghita Loebenstein, Keith Gallasch, Featured Artist: Christopher Brown, RealTime Arts, 49, June 2002, 11
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Ghost in Bloom, The DTW New(s) in Revue, Theatre and Dance Platform, xxx, 1, 1994
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Gia Kourlas, A Storyteller Emerges From Studio and Stage, The New York Times, Theatre and Dance Platform, 13 September 2009, 22 (Arts and Leisure Desk)
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Gia Kourlas, Five girls and a guy, Time Out New York, Theatre and Dance Platform, 5 August 1999
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Gia Kourlas, Lucy Guerin goes to extremes with her return to the New York stage, Time Out New York, Theatre and Dance Platform, 393, 10 April 2003
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Gia Kourlas, Lucy in the Sky, Time Out New York, Theatre and Dance Platform, 14 February 1996
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Gia Metherell, Panorama, 12 May 2001, -1
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Gia Metherell, Panorama, 17 March 2001, 12
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Giant New Mobile Theatre, The Age, 7 February 1959, 5
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Gidget Goes to Law School, The Advertiser, 28 June 1980, 28
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Gil Vale, Crosby, Joseph Alexander (Marshall) (1882–1954), Australian Dictionary of Biography Online, 1993
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Gillian Arrighi, Devising place and social history: a regional perspective on teaching devised performance in the tertiary sector, Australasian Drama Studies, 57, October 2010, 163-172
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Gillian Arrighi, Healthy bodies and young minds: late-nineteenth-century performer training in Australia, Theatre, Dance and Performance Training, 7, 1, 2 January 2016, 17-31
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Gillian Arrighi, Negotiating National Idenity at the Circus: the Fitzgerald Brothers' Circus in Melbourne, 1892, Australasian Drama Studies, 54, April 2009, 68-86
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Gillian Arrighi, Towards a cultural history of community circus in Australia, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 199 - 222
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Gillian Cumming, Canberra Chronicle, 21 November 1984, 9
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Gillian Freeman, Artlook, May 2005, 19
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Gillian Freeman, Muse, September 2002, 3
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Gillian Lord, CT Magazine, August 2004, 4
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Gillian Lord, CT Magazine, August 2004, 5
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Gillian Lord, CT Magazine, May 2004, 10
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Gillian Lord, Forum, 10 March 2007, 3
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Gillian Lord, Pride and passion in the face of ignorance, The Daily Telegraph, 21 May 1999, 43
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Gillian Lord, Returning with flexible fun, Times2, 30 January 2008, 3
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Gillian Lord, Stage left, right moves, Panorama, 8 September 2007, 6-7
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Gillian Lord, Sydney Morning Herald, 24 March 2007, 1
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Gillian Lord, The Canberra Times, 29 March 2007, 5
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Gillian Lord, Times out, 29 May 2003, 4
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Gillian Lord, Times2, 14 March 2007, 5
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Gillian Lord, Writers band together as working-class heroes, The Daily Telegraph, 20 August 1999, 39
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Theatre in assembly rooms at corner of Argyle and Liverpool Streets, Hobart. Opened as Theatre Royal, seating 500, on 29 May 1834. Renamed Albert Theatre 1842. Used until late 1840s.
The main theatrical venue in Hobart between the first season at the Freemason’s Tavern in 1834 and the opening of the New Theatre Royal in 1837, was the Argyle Assembly Rooms. John Mezger, a successful businessman, built the Argyle Rooms alongside his Bird in Hand Hotel. His first tenant was the entrepreneur and musician J. P. Deane; who began giving musical soirees in February 1834. These ended with short pantomime pieces, which proved successful, and Deane fitted up the assembly rooms as the Theatre Royal. It opened with Henry Melville's play The Bushrangers. The theatre had fine acoustics, a splendid chandalier and, a report said, 'abundant stage room and a division of the audience ... of all classes'.
The actor-manager Samson Cameron leased the theatre late in 1834 and altered the seating. Another actor-manager, John Meredith altered it again in 1836. 'Instead of a continuous line of seats, there are now stage boxes, pit, back pit and above these there are the boxes and private boxes', the Colonial Times reported on 5 April 1836. The theatre could not withstand the competition of the New Theatre Royal, which opened in March 1837, but it was an alternative during the 1840s.
Anne Clarke called it the Albert Theatre in 1842, when she launched her company from England. Luigi Dalle Case’s company performed in it in 1843. A newspaper called it 'a neat little theatre' in1848 but it was probably too small for the increasingly complex scenery and machinery required for new plays and the greater realism demanded by later playgoers
Gillian Winter, Argyle Assembly Rooms, Companion To Theatre In Australia, 1995, 57
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Theatre on comer of Harrington and Davey Streets, Hobart, opened 24 December 1833. Used until 1835
Samson Cameron fitted up a large room in the Freemason's Tavern, where the Freemason's Hotel now stands, to stage the first professional theatrical production in Tasmania. The theatre had a gallery, pit seats on a rake, a proscenium, and a dais 450-600 mm high for a small stage which, it was said, ‘admits two or three good scenes'. The Colonial Times said 'a more respectable assembly was never collected in Hobart Town' for the opening. The theatre held an audience of 150 but the first-comers spread themselves on the benches because of the heat of the night and some ticket holders were among the hundreds who failed to gain admission to see The Stranger by August von Kotzebue. Cameron's season ran until May 1834, with twice-weekly productions, and he returned to the theatre for another season in December 1835.
Gillian Winter, Freemason's Tavern, Companion To Theatre In Australia, 1995, 236
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Theatre in Campbell Street, opened as New Theatre Royal or New Theatre, 6 March 1837. Designed by Peter Degraves. Seated 500-600 on two levels. Later called Royal Victoria Theatre for a time. Auditorium rebuilt as three tiers seating about 800, 1856. Architects: W. Coote and E. B. Andrews. Renamed Theatre Royal. Major alterations in 1890. Interior rebuilt to design of William Pitt jnr 1911-12. Damaged by fire 18 June 1984. Reopened 6 March 1987 with auditorium restored to 1911 design.
The Theatre Royal in Hobart stands on the oldest theatre site in Australia. A theatre has stood there since 1837 and the present structure contains fragments of the original theatre. This grew out of enthusiasm for the first public theatrical season in Hobart, presented by Samson Cameron in December 1833. Next month Henry Degraves sought shareholders to build a theatre designed by his father Peter Degraves, a brewer and entrepreneur. Building was slow after the foundation stone was laid on 4 November 1834, because of tardiness in paying for completed work. The exterior of the theatre measured about 30 metres long by 15 metres wide. The width has not changed over 150 years, although the length has. The two-storeyed exterior looked almost like a house, with three bays of Georgian multipaned windows defined by modest pilasters. The auditorium was on two levels, possibly similar to a small Georgian theatre in the English provinces. The New Theatre Royal was temporarily fitted up on 17 January 1837 for a farewell to the Administrator of Van Diemen's Land. On 6 March it was still not quite finished but Cameron presented Thomas Morton's comedy Speed the Plough and The Spoiled Child. Cameron was a poor manager and James Belmore, John Meredith and J. Moses came in to share the management until the first season closed on 31 July 1837. Meredith and D. P. Grove were the managers from 25 September 1837 to March 1838. From April 1840 to February 1841 the theatre, then known as the Royal Victoria Theatre, was controlled largely by Anne Clarke. She returned from England in February 1842 with actors, dancers and singers and by July 1842 she had resumed control of the theatre. Anne Clarke and her husband held the lease until 1846, after which various companies leased the theatre from Degraves. He died in 1853 and the theatre was sold to Richard Lewis, a local merchant, who leased it to John Davies and F. B. Watson from 1853 to 1856. In 1856 a new three-tier auditorium was squeezed into the old envelope, and some public space was added in a lower extension to the front. The improvements also included gas lighting. The building was now called the Theatre Royal and Davies was the sole lessee. The tragedian G. V. Brooke was a notable performer in the 1850s, when stock companies had generally given way to touring companies playing a limited repertoire for a short period.
Some minor changes to entrances and removal of boxes at the rear of the pit increased the capacity in 1862. In 1882 the stage was extended rearwards by 4-6 metres to produce a total depth of 16.8 metres. C. J. and David Barclay and C. E. Davies, son of John Davies, bought the Theatre Royal in 1889 and carried out major alterations in 1890. The stage was fitted with a new floor and traps, and with a new roof to produce a fly tower. The auditorium was modified to improve sight lines and comfort. The Theatre Royal housed many public events, including political rallies, religious gatherings, boxing matches, film screenings and the first Hobart demonstration of Edison's phonograph in November 1890. It has been a popular venue for amateur theatre since the 1890s, when the Hobart Operatic Society regularly performed there.
The last major alteration to the auditorium and front of house was made in 1911-12. The architect William Pitt Jnr gutted the interior, raised the walls and spanned them with a new roof, and constructed a new Edwardian-style, three-tier auditorium complete with dome. The renovations also included electric lighting and decoration in Louis XV style picked out in gold and silver. There was no substantial financial benefit, however, because of the First World War and a change in shipping routes that excluded Tasmania from the Australasian theatrical circuit. Nevertheless, the theatre thereafter saw notable artists, including Noel Coward, Harry Lauder and Allan Wilkie. It also provided an initial base for the Hobart Repertory Theatre Society.
C. E. Davies owned the theatre until his death in 1921. It had a private owner until the Theatre Royal Company, formed by a few local shareholders, bought it in 1923. This company still owned the theatre in 1948, when Laurence Olivier and Vivien Leigh, heading the Old Vic Theatre Company, performed in it. With their support the theatre was saved from demolition for road works and a car park. The state government set up the National Theatre and Fine Arts Society to buy and control the theatre in 1949, and gave it financial help to redecorate the dilapidated building extensively for a proposed royal tour in 1952.
The Tasmanian Theatre Company was established as a resident in 1971 but by 1977 it functioned as entrepreneur rather than producer. Declining financial success resulted in a government inquiry which set up the Tasmanian Theatre Trust in 1984. The trust's initial problems were compounded on 18 June 1984, when fire destroyed the stage, except for its 1837 stone side walls, and heat, smoke and water damaged the auditorium. The Tasmanian government decided that the theatre was an important inheritance and rebuilt the stage to present-day standards and restored the auditorium to the 1911 design. The Theatre Royal was officially reopened on 6 March 1987, 150 years to the day after its original opening, and Speed the Plough, the inaugural play, was performed again. That year the trust was replaced by the Theatre Royal Management Board under the direction of John Unicomb. There are more modern venues in Hobart but the Theatre Royal has strong sentimental appeal for audiences. The development of Backstage, at the rear of the main theatre, for intimate and alternative theatrical fare has introduced the Theatre Royal to yet another generation of theatregoers.
Gillian Winter, Ross Thorne, Theatre Royal Hobart, Companion To Theatre In Australia, 1995, 583-584
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Theatre at corner of Cameron and St John Streets, Launceston (Tas.), opened 1834. Attached to London Inn. Also known as Olympic Theatre. Closed 1874.
Soon after the London Inn was licensed in 1834 its attached theatre became Launceston’s established theatrical venue. It superseded the assembly rooms of the British Hotel, where Samson Cameron opened the town’s first theatrical season in June 1834. The licensee of the London Inn from 1838 to 1843, an emancipist named B. Hyrons, improved the theatre in 1842. He added a new stage, dressing rooms, cloakrooms, ensuring 'a season with every comfort which good arrangements can secure'. F. B. Watson was the first lessee of the improved theatre. He transferred the Olympic name from the room in the Steam Packet Tavern where his company had been playing. Cameron opened the Royal Victoria Theatre in competition and bankrupted himself in a few months of rivalry. Watson continued until 1844.
George Coppin gave a notable season at the Royal Olympic in 1845 and Anne Clarke used it later in the 1840s. The building was altered again in 1853, but its popularity waned after the Lyceum and Clarence Theatres and the Theatre Royal were built in the 1850s.
Gillian Winter, Royal Olympic Theatre, Companion To Theatre In Australia, 1995, 509-510
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Ginny Dougary, Sydney Morning Herald, 26 May 2007, 20
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Girl succeeds early as producer, The Examiner, State Library of Tasmania, Launceston Reference Library, 24 June 1963, 10
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Girl Theatre Manager Back Again, The Sun (NSW), 22 December 1940, 18
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Girl with Golden Voice to Star for A.B.C., The ABC Weekly, 22 March 1941, 9
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Girl's Nude Scene on Stage, Sydney Morning Herald, 1 May 1969, 1
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Girls who'll win your confidence, The Age, 26 October 1972, 21
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Girls who'll win your confidence, The Age, 26 October 1972, 22
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Girofle-Girfofla, Petersburg Times, SA, 17 November 1899, 5
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Girofle-Girofla, Coolgardie Miner, WA, 11 December 1899, 4
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Girofle-Girofla, Coolgardie Miner, WA, 9 December 1899, 5
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Giving the Paris a new face, The Daily Telegraph, 27 June 1978
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Glass Menagerie premiere at Minerva, Sydney Morning Herald, 20 February 1947, 4
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Glen Innes. June 2., Australian Town and Country Journal, 9 June 1888, 15
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Glen McGillivray, Jonathan Bollen, Julie Holledge, Neal Harvey, AusStage: e-Research in the Performing Arts, Australasian Drama Studies, 54, April 2009, 178-194
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Glen McGillivray, Mis-recognised knowledges: national identity and the unreliable narrator in Jack Hibberd's A Stretch of the Imagination and Josephine Wilson's The Geography of Haunted Places, Australasian Drama Studies, 52, April 2008, 69-84
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Glenda Guest, Artlook, April 2005, 25
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Glenda Guest, Artlook, February 2005, 19
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Glenda Guest, Artlook, October 2004, 12
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Glenda Guest, Artlook, October 2005, 18
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Glenda Guest, Muse, 1 September 2001, 25
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Glenda Guest, Muse, February 2004, 6
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Glenda Guest, Muse, March 2003, 22
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Glenda Guest, Muse, October 2003, 6
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Glenis Green, The secret a town hid from Leah, Sun Herald, 18 April 1999, 46
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Glenn Collins, The Living Arts, 1993, 1
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Glenn D'Cruz, 'Class' and political theatre: the case of Melbourne Workers Theatre, New Theatre Quarterly, 21, 3, 2005, 207-217
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Glenn D'Cruz, 6 Things i Know About Geminoid F, or What I Think About When I Think About Android Theatre, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 65, October 2014, 272 - 288
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Glenn D'Cruz, Artists into academics / academics into artists: the University of Melbourne performance drama program 1975 - 94, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 28, April 1996, 146 - 166
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Glenn D'Cruz, Gregory Ulfan, Introduction to Digital Performance Futures in Australia edition, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 65, October 2014, 5 - 11
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Glenn D'Cruz, Migrant Mobilities: Cruel Optimism and the Case of A.J. DʻCruz, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 69, October 2016, 84 - 110
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Glenn D'Cruz, Performance Studies in Australia today: a survey of the field, Australasian Drama Studies, 39, October 2001, 20-42
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Glenn D'Cruz, Teaching/Directing 4.48 Psychosis, Australasian Drama Studies, 57, October 2010, 99-114
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Glenn D'Cruz, The Man who mistook Marat for Sade: ʻLivingʻ Memory and The Video Archive, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 155 - 176
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Glenn Russell, The Daily Telegraph, 4 December 1978, 22
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Glenn Withers, Let art and genius weep: the matter of subsidising the performing arts, The Australian Quarterly, 49, 4, 1977, 66-79
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Globe Trotting, The Mercury (Hobart, Tas. : 1860 - 1954), 18 August 1888, 2
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Gloria Newton, A man of two cultures, The Australian Women's Weekly, 8 August 1973, 15
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Going to make a Beautiful Day, The Sunday Mail, 17 December 1950, 3
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Going Up bubbles with bright singing and comedy, Barrier Miner, 14 March 1942, 2
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Going Up proves magnet; full of bright comedy, Barrier Miner, 13 March 1942, 2
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Going Up should be thrill to theatregoers, Barrier Miner, 3 March 1942, 4
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Going Up still big attraction, Barrier Miner, 20 March 1942, 2
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Going Up was huge success; profit of £350, Barrier Miner, 21 March 1942, 3
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Going Up, musical show has popular artists, Barrier Miner, 28 February 1942, 4
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Going Up. Musical Play Returns., The Argus, 29 May 1920, 19
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Going Up. Successful Aeroplane Comedy, Sydney Morning Herald, 25 August 1919, 5
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Gold Coast Bulletin, 4 May 1978, 0
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Gone walkabout, Sydney Morning Herald, 22 May 1998, 22
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Gone with Hardy, The Times, 1 May 1981, 11
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Gone with Hardy, Theatre Australia, June 1980, 6
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Good Cattle Country, The Brisbane Courier, 9 October 1923, 8
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Good Lord, there's the Devil, The Age, 1 July 1969, 36
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Good theatre for Australia, The Journal of the Retail Traders' Association of N.S.W. , June, 1956, 10-15
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Good Times, 23 December 1993, 3
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Googie gets new role, The Age, 1 June 1972, 20
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Goolwa in Early Days, The Mail, National Library of Australia, 22 August 1936, 7
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Goolwa, South Australian Advertiser, 16 November 1867, 2
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Goondiwindi, Darling Downs Gazette and General Advertiser, 14 March 1867, 3
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Gordon Beattie, From Maku to mask - from Nepean to Mimili: a report, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 15/16, April 1990, 3 - 10
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Gordon Beattie, Reflections, Australasian Drama Studies, 37, October 2000, 82-84
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Gordon Sheldon, 'Draconian' libel laws stop press freedom, The Canberra Times, 4 April 1991, 15
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Gordon Sheldon, Good Times, 11 June 1992, 20
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Gordon Sheldon, Good Times, 13 June 1991
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Gordon Sheldon, Good Times, 21 November 1991, 20
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Gordon Sheldon, Good Times, 22 April 1993
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Gordon Sheldon, Good Times, 24 September 1992, 1
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Gordon Sheldon, Good Times, 4 February 1993, 2
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Gordon Sheldon, Good Times, 4 May 1989, 11
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Gordon Sheldon, Good Times, 8 March 1990
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Gordon Sheldon, Public Eye, 12 February 1991
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Gordon Sheldon, Public Eye, 22 May 1990
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Gordon Sheldon, Pulse (Canberra, ACT), 13 May 1987
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Gordon Sheldon, Pulse (Canberra, ACT), 13 October 1987
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Gordon Sheldon, Pulse (Canberra, ACT), 21 October 1987, 3
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Gordon Sheldon, Pulse (Canberra, ACT), 27 May 1987
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Gordon Sheldon, The Canberra Times, 2 May 1991, 0
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Gordon Sheldon, The Canberra Times, 26 September 1991, 0
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Gordon Sheldon, The Canberra Times, 7 February 1991, 0
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Gordon Sheldon, The Canberra Times, 8 February 1990, 0
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Gordon Sheldon, The Chronicle, 1 November 1988, 8
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Gordon Sheldon, The Chronicle, 25 April 1989, 22
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Gordon Sheldon, [Away], Pulse (Canberra, ACT), 11 November 1987
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Gordon Sheldon, [Hughie / Some Kind of Love Story], Canberra Chronicle, 2 August 1988
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Gormanston News, The Mount Lyell Standard and Strahan Gazette, Queenstown, Tas., 10 November 1900, 2
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Gory story in the cathedral, The Age, 15 December 1971, 20
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Gossip of the Theatres, The Sydney Mail, 22 May 1920, 16
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Graeme Blundell, Review, 19 March 2005, 16
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KER-THWAAAAAANGANGANG. The football that hit the tin sign in front of the old bluestone church had seen better days. It was one of those team-color jobs that was losing its panels, flap-flap-flapping as it punt-spiralled back into play.
It was kick-to-kick, but not in an entirely traditional formation. The players were everywhere, because the ball could go anywhere.
The kicks were wild, but delivered with fierce pleasure and indomitable concentration. This is the Back to Back Theatre Company at play.
Later, after the break, back inside the hall, the intensity and drama of the company quickly makes you forget the sunny footy day outside.
Joe and Mary, a mentally disabled couple who have spent a lot of time together, dream of getting married and having children. Their parents are appalled: ``You can't look after yourself, let alone each other, let alone a baby.'' There is pulling and pushing and yelling. Then Mary's mother tells her: ``You can't have babies anyway, I had you sterilised years ago.''
There are many such anecdotal episodes in Back to Back's latest show, `Voices of Desire'. For many of the members of Australia's only professional intellectualy disabled theatre company, they are very personal stories.
It's not so easy to have someone sterilised without their consent these days, says the company's administrator, Robyn Winslow, but there is one member of the company whose parents' still want to have the operation performed.
Most of us grow up with notions of love and marriage and parenthood, says Winslow, but some people are ``protected'' from such thoughts.
``It's kind of assuming that just because someone's intellectual development stopped at age three, the rest of their development stopped then too -apart from physically, of course.
``That's a whole different issue, to say someone has a mental age of three, when they have got 37 years of life experience. There's no simple statement to make about it.
``A child does have the right to be brought up in a safe environment.
But if you're going to say there are certain types of people who shouldn't be allowed to have babies - and I don't think we should be saying that -then there's no reason to just stop and start with disabled people.
``One concern is passing on disabled genes - what about criminal genes or violent genes?'' `Voices of Desire' explores the premise that the quest for love is everyone's right.
Since growing out of a project at Geelong's Corilong Centre seven years ago, Back to Back has taken its provocative and often confronting dramas to schools, theatres and churches around the country.
The company has just returned from Brussels, where it performed `Voices' at the International Very Special Arts Festival -``a very patronising name,'' says Winslow, ``but it is an American organisation'' - before 10,000 delegates from 50 countries. Yesterday the company filmed a guest spot on TV's `Neighbors'.
``We have a unique and long process to devise our shows,'' understates `Voices' director Barry Kay. ``We have people to help us put them together, to structure them, but we don't use writers because, to me, we really don't need them. There's nothing we need to create.
``We have people here who have the stories. That's why they want to be actors. That's the key. What they may lack in finesse and craft as actors, they make up for - having something to say and - and in bloody wanting to be actors.''
Other theatre companies have used intellectually disabled actors, but Kay says a lot of them think they are doing the actors a favor, whereas the opposite is true.
``They are doing us a favor - no question,'' he says. ``What's the purpose of imposing your aesthetic on others? To me, the whole point of having a permanent company of actors is to have them bring a new aesthetic to what your notions of art and theatre are. And, in this case, what you regard as what the intellectually disabled can do. And they will often come up with something you never thought of.''
To a great extent, the company is made up of people who are being allowed to express themselves for the first time. Always spoken for, always having things done for them, they are blooming in emotional and physical freedom.
Mark, who reluctantly shed his ever-present Fitzroy footy jumper to have audiences in hysterics in the 1992 Fringe Short Works season, has become a brilliant physical clown.
He finds it hard to articulate but can tell you anything you want to know with his body. In his first show, he tried for months to master the three steps necessary for the narrative, but now he's building human pyramids, walking around on someone else's shoulders; he's now competing as a special Olympian and has a devastating Elvis impersonation.
Rita's stakes are always high. She has a great tragic capacity - loves melodrama, not soap opera - and has gleaned Australia Council funding for her intense work.
Sonia is full of energy and passion, after years of being locked in her room whenever she tried to ``express herself''. She can hold a mannequin-state ``frozen moment'' for up to 20 minutes; it seriously infuriates those who have told her to stop ``showing off''.
The ``non-disabled'' members, apart from Robyn Winslow and Barry Kay, who have to harness all this energy and history into theatre, include, on `Voices', opera singer Wendy Grose and actor Guy Hooper (who plays the love-lorn Joe).
Don't expect Williamson or Nowra, no great long talk-scenes, but don't make concessions, either. A disability culture may create a lobby power, but Back to Back would rather not be part of it. It would rather be known as a professional theatre company that does a particular kind of work.
Back to Back Theatre will perform `Voices of Desire' at the Napier Street Theatre, tonight and tomorrow night. For information, call 6999270.
Greg Burchall, Disabled Turn Their Lives Into Theatre, The Age, 27 May 1994, 19
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During the even ing the aborigines, who had' mustered in great force, numbering over 50, assembled in front of the Bobe Hotel, and gave three cheers for His Excellency in trae British style. The Chief Secretary ordered a bag of floor and some tobacco to be issued to them by Mr. Warren, the Sub-Protector. At night the blacks dressed themselves np and held a grand cooyong in honor of the Governor's visit, at which His Excellency was present, and several httempts were made by the owners of the soil to address His Excellency, and to solicit him to cause suits of clothes to be sent down to them as well as rations, but they had not the fortitude to make known their wants to Bjb Excellency. Mr. G. Onnerod gave several of the blacks shirts and trousers, so that they might make a respectable appearance on tha occa sion.
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Guthrie Worby, Adelaide Festival of Arts, Companion To Theatre In Australia, 1995, 30-32
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Hang on to your hat, Ghost Planet opens today, Newcastle Herald, 8 January 990
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Hannah Francis, Dancers flip the script in 'meditative' show, The Age, 10 October 2018, 16
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Harbant Gill, Ideas out of the Aether, The Herald Sun, Theatre and Dance Platform, 14 March 2005, 73
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Mixing experts and amateurs has surprising results, writes Harbant Gill
STAND on one leg, close your eyes and then look up before you head out to catch choreographer Lucy Guerin's latest creation.
That's the advice of Guerin herself, who hopes it will give audiences a sense of how difficult such tasks are for two untrained dancers.
Guerin has put dance pros Byron Perry and Antony Hamilton next to visual artists Simon Obarzanek and Ross Coulter in her Untrained.
The team has come up with instructions, unseen to the audience, that the performers must follow.
They ``do a stag leap'', ``take off your T-shirt and put it on'', ``eat a biscuit'' and ``draw a portrait of the person opposite you'', for example.
The results are always interesting, sometimes hilarious.
Guerin has done it in part to find ``original movement'' after decades of working with a dance vocabulary.
``The main reason is I really love the movement of ordinary people when they dance,'' Guerin says.
``Dancers are amazing but when you are used to that form and you see an untrained person dancing, there are positions you never come across.
``There are freshness and immediacy that I find fascinating especially when contrasted with the dancer's awareness, which can never really be dropped.
``As the process has evolved, the piece has become a filter through which we explore . . . a lot of it is very personal and you get to know a lot about the individual. It's also taught me not to take for granted what the dancers can do physically.''
Guerin chose men because they ``generally have a more difficult time dancing and feeling comfortable in their bodies''.
Five weeks of hilarity and male-bonding rehearsals have led to an engaging piece in which the raw pair reveal more of themselves because they don't have the performer persona to hide behind.
Audiences are able to put themselves in the shoes of the untrained for the hour-long piece.
How did Guerin entice the untrained pair to make this courageous move and show their vulnerability?
Obarzanek, photographer brother of Guerin's partner Gideon, was ``tricked''.
``Lucy said it's going to be very slow and easy, we won't push you too hard,'' he protests.
``I love dancing at parties and thought `imagine getting paid to dance!' But as time went on it wasn't that easygoing.
``She'd turned up the temperature; by then we were in too deep.''
OBARZANEK was in agony for 10 days after pushing himself too hard, at a time when ``just to stretch out and touch my toes was tricky''.
He didn't resort to secret lessons with his brother, who is the artistic director of dance company Chunky Move, but simply worked out his limits. Then he discovered the joy of working with a team.
``They seem to have a happier disposition than artists who work on their own most of the time,'' Obarzanek says.
``I've actually become a bit happier through working with the body and being around other people. We're not trying to perform as dancers, we are trying to be ourselves. Being truthful to yourself is integral to the work.
``The biggest challenge is how to keep a straight face while the audience is laughing.''
see > Untrained, Arts House, Meat Market, Blackwood St, North Melbourne, March 11-14. Tickets: $25/$18. Bookings: 9639 0096. It is part of the Dance Massive festival which runs until March 15. Visit www.dancemassive.com.au
Harbant Gill, Spot the Dancer, The Herald Sun, Theatre and Dance Platform, 10 March 2009, 43
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Harbant Gill, The Bard and the bad guy, The Herald Sun, 27 May 2008, 66
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Harbant Gill, The Herald Sun, 29 November 2006, 0
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THEATRE
DEEPEST fears came to the light when director Olivia Allen got to the heart of Antonin Artaud's Jet of Blood.
A young man, played by Jindabyne star Simon Stone, wakes up in a nightmarish world where he meets eccentric characters who confront him with his worst fears.
"It's based on the idea that a nightmare usually reveals things about your life that you only have glimpses of in your waking life," Allen says.
"We looked at a range of fears, from the simple fear of spiders or falling to the more neurotic one of being caught with your pants down in public."
Allen, part of the Ignite theatre company of acting graduates, came across Artaud's explosive play when a lecturer threw it at her during her time at the West Australian Academy of Performing Arts.
"He gave it to me as a challenge, I think, to explore a style that was very non-linear and non-narrative.
"He gave it to test me as to what I'd come up with," she says of the script by the Surrealist poet and actor/director who died in 1948.
"When Artaud was 14 his family thought he had a mental illness so they administered shock treatment, which I think made him a great deal worse.
"He spent quite long periods in mental asylums throughout his life."
Personal experience gives an edge to the 28-year-old director's plunge into the sub-conscious.
"Close friends and family have suffered from mental illness and for them it is a constant looking at reality.
"Looking at someone who is going through that, you can't help but reassess things yourself.
"To see someone who thinks the world is well-ordered, then watch them come to the realisation it's not, is quite relieving for the people watching as well. It shatters expectations of what you think you have to achieve and how you feel you have to live your life."
JET OF BLOOD
Where: Theatreworks, 14 Acland St, St Kilda, until Saturday. Tickets: $24/$18. Bookings: ph: 9534 3388 or www.theatreworks.org.au
Harbant Gill, The Herald Sun, Unearthing Fear in the Blood, The Herald Sun, Melbourne, Australia, 6 October 2006, 83
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Harbant Gill, Together but separate, The Herald Sun, 3 October 2008, 65
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Harbant Gill, Winning notes, The Herald Sun, Theatre and Dance Platform, 2 March 2001
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Harley Dennett, Sydney Star Observer, 22 March 2007, 5
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Harmonic Society's Concert, The Maitland Mercury, National Library of Australia, 2 August 1845, 2
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Harold Hort, Antill, John Henry (1904–1986), Australian Dictionary of Biography Online, 2007
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Harold Love, Chinese theatre on the Victorian Goldfields 1858 - 1870, Australasian Drama Studies, 3, 2, April 1985, 47 - 86
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Harold Love, W. S. Lyster's 1861 - 68 opera company: Seasons and repertoire., Australasian Drama Studies, Australasian Drama Studies c/- Department of English, Unive, St. Lucia, Queensland, 2, 1, October 1983, 113 - 124
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Harold Pinter: the Melbourne record, Adult Education, 7, 1, September 1962
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Harold Tidemann, Luisillo and his Spanish Dance Theatre, The University of Adelaide, Library Special Collections
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Harold Tidemann, The Advertiser, 28 May 1957, 6
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Harriet Cunningham, Sydney Morning Herald, 16 January 2004, 0
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Harriet Cunningham, Sydney Morning Herald, 4 December 2002, 16
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Harriet Cunningham, Tra-la-laughable, but loving it, Sydney Morning Herald, 1 October 2007, 16
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Harry Craig's Australian Players, Northern Star, Lismore, NSW, 6 August 1909, 2
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Harry Heseltine, A critical time for theatre and drama, Meanjin Quarterly, 23, 1964, 334-335
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Harry Leston Benefit, Evening News, 4 September 1906, 7
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Harry Leston, More Australian Stage Reminisences, Referee, 12 November 1913, 15
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Harry M. puts on a show for Australia, The Age, 13 January 1972, 2
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A MAN sets out to write his diary with fear AND trembling. He generally has secrets to tell, and he knows that in the telling, he will be likely to tread on someone's corns. Commonly it happens that when he could write the most downright stuff he is too young to have recollections; when he is old enough to have garnered a goodly store of memories he has reached an age of discretion and understanding, and steps warily among souvenirs of the past, whose very bitterness have been toned down into kindly remembrance.
"Poor old Smith," he is likely to murmur, "perhaps he didn't really mean me when he made that remark at Brown's supper party."
To be old is to give the benefit of the doubt. And so, in these memoirs of mine, I hope it will be realised that I set down nothing in malice, and even extenuate, where it seems more kindly to do so. To be old is also to be garrulous, but garrulity is the virtue of a memoirist, for every contemporary looks at the text with a magnifying glass to see if the gods of his idolatry have been given a goodly place, while the ill-natured, recollecting ancient scandals, are anxious to savour the old stories once again.
For the present generation, who may fear the boredom of waiting to see me emerge from a too long dive into the past, let me say that I am, after all, none so old but that I know intimately all their present favorites, and many a story shall I have to tell, if they will journey with me, to break the monotony of the voyage.
There is a fascination, about the stage, as about the cricket field, to which most people must plead guilty, even those who imagine that actors and their female kind are still "rogues and vagabonds," dangerously attractive to headstrong youth, and against whom some strict legislation should even now be in vogue.
I shall hope to show, In the course of my writing that these stage folk are no different from others, but warm, human (which is to say culpable at times), merry and sad, their lives a compound of comedy and tragedy, even as others. If they some times sin, it is as part of the great human family, and their virtues are at least as conspicuous as their faults. They have the great misfortune to be much in the public eye, that baleful orb that fastens itself fixedly on all those whose names get into print. The trouble is that a convex mirror such as the human eye magnifies most confoundedly.
I shall try to avoid that most common error of men whose lives were spent mainly in times past, the tendency to hark back with a sentimentality that exalts the past just because it is past, at the expense of the present. Let me say at once, to avoid all misunderstanding, that I regard the Australian theatre at the present day as far in advance of what I knew in earlier times, in production, and all those externals that catch the eye. If I consider that the old actor belonged to a sounder school, that the old plays were more "meaty," that is a mere matter of opinion, in which I may be proved to be wrong. In general, these memoirs will consist of re collections, and will be as free from argument as possible.
Australia's First Impresario
What a complete change has come over the stage since the days when my uncle, William Saurin Lyster, Australia's first impresario, brought Grand Opera to the city that was then only dimly conscious it would one day be one of the greatest in the Empire. How my uncle would have stared to see the bare-legged choruses of today, curvetting and prancing round the stage.
[Image] An impression of Harry Musgrove.
I shut my eyes and try to imagine the sedate, almost middle-aged ladies of the ballet away back in the 70's doing such a thing. Harder still, I try to picture my uncle proposing to dress his next ballet by undressing them, and broaching the idea to the ladies themselves. I think that then and there William Saurin Lyster would have ceased to be, and in the van of the attack, would have been his own wife, the lovely Georgina Hodson. And yet, there is nothing fundamental in the change. Tights were then de rigueur, bare flesh now. After all, it is mainly a matter of the price at which silkworms can be persuaded to function.
One thing this generation has in common with the earliest I remember. That is the absence of what is known as the "stage door Johnny." The period between these extremes was notable for the genus. Armed with flowers, they used to wait in the lobbies on the safety side of the stage doorkeeper, and await the adored one's exit, Then a gallant arm would be offered, and a waiting hansom would receive the two, and the night would swallow them up. It was the prevalence of this practice that led to the custom of appointing sergeant-majors as doorkeepers. The sergeant-majors soon learnt the necessary language to keep the-''Johnny" at a reasonable distance.
Perhaps the fact that the earliest companies of which I took any note were the Grand Opera companies brought out by Lyster, in which the prima donnas were not usually beautiful which brought about the beautiful loneliness of the stage door. When the second cycle of stage history in Melbourne came in with the "Tambour Major," and its beauteous principals and chorus, the virtue of Melbourne's gilded youth showed unmistakable signs of wearing thin, like their patience as they waited in serried ranks on a wet night.
Undecorative as it was, this first, or Grand Opera period, was a brilliant one, and Melbourne has never had so liberal a feast of music in all its existence as Lyster gave it. The city went mad over singers then, just as it went mad over Gladys Moncrieff in days just past.
Gladys Moncrieff's First Difficulty
That comparison makes me reflect. I think of Gladys, so slim when she first won popularity that she asked me whatever she would do to hide her thin shanks from public ridicule. I showed her a wrinkle or two, how to pad the legs out so as to deceive the cash customers, and sent her to the wardrobe mistress to have the deceit properly staged. When the night came, I was hanging over the back of the circle to watch her entrance. I gasped when I saw her, for the pads had slipped, and Gladys appeared in the thickest pair of ankles that ever distinguished a Lyster prima donna. She learnt a lesson from that occurrence. If you are going to deceive, take good care you do deceive; don't wear your calves in front.
Gladys popularity was quite independent of thin legs. Time altered her disability in that respect, but the affection of the public remained constant. It is given to few, and to none of the older favourites of the Lyster regime, to fill a theatre for 14 weeks without the management selling a single back stall. That was Gladys Moncrieff's achievement at the Theatre Royal.
In its way, however, the days at the Opera House, now the Tivoli, were quite as brilliant. They set a hard pace for other managements to emulate. Let me recapitulate some of this past history, so as to get the stage ready for what is to follow.
It is necessary for me to give a few autobiographical facts. I can hear some cynic remark, "We're not interested in what a memoirist is, only in what he remembers, and very little of that." Well, all I want to do is to give some reason for my being here to remember anything.
The Beginning
In the '60's, my father, who was an accountant and entirely unconnected with the stage, came out from Surrey and settled in Geelong. Geelong then imagined it was going to be Victoria's leading city and it rather gave itself airs. It possessed a fine theatre, in which our family took not the slightest interest, except for my mother, who could not forget, that, however interesting my father's figures were, her own was even more so. She had been on the stage before her marriage as Fanny Hodson. Her brother, George Hodson, was well-known in London as a comedian, and the Hodson family were very proud of being related to the great tragedienne, Mrs. Scott Siddons. Another sister was also on the stage, a sweet singer, and lovely woman, Georgina Hodson who had married William Saurin Lyster. It is to William Lyster that the theatrical fortunes of the Musgroves, such as they were, became due, and it was therefore through him that the whole, course of Australian theatrical history was changed.
For Uncle William decided to make Australia an experimental Tom Tiddler's ground. He brought a Grand Opera company out here, and did so well that, he went home to London and brought another out. Then he got the habit, and laid the foundations of a fortune.
I smile when Melbourne congratulates itself in these days on supporting a few weeks of grand opera, when I remember Melbourne Town, when it was almost in swaddling clothes, attending so assiduously at the Opera House as to keep opera almost always in session.
[Image] facsimile of the poster in connection with the first opera company brought to Australia.
True, salaries were very meagre, and the mounting was on nothing like the present scale. It was a rare musical treat, all the same, and I have yet to hear better voices in a general opera company than those exploited to make a Lyster fortune. Twenty-two different operas were presented by William Lyster, including some modern managements haven't the pluck to stage. We had "Don Pasquale" in those days; and until the last opera company in Melbourne put it on for a couple of performances it has, I believe, never been done since.
[Image] The last photograph taken in Australia of Gladys Moncrieff, whose first difficulty and misadventure on the stage is here related.
My First Play
Shall I ever forget my first play? Our uncle had taken Geelong in his itinerary, but I had never been to the plays, being still too young. It was one day, after we had left Geelong, and had come to live In Windsor, my brother George being then in a solicitor's office here, that my uncle called at my mother's house. He always drove in a brougham. The grand affair stopped with a flourish outside the house, and my uncle stepped in. "How about taking one of the youngsters in with me to the theatre?" he asked, in a god-like tone. You may imagine how we looked up to him. "Take young Harry," exclaimed my mother. "Done with you," boomed my uncle. "Where will you put him?" asked my mother. The reply froze my young soul. "I'll put him in a box," said Lyster. I piped up, scared, and yet fascinated. "You mustn't shut the lid down, then," I stipulated. The opera was "Les Huguenots," and it remains for me an unforgettable memory of perfect bliss. It is curious to look back and reflect on what particular act altered the whole course of one's life. That night gave me a liking for the stage I have never shaken off. Not that I ever had the least desire to become an actor. None of the Musgroves ever had. We early got caught on the managerial side, and it is on that side we all made our way.
In Geelong we three Musgrove boys, Frank, George and myself first began to grow up good Australians. There was another youngster there at the time who became famous. He has remained so, and still has a finger in almost every pie. His name is Theodore Fink. He and George were boyhood chums, and remained so until George's death. It was Theodore Fink who broke the news to me that my brother had died suddenly, and at every important happening that affected George, I seem to see Theodore's presence as guide-philosopher and friend, not, alas, always heeded.
When I was 16, I got my heart's desire. I was taken into the office of the Lyster organisation and commenced to learn the intricacies of management.
Stars of Other Days
At this stage I would like to put down my recollection of some of the stars that blazed in this firmament. Some of them I cannot pretend to remember, for it is difficult to say at a tender age just where one's own memory is supplemented by the stories of others. The contralto of the company was Aunt Judy, as we always called Georgina Hodson, who was Mrs. Lyster in private life. I remember her as a beautiful woman, who often played boys parts and who, in consequence, was to the day of her death, as upright, and as springy as a boy. She was a rock of common-sense, and anything less like the traditional actress of popular fancy could not be conceived. Madame Baratti was the soprano, an ugly woman, whose father was an entirely unnecessary chaperon. She had a beautiful voice, however, and used to receive lovely flowers. Her father loved these kindly attentions, for they provided him with a source of pocket-money. Every morning he would cart the floral tributes of admirers up to Paddy's Market and sell them for what they would fetch.
A link with today is provided by the Coys, as they were called, a tenor and soprano, who elected to make their home in Melbourne, where they became teachers of singing, and as such were well-known till a short time ago. Signor Coy started a pastry-cook's business in Swanston street, which he ran for years, true to the genius of Italians for conducting places where they either sing or eat.
In the orchestra playing at His Majesty's at this very time is a son of the Coys. Dondi and Susini were the bassos, and Rosnati and Paladinl the tenors. Caricaturists of the period, as Will Dyson and Wells do today, were fond of cartooning the tenors, with their lovelorn looks and picturesque dress. I reproduce one such picture that caused a good deal of amusement to the public and heart burning to the afflicted victim in those distant days.
William Lyster himself was more picturesque than any of his troupe. A big, six-foot, black-a-vised Irishman, he possessed a fearsome temper that often found an outlet in queer ways, While he had a stage manager, all rehearsals used to be conducted by himself in person, and his black temper used suddenly to flare forth. Then, as now, prima donnas possessed temperament, and were capable of walking off the stage indisposed, so my uncle was always sufficiently in control of himself to confine his antics to his own immediate vicinity. I have seen him take off the belltopper without which he never came on the stage, throw it down, and jump on it violently. After which gentle ebullition, he would calm down suddenly, and send a boy out to buy a new hat. The exercise relieved him enormously.
That Lyster was an unusual man is shown by his hobby of farming. Up in the lovely foothills near Ferntree Gully he owned about 1000 acres, which he turned into a model farm. The place round about has been named Lysterfield after him. Thither he would drive behind a spanking horse every week-end, taking his wife along, and straightway they would become bucolic tillers of the soil. Everything was of the best on the farm, and when Lyster. took trips to England to look for talent, he was as careful to buy good farm material as good voice material,
[Image] William Saurin Lyster, the first impresario in Australia.
On one occasion I remember he brought back what was known as a "crabbing machine." Its purpose was to fatten turkeys by forcible feeding. So far as I know, the Lysterfield turkeys had shown no sign of suffragette views, but, nevertheless, it was decided to try the crabber on one of them as a test. It was supposed to fatten a turkey for Christmas in half the normal time taken by dull Nature. Unfortunately, the experiment failed, for the turkey burst. The crabber was abandoned, and henceforth Nature took its course.
Shooting of Armes Beaumont
One of Melbourne's sweetest singers was a member of the Lyster company. This was the tenor, Armes Beaumont. He and my uncle were great friends, sharing a liking for country pursuits. This very fact led to a terrible accident.
They were shooting one afternoon near Donnybrook, and had separated in search of rabbits and quail. Beaumont had screened himself behind a stone wall, and rose stealthily to reconnoitre for birds. At the sudden movement my uncle turned, and loosed off his gun just as the singer's face appeared above the wall. He received the charge full in the face. Streaming with blood, he fell, and Lyster, half dead with terror, rushed up to him. Everything was done that could be done, but though the tenor recovered, his eyesight was ruined. He lost entirely the sight of one eye, and the other took a most terrible squint, so that when Beaumont ignored you most he was taking most stock of you.
Few artists have ever attained the popularity of Armes Beaumont, and to the day of his death he was one of the idols of the musical world. He died in 1913, his last years made smooth by the competence Lyster left him at his own death.
I have now come to the end of the Lyster regime. Another entrepreneur was coming on the scene, a most surprising person, who was to make history. He was no less than my brother George.
George was a solicitor's clerk, but as he had a good head, he had been most useful to my uncle in a variety of ways. He had even taken a grand opera company around New Zealand. All this time he had been developing a flair for the business. One day he came into the office and told me he was about to ask my uncle for a certain appointment. He went into the Governor's office, while I awaited the outcome in the street. Presently George came out, his face a thundercloud. "Did you get it?" I asked. "No,' He gave it to someone else," said George, shortly. "Harry, do you know what I'm going to do? I'm going to get a couple of thousand pounds, and I'm going to London to bring a company out myself."
It was the first beginnings of the new dispensation.
(To be Continued.)
Harry Musgrove, Stage Secrets - Chapter 1, Table Talk, 12 August 1926, 8
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Harry Musgrove, Stage Secrets - Chapter 10, Table Talk, 14 October 1926, 20
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Harry Musgrove, Stage Secrets - Chapter 11, Table Talk, 21 October 1926, 20
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Harry Musgrove, Stage Secrets - Chapter 12, Table Talk, 28 October 1926, 12
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Harry Musgrove, Stage Secrets - Chapter 13, Table Talk, 4 November 1926, 20
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Harry Musgrove, Stage Secrets - Chapter 14, Table Talk, 11 November 1926, 20
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Harry Musgrove, Stage Secrets - Chapter 15, Table Talk, 18 November 1926, 20
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Harry Musgrove, Stage Secrets - Chapter 16, Table Talk, 25 November 1926, 32
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Harry Musgrove, Stage Secrets - Chapter 2, Table Talk, 19 August 1926, 13
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Harry Musgrove, Stage Secrets - Chapter 3, Table Talk, 26 August 1926, 10
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Harry Musgrove, Stage Secrets - Chapter 4, Table Talk, 2 September 1926, 9
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Harry Musgrove, Stage Secrets - Chapter 5, Table Talk, 9 September 1926, 10
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Harry Musgrove, Stage Secrets - Chapter 6, Table Talk, 16 September 1926, 9
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Harry Musgrove, Stage Secrets - Chapter 7, Table Talk, 23 September 1926, 11
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Harry Musgrove, Stage Secrets - Chapter 8, Table Talk, 30 September 1926, 9
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Harry Musgrove, Stage Secrets - Chapter 9, Table Talk, 7 October 1926, 11
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Harry Robinson, It's tough for TV writers, Sydney Morning Herald, 5 October 1967, 11
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Harry Robinson, Seven does it hard, Sydney Morning Herald, 21 March 1968, 12
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Harry Stein, Tribune, 7 June 1967, 6
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Harry Wren plans shows for Broken Hill, Barrier Miner, 11 July 1946, 6
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Haruko Morita, The Australian, 18 February 1988
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Haruko Morita, The Australian, 19 February 1988
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Haruko Morita, The Australian, 22 February 1988
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Haruko Morita, The Australian, 4 January 1988
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Hasty Heart Brings Sorrow, The Advertiser, 3 August 1946, 11
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Hatching: Hatch or the Plight of the Penguins and the search for a sense of place in New Zealand solo performance, Australasian Drama Studies, 55, October 2009, 88-100
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Have You Ever Made Hay?, The Advertiser, 26 August 1946, 3
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Hay Fever for Repertory, Barrier Miner, 30 July 1949, 4
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Hazel Cook, The Festival of Perth, Masque, 1, 3 (Jan/Feb), 1968, 31
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He burns the candle at both ends, The Age, 18 June 1969, 2
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He Frolicked With The Lambs. One-Act Sketch of Hugh J. Ward, Smith's Weekly, 11 February 1939, 4
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He says "goodnight" in divers tongues, Good Neighbour, 1 February 1955, 6
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He'll be crashing around in the make-believe dark, The Age, 22 April 1968, 6
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He'll see himself in "Caine' - at last, The Sun (NSW), 20 February 1959
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He's a toff who itched to sing, Courier Mail, 27 April 1962, 6
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He's filling Thring's shoes again, The Age, 13 October 1971, 14
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He's Lt. Keefer of "Caine", The Sun (NSW), 8 January 1959
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He's Treading on my Tale, The Advertiser, 19 May 1983, 29
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Head of JCW resigns, The Age, 30 August 1966, 6
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Heartbreak
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Heartbreak, Courier Mail, 8 August 1988
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Heathcote Pursuit, Saharet (1878 - 1964) The Dancer from Richmond, 2018
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Heather Harvey, Cairns Post, 10 June 1987
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Heather Radi, Bryant, Beryl Annear (1893–1973), Australian Dictionary of Biography Online, 1993
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Heather Wearne, Discourses of disruption and Alma De Groen's The Rivers of China, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 21, October 1992, 61 - 73
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Heavy Passenger Traffic, The Advertiser, 19 March 1906, 5
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HEBBELTHEATER Drei Produktionen zeigen zeitgenössische Bühnenkunst aus Australien., Berliner Zeitung, 30 August 2002
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Helen Elliott, The Age, 14 April 1998
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Helen Elliott, The Herald Sun, 20 April 1998
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Helen Frizell, New show has no dirty words, Sydney Morning Herald, 29 August 1969, 6
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Helen Frizell, The future of theatre in New South Wales, Artforce, 21, 1979, 7
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Helen Gilbert, 'Historical re-representation: performance and counter-discourse in Jack Davis' drama, New Literatures Review, 19, (Summer South), 1990, 91-101
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Helen Gilbert, 'Walking around in other times': an interview with Alma De Groen, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 15/16, April 1990, 11 - 20
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Helen Gilbert, Cultural frictions: John Romeril's 'The Floating World', Theatre Research International, 26, 1 (March), 2001, 60-70
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Helen Gilbert, Fish or fowl: post-colonial approaches to Australian drama, Australian-Canadian Studies, 10, 2, 1992, 131-135
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Helen Gilbert, Jacqueline Lo, Toil and traffic: Australian appropriations of the Suzuki Method, Australasian Drama Studies, 39, October 2001, 76-91
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Helen Gilbert, Monumental moments: Michael Gow's 1841, Stephen Sewell's Hate, Louis Nowra's Capricornia and the Australian Bicentenary, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 24, April 1994, 29 - 45
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Helen Gilbert, Occidental (sex) tourists: Michael Gurr's Sex Diary of an Infidel, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 25, October 1994, 177 - 187
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Helen Gilbert, The boomerang effect: canonical counter-discourse and David Malouf's 'Blood Relations' as an oppositional reworking of 'The Tempest', World literature written in English, 31/2, Autumn, 1991, 50-64
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Helen Gilbert, The dance as text in contemporary Australian drama: movement and resistance politics, Ariel, 23, 1 (January), 1992, 133-147
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Helen Gilbert, Three studies in post-colonial theatre: a review article, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 30, April 1997, 104 - 114
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Helen Longford, Stage Celebrities: Ola Jane Humphrey, The Red Funnel, February 1907, 68-72
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Helen McInery, Beat, 4 March 1987
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Helen Musa, As John Bell likes it, City News (Canberra), 24 April 2008, 17
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Helen Musa, Australian Elizabethan Theatre Trust, Companion To Theatre In Australia, 1995, 72
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Helen Musa, Bliss amid the minefield, City News (Canberra), 4 October 2007, 23
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Helen Musa, Brenda finds her feet, City News (Canberra), 1 November 2007, 17
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Helen Musa, Canberra Sunday Times, 12 February 2006, 11
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Helen Musa, Canberra Sunday Times, 15 December 2002, 2
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Helen Musa, Canberra Sunday Times, 27 April 2003, 22
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Helen Musa, CIA to uncover more plots, The Canberra Times, 12 April 2000, 12
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Helen Musa, Gustavus Arabin, Companion To Theatre In Australia, 1995, 55-56
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Helen Musa, Heroes plot to escape, City News (Canberra), 27 March 2008, 20
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Helen Musa, Heroes plot to escape, City News (Canberra), 27 March 2008, 20
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Helen Musa, How Miriam fell for Dickens, City News (Canberra), 15 November 2007, 29
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Helen Musa, Life after George, The Canberra Times, 22 August 2001, 3
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Helen Musa, Love of comedy and a search for inner depths, The Canberra Times, 4 June 1995, 23
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Helen Musa, Magical moments, Canberra City News, July 2008, 26
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Helen Musa, Muse, 1 December 1992
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Helen Musa, Muse, 1 June 1988
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Helen Musa, Muse, 1 May 1988
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Helen Musa, Muse, 1 May 1990
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Helen Musa, Muse, 1 September 1988
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Helen Musa, Muse, February 1995, 13
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Helen Musa, Muse, September 1992, 13
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Helen Musa, Optimism in the Street, The Canberra Times, 28 February 1998, 17
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Helen Musa, Panorama, 12 August 2006, 7
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Helen Musa, Panorama, 19 June 2004, 17
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Helen Musa, Panorama, 21 May 2005, 19
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Helen Musa, Panorama, 22 January 2005, 9
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Helen Musa, Panorama, 24 May 2003, 8
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Helen Musa, Panorama, 26 August 2006, 19
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Helen Musa, Panorama, 29 October 2001, -1
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Helen Musa, Panorama, 4 January 2003, 11
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Helen Musa, Panorama, 8 October 2005, 19
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Helen Musa, Panorama, 8 October 2005, 19
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Helen Musa, Panorama, 8 September 2001, 8
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Helen Musa, Panorama, 9 September 2006, 6
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Helen Musa, Rain pours attention on kids, City News (Canberra), 10 January 2008, 14
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Helen Musa, Relax, 1 September 2002, 3
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Helen Musa, Relax, 12 September 2004, 24
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Helen Musa, Relax, 15 May 2005, 8
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Helen Musa, Relax, 16 May 2004, 24
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Helen Musa, Relax, 20 May 2007, 4
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Helen Musa, Relax, 22 May 2005, 8
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Helen Musa, Saturday Magazine, 31 July 1993, 7
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Helen Musa, Song-and-Dance Fest, The Canberra Times, Theatre and Dance Platform, 9 October 2006
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Helen Musa, Spiritual dance against the odds, City News (Canberra), 11 October 2007, 17
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Helen Musa, The Australian, 12 December 2003, 28
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Helen Musa, The Canberra Times, 1 February 1998, 23
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Helen Musa, The Canberra Times, 1 June 2005, 17
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Helen Musa, The Canberra Times, 1 May 2003, 3
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Helen Musa, The Canberra Times, 1 May 2007, 5
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Helen Musa, The Canberra Times, 10 April 2002, 5
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Helen Musa, The Canberra Times, 10 August 2004, 3
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Helen Musa, The Canberra Times, 10 February 2007, 4
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Helen Musa, The Canberra Times, 10 January 2007, 5
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Helen Musa, The Canberra Times, 10 March 2005, 5
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Helen Musa, The Canberra Times, 11 February 2003, 6
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Helen Musa, The Canberra Times, 12 April 2004, 3
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Helen Musa, The Canberra Times, 12 April 2007, 12
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Helen Musa, The Canberra Times, 12 March 2003, 6
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Helen Musa, The Canberra Times, 12 October 1987
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Helen Musa, The Canberra Times, 12 October 1993
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Helen Musa, The Canberra Times, 12 September 2003, 9
-
Helen Musa, The Canberra Times, 13 April 2005, 2
-
Helen Musa, The Canberra Times, 13 April 2005, 6
-
Helen Musa, The Canberra Times, 13 April 2007, 7
-
Helen Musa, The Canberra Times, 13 February 2007, 5
-
Helen Musa, The Canberra Times, 14 April 2004, 5
-
Helen Musa, The Canberra Times, 14 June 1988
-
Helen Musa, The Canberra Times, 14 June 2005, 5
-
Helen Musa, The Canberra Times, 14 October 1997, 4
-
Helen Musa, The Canberra Times, 14 October 2005, 8
-
Helen Musa, The Canberra Times, 15 April 1987
-
Helen Musa, The Canberra Times, 15 April 2004, 9
-
Helen Musa, The Canberra Times, 15 August 2001, 6
-
Helen Musa, The Canberra Times, 15 February 2007, 11
-
Helen Musa, The Canberra Times, 15 January 1997
-
Helen Musa, The Canberra Times, 15 July 2004, 3
-
Helen Musa, The Canberra Times, 15 June 2006, 3
-
Helen Musa, The Canberra Times, 15 May 2001, 10
-
Helen Musa, The Canberra Times, 15 October 2003, 11
-
Helen Musa, The Canberra Times, 16 April 1999, 4
-
Helen Musa, The Canberra Times, 16 August 2001, 7
-
Helen Musa, The Canberra Times, 16 February 2007, 3
-
Helen Musa, The Canberra Times, 16 October 2004, 16
-
Helen Musa, The Canberra Times, 17 August 2006, 11
-
Helen Musa, The Canberra Times, 17 June 2005, 7
-
Helen Musa, The Canberra Times, 17 May 2005, 6
-
Helen Musa, The Canberra Times, 17 May 2006, 6
-
Helen Musa, The Canberra Times, 17 November 2005, 9
-
Helen Musa, The Canberra Times, 18 January 2007, 7
-
Helen Musa, The Canberra Times, 18 July 2003, 8
-
Helen Musa, The Canberra Times, 18 May 1990
-
Helen Musa, The Canberra Times, 18 September 2004, 12
-
Helen Musa, The Canberra Times, 19 December 2004, 12
-
Helen Musa, The Canberra Times, 19 July 2006, 3
-
Helen Musa, The Canberra Times, 19 June 2002, 8
-
Helen Musa, The Canberra Times, 19 September 2003, 2
-
Helen Musa, The Canberra Times, 2 May 2002, 6
-
Helen Musa, The Canberra Times, 2 May 2006, 3
-
Helen Musa, The Canberra Times, 2 November 2006, 12
-
Helen Musa, The Canberra Times, 20 February 1987
-
Helen Musa, The Canberra Times, 20 January 2005, 6
-
Helen Musa, The Canberra Times, 20 July 2005, 5
-
Helen Musa, The Canberra Times, 20 November 1987
-
Helen Musa, The Canberra Times, 20 September 2006, 6
-
Helen Musa, The Canberra Times, 21 April 2005, 8
-
Helen Musa, The Canberra Times, 21 December 2003, 14
-
Helen Musa, The Canberra Times, 21 July 2004, 7
-
Helen Musa, The Canberra Times, 21 July 2005, 6
-
Helen Musa, The Canberra Times, 21 June 2003, 6
-
Helen Musa, The Canberra Times, 21 March 2002, 9
-
Helen Musa, The Canberra Times, 21 May 2004, 5
-
Helen Musa, The Canberra Times, 21 November 2002, 5
-
Helen Musa, The Canberra Times, 22 April 2005, 2
-
Helen Musa, The Canberra Times, 22 March 2006, 3
-
Helen Musa, The Canberra Times, 22 May 2003, 7
-
Helen Musa, The Canberra Times, 22 November 2006, 8
-
Helen Musa, The Canberra Times, 22 September 2006, 8
-
Helen Musa, The Canberra Times, 23 August 1997
-
Helen Musa, The Canberra Times, 23 February 2005, 7
-
Helen Musa, The Canberra Times, 23 November 2006, 13
-
Helen Musa, The Canberra Times, 24 April 2003, 4
-
Helen Musa, The Canberra Times, 24 August 2005, 3
-
Helen Musa, The Canberra Times, 24 August 2006, 3
-
Helen Musa, The Canberra Times, 24 July 2002, 6
-
Helen Musa, The Canberra Times, 24 July 2003, 2
-
Helen Musa, The Canberra Times, 24 June 2004, 7
-
Helen Musa, The Canberra Times, 24 September 1998, 6
-
Helen Musa, The Canberra Times, 25 May 2005, 3
-
Helen Musa, The Canberra Times, 26 April 2006, 3
-
Helen Musa, The Canberra Times, 26 August 1998, 2
-
Helen Musa, The Canberra Times, 26 August 2002, 6
-
Helen Musa, The Canberra Times, 26 May 2004, 9
-
Helen Musa, The Canberra Times, 26 May 2005, 3
-
Helen Musa, The Canberra Times, 27 July 2006, 11
-
Helen Musa, The Canberra Times, 27 March 2001, 10
-
Helen Musa, The Canberra Times, 28 April 2004, 3
-
Helen Musa, The Canberra Times, 28 August 2002, 7
-
Helen Musa, The Canberra Times, 29 April 1988
-
Helen Musa, The Canberra Times, 29 April 2004, 3
-
Helen Musa, The Canberra Times, 29 July 2004, 5
-
Helen Musa, The Canberra Times, 29 July 2006, 11
-
Helen Musa, The Canberra Times, 29 June 2000, 4
-
Helen Musa, The Canberra Times, 29 October 2003, 11
-
Helen Musa, The Canberra Times, 3 August 1988
-
Helen Musa, The Canberra Times, 3 August 2001, 3
-
Helen Musa, The Canberra Times, 3 August 2002, 10
-
Helen Musa, The Canberra Times, 3 December 2003, 24
-
Helen Musa, The Canberra Times, 3 February 2007, 6
-
Helen Musa, The Canberra Times, 3 July 2002, 5
-
Helen Musa, The Canberra Times, 3 June 2003, 5
-
Helen Musa, The Canberra Times, 3 November 2005, 7
-
Helen Musa, The Canberra Times, 30 March 2005, 2
-
Helen Musa, The Canberra Times, 31 January 2007, 5
-
Helen Musa, The Canberra Times, 31 July 2001, 10
-
Helen Musa, The Canberra Times, 31 July 2003, 5
-
Helen Musa, The Canberra Times, 4 April 2000, 4
-
Helen Musa, The Canberra Times, 4 August 2004, 23
-
Helen Musa, The Canberra Times, 4 February 2005, 5
-
Helen Musa, The Canberra Times, 4 January 2006, 6
-
Helen Musa, The Canberra Times, 4 September 2003, 3
-
Helen Musa, The Canberra Times, 5 April 2007, 4
-
Helen Musa, The Canberra Times, 5 August 2005, 6
-
Helen Musa, The Canberra Times, 5 February 2004, 1
-
Helen Musa, The Canberra Times, 5 June 2003, 9
-
Helen Musa, The Canberra Times, 5 May 2006, 3
-
Helen Musa, The Canberra Times, 5 September 2003, 3
-
Helen Musa, The Canberra Times, 6 April 2006, 4
-
Helen Musa, The Canberra Times, 6 February 2002, 12
-
Helen Musa, The Canberra Times, 6 January 2005, 4
-
Helen Musa, The Canberra Times, 6 November 2002, 2
-
Helen Musa, The Canberra Times, 7 August 2003, 8
-
Helen Musa, The Canberra Times, 7 August 2003, 9
-
Helen Musa, The Canberra Times, 7 February 2006, 5
-
Helen Musa, The Canberra Times, 7 February 2007, 3
-
Helen Musa, The Canberra Times, 7 July 2005, 10
-
Helen Musa, The Canberra Times, 7 March 2001, 10
-
Helen Musa, The Canberra Times, 7 May 2005, 14
-
Helen Musa, The Canberra Times, 8 August 1988
-
Helen Musa, The Canberra Times, 8 August 2001, 7
-
Helen Musa, The Canberra Times, 8 February 2005, 5
-
Helen Musa, The Canberra Times, 8 February 2006, 3
-
Helen Musa, The Canberra Times, 8 January 2004, 7
-
Helen Musa, The Canberra Times, 8 July 1987
-
Helen Musa, The Canberra Times, 8 June 2004, 5
-
Helen Musa, The Canberra Times, 8 June 2005, 8
-
Helen Musa, The Canberra Times, 8 May 2002, 8
-
Helen Musa, The Canberra Times, 9 August 2003, 12
-
Helen Musa, The Canberra Times, 9 February 2005, 3
-
Helen Musa, The Canberra Times, 9 June 2004, 7
-
Helen Musa, The Canberra Times, 9 October 1997, 4
-
Helen Musa, The Canberra Times, 9 September 2003, 5
-
Helen Musa, The philharmonic designer, The Canberra Times, 5 June 1994, 21
-
Helen Musa, Times out, 10 October 2002, 4
-
Helen Musa, Times out, 20 March 2003, 4
-
Helen Musa, Times out, 5 September 2002, 9
-
Helen Musa, Times2, 11 February 2005, 2
-
Helen Musa, Times2, 12 January 2005, 8
-
Helen Musa, Times2, 12 June 2006, 8
-
Helen Musa, Times2, 13 December 2006, 6
-
Helen Musa, Times2, 14 September 2006, 5
-
Helen Musa, Times2, 15 January 2007, 8
-
Helen Musa, Times2, 17 August 2006, 9
-
Helen Musa, Times2, 18 February 2005, 4
-
Helen Musa, Times2, 19 April 2007, 8
-
Helen Musa, Times2, 19 January 2005, 8
-
Helen Musa, Times2, 19 January 2007, 4
-
Helen Musa, Times2, 19 March 2007, 8
-
Helen Musa, Times2, 2 March 2005, 8
-
Helen Musa, Times2, 22 September 2004, 2
-
Helen Musa, Times2, 24 March 2006, 4
-
Helen Musa, Times2, 26 August 2005, 3
-
Helen Musa, Times2, 26 October 2005, 8
-
Helen Musa, Times2, 4 February 2005, 2
-
Helen Musa, Winning chorus of CATS, City News (Canberra), 28 February 2008, 24
-
Helen O'Neill, Local boy makes good, sort of, Sydney Morning Herald, 28 March 1992, 48
-
Helen O'Neill, Not a Greek tragedy, Sydney Morning Herald, 14 February 1992, 25
-
Helen Oppenheim, Brooke, Gustavus Vaughan (1818–1866), Australian Dictionary of Biography Online
-
Helen Oppenheim, Wyatt, Joseph (1788–1860), Australian Dictionary of Biography Online, 1967
-
Helen Peak, This Week in Canberra, 2 October 1992, 1
-
Helen Peak, This Week in Canberra, 26 May 1992, 1
-
Helen Razer, The Age, 11 April 2007, 18
-
Helen Rusak, Matricide and the female divine, Australasian Drama Studies, 45, October 2004, 43-71
-
Helen Saunders, Muse, August 2002, 4
-
Helen Saunders, Muse, October 2002, 9
-
Helen Strube, White crocodile, black skirt: theatre for young people and cultural memory, Australasian Drama Studies, 47, October 2005, 55-72
-
Helen Thomas, Copy of Two men of many faces, The Age, 18 November 1976, 15
-
Helen Thomas, Two men of many faces, The Age, 18 November 1976, 15
-
Helen Thomson, A Day in the Life of Joe Egg, The Australian, 28 September 1987
-
Helen Thomson, GJM 16/22/47 - 11/4/13, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 5 - 8
-
Helen Thomson, Peter Fitzpatrick, Developments in recent Australian drama, World Literature Today, 67/3, Summer, 1993, 489-493
-
Helen Thomson, Streetcar Named Desire, The Australian, 11 May 1987
-
Helen Thomson, The Age, 1 May 1998
-
Helen Thomson, The Age, 11 November 1997
-
Helen Thomson, The Age, 12 January 2001
-
Helen Thomson, The Age, 12 January 2001
-
Helen Thomson, The Age, 15 February 2001
-
Helen Thomson, The Age, 17 March 1998
-
Helen Thomson, The Age, 19 December 2005, 0
-
Helen Thomson, The Age, 2 February 2001
-
Helen Thomson, The Age, 2 June 1998
-
Helen Thomson, The Age, 2 March 2001
-
Helen Thomson, The Age, 20 March 1998
-
Helen Thomson, The Age, 23 December 2002, 0
-
Helen Thomson, The Age, 23 February 2001
-
Helen Thomson, The Age, 24 February 2001
-
Helen Thomson, The Age, 25 April 1998
-
Helen Thomson, The Age, 26 February 2001
-
Helen Thomson, The Age, 26 January 2001
-
Helen Thomson, The Age, 26 January 2001
-
Helen Thomson, The Age, 27 April 1998
-
Helen Thomson, The Age, 27 March 1998
-
Helen Thomson, The Age, 27 May 1998
-
Helen Thomson, The Age, 28 February 2001
-
Helen Thomson, The Age, 3 April 1998
-
Helen Thomson, The Age, 3 March 1998
-
Helen Thomson, The Age, 3 March 1998
-
Helen Thomson, The Age, 3 November 1997
-
Helen Thomson, The Age, 4 May 1998
-
Helen Thomson, The Age, 6 March 1998
-
Helen Thomson, The Age, 6 March 1998
-
Helen Thomson, The Age, 8 January 2001
-
Helen Thomson, The Australian
-
Helen Thomson, The Australian, 1 February 1988
-
Helen Thomson, The Australian, 1 June 1987
-
Helen Thomson, The Australian, 1 May 1987
-
Helen Thomson, The Australian, 10 August 1987
-
Helen Thomson, The Australian, 10 August 1987
-
Helen Thomson, The Australian, 10 March 1988
-
Helen Thomson, The Australian, 11 August 1988
-
Helen Thomson, The Australian, 11 February 1987
-
Helen Thomson, The Australian, 12 August 1988
-
Helen Thomson, The Australian, 12 March 1987
-
Helen Thomson, The Australian, 12 November 1987
-
Helen Thomson, The Australian, 12 October 1987
-
Helen Thomson, The Australian, 12 October 1987
-
Helen Thomson, The Australian, 13 July 1987
-
Helen Thomson, The Australian, 13 November 1987
-
Helen Thomson, The Australian, 14 December 1987
-
Helen Thomson, The Australian, 14 September 1987
-
Helen Thomson, The Australian, 14 September 1987
-
Helen Thomson, The Australian, 15 August 1998, 0
-
Helen Thomson, The Australian, 15 July 1987
-
Helen Thomson, The Australian, 15 June 1987
-
Helen Thomson, The Australian, 15 March 1988
-
Helen Thomson, The Australian, 15 May 1987
-
Helen Thomson, The Australian, 15 September 1987
-
Helen Thomson, The Australian, 16 February 1987
-
Helen Thomson, The Australian, 16 March 1987
-
Helen Thomson, The Australian, 16 March 1988
-
Helen Thomson, The Australian, 16 May 1988
-
Helen Thomson, The Australian, 17 August 1987
-
Helen Thomson, The Australian, 17 November 2003, 0
-
Helen Thomson, The Australian, 18 February 1988
-
Helen Thomson, The Australian, 18 January 1988
-
Helen Thomson, The Australian, 18 March 1987
-
Helen Thomson, The Australian, 19 March 1987
-
Helen Thomson, The Australian, 19 March 1987
-
Helen Thomson, The Australian, 20 July 1987
-
Helen Thomson, The Australian, 21 August 1998, 0
-
Helen Thomson, The Australian, 21 July 1988
-
Helen Thomson, The Australian, 22 June 1987
-
Helen Thomson, The Australian, 23 March 1987
-
Helen Thomson, The Australian, 23 September 1987
-
Helen Thomson, The Australian, 24 June 1988
-
Helen Thomson, The Australian, 24 May 1988
-
Helen Thomson, The Australian, 25 March 1987
-
Helen Thomson, The Australian, 26 June 1987
-
Helen Thomson, The Australian, 27 August 1987
-
Helen Thomson, The Australian, 27 June 1988
-
Helen Thomson, The Australian, 27 October 1987
-
Helen Thomson, The Australian, 29 April 1987
-
Helen Thomson, The Australian, 29 July 1988
-
Helen Thomson, The Australian, 29 March 1988
-
Helen Thomson, The Australian, 3 June 1988
-
Helen Thomson, The Australian, 3 May 1988
-
Helen Thomson, The Australian, 30 June 1988
-
Helen Thomson, The Australian, 4 December 1987
-
Helen Thomson, The Australian, 4 February 1988
-
Helen Thomson, The Australian, 4 January 1988
-
Helen Thomson, The Australian, 4 May 1987
-
Helen Thomson, The Australian, 5 August 1988
-
Helen Thomson, The Australian, 5 February 1987
-
Helen Thomson, The Australian, 5 June 1987
-
Helen Thomson, The Australian, 5 October 1987
-
Helen Thomson, The Australian, 7 August 1987
-
Helen Thomson, The Australian, 7 March 1988
-
Helen Thomson, The Australian, 9 February 1987
-
Helen Thomson, The Canberra Times, 23 April 2001
-
Helen Thomson, Today, 13 February 2001, 5
-
Helen Thomson, Today, 25 June 2001, 5
-
Helen Thomson, [A Doll's House], The Age, 30 April 1998
-
Helen Van Der Poorten, Booth, Edwin Thomas (1833–1893), Australian Dictionary of Biography Online, 1969
-
Helen Van Der Poorten, Brough, Lionel Robert (1857–1906), Australian Dictionary of Biography Online, 1969
-
Helen Van Der Poorten, Cathcart, James Faucitt (1828–1902), Australian Dictionary of Biography Online, 1969
-
Helen Van Der Poorten, Atkins, John Ringrose (1851–1908), Australian Dictionary of Biography Online, 1969
-
Helen Van Der Poorten, Boucicault, Dionysius George (Dot) (1859–1929), Australian Dictionary of Biography Online, 1969
-
Helen Van Der Poorten, Cathcart, Mary Fanny (1833–1880), Australian Dictionary of Biography Online, 1969
-
Helen Van Der Poorten, Oliver, Maggie (1844–1892), Australian Dictionary of Biography Online, 1974
-
Helen White, Paths for a flightless bird, Australasian Drama Studies, 3, 2, April 1985, 105 - 143
-
Helen White, Review: Carolyn Burns, Objection Overruled, Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 8, April 1986, 123 - 124
-
Helen Womack, Sydney Morning Herald, 26 July 2005, 14
-
Helena Grehan, Aboriginal Performance: Politics, Empathy and the Question of Reciprocity, Australasian Drama Studies, 56, April 2010, 38-69
-
Helena Grehan, Black and Tran: a comedy that laughs in the face of racism?, Australasian Drama Studies, 42, April 2003, 112-122
-
Helena Grehan, Faction and fusion in 'The 7 Stages of Grieving', Theatre Research International, 26, 1 (March), 2001, 106-116
-
Helena Grehan, Negotiating discovery in The Geography of Haunted Places, Australasian Drama Studies, 34, April 1999, 109-122
-
Helena Grehan, Testimony and Ambivalence in Sandakan Threnody, Australasian Drama Studies, 49, October 2006, 89-100
-
Helena Grehan, William Dunstone, ʻChaosʻ and ʻConvergenceʻ on the Western Australian Goldfields: The Politics of Performance in the 1980ʻs, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 70, April 2017, 35 - 56
-
Helene Beauchamp, Of desire, freedom, commitment and mise en scene as a very fine art: the work of the theatre director, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 29, October 1996, 155 - 167
-
Helene Stacey, Bard boys for love, Arts & Entertainment, 7 January 2001, 73
-
Helene Stacey, Footy Fever, Encore, 21 September 2003, 64
-
Helene Stacey, The three stages of Man, Arts & Entertainment, 21 January 2001, 77
-
Helga Rolunde, Little Theatres, The Sun (NSW), 29 April 1934, 11
-
Hell and Hay, The National Times, 17 May 1981, 41
-
Hello Melbourne, says a hat hunter, The Age, 5 July 1965, 5
-
Help from Playwrights Please..., Theatre Australia, 5, 1, August 1980, 6
-
Helpmann is robbed, The Age, 25 March 1970, 2
-
Helpmann makes fun of critics, The Age, 10 August 1967, 6
-
Henri weds, so it's bubbly for The Boys, The Age, 30 June 1969, 2
-
Henty, The Albury Banner and Wodonga Express, NSW, 12 May 1902, 15
-
Henty, The Albury Banner and Wodonga Express, NSW, 12 September 1902, 15
-
Henty, The Albury Banner and Wodonga Express, NSW, 16 August 1901, 17
-
Her Majesty's - "The Manxman", Sydney Morning Herald, 7 March 1898, 3
-
Her Majesty's Theatre and Grand Opera House, Sydney Morning Herald, 28 January 1885, 7
-
Her Majesty's Theatre [Illustrated], Australian Town and Country Journal, 28 April 1883, 25
-
Her Majesty's Theatre, Sydney Morning Herald, 12 March 1883, 5
-
Her Majesty's Theatre. "A City Waif"., The Ballarat Star, Vic., 6 January 1902, 6
-
Her Majesty's Theatre. "Dangers of London"., The Ballarat Star, Vic., 27 December 1901, 1
-
Her Majesty's Theatre. "Sins of a City"., The Kalgoorlie Miner, WA, 28 December 1904, 6
-
Her Majesty's Theatre. "The Silver King"., The Ballarat Star, Vic., 3 January 1902, 6
-
Her Majesty's Theatre. A Modern Babylon., The Ballarat Star, Vic., 1 January 1902, 6
-
Her Majesty's Theatre. A Modern Babylon., The Ballarat Star, Vic., 31 December 1901, 6
-
Her Majesty's Theatre. Australia's premier playhouse. Description of the new building., The Daily Telegraph, 28 July 1903, 6
-
Her Majesty's Theatre. Katinka., The Argus, 10 June 1918, 5
-
Her Majesty's Theatre. Rowing Association Nights. "Dr Bill"., The Ballarat Star, Vic., 10 June 1902, 6
-
Her Majesty's Theatre. The Belle of New York, The Argus, National Library of Australia, 27 August 1917, 3
-
Her Majesty's Theatre. The Cinema Star, The Argus, National Library of Australia, 10 September 1917, 5
-
Her Majesty's Theatre. The Kate Howarde Company., The Ballarat Star, Vic., 30 December 1901, 6
-
Her Majesty's Theatre. The Kate Howarde Season., The Ballarat Star, Vic., 25 December 1901, 6
-
Her Majestyʻs Opera House, The Brisbane Courier, 10 October 1892, 4
-
Herbert Holman, A doll's life, The Bulletin, 4 December 1957, 7
-
Herberton Show, Cairns Post, 26 March 1913, 8
-
Here to audition spiritual goat, The Age, 12 November 1965, 19
-
Here to Direct Carnival, The Age, 6 September 1962, 13
-
Hibberd's 'Stretch' comes back, The Age, 20 July 1972, 15
-
Hieroglyphics, The Northern Miner, 11 October 1881, 2
-
High Honours for Launceston, The Examiner, National Library of Australia, 15 August 1947, 2
-
High Jinks, Sydney Morning Herald, 13 December 1920, 6
-
High Jinks, The Age, 18 August 1919, 8
-
High Jinks, The Age, 21 October 1918, 9
-
High Jinks, The Argus, 18 August 1919, 8
-
High Jinks, The Argus, 21 October 1918, 4
-
High note for noted mezzo, On Stage, 11, 2, 2010, 4
-
High Standard at Drama Festival Wins Praise, The Examiner, State Library of Tasmania, Launceston Reference Library, 31 March 1958, 3
-
High Steppin' next show, Barrier Miner, 16 March 1950, 6
-
Hilary Crampton, Dance and physical theatre as spectacle, protest and comedy, The Age, Theatre and Dance Platform, 27 October 2003
-
Hilary Crampton, The Age, 26 February 2001
-
Hilary Crampton, The Age, 28 February 2001
-
Hilary Crampton, The Age, 29 January 2001
-
Hilary Crampton, Too few risks in festival fare, The Age, Theatre and Dance Platform, 30 October 2006, 15 (Arts and Culture)
-
Hilary Glow, West's brush with the law, New Theatre Australia, July/August, 6, 1 July 1988, 16-17
-
Hilary Golder, Margaret Williams, Fighting Jack: a brief Australian melodrama, Australasian Drama Studies, 36, April 2000, 117-130
-
Hilary Halba, Performing identity: teaching Bicultural Theatre in Aotearoa, Australasian Drama Studies, 57, October 2010, 22-37
-
Hilary Halba, Robert Lord's New York: big and small, notes on life and art, Australasian Drama Studies, 60, April 2012, 33-41
-
Hilary Halba, Rua McCallum, Tu Taha, Tu Kaha: Transcultural dialogues, Australasian Drama Studies, 59, October 2011, 69-87
-
Hilary Halba, The flames of hope: the representations of prophecy in two New Zealand plays, Australasian Drama Studies, 55, October 2009, 44-58
-
Hilary Trotter, The Advertiser, 18 June 1982
-
Hilary Trotter, The Canberra Times, 30 June 1982, 35
-
Hilary Trotter, The Canberra Times, 8 September 1982, 0
-
Hilary, sweet 16, entrusted with a $20,000 gamble, The Age, 13 September 1968, 1
-
HINTS TO MR. HUME CONTINUED—EXPENDITURE OF THE PUBLIC MONEY, SANCTIONED BY COLONEL ARTHUR'S COUNCIL, 26 August 1834
-
His Children Help, The Age, 21 April 1965, 5
-
His Excellency The Governor At Broome, Western Mail, 18 June 1904, 14
-
His Excellency the Governor in the Clarence District, The Maitland Mercury, 15 May 1886, 13
-
His Excellency the Governor, The Sydney Mail, 7 March 1863, 12
-
His Excellency's Visit To The South-Eastern Districts, Adelaide Observer, 1 March 1856, 3
-
His Excellency's Visit To The South-Eastern Districts, The South Australian Register, 27 February 1856, 2
-
His Fruit isn't in One Basket, The Argus, National Library of Australia, 4 February 1956, 13
-
His Majesty's - The Glass Menagerie Produced, The West Australian, 25 March 1947, 11
-
ONE by one, the names of inner Sydney's long-forgotten elders have been disappearing from the city's public parks and community centres.
In 2008, the Anthony Doherty Community Centre and Recreation Hall in Surry Hills became simply, the Surry Hills Library and Community Centre.
Historic street and place names being lost as City of Sydney rebuilds and renames buildings and landmarks, Daily Telegraph-Mirror
-
History of the Victoria Theatre, The Sydney Mail and New South Wales Advertiser, 31 July 1880, 209
-
Hit n Run, The Advertiser, 12 July 1982, 25
-
Hoang Su, The past and the present of the Vietnamese theatre, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 25, October 1994, 146 - 151
-
Hobart Carnival, The Advertiser, 21 February 1910, 10
-
Hobart Group Wins Drama Festival, The Examiner, State Library of Tasmania, Launceston Reference Library, 8 April 1957, 4
-
Hobart Group Wins Festival Award, The Examiner, Launceston, National Library of Australia, 7 March 1949, 7
-
Hobart Repertory Society Wins Main Award in Drama Festival, The Examiner, State Library of Tasmania, Launceston Reference Library, 16 April 1956, 4
-
Hobart To Have First Drama Festival Soon, The Mercury (Hobart, Tas. : 1860 - 1954), National Library of Australia, 28 May 1954, 9
-
Holiday At Broken Hill, The South Australian Register, 28 January 1893, 5
-
Holiday theatre for school children, Sydney Morning Herald, 17 August 1978, 12
-
Holidays on the stage, The Age, 8 December 1964, 15
-
Holloway Dramatic Company, Launceston Examiner, National Library of Australia, 8 February 1886, 3
-
Holly Williams, Medea: How Goldfrapp scored the Greek tragedy, The Independent, Theatre and Dance Platform
-
Homage to Sutherland, The Australian Women's Weekly, 28 July 1965, Cover, 3, 8,9
-
Home after 30 years to launch his book, The Australian Women's Weekly, National Library of Australia, 1 August 1979, 7
-
Home Aura Magazine, May 2007, 6
-
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Ian Henderson, Young colonists on the Australian stage: adaptationsof Paul et Virginie by James Cobb and Marcus Clarke, Australasian Drama Studies, 40, April 2002, 90-105
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Ian Horner, Wran the Man is to bless Bill the Bloke, Penrith District Star, 25 March 1983
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Impish Sir Robert, The Age, 27 November 1969, 11
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Interesting Particulars, Colac Herald, 31 March 1896, 3
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Interesting People - Mr Robin Lovejoy, The Australian Women's Weekly, 7 April 1951, 4
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Irish Concert at Crystal, Barrier Miner, 19 March 1940, 3
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Irish National Concert, Barrier Miner, 15 March 1940, 3
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Irish National Foresters' Concert and Dance, West Australian Catholic Record, (Perth, WA : 1888 - 1922), 28 September 1895, 11
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Irma Gold, Artlook, March 2005, 20
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Irma Gold, Muse, 1 July 2001, 5
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Irma Gold, Muse, November 2002, 7
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Irma Gold, Muse, September 2002, 8
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Irrigation. Kate Howarde Company., The Mackay Mercury, Qld, 26 February 1903, 2
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WHEN SYDNEY LIKED ITS ENTERTAINMENT "FREE AND EASY"
By ISADORE BRODSKY
Somewhere in the lineage of entertainment, in the long ago before revue, variety and vaudeville, we can seek wistfully for the forerunner of music halls and find it in the old-fashioned tavern of our town, where drink and song were blended in the Free and Easy.
One hundred years ago in Sydney, theatre flourished on formal lines at the Royal Victoria, in Pitt St., about midway between King and Market Streets on the western side, but this theatre held no monopoly on entertainment, as can be shown by the number of Free and Easys which countered with their attractions.
Names from the past
The Bull and Mouth was not more than a hundred paces from the Old Vic, on the Farmer's corner of today, while other well-patronised contemporaries were the Black Boy Inn, in George St., The Spread Eagle and the Sir Maurice O'Connell in Elizabeth St., The Three Tuns and Brougham Taverns, The Hamburgh, the Sportsman's Arms, the Crown and Kettle, and some whose locations are known but whose names have unfortunately perished.
The swinging sign at the entrance to these Free and Easys was an index of their go-as-you-please character, one that assured satisfaction to so many of varying tastes, especially when a common level of enthusiasm had been induced by ale and wines.
Ex-pugilist mine host
Ned Bitton, who kept The Spread Eagle, also known as The Bush Tavern, was an old retired prizefighter who had picturesquely exchanged his belligerent stance for the more pleasing one of a boniface, complete with a vest of velvet decorated with chains and seals.
One end of his low weatherboard building had a concert hall with a stage at one end. Tables were arranged in rows, with passages to permit the free circulation of waiters, and those seated at the tables were expected to order their drinks, or at least a cigar, as a token of their bona fides and to make manifest their entitlement.
At Toogood's Rainbow Tavern (now the site of Proud's), long experience led to a short cut in this manoeuvring by the master of ceremonies.
On the stage for the performers sat a chairman who presided over them, and simultaneously set a standard of decorum for the audience.
If this allowed for a little breadth in interpretation, there could be no mistaking his attitude at the end of each item.
Loudly he would exclaim, "The waiter is in the room, gentlemen!"
William White's Crown and Kettle also insisted on the double standard, but the true Free and Easy was a much more homely matter. The selection of a chair man was left to chance, and he kept order at the long table flanked with forms by beating a tattoo with an auctioneer's gavel. He needed it to enforce his authority.
On Saturdays men gathered at their favorite Free and Easy at an early hour, and, about an hour before noon, tables were spread with dishes of cold meat, radishes, pickles, cheese, and bread and butter.
By the evening, patrons were well fortified with food and drink, and then they linked arms and went into the concert-room, where there was only one paid performer, the pianist.
Lack of voice no handicap
"I never heard good vocalism in any of these concert-rooms," says an old-timer, "but those who sang, or attempted to sing, were duly applauded."
The stranger was considered a good mark for a turn, and siege was laid to him for his offering just when he had "a wee drap in his ee".
Sometimes the choice fell on one who had gone too far with his libations. . . . "They then consider themselves equal to anything ... if they can't sing they frequently shout", which served the joyful purpose of the occasion.
The over-cheerful and casual nature of these entertainments gradually gave way to careful organisation, because it could be seen that a little planning would improve the takings. The opportunity was too good to be missed by the mercenary.
Clark's Sportsman's Arms and the Bull and Mouth brought out day bills to enumerate some of the attractions, and the Bull and Mouth gingered its show by dressing its waitresses in
Oriental costumes. Result: Standing room only at the Bull and Mouth!
Bloomer suits for waitresses
In the first years of the 70's, Michael Hegarty came over from Melbourne and went a step further with a Cafe Chantant on the site of the old City Theatre in Market St., one door from the Crown and Anchor.
Michael had experimented tentatively with waitresses who "wore bloomer costumes", and had created a sensation with them in Melbourne until the outraged police came into the picture.
It is not known whether he produced the same results with his Sydney venture, but a chronicler says that "he did a roaring trade for a time", first in Market St. and later at the Queen's Theatre in York St.
Minstrelsy also became an authentic part of what grandfather and grandmother enjoyed in music hall and vaudeville, whether at the old Alhambra or the Haymarket, the Oxford, the old Tivoli or the National Amphitheatre.
Christy Minstrels were a straight out importation from the United States, where, in 1840, burnt cork appeared to gain something in its imitation of Negro antics.
Australian played part
An Australian, Crappen, had a small share in the development of this branch of the theatrical tradition, his part being the encouragement of "a tall, handsome, dark complexioned young
man . . . known as Christy".
Christy asked Crappen what he thought of Dan Rice and his Jump Jim Crow song, and Crappen said that he liked it.
Christy then went on to discuss the idea of grouping a crowd of young men, with their faces blackened, to sing, play, and dance.
Not long afterward he implemented the ideas thrashed out between the two men, and minstrelsy was born.
The first minstrels to appear in Australia â Christy never came â were the Bacchus Minstrels.
There were a dozen in the party, all instrumentalists, and they enlivened the 50's "playing to crowded houses".
In 1863 a Command Night for Sir John Young, Lady Young and Lady Taylour,
at the Mechanics' School of Arts in Pitt St., gave minstrelsy a new status in entertainment, and their items ranged from Hard Times and Blue Eyed Nelly to the Blacksmith's Chorus from II Trovatore, with an American Prize Jig and Come Into the Garden. Maud, for good measure.
Evolution in performances
The minstrels entered an even warmer phase of their evolution when Harry Rickards left the Opera House in York St. and crossed over to The Garrick with his Tivoli Minstrels.
Signalising the new venture of 1893, a crusade against the formal offerings of the Theatre Royal, Rickards "put on the conventional 'first part', introducing nigger minstrel end men".
"The company appeared in entirely new and rich costumes . . . the interlocutor and cornermen in their plush coats and vests look almost too dignified to descend to the ordinary minstrel funniments", ran a patronising critique.
New lustre to scene
In the good old summer time of 1895, the inimitable Charley Pope and Irving Sayles brought shining lustre to the Rickards firmament with performances that were more than skin deep, while another star in that same galaxy, George Chirgwin, more easily recalled as The White Eyed Kaffir, had had his earliest training as a member of a juvenile Christy Minstrel troupe.
Eugene Stratton was another of those who mastered the black techniques, refining the act with the sweetly sentimental Lily of Laguna, as many will re member, with Teddy Maas, Harry Rickards' son-in-law.
Maas can go back to the Tivoli's Harry Barrington, who dashed around before the curtain went up, in his capacity as stage manager, and then went on himself to play the part of interlocutor with that "why-does-the-chicken-cross-the-road" type
of theatrical confection.
Bert Warne, vaudevillian and raconteur, tells of a famous end man; Charlie Vaude, who got a top billing with Bill Verne.
All night to find name
"I was at the Empire at Broken Hill in 1907, and Croft Ridgeway was on the same program with Bill Bartington. The Adelaide Tivoli wanted a double, and Ridgeway-Partington got the job as Vaude and Verne.
"As a name for a turn, Ridgeway and Partington would never have done" . . . anxious friends sat up with them all night in a quest for a magic call board name.
"I've still got my bones," adds Bert, rather proudly, thinking back to the early and thrilling days of Brennan's National Amphitheatre.
And he particularly remembers when he was a confederate from the pit for Fred Curran, who put over the alliterative Sea Shells song.
Warne remembers, as most of us do, Porky Kearns, who made blackface history, using his tambourine for effective punctuation. And then there was Ward Lear, Ted Tutty and the Bovis brothers.
Famous site of Academy
For the connoisseur, it must be recorded that Fred Hiscocks had his Federal Minstrels at the Academy of Music some 20 years before Kearns, and nearly everybody knows that the academy stood where the Scandinavian Hotel wedded wine with song in 1866, and where the Tivoli was once a glittering landmark.
And so, by a piece of black magic, the Free and Easy and the Minstrels are united by time and place, at that wonderful, fabulous, old stand in Castlereagh St., and the stage ghosts may be laid to this day, in an eloquently silent little alleyway.
ILLUSTRATIONS
Black-face star Eugene Stratton
Irving Sayles, one of the early minstrels
Famous corner man, Porky Kearns.
Isadore Brodsky, When Sydney Liked its Entertainment "Free and Easy", The Sun (NSW), 22 October 1954, 23
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ISIS SCRUB. Childers., The Maryborough Chronicle, Wide Bay and Burnett Advertiser, Qld, 5 September 1896, 3
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It Bleeds, It Sleeps, The Advertiser, 2 June 1981, 26
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It was just too much for ladies, The Age, 31 July 1968, 10
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It's A Girl. Farce at the Minerva., Sydney Morning Herald, 30 August 1940, 9
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It's all double Dutch to Betty, The Age, 13 September 1968, 6
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It's business-as-usual for 'Caine' stars, The Herald, 12 January 1959
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It's in her blood, The Age, 4 October 1968, 6
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It's just one farce after another, The Australian, 24 May 1967, 11C
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It's that man Alan back in spotlight, Sunday Sun, The University of Adelaide, Library Special Collections, 1 March 1987
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It's two roles for one, The Argus, 10 October 1952, 4
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Italian Opera Star To Live In Adelaide, The Advertiser, 8 July 1932, 9
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-
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Items Of News, Mount Alexander Mail, 26 February 1867, 2
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Items of News, Mount Alexander Mail, 3 March 1866, 2
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Items of News, Mount Alexander Mail, 6 March 1866, 2
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Mr. Harry Stanley's talented Opera Bouffe troupe visited Fremantle yesterday, for the purpose of giving their popular variety entertainment to the inmates of the Lunatic Asylum. From what hear, some of the unfortunate inmates appeared to be much interested, but upon many of their countenances a vacant, unmeaning look appeared, devoid of understanding, and seemed to take but little interest in the performance. Mr. Stanley, however,is to be commended for his kind and thoughtful consideration, and the trouble, to think nothing of the expense he has been under.
Items of News, The Herald, 10 October 1885, 3
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Items Of News, The Kalgoorlie Miner, 27 May 1899, 4
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Items Of News, The Kalgoorlie Miner, 30 May 1899, 4
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Items of News. The Kate Howarde Company., The Wagga Wagga Advertiser, NSW, 20 August 1903, 2
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Theatre in Beaufort Street, opened as Shaftesbury Theatre 1904. Later known as Luxor Theatre, Ritz Theatre, Hollywood Theatre. Became Tivoli Theatre under management of Bruce Carroll 1946. Closed 1949.
Thomas Shafto celebrated his surname and his English home town in 1904 by building a theatre and a hotel and naming each of the neighbouring buildings the Shaftesbury. The theatre, never known for luxurious appointments, was Perth's home of variety from the start, and leading variety artists such as Jenny Howard, Queenie Paul and Roy Rene later worked there. It sent shows to Fremantle and the goldfields, and also housed drama, pantomime, boxing, wrestling and silent films. After it closed as the Tivoli Theatre it was converted to a skating rink, and later the Canterbury Court Ballroom. The building was demolished in 1990.
Ivan King, Tivoli Theatre Perth, Companion To Theatre In Australia, 1995, 605
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J Borkman, Blue Mountains Gazette, 9 September 1987
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J.C. Williamson Theatre to be Erected in Melbourne, The Argus, 23 July 1913
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Jacinta Lane, Melbourne Times, 21 October 1987
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Jack Anderson, Arts and Leisure, 21 October 2001, 7
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JACK CANNOT. Found Dead at Long Bay., Sydney Morning Herald, 3 August 1929, 15
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Jack Fewster, Popular Song Writer, Dies, The Advertiser, 18 March 1949, 3
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It was a New York summer in the early 1990s and there wasn’t much work on, so Lucy Guerin rented a classroom in a disused school near her apartment in Alphabet City, and set about creating her first solo piece after six years of dancing other people’s work. The weather was hot and the work was difficult but by the end of summer Guerin had finished. She had made the difficult transition from dancer to choreographer.
‘‘It was quite torturous, actually,’’ she says. ‘‘I remember it with fondness but also with horror because being in a studio on my own for that amount of time I really found difficult, being confronted with all these choices and possibility. When you start, all you’ve got to refer to is this history that’s embedded, literally physically, in your body by these other choreographers.
‘‘It’s like a muscle memory; you go in to make a start and that’s what comes out. A lot of that time was spent deprogramming the aesthetics imprinted in my body and trying to find something that was mine.’’
Guerin found that something, and has spent the years since building on it and teasing it out during different creative endeavours.
The loneliness of that New York summer in the abandoned classroom is long gone. These days she works in close collaboration with dancers, sound and set designers, and other choreographers, including her partner, Gideon Obarzanek.
Her latest endeavour is Human Interest Story, which opens at Belvoir St Theatre next month – the first dance performance at the theatre in years.
The piece, which Guerin created in conjunction with her dancers, is an abstract work about mass media and the way it is inserted into our daily lives. Huge themes, tragic events and complex issues are all absorbed as we throw down our breakfast cereal, dodge traffic on the way to work, or queue for a drink at the pub.
Guerin says she was interested in the juxtaposition of the drama of the news with the mundanity of the settings in which we consume it, particularly in the era of the 24-hour news cycle, when news and media are almost impossible to avoid.
‘‘I think I wanted to make this work because I have a rather uneasy relationship with current events myself,’’ she says. ‘‘I find myself really going in and out of the news.
‘‘Sometimes I’m able to engage very well with it but then there’s other periods of time where I just lose the threads completely and I find I’m in my own bubble and a world of my own.’’
When we meet in Canberra, Guerin is just switching back into news mode after a two-week holiday in Indonesia.
It’s a hell of a time to be re-engaging with the news – the Norwegian massacre is still on the front pages, Cadel Evans recently won the Tour de France and singer Amy Winehouse has died.
We discuss the Norway killings. ‘‘On the one hand, you have this terrible tragedy that we try to empathise with but, in a way, you just can’t,’’ Guerin says.
‘‘You can’t imagine the terror of a situation like that. Generally these things come to us in a pretty domestic environment, very much embedded in ordinary everyday activities, so it’s a strange schism between mundanity and these incomprehensible events.’’
The contrast is interesting but also abstract – how can such tangential ideas be translated into physical movement and visual ideas?
Human Interest Story is divided into three parts. In the first, the dancers mimic the mannerisms and speech of newsreaders. They spent a lot of rehearsal time closely studying the head movements of SBS newsreader Lee Lin Chin.
There is a lot of spoken word in the first section, which changes slightly from performance to performance – nothing is too scripted or heavily scored. There are some jokes, which were not intentionally written in, but imported from the levity of the rehearsal process.
‘‘I really like to create a sense of equality and permission to make jokes or have fun, or not, or express anger in the rehearsal room,’’ Guerin says.
In the second section, the atmosphere becomes darker. The dancers line up in front of a grid of single newspaper pages and progressively step forward, pick up a page, scrunch it into a ball and drop it. Their automaton-like movements underline the mindless way we often consume news.
The final section opens with a solo by Harriet Ritchie, which grows progressively more intense. The sense of foreboding is augmented by the sound, costumes, lighting and sets – the latter designed by Obarzanek. Guerin says her creative process always begins with a spirit of inquiry.
‘‘I ask myself a question: ‘What is dance? What is its purpose? What is its function and its power as an art form? How can it be relevant to the world around us, as its own logic and its own art form?’’’
She finds it more difficult to explain the way she makes her abstract ideas real, in the form of the physical movements that make up her dance pieces.
‘‘There may be a very, very physical dance happening, where you see the effort and physicality of the dancer, and the struggle...’’ she says, before tailing off.
‘‘It’s not so much about what is being said but the way it’s being said ... it’s almost an extension of the physical body with sound and words and colloquialisms or different types of conversations we might have.’’
After our interview, Guerin worries she has not expressed herself clearly enough on this point but it’s perhaps the nature of the alchemy of dance that it’s impossible to describe how ideas become movements – it’s something you watch, rather than intellectualise.
The artistic director at Belvoir, Ralph Myers, says Guerin is one of a new breed of choreographers blurring the lines between theatre and dance. ‘‘People like Lucy are making work that is as much theatre as it is dance,’’ he says.
‘‘It’s just made in a process that is different to how we make and rehearse spoken drama ... If you were an alien from outer space coming to Earth and looking for distinctions between dance and theatre, you would have a difficult time deciding which category her work falls into.’’
The Sydney season of Human Interest Story – which premiered in Melbourne last year – has already sold out, giving Myers confidence that audiences are willing to embrace unconventional offerings.
Guerin’s next project, which is in development, is about weather and climate change.
‘‘I’m interested in the depictions of weather, maps and pressure charts and isobars, the abstracted nature of how weather is studied.’’
Weather events have always been used as a literary metaphor, she says, to represent the cruelty of fate, which is unchangeable.
But the science of climate change has shown that we have more control over weather patterns than previously thought and it is this change in thinking Guerin wishes to explore. ‘‘It used to be this thing beyond our control, this force we were completely subject to,’’ she says.
‘‘Now we’ve created a cycle where we’re somewhat responsible for those extreme forces as well. We’re no longer separate from it.’’
Guerin says her time in the US taught her a key difference between Americans and Australians – a lesson that has stayed with her.
‘‘Coming from Australia and being Australian, I tended to criticise myself before I praised myself,’’ she says. ‘‘I found that Americans do the opposite.’’
Perhaps it’s this learned optimism that has allowed Guerin to take so many risks in her work. She tries to return to the US at least once a year.
After Human Interest Story in Sydney, she will head to Minneapolis and St Louis to tour one of her older pieces, Structure and Sadness, about the collapse of Melbourne’s West Gate Bridge in 1970.
‘‘Telling a story can be difficult in dance, anything that has any complexity or layering,’’ she says.
‘‘I am always looking for a way to incorporate something really concrete about our experiences but also find a way that features from the outside world can be meaningful through the physicalities of the body.’’
Human Interest Story opens at the Upstairs Theatre at Belvoir on August 31. The season is sold out but returns or standing-room tickets may be available closer to the show’s performance dates.
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Jennifer Kingma, Panorama, 10 February 2007, 21
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Jennifer Kingma, Panorama, 10 July 2004, 17
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Jennifer Kingma, Panorama, 10 September 2005, 19
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Jennifer Kingma, Panorama, 13 August 2005, 22
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Jennifer Kingma, Panorama, 16 July 2005, 19
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Jennifer Kingma, Panorama, 16 September 2006, 6
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Jennifer Kingma, Panorama, 17 February 2007, 22
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Jennifer Kingma, Panorama, 2 December 2006, 22
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Jennifer Kingma, Panorama, 22 March 2003, 20
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Jennifer Kingma, Panorama, 28 April 2007, 8
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Jennifer Kingma, Panorama, 28 October 2006, 10
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Jennifer Kingma, Panorama, 29 April 2006, 19
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Jennifer Kingma, Panorama, 3 February 2007, 19
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Jennifer Kingma, Panorama, 5 March 2005, 22
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Jennifer Kingma, Passion of the Irish, Times2, 23 October 2007, 8
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Jennifer Kingma, Steps of spiritual inspiration, Times2, 8 November 2007, 8
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Jennifer Kingma, The Canberra Times, 20 February 1995, 22
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Jennifer Kingma, The Canberra Times, 25 October 1993, 14
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Jennifer Kingma, The Canberra Times, 27 September 1993, 14
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Jennifer Kingma, The Canberra Times, 30 January 2002, 9
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Jennifer Kingma, Times2, 10 February 2006, 3
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Jennifer Kingma, Times2, 10 October 2006, 8
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Jennifer Kingma, Times2, 13 November 2006, 8
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Jennifer Kingma, Times2, 14 March 2005, 8
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Jennifer Kingma, Times2, 14 November 2006, 8
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Jennifer Kingma, Times2, 16 February 2006, 8
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Jennifer Kingma, Times2, 16 July 2007, 8
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Jennifer Kingma, Times2, 16 November 2006, 8
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Jennifer Kingma, Times2, 2 February 2006, 8
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Jennifer Kingma, Times2, 25 November 2005, 3
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Jennifer Kingma, Times2, 27 February 2007, 6
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Jennifer Kingma, Times2, 28 April 2006, 4
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Jennifer Kingma, Times2, 29 August 2005, 8
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Jennifer Kingma, Times2, 30 May 2005, 8
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Jennifer Kingma, Times2, 31 January 2006, 8
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Jennifer Kingma, Times2, 6 October 2006, 3
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Jennifer Kingma, Times2, 6 September 2006, 10
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Jennifer Kingma, Times2, 8 November 2006, 8
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Jennifer Kingma, Two right feet for dance, Times2, 20 September 2007, 8
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Jennifer Pfeiffer, Globalisation and the UNIMA Asia-Pacific Commission, Australasian Drama Studies, 51, October 2007, 104-118
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Jennifer Radbourne, Mahoney, William James (Will) (1894–1967), Australian Dictionary of Biography Online, 2000
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Jennifer Sexton, Review, 9 September 2000, 19
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Jennifer Thurstun, Dance Australia, March 1994, 0
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Jenny Brown, Daily Telegraph-Mirror, 1 November 1990
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Jenny Brown, Daily Telegraph-Mirror, 29 August 1991, 39
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Jenny Brown, Larrikin students win French veteran's heart, The Australian, 2 October 1992
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Jenny Brown, Milk bar kids can't go wrong, Daily Telegraph-Mirror, 19 November 1990, 27
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Jenny Dillon, The Daily Telegraph, 17 April 1990, 0
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Jenny Fewster, The Show Must Go On, Stage Whispers, 26, 2, March 2017, 56-57
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When Cowboys and Indians Ran Wild on Australian StagesIn the late Nineteenth Century the Wild West proved a sensation for Australian and New Zealand theatre audiences. In those days respect for indigenous people and animal rights were not a consideration. Jenny Fewster from AusStage reports. On the 8th December 1890, the Britannia docked in Melbourne. On board was an American named Doc Carver accompanied by his wife. Travelling with him, although in steerage rather than cabins, were several Native Americans and Mexican Vaqueros. A household name in American and Europe, Carver had been a plainsman in America’s West briefly in the 1870s. It was here that he claims to have honed the shooting skills he demonstrated the world over in the 1880’s. Carver’s skill earnt him the titles of Champion Rifle Shot of the World and Spirit Gun of the West. He was invited by The Prince of Wales to demonstrate his shooting abilities for the Royal Family at Sandringham. The Prince presented him with a gold horseshoe scarf pin studded with diamonds. In 1883 Carver went into partnership with Buffalo Bill Cody. The pair parted company after their first season. For several years both Carver and Cody toured shows entitled Wild West, and soon law suits and countersuits were drawn, chiefly over the right to use the “Wild West” name which both men claim to have coined. From Europe, Carver brought his show Wild America to Melbourne. It opened in the Friendly Society’s Gardens (the current site of Olympic Park) on 23rd December 1890. Wild America was touted as an exhibition of life and adventure as experienced on the plains of America. It took up in excess of two acres and included a “genuine” Indian Village as well as daily performances of shooting from horseback, lasso throwing, Indian war manouevres and buck-jumping. This interest was further fuelled by the Battle at Wounded Knee in South Dakota between the U.S. Cavalry and the Native Lakota peoples, at which over 200 Lakota lost their lives. Carver and his Indians were asked to make a public comment and on the 1st January 1891 The Argus published a piece entitled The Indian Risings in America. What Dr. Carver and his Indians say. Carver had his own local battles. Two employees of a rival touring show were fined for assaulting his agent, in a skirmish over his Indians. Carver attracted large interest when he took his show to Sydney’s Moore Park. Three teenagers were fined 20 Shillings (or on default, 21 days gaol) for breaking branches from a tree in Moore Park in order to gain a clear view behind Wild America’s 9ft galvanized fence. After ten weeks, Carver travelled back to Melbourne, making the acquaintance of Australians Alfred Dampier, and along with Garnet Walch undertook a successful business partnership. Dampier and Walch wrote, in their typical style, a melodramatic piece, as a vehicle for Doc Carver, called The Scout. It opened on 9th May 1891 at the Alexandra Theatre (now Her Majesty’s).The two Australians wrote an American cowboy and Indian piece set on the Western frontier, full of stereotyped characters: Dr Carver – essentially playing the character he portrayed to the public; Brenda Marvel – the feisty, and fiercely capable young, love interest, played by Alfred Dampier’s daughter Lily; Brenda’s long lost sister Alice, renamed Neamata by the ‘vicious’ Indians who kidnapped her at the tender age of five; the nervous Irishman, Patrick O’Finnegan; the blundering Dutchman, Hans Donderheim; and the African American servant, Napoleon Primrose Snowball. The storyline was formula: boy and girl (or middle aged man Carver and 21 year old Lily Dampier) are in love, in this case betrothed, boy loses girl (when she is kidnapped by the vicious Indians), boy rescues girl and everyone (except the villains) live happily ever after because along the way girl has found long lost sister and inherited a fortune. So if it wasn’t the relatively weak storyline or characterisation that made The Scout a massive success, what was it? As The Argus reported it on 11th May 1891: "What dramatic situation could compare with this huge tank 40ft long and 12ft broad by 9ft deep, which occupies the whole back of the stage, and is at the will of the scenic artist, a placid lake in which live ducks swim about, or a rushing river, in which cowboys, Indians, and horses shout and struggle and splash in admirable confusion?” The Hobart Mercury’s report, under the headline “Sensationalism Run Mad” (May 18 1891) described the second act: “The scene represents an Indian encampment, and we have the satisfaction of seeing “the braves" erect a teepee, for the special benefit of Miss Lily Dumpier, who has been taken prisoner. The faithful Carver paddles his canoe - a real birch bark one - across the lake. To brain the Indian sentinel and gag and bind the villain are to a man of his physique but the work of a few minutes. The braves are away banqueting on dog. The horses are concealed in the gorge of the canyon on the O.P. side. What remains but to fly? Next minute Miss Lily Dampier canters across the stage on a neat little brown pony, and the Evil Spirit of the Plains follows on a barebacked and bony broncho. A moment later and the pony reappear, picking its way carefully across an aerial bridge high up in the borders, and as the prairie belle reins up on the opposite side, Dr. Carver, on his broncho, attempts the perilous pass. But the alarm has been given and the Indians are swarming the rocks and popping away with rifles and revolvers at the fugitives. Miss Dampier for a moment stems the onslaught with a nickel-plated Derringer. The broncho is half-way across, when there is a rush and a scream, the whole bottom of the bridge gives way, and drops down the broncho 14ft into the lake, and swims away snorting and screaming, leaving the rider hanging tooth and nail to the parapet. The effect is startling in the extreme and it took with the audience so much on Saturday that they applauded and whistled and yelled for nearly 10 minutes in a vain attempt to obtain an encore.” Such was the popularity of the show that Sarah Bernhardt, who was appearing as Cleopatra at the Princess Theatre at the time, attended a matinée performance and occupied seats in the centre of the dress-circle. On 20th June 1891 Carver’s newest production The Trapper replaced The Scout at the Alexandra. Again penned by Dampier and Walch, The Argus reported on the 22nd June 1891: “Both are pieces constructed on precisely the same lines, and both rely for their sensations upon the same accessories. Needless to say, the foremost of these accessories is gunpowder.” By 1893 America was in the grip of an economic downturn and Carver was forced to disband his troupe and sell his stage effects. By 1894 a depression was being felt in Australia too and in June of that year Dampier filed for insolvency. Carver put together a smaller show to which he added a diving horse in 1894. Over the next few years Carvers’ other acts were eliminated, and the horse diving exhibition became his primary endeavour. The diving horse act was continued by his family after Carver’s death in 1928 but was eventually closed down due to pressure from animal rights activists in the 1970s.
In 1892 Dampier’s daughter Lily went through a scandalous divorce case with fellow actor Watkin Wynne, adding to his woes. Dampier returned to the stage but his health was deteriorating after a fall through a stage trapdoor in New Zealand in 1893. He retired after a farewell performance of Robbery Under Arms in Sydney on 10th November 1905 and died in Sydney in 23rd May 1908 of a cerebral haemorrhage. Jenny Fewster March 2016
Jenny Fewster, Wild West on AusStage, Stage Whispers, 25, 2, March 2016, 36-37
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Jenny Howard is happy in Broken Hill, Barrier Miner, 11 August 1955
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Jenny Howard show in Canberra, The Canberra Times, 6 October 1953, 2
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Jenny Howard Show, Barrier Miner, 20 July 1955, 12
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Jenny Jackson, Warm dancers in dance of cool abstraction, Ottawa Citizen, Theatre and Dance Platform, 8 April 2003
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THREE pictures recur in images of the West Gate Bridge: the snaking line of the structure as seen from above, joining the two sides of the Yarra; the half-built elevated roadway leading into thin air during its construction; and the twisted rubble of the same roadway after it fell 58 metres to the river below.
Connection, construction, collapse. Next Friday, October 15, is the 40th anniversary of the disaster that killed 35 men and grievously injured almost 20 others, but the story is far from fading in the city's memory.
Kate Luciano, curator of the Public Records Office of Victoria's new exhibition on the collapse, says the bridge changed the city of Melbourne, and the collapse is intertwined with its story.
Without the bridge, Luciano says, the city's west — the newer suburbs and industrial zones along the ring road, those down towards Geelong and Geelong itself — would be very different, and much less developed. The bridge was typical of the ambitious concrete structures going up in modern cities around the world. It was conceived as a grand project to transform Melbourne — the men who worked on the bridge were extremely proud to work there, and their children would boast about their father's construction job.
It's that significance to the city, Luciano says, that makes the collapse much more than Australia's worst industrial accident. If it had happened on an office tower site, it would be a footnote to history, but even Melburnians born well after the event know about the collapse.
The exhibition, at the Old Treasury Building, draws on the report of the royal commission that followed the disaster, which pointed the finger at animosity between the three companies working on the bridge, and, to a lesser extent, at union rules.
Oral histories were collected from survivors and their families especially for the exhibition. The weathered faces and broad accents of the Australians in the videos — men and women born here, or immigrants from Italy and Ireland — contrast with the official record of negligence by overconfident superiors. There's something of the Gallipoli legend in the story — a sense of pointless sacrifice.
The images of the rescue effort, too, have a whiff of the trenches about them: the workers themselves were the rescue crew, digging in the mud for their mates. In archival photographs, grim men carry injured comrades on stretchers, while other stretchers are covered with sheets. Men sit against fences like rag dolls, with white bandages around their heads and arms, and there's a general air of shock.
The day also hasn't faded for those who were there. One worker told Luciano: "The shaking continued and I knew something had to be wrong. The bridge started to sink . . . It was like slow motion . . . The next thing I knew I was under the water . . . All around me I could see people. All hurt. All pieces."
To tell the story from a wider perspective, Luciano has collected artworks, including several pastel-toned strip-shaped gouaches by Fred Williams, which show the bridge half-constructed, to the point where it collapsed. Williams's widow, Lyn, said the artist planned to paint the length of the river, but after the collapse, he "lost heart in the project".
Another painting, by Victorian artist Tony Lloyd, shows the bridge's massive supporting pylons and the roadway from underneath, cutting through a blood-red sky.
Newspaper reports of the time have been pasted together to create a wall of words, as "a way of presenting a huge amount of information, but also emotional information", Luciano says.
Not in the exhibition are countless other references to the bridge in popular culture: artist Rick Amor sketched metalworkers there in the 1970s and painted it repeatedly in his waterfront series; Don Henderson and Mark Seymour made it a topic of their songs, as did independent band Sleepy Township.
A lesser-known bridge song came from vaudeville performer Edna "Elsa Phar Lap" Davis, who was getting on in years when the redesigned bridge was opened in 1978, but made a special effort to sing and dance her way up the empty lanes at the opening with her self-penned Mighty West Gate Bridge March, accompanied by the RAAF band. Earlier, resplendent in sequins and heavy make-up, Davis had declared the bridge better than the pyramids, and certainly better than Sydney's bridge, because it was longer. "What a wonderful effort it is for mankind to build anything like this," she told Mike Willesee.
Davis was "totally nuts", Luciano says with a laugh, and the footage of her performances is a lighter note in the tribute to the bridge workers.
Across town at the Police Museum, newly discovered photographs of the aftermath of the collapse are also on show. And at Monash University's engineering faculty, several massive pieces of twisted metal are kept in the gardens.
"We usually take our visiting professors down there [for] a sobering thought of what can happen," says the faculty's Emeritus Professor Paul Grundy. The pieces, some up to three by four metres of structural steel, "are all distorted and twisted and tattered and torn".
Luciano says that bridge building sites around the world were shut down after the West Gate collapse, and the royal commission report sold out in minutes as engineers internationally tried to understand what went wrong.
"People didn't understand what was going on [structurally]," Grundy says. "The West Gate was probably the most notorious of all the collapses."
The only good to come out of the collapse, Luciano says, was the better understanding of and the dramatic improvements in workplace safety and post-incident procedures. At the time, the workers themselves spent all day and night digging for their mates in the mud and rubble. Then, as one survivor told the interviewers: "The bridge collapsed on the Thursday, we got sacked on the Tuesday and then we started going to funerals." Because the site was shut down, the workers lost their jobs with no compensation or counselling; it took a public outcry for that to happen, and a proper memorial park was not opened until 2004.
The story of the men who fell while trying to reshape the city keeps reappearing — Melbourne choreographer Lucy Guerin took the ideas of physical tension and collapse in her 2006 bridge-themed dance Structure and Sadness, which was restaged at Malthouse earlier this year. Peter Temple's multi-award-winning novel Truth opens with two policemen on the West Gate, one telling the other how his grandfather survived the collapse: "Never go over here without thinking," he says, going on to say his grandfather "rode the dunny all the way down".
A few men did "ride it down", Luciano says, including one who had been shepherded into a lift by a friend who stayed on the bridge and died minutes later.
But 35 men died, and that, as much as the importance of the bridge itself is, Luciano says, why anyone who was alive at the time remembers where they were when it happened: "It was a September 11 moment for Melbourne."
West Gate Bridge Collapse: 40 years on runs from October 15 to March 27 at the Old Treasury Building. Disaster at West Gate: Images From the Police Archives until January 7 at the Victoria Police Museum, World Trade Centre.
Jenny Sinclair is the author of When We Think About Melbourne.
Jenny Sinclair, Sorrowful crossing, The Age, Theatre and Dance Platform, 9 October 2010
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Jenny Tabakoff, Metro, 3 January 2003, 3
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Jenny Tabakoff, Metro, 7 June 2002, 3
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Jeremy Eccles, A good girl at heart, Panorama, 28 July 2007, 19
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Jeremy Eccles, As Is : On Parliament Hill, Centrestage Australia, 1, 5, March 1987, 24-25
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Jeremy Eccles, Australian Listener, 10 September 1988
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Jeremy Eccles, Australian Listener, 13 August 1988
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Jeremy Eccles, Australian Listener, 6 August 1988
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Jeremy Eccles, Dances up the past, BAM, 31 August 2002, 3
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Jeremy Eccles, Financial Review, 13 December 1997
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Jeremy Eccles, Girl sees the light on STC stage, The Australian, The University of Adelaide, Library Special Collections, 23 October 1992, 10
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Jeremy Eccles, Section B, 2 August 2003, 7
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Jeremy Eccles, The Bulletin, 14 June 1988
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Jeremy Eccles, The Bulletin, 29 March 1988
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Jeremy Eccles, The Bulletin, 3 November 1987
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Jeremy Eccles, The Bulletin, 3 November 1987
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Jeremy Eccles, The Bulletin, 31 May 1988
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Jeremy Eccles, The Bulletin, 31 May 1988
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Jeremy Eccles, The Bulletin, 31 May 1988
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Jeremy Eccles, The Bulletin, 7 June 1988
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Jeremy Eccles, The Canberra Times, 20 January 2001
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Jeremy Eccles, The Canberra Times, 29 January 2001
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Jeremy Eccles, The Canberra Times, 4 August 2003, 16
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Jeremy Eccles, The Sydney Review, 1 November 1990
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Jeremy Eccles, Times out, 29 January 2004, 4
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Jeremy Eccles, [Devolution], Times2, 3 August 2006
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Jeremy Eccles, [The Cherry Pickers], The Canberra Times, 5 March 2001
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Jeremy Gerard, A wit on the battlefield, Sydney Morning Herald, The University of Adelaide, Library Special Collections, 12 September 1987
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Jeremy Ridgman, 'A shameful conquest of itself': Images from the Empire in post-war British drama, Australasian Drama Studies, 1, 1, October 1982, 89 - 108
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Jeremy Ridgman, The 1-Actor play in Australian drama, Australian Literary Studies, 10, 1, 1981, [no pages]
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Jeremy Vincent, Opera sails smoothly across the centuries, The Herald, 21 September 1987
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Jeremy Vincent, The Australian, 27 May 1998
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Jeremy Webb, The Australian, 24 July 1970
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Jerry C Jaffe, Loop/I/-ness in the New Zealand performance of identity: (or, Id Entity), Australasian Drama Studies, 55, October 2009, 4-9
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Jerry Wasserman, Confessions of a vile canonist: anthologising Canadian drama, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 29, October 1996, 197 - 205
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Jessica Halloran, Metro, 1 February 2002, 15
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Jessica Jeeves, Times out, 31 July 2003, 16
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Jessica Nicholas, The Age, 12 January 2001
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Jessica Nicholas, The Age, 16 January 2001
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Jessica Nicholas, The Age, 27 April 1998
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Jessica Nicholas, The Age, 29 January 2001
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Jessica Nicholas, The Age, 3 April 1998
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Jessica Stanley, The Canberra Times, 7 October 2003, 6
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Jessica Stanley, The Canberra Times, 8 October 2003, 12
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Jessica Wright, Alluring Thornton's next sea change, The Canberra Times, 1 August 2007, 7
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Jessica Wright, Dancing the deja vu, Panorama, 8 September 2007, 19
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Jessica Wright, The Canberra Times, 29 June 2007, 3
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Jessica Wright, The Sigrid factor, Times2, 1 August 2007, 4-5
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Jettings By The Way, The Queenslander, 15 February 1896, 298, 299
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Jewish Chronicle, 7 May 1999, 36
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Jigsaw shows, The Canberra Times, 12 July 1978, 23
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Jill Bull, John Hickling, radio drama pioneer, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 11, October 1987, 79 - 88
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Jill Dimond, Lotti Wilmot's Australian Beds (Part 2), On Stage, 12, 3, 2011, 5-9
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Jill Dimond, Lotti Wilmot's Australian Beds, On Stage, 12, 2, 2011, 8-11
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Jill Fraser, Ceiling the deal, The Herald Sun, 23 May 2008, 78
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Jill Fraser, Delivered Hot to the Table, The Herald Sun, 26 September 2007, 59
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Jill Fraser, Making the bard so cool, Arts and Entertainment, 25 March 2002, 9
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Jill Fraser, The day I let Sir Les run amok, The Herald Sun, 20 January 2008, 91
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Jill Fraser, The Herald Sun, 9 February 2001
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Jill Jones, Who's afraid of Christos Tsiolkas, Sydney Star Observer, 29 June 2000, 10
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Jill Lyons, The Doll and the Umbrella, The Bulletin, 6 November 1957, 26
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Jill Sykes, Sydney Morning Herald, 19 March 1988
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Jill Sykes, Sydney Morning Herald, 20 February 1988
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Jill Sykes, Sydney Morning Herald, 21 March 1988
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Jill Sykes, Sydney Morning Herald, 21 September 1987
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Jill Sykes, Sydney Morning Herald, 22 July 1988
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Jill Sykes, Sydney Morning Herald, 22 March 1988
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Jill Sykes, Sydney Morning Herald, 24 July 1987
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Jill Sykes, Sydney Morning Herald, 27 May 1998
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Jill Sykes, Sydney Morning Herald, 4 January 1988
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Jim Sharman, In the realm of the imagination: an individual view of theatre, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 28, April 1996, 20 - 29
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Jim Sharman, What went right about Paris, Theatre Australia, October 1978, 3
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Jo Ann Pacholli, The Season For My Favourite Festival, Metro News, Theatre and Dance Platform, October 2006, p.3
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Jo Hales, Entertainer, 19 March 2004, 57
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Jo Lennan, Precious lives: the Serpent's teeth, Currents, March 2008, 0
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Jo Litson, 24 hours, 1 March 2001, 10
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Jo Litson, Coming out from the banners, The Australian, 27 September 1990, 9
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Jo Litson, Doctor Zhivago: the great Australian musical?, Limelight, February 2011, 22-27
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Jo Litson, Giving voice to desperation, The Australian, 15 February 2002, 17
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Jo Litson, Limelight, August 2003, 18
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Jo Litson, Review, 1 January 2005, 3
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Jo Litson, Review, 18 October 2003, 14
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Jo Litson, Review, 21 January 2006, 3
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Jo Litson, Review, 5 March 2005, 16
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Jo Litson, Road to nowhere, The Australian, 13 October 2001
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Jo Litson, Stage White, The Australian Magazine, 1 June 1996, 18-21
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Jo Litson, Strength of character, Weekend Australian, 29 July 1995
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Jo Litson, The Australian, 1 March 2001, 10
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Jo Litson, The Australian, 1 March 2001, 10
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Jo Litson, The Australian, 1 March 2001, 10
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Jo Litson, The Australian, 1 March 2001, 10
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Jo Litson, The Australian, 1 March 2001, 10
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Jo Litson, The Australian, 1 March 2001, 10
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Jo Litson, The Australian, 1 November 2005, 14
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Jo Litson, The Australian, 20 April 2004, 14
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Jo Litson, The Australian, 20 February 2004, 15
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Jo Litson, The Australian, 22 July 2004, 12
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Jo Litson, The Australian, 28 July 2006, 16
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Jo Litson, The Australian, 29 December 2003, 9
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Jo Litson, The Australian, 4 August 2005, 14
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Jo Litson, The Australian, 4 August 2006, 18
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Jo Litson, The Australian, 5 May 2006, 19
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Jo Litson, The Young and The Restless, The Australian, 6 February 2010, 5
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Jo Litson, They Love Lucy, The Age, Theatre and Dance Platform, 6 September 2005
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Jo Litson, Touching base with an exorcise in evil, The Australian, Arts, 20 February 1991, 12
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Jo Litson, Walley carries his political banner into cultural melee, The Australian, 4 June 1993, 13
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Jo Litson, Weekend Australian, 1 September 2001, 6
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Amateur dramatic company, founded in 1946 by Francis Flanagan, Margaret Day, Douglas Calder and Lewis Burgess. Closed 1984. venues 1946-62 various. 1963-1984 Sheridan Theatre. directors 1946-58 Francis Flanagan. 1963-72 Colin Ballantyne. 1980-83 Doug Leonard. first production No Triangle This by Doug Calder, 1946 in Stow Hall. Designer: Jacqueline Hick. Director: Phyllis Orphel. landmark productions The Night of the Iguana by Tennessee Williams, 1964. Three Sisters by Anton Chekhov, 1966 Adelaide Festival. Macbird by Barbara Garson, 1968 Adelaide Festival. Pacific Rape by Colin Ballantyne, 1970. Jack the Ripper by Ron Pember and Dennis Di Marne, 1977.
During the decade from 1963 the Adelaide Theatre Group enjoyed high achievement and popularity in the intimate and unconventional Sheridan Theatre in North Adelaide. Experimenting in form and content, it became the wellspring for professional theatre in Adelaide. The group opened in 1946 with a comedy by Douglas Calder, one of its members, although it was established to present plays written or translated from French by South Australians. French theatre was the particular interest of Francis Flanagan, the principal early director and designer. On 20 July 1960 the Adelaide Theatre Group came to national attention when it presented the premiere of Alan Seymour's The One Day of the Year, after its controversial rejection by the Adelaide Festival board. Jean Marshall directed the production. In 1963 the group converted a colonial house in North Adelaide into the Sheridan Theatre. It was intimate and flexible, without fixed seating, and the audience often sat at tables. The group opened at the Sheridan with Trio in Gunshot, three one-act plays written for the occasion by Colin Ballantyne, who became the major director at that time. The group's repertoire was solidly advanced, if not avant-garde: new English, American and European plays and some Australian works.
The 1960s were the group's most fruitful period and by 1980 it had largely dispersed. Doug Leonard attempted to revive it over the next three years with productions of Shakespeare and other classics, but problems associated with the Sheridan Theatre defeated him and the Adelaide Theatre Group ceased to exist in 1984. Well-known actors who worked for it included Ron Haddrick, Alexander Hay and Edwin Hodgeman. In the early days leading local painters such as Wladyslaw Dutkiewicz, Doug Roberts and Jeffrey Smart designed the sets.
Jo Peoples, Adelaide Theatre Group, Companion To Theatre In Australia, 1995, 32-33
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Jo Roberts, Catalpa, The Age, 8 May 2008, 23
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Jo Roberts, Dance programs pays dividends for Malthouse Theatre, The Age, Theatre and Dance Platform, 2 April 2007, 19
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Jo Roberts, Dancing alone in a landscape once upon a time, The Age, 2 July 2008, 0
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Jo Roberts, Life and diet - award conditions for writers, The Age, 27 August 2001, 5
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Jo Roberts, Metro, 23 June 2005, 4
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Jo Roberts, Musicians Step into Unknown, The Age, 22 October 2007, 15
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Jo Roberts, Spectrum, 23 July 2004, 6
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Jo Roberts, Sydney Morning Herald, 15 April 2004, 3
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Jo Roberts, Sydney Morning Herald, 19 January 2006, 15
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Jo Roberts, Sydney Morning Herald, 2 March 2002, 3
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Jo Roberts, Sydney Morning Herald, 28 March 2007, 16
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Jo Roberts, The Age, 14 October 2005, 16
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Jo Roberts, The Age, 17 November 2005, 0
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Jo Roberts, The Age, 27 September 2002, 0
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Jo Roberts, The Age, 7 August 2007, 13
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Jo Rugg, The Chronicle, 20 January 1997, 25
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Joan Acocella, A Modern Education, The New Yorker, Theatre and Dance Platform, 31 May 1999, 104
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Joan Acocella, A Visitor From Mars, Village Voice, Theatre and Dance Platform, 16 April 1991, pp.91-92
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Joan Arthur, Muse, 1 May 1988
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Joan Arthur, Muse, 1 September 1988
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Joan Maslen, Everett, Minnie Rebecca (1874–1956), Australian Dictionary of Biography Online, 1996
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Amateur dramatic company in Melbourne, founded in 1951 by Frank Thring. Closed 1954. venue Arrow Theatre, Middle Park. artistic director Frank Thring. first production Salome by Oscar Wilde and A Phoenix Too Frequent by Christopher Fry. Director: Irene Mitchell.
Frank Thring brought amateur and professional experience and the necessary finance to the Arrow Theatre. He renamed the 200-seat theatre of the defunct Melbourne Repertory Theatre and spared no expense in production. As actor-manager he aimed to present the best plays of present and past, and he staged at least one Australian play, The Square Ring by Ralph Peterson. But the inner suburban location was a drawback. The theatre lacked public support and heavy financial loss forced Thring to close it. He went to England and other Arrow Theatre actors - including Bunney Brooke, Zoe Caldwell and Moira Carleton - found professional work with the Union Theatre Repertory Company.
Joan Maslen, Arrow Theatre, Companion To Theatre In Australia, 1995, 60
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Joan Maslen, Young, Florence Maude (1870–1920), Australian Dictionary of Biography Online, 1990
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Joan Morgan, Four Plays by Australians, The Australian Quarterly, 14, 4, 1942, 110-111
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Joanna Murray-Smith, Melbourne Times, 14 October 1987
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Joanna Murray-Smith, Melbourne Times, 18 August 1987
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Joanna Murray-Smith, Melbourne Times, 19 August 1987
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Joanna Murray-Smith, Melbourne Times, 23 September 1987
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Joanna Murray-Smith, Melbourne Times, 5 August 1987
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Joanna Murray-Smith, The Sunday Herald Sun, 21 January 2001
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Joanna Murray-Smith, [Medea], Melbourne Times, 22 January 1987
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Joanne Trzcinski, Steps ahead, Sunday Times, 11 October 2008, 27 (Home Magazine)
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Joanne Scott, Lisner, Charles Maurice (1928–1988), Australian Dictionary of Biography Online, 2012
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Joanne Tompkins, 'Homescapes' and identity reformations in Australian multicultural drama, Theatre Research International, 26, 1 (March), 2001, 47-59
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Joanne Tompkins, 'The story of rehearsal never ends': rehearsal, performance, identity in settler culture drama, Canadian Literature, 144, Spring, 1995, 142-161
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Joanne Tompkins, Breaching the body's boundaries: abjected subject positions in postcolonial drama, Modern Drama, 40, 4 (Winter), 1997, 502-513
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Joanne Tompkins, Canadian virtual realities: Canadian theatre and Australian theatre criticism, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 29, October 1996, 4 - 6
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Joanne Tompkins, Celebrate 1988?: Australian drama in the bicentennial year, Australian & New Zealand Studies in Canada, 25, 4 (October), 1994, 117-133
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Joanne Tompkins, History / history / histories: Resisting the binary in Aboriginal drama, Kunapipi, 15, 1, 1993, 6-14
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Joanne Tompkins, Lisa Male, 'Twenty-one native women on motorcycles': an interview with Tomson Highway, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 24, April 1994, 13 - 28
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Joanne Tompkins, Post-colonialism and Australian drama, Australian-Canadian Studies, 10, 2, 1992, 127-130
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Joanne Tompkins, Re-orienting Australasian drama: staging theatrical irony, Ariel, 25, 4 (October), 1994, 117-133
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Joanne Tompkins, Time passed / time past: the empowerment of women and blacks in Australian feminist and Aboriginal drama, Australasian Drama Studies, 19, October, 1991, 13-22
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Joanne Tompkins, Time passed / time past: the empowerment of women and blacks in Australian feminist and Aboriginal drama, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 19, October 1991, 13 - 22
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Jock Veitch, Playwright involved in a nasty 'muddy' war, Sun Herald, 16 October 1966, 110
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Jock Veitch, Sun Herald, 2 August 1970
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Jodie McNeilly, A Phenomenology of Chunk Moveʻs GLOW: Moves Toward a Digital Dramaturgy, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 65, October 2014, 53 - 76
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Joe Felber: 25 Songs…, RealTime Arts, Theatre and Dance Platform, #36, August 2000, WTS15
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Joe MacColum, Theatre in Australia, The Bridge, 1, 2, 1964, 30-34
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Joel Christie, A Quantum Leap louder than words, The Canberra Times, 2 August 2007, 5
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Joel Crotty, Death of concert music noted, The Age, Theatre and Dance Platform, 27 October 2003, 8
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Joel Crotty, The Age, 22 January 2001
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Joel Crotty, The Age, 22 January 2001
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Joel Crotty, The Age, 24 January 2001
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Joel Crotty, The Age, 24 January 2001
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Joel Gibson, Metro, 16 May 2003, 4
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Joel Gibson, Metro, 2 May 2003
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Joel Gibson, Metro, 24 October 2003, 16
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Joel Gibson, Sydney Morning Herald, 29 April 2004, 15
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Johanna Selleck, The Herald Sun, 15 January 2001
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Johanna Selleck, The Herald Sun, 29 January 2001
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Johanna Selleck, The Herald Sun, 3 March 2001
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John Allen, Drama in Australian education, The Australian Quarterly, 32, 4, 1960, 52-57
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John Allen, Leslie Rees, A flyer on the Old Tote [A summary of the Australian play season at the Old Tote Theatre], Masque, 1/6, July-August, 1968, 20-23
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John Allen, The Australian seminar on drama, The Australian Quarterly, 30, 4, 1958, 44-51
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John and Cleo, The Age, 10 February 1972, 18
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John Bailey, In Profile: Angus Cerini, writer, performer, director, RealTime Arts, 123, 12 November 2014
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John Bailey, Beat, 26 November 2003, 0
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John Bailey, Bodies as signals, nodes, networks, RealTime Arts, Theatre and Dance Platform, 67, June 2005, 14
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John Bailey, Classic Incursions, RealTime Arts, 70, 1 December 2005, 41
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John Bailey, Innocent Pleasures, RealTime Arts, 74, August 2006, 33
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John Bailey, Intuiting Change, RealTime Arts, 71, February 2006, 29
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John Bailey, Lucy Guerin dances with Macbeth for London's Young Vic, Sydney Morning Herald, Theatre and Dance Platform, 28 September 2015, onlline
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John Bailey, Lust for Life, The Age, 6 October 2008, 26
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John Bailey, Made from Life, Sculpted from Junk, RealTime Arts, 74, August 2006, 44
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John Bailey, New Visions, Forms Unfamiliar, RealTime Arts, 72, April 2006, 41
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John Bailey, Steps in time, The Sunday Age, Theatre and Dance Platform, 15 November 2009, 10
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John Bailey, Take it to the bridge, The Sunday Age, Theatre and Dance Platform, 8 October 2006, 10 (M Magazine)
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John Bailey, Talking pointe, The Sunday Age, Theatre and Dance Platform, 5 October 2008, 6
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John Bailey, The Apocolyptic Interior, RealTime Arts, 73, June 2006, 37
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John Bailey, The Monstrous Feminine, Japanese Style, RealTime Arts, 71, February 2006, 7
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John Bailey, The Power of Intimacy, RealTime Arts, 73, June 2006, 4
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John Bailey, The Sunday Age, 30 September 2007, 40
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John Bailey, The Sunday Age, 30 September 2007, 41
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John Bailey, The Sunday Age, 5 November 2006, 0
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So you think you can't dance
Lucy Guerin Inc is on the hunt for two men to join the company as paid dancers in an upcoming tour to Denmark. The catch: no dance training allowed. Guerin's show, Untrained, has enjoyed several incarnations around the world, with a pair of professional dancers met onstage by two inexperienced performers who try to match the motions of their skilled counterparts. The point isn't to humiliate the amateur movers but to examine what happens when the same choreography is played out through different body types, and how the dancers' personalities are affected by their training. The tour is in September, and performers will have to be available for a full week of rehearsals in late August.
lucyguerininc.com
Dancemakers' chance to show off
Finalists for Australia's first major prize for dancemakers were announced last week. The inaugural Keir Choreographic Award saw 77 entries whittled down to eight, each of which has been commissioned to produce work for a season at Melbourne's Dancehouse in July. The contenders include dancers, choreographers and visual artists, and the range of styles and backgrounds is an encouraging one, though geographically the finalists are all Victoria or NSW-based. The line-up includes Sarah Aiken, James Batchelor, Tim Darbyshire, Matthew Day, Atlanta Eke, Shaun Gladwell, Jane McKernan and Brooke Stamp. After the season one winner will be awarded $30,000, with a further $10,000 going to an audience favourite. dancehouse.com.au.
St Martins' new director
St Martins Youth Arts Centre in South Yarra has made some bold strides in in recent years including works for adults created by young people. Now it has appointed Clare Watson as its new artistic director. VCA-graduate Watson is currently director-in-residence at the Malthouse Theatre and has created works for the stages of the Sydney Opera House, Melbourne Theatre Company and Arts Centre Melbourne as well as disused swimming pools, the Old Melbourne Gaol and a crumbling apartment. She intends to further St Martins' current program of expansion to include main-stage appearances and site-specific projects as well as collaborations with some of the country's finest theatre makers.
John Bailey, Treading the boards, The Age, Theatre and Dance Platform, 22 April 2014, 18
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John Bailey, Weightless Watchers, RealTime Arts, 73, June 2006
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John Barnes, The time was never ripe: some reflections on literary nationalism, Westerly, 24, 4 (December), 1979, 35-44
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John Bell, Established theatre and alternative theatre, Southerly, 4, 1973
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John Burfitt, Sydney Star Observer, 1 June 2006, 12
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John Burfitt, Sydney Star Observer, 11 May 2006, 14
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John Burfitt, Sydney Star Observer, 12 April 2007, 20
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John Burfitt, Sydney Star Observer, 15 September 2005, 18
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John Burfitt, Sydney Star Observer, 16 March 2006, 14
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John Burfitt, Sydney Star Observer, 16 November 2006, 18
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John Burfitt, Sydney Star Observer, 16 November 2006, 20
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John Burfitt, Sydney Star Observer, 17 August 2006, 29
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John Burfitt, Sydney Star Observer, 19 July 2007, 24
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John Burfitt, Sydney Star Observer, 19 October 2006, 16
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John Burfitt, Sydney Star Observer, 20 April 2006, 14
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John Burfitt, Sydney Star Observer, 20 July 2006, 18
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John Burfitt, Sydney Star Observer, 20 July 2006, 22
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John Burfitt, Sydney Star Observer, 21 July 2005, 14
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John Burfitt, Sydney Star Observer, 22 March 2007, 14
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John Burfitt, Sydney Star Observer, 22 March 2007, 14
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John Burfitt, Sydney Star Observer, 23 March 2006, 12
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John Burfitt, Sydney Star Observer, 23 March 2006, 16
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John Burfitt, Sydney Star Observer, 23 November 2006, 16
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John Burfitt, Sydney Star Observer, 25 May 2006, 16
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John Burfitt, Sydney Star Observer, 28 April 2005, 12
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John Burfitt, Sydney Star Observer, 29 March 2007, 18
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John Burfitt, Sydney Star Observer, 30 November 2006, 14
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John Burfitt, Sydney Star Observer, 5 July 2007, 17
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John Burfitt, Sydney Star Observer, 5 May 2005, 14
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John Burfitt, Sydney Star Observer, 6 July 2006, 14
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John Burfitt, Sydney Star Observer, 6 July 2006, 18
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John Burfitt, Sydney Star Observer, 7 December 2006, 16
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John Burfitt, Sydney Star Observer, 9 June 2005, 16
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John Burfitt, Sydney Star Observer, 9 June 2005, 22
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John Cargher, The Bulletin, 15 March 1988
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John Cargher, The Bulletin, 16 February 1988
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John Cargher, The Bulletin, 19 January 1988
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John Carmody, Opera-Opera, June 2006, 12
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John Carmody, Opera-Opera, May 2006, 10
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John Carmody, Opera-Opera, October 2002, 12
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John Chinaman, Geelong Advertiser, 21 May 1859, 3
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John Darrow, The West Australian, 3 March 1988
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John Davies, Universality and specificity: making drama from personal myth and point of view, Australasian Drama Studies, 47, October 2005, 105-120
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John Docker, In defence of melodrama: towards a libertarian aesthetic, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 9, October 1986, 63 - 81
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John Docker, Unprecedented in history: drama and the dramatic in television, Australasian Drama Studies, Australasian Drama Studies c/- Department of English, Unive, St. Lucia, Queensland, 1, 2, April 1983, 47 - 61
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John Douglas Pringle, The Theatre in Australia, Australian Elizabethan Trust, Sydney, 1956, 7
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John Gaden, Sydney Morning Herald, 6 August 2005, 40
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John Golder, Richard Madelaine, Elsinore at Belvoir St: Neil Armfield Talks About Hamlet, Australasian Drama Studies, 26, 1995, 55-80
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John Griffen-Foley, Masques and Players, The Sun (NSW), 29 December 1935, 35
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John Griffen-Foley, The Little Theatre. Masques and Plays, The Sun (NSW), 15 September 1935, 3
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John Hamilton, Briefing, The Age, 6 September 1967, 4
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John Hamilton, Success is sweet, The Age, 2 May 1967, 5
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John Hamilton, The Herald Sun, 6 January 2001
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John Hamilton, Twelve Angry Men: a view from the other side, The Age, 22 May 1970, 4
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John Hanrahan, Top team for new venture, Sun Herald, 22 May 1978
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John Harris, Daily Sun, 1 May 1987
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John Harris, Daily Sun, 10 July 1987
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John Harris, Daily Sun, 10 March 1988
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John Harris, Daily Sun, 11 August 1988
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John Harris, Daily Sun, 11 July 1988
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John Harris, Daily Sun, 11 March 1988
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John Harris, Daily Sun, 12 April 1988
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John Harris, Daily Sun, 12 June 1987
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John Harris, Daily Sun, 12 September 1987
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John Harris, Daily Sun, 13 August 1987
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John Harris, Daily Sun, 14 July 1988
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John Harris, Daily Sun, 14 March 1987
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John Harris, Daily Sun, 14 November 1987
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John Harris, Daily Sun, 14 October 1987
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John Harris, Daily Sun, 15 April 1988
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John Harris, Daily Sun, 15 July 1987
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John Harris, Daily Sun, 15 July 1987
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John Harris, Daily Sun, 15 June 1988
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John Harris, Daily Sun, 19 August 1988
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John Harris, Daily Sun, 2 June 1987
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John Harris, Daily Sun, 2 June 1988
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John Harris, Daily Sun, 21 February 1987
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John Harris, Daily Sun, 22 August 1987
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John Harris, Daily Sun, 22 July 1988
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John Harris, Daily Sun, 22 June 1988
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John Harris, Daily Sun, 23 September 1987
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John Harris, Daily Sun, 24 April 1987
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John Harris, Daily Sun, 24 August 1988
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John Harris, Daily Sun, 26 August 1988
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John Harris, Daily Sun, 26 May 1988
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John Harris, Daily Sun, 26 October 1987
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John Harris, Daily Sun, 26 September 1987
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John Harris, Daily Sun, 27 March 1987
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John Harris, Daily Sun, 27 November 1987
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John Harris, Daily Sun, 28 April 1987
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John Harris, Daily Sun, 28 August 1987
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John Harris, Daily Sun, 28 May 1987
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John Harris, Daily Sun, 29 September 1988
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John Harris, Daily Sun, 3 October 1987
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John Harris, Daily Sun, 30 January 1988
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John Harris, Daily Sun, 31 August 1988
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John Harris, Daily Sun, 31 May 1988
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John Harris, Daily Sun, 31 May 1988
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John Harris, Daily Sun, 4 April 1987
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John Harris, Daily Sun, 4 February 1988
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John Harris, Daily Sun, 4 July 1987
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John Harris, Daily Sun, 4 March 1988
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John Harris, Daily Sun, 5 May 1988
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John Harris, Daily Sun, 6 July 1988
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John Harris, Daily Sun, 7 July 1988
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John Harris, Daily Sun, 7 September 1988
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John Harris, Daily Sun, 7 September 1988
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John Harris, Daily Sun, 8 May 1987
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John Harris, Daily Sun, 9 May 1988
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John Harris, Newcastle Sun, 14 December 1977, 0
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John Harris, Newcastle Sun, 6 November 1979, 0
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John Harris, Play opens an old sore, Daily Sun, 5 April 1986
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John Harris, The Canberra Times, 11 April 1988
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John Harris, The Canberra Times, 5 February 1988
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John Harris, The News, 13 April 1988
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John Harris, The News, 14 March 1988
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John Harris, The News, 22 March 1988
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John Harris, The News, 9 May 1988
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John Hillel, Screenplays for radio: the radio drama of Louis Nowra, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 30, April 1997, 68 - 86
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John Hindle, The Herald, 1 February 1988
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John Hindle, The Herald, 10 August 1987
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John Hindle, The Herald, 10 February 1988
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John Hindle, The Herald, 11 September 1987
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John Hindle, The Herald, 12 November 1987
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John Hindle, The Herald, 12 October 1987
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John Hindle, The Herald, 12 September 1987
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John Hindle, The Herald, 14 December 1987
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John Hindle, The Herald, 14 July 1987
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John Hindle, The Herald, 14 July 1987
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John Hindle, The Herald, 15 March 1988
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John Hindle, The Herald, 15 March 1988
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John Hindle, The Herald, 15 September 1987
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John Hindle, The Herald, 17 August 1987
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John Hindle, The Herald, 17 November 1987
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John Hindle, The Herald, 18 August 1987
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John Hindle, The Herald, 19 November 1987
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John Hindle, The Herald, 2 July 1987
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John Hindle, The Herald, 20 October 1987
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John Hindle, The Herald, 21 December 1987
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John Hindle, The Herald, 22 February 1988
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John Hindle, The Herald, 22 June 1987
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John Hindle, The Herald, 22 September 1987
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John Hindle, The Herald, 28 March 1988
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John Hindle, The Herald, 3 August 1987
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John Hindle, The Herald, 7 August 1987
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John Hindle, The Herald, 9 December 1987
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John Hyde, The West Australian, 10 September 1987
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John Hyde, The West Australian, 23 May 1987
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John Hyde, The West Australian, 4 February 1987
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John Kardoss, Origins of the Australian theatre, Etruscan, 5, 2, 1955, 23-25
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John Kardoss, The Australian theatre: retrospect and prospect, Quadrant, 1, 1 (Summer), 1956, 77-81
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John Kirby, Elephant Stamps - Adelaide, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 13-14
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John Kirby, Move for 'oddball' UK director, Sunday Mail, The University of Adelaide, Library Special Collections, 28 May 1978
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John Kirby, The West Australian, 25 July 1987
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John Kirby, Western Mail, 18 July 1987
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John Kirby, Western Mail, 20 November 1987
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John Kirby, Western Mail, 21 March 1987
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John Kirby, Western Mail, 30 May 1987
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John Kirby, Western Mail, 4 January 1987
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John Kirby, Western Mail, 4 September 1987
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John Kirby, Western Mail, 7 February 1987
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John Kirby, Western Mail, 8 February 1987
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John Lahey, The Age, 9 June 1988, 5
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John Lahey, The shape of summer concerts, The Age, 13 October 1987, 14
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John Larkin, An Oh! to Calcutta!, but for different reasons, The Age, 30 January 1970, 2
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John Larkin, Ann Neagle - professional from any angle, The Age, 11 August 1971, 2
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John Larkin, Everybody went to all lengths for Hair, The Age, 30 September 1969, 2
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John Larkin, Headed for a 4-letter paradise, The Age, 17 December 1969, 2
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John Larkin, Sex and sin and the whole dammed theatre thing, The Sunday Age, 28 July 1992
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John Larkin, Singing and dancing, they work to improve the world, The Age, 8 September 1970, 2
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John Larkin, Streetcar Named Desire, Sunday Press, 17 May 1987
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John Larkin, Sunday Press, 1 February 1987
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John Larkin, Sunday Press, 10 April 1988
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John Larkin, Sunday Press, 10 July 1988
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John Larkin, Sunday Press, 11 October 1987
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John Larkin, Sunday Press, 11 October 1987
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John Larkin, Sunday Press, 12 April 1987
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John Larkin, Sunday Press, 12 April 1987
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John Larkin, Sunday Press, 12 June 1988
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John Larkin, Sunday Press, 13 December 1987
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John Larkin, Sunday Press, 13 March 1988
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John Larkin, Sunday Press, 13 September 1987
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John Larkin, Sunday Press, 14 August 1988
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John Larkin, Sunday Press, 14 June 1987
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John Larkin, Sunday Press, 15 May 1988
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John Larkin, Sunday Press, 17 January 1988
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John Larkin, Sunday Press, 18 October 1987
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John Larkin, Sunday Press, 18 September 1988
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John Larkin, Sunday Press, 19 July 1987
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John Larkin, Sunday Press, 19 June 1988
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John Larkin, Sunday Press, 20 December 1987
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John Larkin, Sunday Press, 21 February 1988
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John Larkin, Sunday Press, 22 February 1987
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John Larkin, Sunday Press, 22 March 1987
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John Larkin, Sunday Press, 22 November 1987
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John Larkin, Sunday Press, 23 August 1987
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John Larkin, Sunday Press, 24 April 1988
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John Larkin, Sunday Press, 24 January 1988
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John Larkin, Sunday Press, 24 July 1988
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John Larkin, Sunday Press, 25 October 1987
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John Larkin, Sunday Press, 26 June 1988
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John Larkin, Sunday Press, 27 December 1987
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John Larkin, Sunday Press, 27 March 1988
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John Larkin, Sunday Press, 28 February 1988
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John Larkin, Sunday Press, 28 June 1987
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John Larkin, Sunday Press, 29 May 1988
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John Larkin, Sunday Press, 30 August 1987
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John Larkin, Sunday Press, 31 July 1988
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John Larkin, Sunday Press, 4 September 1988
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John Larkin, Sunday Press, 5 June 1988
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John Larkin, Sunday Press, 6 December 1987
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John Larkin, Sunday Press, 6 September 1987
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John Larkin, Sunday Press, 7 June 1987
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John Larkin, Sunday Press, 8 February 1987
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John Larkin, Unravelling the complex Percy, Sunday Press, The University of Adelaide, Library Special Collections, 16 May 1982
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John Larkin, [Celebration of 10 years of theatre], Sunday Press, 18 September 1977
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John Larsen, The Merry Widow - 50 years on, On Stage, 11, 4, 2010, 31
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John Lee, [Only Heaven Knows], Sydney Star Observer, 13 May 1988
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John Lilley, Good Times, 9 January 1986, 4
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John Mangan, Many faces, and all of them Angela, The Age, The Culture, 9 April 2002, 4
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John Mangan, The Sunday Age, 7 January 2007, 7
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John McCallum, 'Something with a cow in it': Louis Esson's imported nationalism, Overland, 108, (September), 1987, 6-13
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John McCallum, A new map of Australia: the plays of David Williamson, Australian Literary Studies, 11/3, May, 1984, 342-354
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John McCallum, Black theatre: Robert Merritt's 'The Cake Man', Meanjin, 36/4, Summer, 1977, 474-478
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John McCallum, CMI (A Certain Maritime Incident): Introduction, Australasian Drama Studies, 48, April 2006, 136-142
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John McCallum, Cornucopia of theatre talent, Weekend Australian, 7, 8 September, 1996, [no page]
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John McCallum, Lyrebird, The Australian, 20 March 1998, 15
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John McCallum, Peter Kenna and the search for intimacy, Meanjin, 37, 3 (Spring), 1978, 317-323
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John McCallum, Review: Australian Drama Productions 1950 - 1969, Australasian Drama Studies, 3, 2, April 1985, 150 - 153
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John McCallum, Review: The Blind Giant is Dancing, Australasian Drama Studies, 3, 2, April 1985, 145 - 148
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John McCallum, Stop laughing, this is serious: the comic spirit in Australian drama, Thalia: Studies in Literary Humour, 10, 2, 1989, 29-36
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John McCallum, Studying Australian drama, Australasian Drama Studies, 12, 13, 1988, 147-166
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John McCallum, The 'Doll' and the legend, Australasian Drama Studies, 3, 2, April 1985, 33 - 44
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John McCallum, The Australian, 26 July 2005, 14
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John McCallum, The Australian, 3 March 1998
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John McCallum, The Australian, 6 March 1998
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John McCallum, The Australian, 6 March 1998
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John McCallum, The Australian, 9 April 1998
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John McCallum, The Australian, 9 April 1998
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John McCallum, The world outside: cosmopolitanism in the plays of Nowra and Sewell, Meanjin, 43/2, Winter, 1984, 286-296
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John McCallum, Tom Hillard, Shocking audiences modern and ancient, 56, April 2010, 131-153
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John McDonald, Spectrum, 18 March 2006, 28
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John McLaren, Colonial mythmakers: the development of the realist tradition in Australian literature, Westerly, 2 (June), 1980, 43-50
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John McLaren, Elder, Anne Josephine Chloe (1918–1976), Australian Dictionary of Biography Online, 1996
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John Melrose, This Week in Canberra, 25 May 1990, 1
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John Moore, Wilton, Olive Dorothea Graeme (1883–1971), Australian Dictionary of Biography Online, 1990
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John Moses, The Australian, 8 December 1986
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John Pickup got idea of local musical, Barrier Miner, 31 October 1964, 7
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John Pierce, A happy and holy start to the season, The Daily Telegraph, 29 March 1986
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John Pierce, Acting out a 'miracle', The Daily Telegraph, 9 September 1985
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John Pierce, Happy in the Hunter, tears and turmoil not withstanding, The Daily Telegraph, 13 February 1986
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John Pierce, Hilarity's the high price of running riot, The Daily Telegraph, 6 September 1986
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John Potts, Helyer's progress: fusing art and science, RealTime Arts, 50, August 2002, 26
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John Pratt, Barry J. Gordon at the Playhouse, On Stage, 12, 3, 2011, 3-4
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John Pratt, Bright but brief candle, On Stage, 13, 2, 2012, 11
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John Preston, Australian Financial Review, 1 November 1997
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John Preston, Australian Financial Review, 25 October 1997
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John Preston, Weekend, 28 March 1998
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John Rickard, Walch, Garnet (1843–1913), Australian Dictionary of Biography Online, 1976
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John Rickard, Alden, John (1908–1962), Australian Dictionary of Biography Online, 1993
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John Rickard, Elliott, Leah Madeleine (Madge) (1896–1955) and Ritchard, Cyril Joseph (1897–1977), Australian Dictionary of Biography Online, 1996
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John Ritchie, Cole, Leslie George (Les) (1892–1978), Australian Dictionary of Biography Online, 1993
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John Romeril, Ringing heaven: the second Rex Cramphorn Memorial Lecture, Australasian Drama Studies, 30, April, 1997, 17-26
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John Romeril, Ringing heaven: the second Rex Cramphorn Memorial Lecture, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 30, April 1997, 17 - 26
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John Romeril, Street theatre, Arena, 20, 1969, 14-21
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John Shand, Cat has the cream to prop up a bare tale, Sydney Morning Herald, 29 September 2008, 0
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John Slavin, The Age, 9 January 2001
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John Slavin, [Crowd Pleaser / Double Entendre], The Age, 12 January 2001
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John Small, The Canberra Times, 16 November 1980
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John Small, The Canberra Times, 16 November 1980, 8
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John Sumner, Theatre in Australia, International Theatre Annual, 3, 1958, 105-120
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John Tasker, Author on the set, Sydney Morning Herald, 5 July 1962, 3
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John Tasker, Notes on 'the Ham Funeral', Meanjin Quarterly, September 1964, 299
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John Thomson, An Australian Bloke: Albert Arlen and his musicals, National Library of Australia News, 15, 2, November 2004
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John Thomson, Ned, Juanita and the Gang!, National Library of Australia News, 13, 8, May 2003, 3-5
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John Thomson, Will "The Freak" follow Chu Chin Chow onto the musical Stages of Australia?, National Library of Australia News, July 2004
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John West, Judith Anderson, Companion To Theatre In Australia, 1995, 54
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John West, Julie Anthony, Companion To Theatre In Australia, 1995, 55
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Theatre in Queen and Little Bourke Streets, Melbourne, opened 21 April 1845, seating about 1000. Became carriage factory in 1860s.
Melbourne's second theatre, the Queen's Theatre Royal opened with a benefit performance in which the manager, Francis Nesbitt, was principal actor. The official first season, also starring Nesbitt, began on 1 May. John Thomas Smith, a town councillor who went on to be seven times mayor of Melbourne, built the theatre, which the Port Phillip Patriot said was 'a plain, substantial, brick, shingle roof building with no attempt at architectural ornamentation'. George Coppin brought his company from Van Diemen's Land into the new theatre in June 1845 and played there for a year off and on. The Queen's Theatre saw the first performance in Australia by G. V. Brooke - as Othello - on 26 February 1855, but its days were numbered with the advent of Coppin's Olympic Theatre and the Theatre Royal.
John West, Queen's Theatre Royal, Companion To Theatre In Australia, 1995, 472
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John West, Sydney's other Opera House, On Stage, 13, 1, 2012, 12-14
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John West, Sydney's Theatres Royal, On Stage, 13, 4, December 2012, 42-47
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John-James Robinson, The Canberra Times, 20 August 2003, 10
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John-James Robinson, The Canberra Times, 22 August 2003, 3
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Jon Doust, Sunday Times, 18 October 1987
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Jon Fogarty, New life for the old Paris, The Manly Daily, 7 July 1978
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Jon Kaplan, When the Rain Stops Falling, NOW Toronto, Toronto, 6 September 2011
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Jon Weaving remembers (Part 2), On Stage, 13, 2, 2012, 24-25
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Jon Weaving remembers, On Stage, 13, 1, 2012, 4-6
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Jonathan Biggins, Good Weekend, 6 April 2007, 43
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Jonathan Biggins, Our national day: [Why has the author written a play called Australia Day?], Meanjin, 71, 1, 2012, 13-15
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Jonathan Bollen, 'What a queen's gotta do': queer performativity and the rhetorics of performance, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 31, October 1997, 106 - 123
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Jonathan Bollen, Dance for the New Century, RealTime Arts, 72, April 2006, 32
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Jonathan Bollen, Murray Couch, From the silver lining to the roaring days! Amateur theatre and social class in Broken Hill, 1940s - 1960s, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 257 - 276
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Jonathan Bollen, Murray Couch, Sex, gender and the industrial: Plays performed by the Broken Hill Repertory Society, 1945 - 1969, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 277 - 296
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Jonathan Bollen, Performance Studies: a tour through the field, Australasian Drama Studies, 39, October 2001, 125-139
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Jonathan Bollen, Remembering masculinities in the theatre of war, Australasian Drama Studies, 46, April 2005, 3-19
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Jonathan Bollen, Show Girls and the Choreographers in Australian Entertainment: The Transition to Nightclubs, 1946 - 1967, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 63, October 2013, 52 - 68
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Jonathan Marshall, Between frottage and horseplay, RealTime Arts, 73, June 2006, 42
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Jonathan Marshall, Cool Moves, Inpress, Theatre and Dance Platform, September 2002
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Jonathan Marshall, Documents in Australian postmodern dance: two interviews with Lucy Guerin, Australasian Drama Studies, Theatre and Dance Platform, 41, October 2002, 102-133
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Jonathan Marshall, Everyone an artist everyday, RealTime Arts, 74, August 2006, 48
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Jonathan Marshall, Ghost Sounds: Philidelphia, Paris, Freemantle..., RealTime Arts, 71, February 2006, 13
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Jonathan Marshall, Hoist theatre collective, RealTime Arts, 57, October 2003, 10
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Jonathan Marshall, Inpress, 25 March 1998
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Jonathan Marshall, Inpress, 25 March 1998
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Jonathan Marshall, Inpress, 3 December 1997
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Jonathan Marshall, Inpress, 6 May 1998
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Jonathan Marshall, Operatic tradition and ambivalence in Chamber Made Opera's Recital, Australasian Drama Studies, 45, October 2004, 72-96
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Jonathan Marshall, The dialectics of inter-cultural performance: towards a historiographic cross-cultural praxis, Australasian Drama Studies, 39, October 2001, 92-103
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Jonathan Marshall, The empty spaces, 21 C, RealTime Arts, 72, April 2006, 36
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Jonathan Marshall, This is the end, Inpress, Theatre and Dance Platform, October 2000
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Jonathan Marshall, Welcoming the Challenge of the New, RealTime Arts, 8 October 2018
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Jonathon Moran, The Canberra Times, 28 August 2003, 9
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Jordan Baker, Metro, 17 June 2005, 13
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Jordan Beth Vincent, Looking Back Moving Forwards, The Age, 20 December 2017, 29
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Jordan Beth Vincent, Trickle down troubles, The Age, 27 December 2016, 19
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Jorian Gardner, Blame, grief and Queenie, City News (Canberra), 6 September 2007, 19
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Jorian Gardner, Canberra City News, 19 August 2004, 16
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Jorian Gardner, City News (Brisbane), 28 October 2004, 16
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Jorian Gardner, City News (Canberra), 12 April 2007, 3
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Jorian Gardner, City News (Canberra), 12 May 2005, 19
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Jorian Gardner, City News (Canberra), 15 December 2005, 28
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Jorian Gardner, City News (Canberra), 16 June 2005, 18
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Jorian Gardner, City News (Canberra), 16 June 2005, 20
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Jorian Gardner, City News (Canberra), 20 April 2006, 16
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Jorian Gardner, City News (Canberra), 21 June 2007, 19
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Jorian Gardner, City News (Canberra), 22 March 2007, 24
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Jorian Gardner, City News (Canberra), 25 November 2004, 14
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Jorian Gardner, City News (Canberra), 26 January 2006, 14
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Jorian Gardner, City News (Canberra), 26 May 2005, 20
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Jorian Gardner, City News (Canberra), 27 January 2005, 16
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Jorian Gardner, City News (Canberra), 27 July 2006, 29
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Jorian Gardner, City News (Canberra), 28 October 2004, 17
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Jorian Gardner, City News (Canberra), 4 August 2005, 21
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Jorian Gardner, City News (Canberra), 8 September 2005, 18
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Jorian Gardner, City News (Canberra), 9 March 2006, 24
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Jorian Gardner, For Sigrid, the eyes have it, City News (Canberra), 2 August 2007, 5
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Joseph Melillo, Oooh! They like us!, Courier Mail, 21 April 2001
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AN OLD PLAYHOUSE.
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(By 'Old Chum.')
This bit of old Castlereagh-street is reminiscent of many incidents and many people. Half a century ago the site was occupied by two rows of tenements known as Garrick's Buildings. In the mid-sixties the Victoria Hotel was known as the New Caledonia, and kept by Johs F. Wannemacher. In the year 1866 the building on the opposite corner was opened as the Scandinavian Hotel by William T. Johnson. In the following year the New Caledonia closed, but was re-opened in 1870 by John A. Kean, as the Columbia Hotel, while the Scandinavian was converted into a place of public entertainment under the name of St. James's Hall. In 1872 William Kavanagh kept the hotel, and St. James's was converted into the Scandinavian Music Hall with Mr. William Johnstone as proprietor. Michael John Power kept the Columbia, in the latter part of 1874, and John Sullivan had the "Scan," as an athletic hall. Johnny was a light-weight pug who was turned out of the Prince of Wales Hotel when the Prince of Wales Theatre was burned down in January, 1872. In 1876 Mr. James McDonald had the Columbia, and the "Scan" was a deserted and somewhat derelict building. In 1879 James Coll had the hotel, and the hall was occupied as a billiard saloon by George Gamferty. It remained so until the year 1882— the year of the picture — when the pub was kept by Michael Breal under a wine license, and the "Scan" was known as the Victoria Hall, D'Arcy Reed, manager. Subsequently Mr. Reed obtained a license for the hotel. Mr. Reed was well known in connection with 'Pepper's Ghost,' but the writer regrets to say that he was not successful in later years. At 103 Mr. C. Jenner had established himself as a coachbuilder in 1875. On the corner opposite the hotel was 'Punch' office — you can read the legend on the window — with Mr. William Berdoe as editor and proprietor. The shop on other side of the hall entrance was occupied by Mr. R. W. Skinner, the old-time second-hand bookseller, who, though dead, his name still liveth in the same street and in the same business. Poor Skinner used to have a lamp over his door with 'Food for Worms' inscribed thereon. He has been 'food for worms' now for many years. The big buildings were occupied by Mrs. Marshall as a boarding establishment. The Hotel Arcadia and the Imperial Arcade now occupy the site. In the latter end of '84 D'Arcy Reed still kept the hotel, but the hall had become the Academy of Music. About a year after James Sharp succeeded D'Arcy Reed, and Mr. F. Scholer became proprietor of the Academy of Music, with Mr. J. H. Rainford and Mr. F. E. Hiscocks as lessees. Mr. Rainford, tired of his lesseeship, left Mr. Hiscocks alone in his glory. Mrs. Margaret Stephens succeeded Mr. Sharp, Mr. W. J. Wilson, the scenic artist, succeeded Mr. Hiscocks at the latter end of '88, or the beginning or '89. In 1891 the old pile of buildings shown as the Victoria Hall disappeared and the Garrick Theatre, built by Mr. Scholer, with Messrs. Wilson and Hiscocks as lessees, took its place. In the following year. Mr. Scholer appears to be running the Garrick Hotel, while Mr. E. Pooley is set down as manager of the theatre. Some fourteen years ago, Mr. Harry Rickards became lessee re-naming the house, The Tivoli; and by that name, interrupted by a big fire and rebuilding it, has been known ever since.
The play bills exhibited outside the Victoria indicate that the Shaughraun is the piece for the night, with Miss Marian Willis in a leading character. Many years have elapsed since then, and now Miss Willis re-appears at the Palace.
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In the eighties, when the Brothers Redmond came to Sydney on an Irish mission, they were unable to obtain a place in which to hold a meeting, proprietors being afraid of riot and 'ruxions,' and a wrecking of property. It was only by the exertions of Mr. Bernard Gaffney, the patriotic baker of Market-street, that the old Scandinavian Hall was obtained, and then only under heavy bonds against any damage that might be done to the ramshackle building and its furniture by rioters. But there was no riot, the 'burning eloquence' of Mr. John Redmond was enthusiastically cheered by his good-tempered countrymen, the only cause for discontent being, as Mr. Redmond said, the 'skulking behind the scenes of Mr. Dan O'Connor, the Javnal one, who was at that time running with the hare and hunting with the hounds politically.
Joseph Michael Forde, An Old Playhouse, Sydney Sportsman, 9 October 1907, 5
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In the mid-thirties, James Simmonds, at the old Royal in George-street, Sydney, produced 'The Gambler's Fate,' which subsequently some humourist, burlesqued under the title of 'The Elbow Shakers.' After that came some heavy specimens of old-time, drama, ''Venice Preserved' being one in which Simmonds played Pierre, and Meredith Renault, the wife of the latter being the Belvidera. Mr. Simmonds appears to have kept pace with the times, and gave the Royal patrons quick changes of programme, and a good variety at that. In 'The Honeymoon' the cast was : — Duke Aranga, Mr. Knowles; Rolando, Mr. Simmonds; Count Montalbon, Clement Peat; Balshazar, Palmer; Jacques, Meredith; Juliana, Mrs. Mackay; Volante, Miss Winstanley; Zamora, Mrs. Harriet Jones.
The lady mentioned here as Miss Winstanley was properly Mrs. Eliza Winstanley. She was an admirable actress, and had a wide reputation both in England and Australia. As a writer in after years said of her, she was one of the very best 'old women' in more senses than one. She was also an authoress of some repute, contributing profusely to English periodicals. She was the authoress of a very readable work, 'Shifting Scenes in Theatrical Life,' and an Australian novel (founded on facts) entitled 'Twenty Straws,' a very readable and interesting publication. Mrs. Winstanley was living in Geelong in 1880. I think she married a Mr. O' Flaherty, and for a time, in the early forties, played under this name. She, however, reverted to her earlier name, that by which she was best known both in England and Australia.
Mrs. Harriett Jones subsequently became the wife of Mr. Knowles, a leading actor of the time.
Mr. Clement Peat was the father of Mr. H. J. Peat, for many years connected with the commercial department of the 'Town and Country Journal' in the lifetime of Mr. Samuel Bennett, and was the originator and founder of the Friendly Societies dispensaries which exist today. In recognition of his good work in this direction the societies erected a very handsome memorial over his grave at Rookwood. Clement Peat, the actor, on retiring from the stage, went into trade as a publican, I think, in a house known as 'Jack Straw's Castle,' at Pyrmont. In the sixties and seventies he was established as a pawnbroker in Botany-street, better known as Flinders-street, Darlinghurst, where he died.
A writer, who some years ago was writing of this early dramatic period, noted that in the mid-thirties 'first times' were very frequent at the then Theatre Royal. In January 1835, 'Pizzaro' was produced, with Meredith as Pizzaro, Knowles as Alonzo, Simmons as Alilaba, Miss Bland (Mrs. Meredith) as Elvira, and Mrs. Mackay as Cora. Strange to say, no mention is made of the hero, Rolla, a part played in after months by James Simmons, and somewhat out of his line I should say.
In this year (1835) Mr. Thos. Stubbs assisted Mr. Levey by giving a solo on the Kent bugle. Mr. Simmons and other members of the company had left, hence the necessity for seeking a little outside assistance. The Mr. Thomas Stubbs mentioned here became a person of some importance in the City of Melbourne, and has left some descendants of note.
Mr. Thomas Stubbs was in early life in Sydney an auctioneer's clerk, the auctioneer being Mr. Simmons, whose place of business was, I think, in Hunter-street. Mr. Stubbs was afterwards in business for himself in King-street, on the southern side, between George and Pitt streets. In the late forties he went to Melbourne, where he started business, and was one of the chief knights of the hammer in that city. He became a foremost citizen, a churchwarden of St. James', and died universally regretted. He was generally known as the Colonial Robbins, his advertisements being quite poetical in character. On his death, in 1878, the 'Australasian' honoured his memory with a couple of columns of biography. Another journal thus spoke of him: — 'The death of Mr. Thomas Stubbs takes away another of the social landmarks of the colony. He was a man whom everybody liked, and who deserved that everybody should like him. He was believed, and with good reason, to be a natural Son of George IV, and certainly, if facial resemblance be any guide to paternity, there could be little doubt of the connection. He was, moreover, a good specimen of the gentleman of the Georgian period, being compact, portly, and well balanced. He was genial, social, and full of anecdote, and, as on auctioneer of the ornate order, he had no rival.' The above is an accurate description of Tom Stubbs, as I knew him. A son Robert, who was in business as an auctioneer in George street, Sydney, adopted the ''hyphen," and was known as Mr. Robert Fitz-Stubbs. This gentleman married a lady of means, who was a witness when a girl to an awful murder, which has remained a mystery now for 60 years. Miss Maud Fitz-Stubbs, the eminent pianiste, is a daughter of Mr. Robert Fitz-Stubbs, and grand-daughter of the eloquent knight of the hammer of Sydney in the thirties and forties, and later in gold roaring fifties of Melbourne.
Mr. Simmonds was an active stage manager, and as things were, he thought he saw an opening for another play house. There were several concert rooms in Sydney, but no regularly licensed theatre except the Royal. A notable event in music about this time was a concert given at the Pulteney Hotel concert room by Mrs. Taylor, 'after her recovery from a serious illness.' She was assisted by Messrs. Knowles, Simmons, Gordonovitch (a Polish refugee), Tom Stubbs, and Bonnar (who played the guitar), and Mr. Cavendish, a noted pianist, who had a somewhat mysterious history, and who lost his life by drowning in Sydney Harbor. Of him, more hereafter. The tickets for the concert were 7s 6d, and the chronicler says that the attendance was not by any means as numerous as was anticipated.
Mr. Simmons, before seceding from the Royal, took a monster farewell benefit and was a veritable Pooh Bah on the occasion. He appeared as Leporello in the operatic burlesque of ‘Don Giovanni’ Mrs. Taylor playing the Spanish roué. Mr. Simmons 'doubled' as Jerry and the Doctor, and afterwards as Anthony in the 'Rival Valets,' with Mrs. Taylor as Susan Fielding. Between the pieces there was an Indian dance. When Mr. Simmons left Mr. Levey he was followed by Messrs. Knowles and Buckingham and Mrs. Jones, they having also a disagreement with the management. The manager, however, had some pluck and bore up under his trials. He produced a burlesque on 'Don Giovanni,', named 'Giovanni in London,' with Miss Douglas as the Young Scamp, introducing into the part no less than forty-one songs.
A little controversy subsequently arose in connection with the 'star,' Mrs. Taylor. The lady had been announced to appear at the theatre, but had declined on the ground that she was not under engagement. Mr. Levey then published a note subscribed to by Messrs. Sippe and Stubbs to the effect that he had engaged Mrs. Taylor in the presence of these gentlemen, at £1 per night! To this Mrs. Taylor replied that she had not definitely accepted the terms, but had agreed to give an answer in a day or two, and that Mr. Levey had announced her without waiting for her reply. The 'Gazette' considered Mr. Levey's conduct in announcing the lady as 'highly reprehensible.'
Six gentlemen formed a syndicate or commonwealth to direct the theatre for a fortnight. Most of the old corps dramatique joined the new management, 'The Strangers' being the first piece produced. 'Jane Shore' was another production. Some new performers were obtained and, as an improvement, it was announced that in future 'No bonnets would be allowed in the dress circle.' The cart-wheel hat was on unknown quantity then. The new company consisted of Simmons as stage manager, Knowles, Mackay (described as a steady actor for lead or second parts), Buckingham, Peat, Dyball, Winters and Master Jones, Mesdames Taylor, Jones, Mackay and Larra, with the Misses Winstanley and Douglass. Mr. Cavendish was the musical director. The 'Commonwealth' adhered to the four nights a week. 'The Pilot,' 'She Stoops to Conquer,' and others of a similar character were produced. Governor Bourke gave a 'bespeak' when the 'Mountaineers ' was produced, with a variety of other entertainments.
In September, Simmons took a benefit, the advertisement for which occupied two columns of the 'Gazette.'
About this time there arrived from Drury Lane Mrs. Chester, who made her first appearance in October, 1835, as Clari in 'The Maid of Milan.' I have before me a playbill of the farewell benefit and last appearance on the stage of this lady. It was at the Theatre Royal, Melbourne, in 1862. The initial piece was 'The Lady of Lyons,' the Claude Melnotte being Mr. John Hayward, an old actor who had retired from the stage and, taken to civic life. He, in time, returned to the stage as Mr. Deorwyn, and brought with him his two daughters, now Mrs. Richard Stewart, jun., and Mrs. Charles Holloway. The Colonel Dumas was Mr. H. R. Harwood, and Samuel Hawker Banks was the Caspar. Mrs. Chester was the Widow Melnotte, Mrs. Alfred Phillips (an actress and an authoress of no mean repute) being Madame Deschapelles. A petite concert followed, in which Octavia Hamilton (Mrs. Moon) and Mrs. Frederick Younge (a daughter of Haydyn Corri) appeared. The farce was 'Teddy the Tiler,' Mrs. Chester playing Lady Dunderford, and Mr. J. Simmons Teddy the Tiler. Thus, after a lapse of nearly 30 years, these two ancient players came together again.
Towards the end of the year 1835, Mr. Simmons announced that he had leased the theatre and intended to introduce some London novelties. One of these was a new system for box visitors; anyone engaging would receive a key admitting him at pleasure. Season tickets were issued at £5. The front of the house was placed under the direction of Mr. William Knight. On off-nights Mrs. Taylor gave entertainments similar to those subsequently given by Mr. and Mrs. George Case, and Mr. Simmons followed suit with entertainments after the manner of the elder Mathews.
The year 1836 saw the arrival of a new actor, all the way from Van Diemen's Land, a Mr. Spencer who made a big hit as Richard the Third. Colly Cibbers' version, presumably.
The Mr. Knight, who had the management of the front of the house, was the same gentleman who afterwards kept the Shakespeare Tavern in Pitt-street; and first opened the northeast of George and King streets, in 1849, as an inn, under the name of the Golden Fleece. Mr. Knight and Mr. William Dind were afterwards in partnership in matters theatrical, both being highly esteemed citizens, who have left many descendants.
It was in 1836 that Vincent Wallace, who arrived in Sydney three years before, gave a grand concert in the saloon of the Royal Hotel in the presence, of the Governor. He was assisted by the band of the 17th Regiment, the members of a Glee Club which then existed, and some Sydney amateurs. The tickets were 7s 6d, and the concert was an immense success. The press said that Mr. Wallace's performance marked the commencement of a 'new era in the chronology of music in the Colony.'
William Vincent Wallace was born at Waterford in 1815, his father being band master of the 29th Regiment. When only 14 years of age Vincent was placed in the orchestra of the Theatre Royal, Hawkins-street, Dublin. He took the direction of the orchestra in 1831 — 16 years of age! — but his health failed, under the labour, and his father found him an easier billet in the R.C. Church at Thurles. In 1833 he was recommended to try a sea voyage, and came to New South Wales, where he commenced as a teacher of music. In Sydney he was joined by his sister Eliza, a vocalist of fine repute. The brother and sister gave many excellent concerts, and may be esteemed the pioneer of high-class music in Sydney. The sister subsequently married Mr. John Bushelle, a singer of excellent standing, known in Sydney society as 'The Knave of Diamonds,' from his alleged resemblance to that card, but more likely from a certain connection with 'brilliants' which brought him to Sydney.
Wallace and his sister gave a concert in aid of St. Mary's Cathedral, which realised £1000. While in Sydney Wallace commenced the composition of his opera 'Maritana.' He was then living at the corner of Castlereagh-street and Brougham-place — now Rowe-street— the Australia Hotel being on the spot. In 1845 Wallace left Sydney, via America, for London, where he completed 'Maritana.' His fame, however, does not rest solely on this opera, as he composed many others. He died in Paris in 1865. The sister, Madame Wallace Bushelle, died at her residence, 149 William-street, Woolloomooloo, in August 1878.
In June 1879, this Mr. James Simmons gave an evening's entertainment at the Masonic Hall, in York-street, something after the style of the elder Mathews. In reintroducing himself to the Sydney public, Mr. Simmons described the city as it was half a century before, when the Theatre Royal was just finished in George-street, and Governor Ralph Darling refused it a license because Barnet Levey, the proprietor, built a flour mill on the upper story. Performances then, according to Mr. Simmons, took place in the prisoners' barracks (gaol?). Mr. Simmons fairly convulsed the audience with his mimicry of actors, judges, barristers, police magistrates, and other known citizens. Many of the old colonists present recognised the portraits. The old gentleman, grown young again, sang comic songs which were popular in the days when Darling and Bourke ruled 'the system.'
When Mr. James Simmons retired from the management of the George-street Royal, Mr. Joseph Wyatt took the reins. Mr. Wyatt was a well-known business man, of very small stature, but of wonderful energy. He was in business for many years in Pitt-street as a leather merchant and ironmonger, his premises being next to the School of Arts. Mr. Wyatt was great at property investments, and speculated wisely and well. When 'Moore's corner' was cut up, in 1834, Mr. Wyatt bought 25ft frontage to George-street by a depth of 86ft to King-street (N.E.), at £55 10s per foot, the record price then. Mr. Wyatt appointed Mr. Knowles as his stage manager, and Mr. Wyatt's usual good luck followed him. While lessee of the George-street Royal Mr. Wyatt said that there was a good opening for another theatre in Sydney. Population had largely increased, and the price given for real property, as indicated by his own purchases, and the really good buildings going up in Sydney in the mid-thirties, indicated that Sydney had outgrown its bushy character, and was becoming a place of importance. Mr. Wyatt therefore thought that the time had come when a playhouse on a grand scale was needed, and that the speculation would pay. On September 7, 1836, the foundation-stone of the Victoria Theatre in Pitt-street was laid with full Masonic honours by Mr. R. Broad, the gentlemen of the 'mystic tie' assembling in full force to do justice to the occasion. The architect was Mr. Henry Robertson, and the theatre was opened on March 7, 1838 with 'Othello.'
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES IN NEW SOUTH WALES AND ELSEWHERE, No. LVI., Sydney Sportsman, 8 June 1904, 8
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Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES In New South Wales and Elsewhere. No. LXXIX., Sydney Sportsman, 21 December 1904, 3
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Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES In New South Wales and Elsewhere. No. LXXVII., Sydney Sportsman, 2 November 1904, 3
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Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES In New South Wales and Elsewhere. No. LXXVII., Sydney Sportsman, 7 December 1904, 3
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Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES In New South Wales and Elsewhere. NO. LXXVIII., Sydney Sportsman, 14 December 1904, 3
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Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES In New South Wales and Elsewhere. No. LXXVIII., Sydney Sportsman, 9 November 1904, 3
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Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES In New South Wales and Elsewhere. No. LXXIV., Sydney Sportsman, 16 November 1904, 8
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Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES In New South Wales and Elsewhere. No. LXXV., Sydney Sportsman, 23 November 1904, 3
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As Mr. Coppin pointed out, he got no satisfaction from Lord Canterbury, notwithstanding loud professions of honor and a desire to do the correct thing. Certainly Lieutenant and Aide-de-camp Rothwell sent a cheque for three guineas to the Official Assignee of Mr. Roberts' estate years after that unlucky manager filed his schedule. That payment did Mr. Roberts no good, nor yet any of Mr. Roberts' creditors. The house of Canterbury was always impecunious. The eldest son was as a rule, up to his neck in debt, and in trotting round with the Duke of Edinburgh did things generally on the nod. On his return to England he wiped out his debts by a certain process of whitewashing which has been somewhat frequent of late years amongst the British aristocracy. As an evidence of the impecuniosity of the family, it may be mentioned that the dead-head Viscount held a small sinecure worth £200 a year, some petty legal office in London, which he never saw, but for which he drew the salary with surprising regularity. And yet the Governor asserted that he always paid his way into the theatres and other amusements.
About the time that Mr. Coppin was having it out with Lord Canterbury, there was another mild sensation in the Melbourne theatrical world. Thirty years ago there was an eccentric genius in Sydney named WALTER HAMPSON COOPER.
As a journalist and playwright Mr. Cooper held a fairly distinguished position. He studied for the Bar, and was called, held a few briefs, chiefly in criminal cases, and was elected to the Legislative Assembly for East Macquarie. He sat in but one Parliament, a lapsus linguae getting him his quietus. He said, in debate, that all the outfit a free selector needed was a harness cask and bullet mould, and although East Macquarie was not much of a selectors' electorate, the biting sarcasm told, and at the ballot at the succeeding election Mr. Cooper was promptly fired out.
In his leisure time Mr. Cooper wrote a drama, 'Foiled,' and toured with it himself. At Sandhurst, Victoria, he struck a snag. His company was a good one, and included Stuart O'Brien, Nat Douglass, and others. The experiment at Sandhurst did not turn out well. It turned out well so far as the theatregoers were concerned, and so far as the critics were concerned, and as one cynic at the time said, it possibly turned out good for the author, but that the actors were satisfied was quite another matter. The transaction at Sandhurst had a very ugly appearance as far as the author-manager was concerned. For while the author-manager was on his way back to Sydney, certain bits of paper given to members of the company as payment for salaries were returned with the mystic letters 'N.S.F.' It may be assumed that the actors were not quite enraptured with their employer.
In answer to some sharp strictures in the press, Mr. Cooper explained that he did not assume the position of an author-manager; that 'Foiled' was not a success at Sandhurst, and that he did not obtain the services of any person without paying for them. Briefly, Mr. Cooper put the case thus :— 'Being on the point of returning to Sydney, I met Mr. Stanley, of the Sandhurst Theatre, who wished to produce 'Foiled' at that place. Not being certain that Mr. Stanley would have a company strong enough at that place, I delayed giving a decision on Mr. Stanley's offer, In the meantime it was suggested to me that as the company then playing at the Princess' Opera House was about to break up, I might arrange with certain members of that company—let them have the drama, travel with it, play it where they pleased, pay their own salaries and expenses out of the money accruing out of its representation, and divide the profits, if there were any, equally with me. I spoke first to Mr. Douglass on this matter. He agreed to the arrangement, and went with me to Mr. O'Brien, who, after we had some conversation, agreed to join in the enterprise. Mr. Stanley's offer was discussed, and Mr. O'Brien was for taking the theatre at Sandhurst, and taking a complete company to play 'Foiled' there. As, however, the Princess' Company would not be free to leave Mr. Bayliss for a fortnight, it was decided that I should go to Sandhurst to arrange with Mr. Stanley. I did so simply because Mr. O'Brien was unable to go. If Mr. O'Brien had been free to quit Melbourne, he would have gone to Sandhurst and I would have gone to Sydney, leaving the whole thing in his hands. Bear in mind that Messrs. O'Brien, Douglass and Co. were to take 'Foiled' and my other pieces, pay their own salaries, etc., out of the receipts, and divide the profits with me. I, in fact, let them my pieces on sharing terms. I was not author-manager of the company, Mr. O'Brien and Mr. Douglass had no more right to claim a salary from me
than you have; but I admit that in the cases of Miss Shepparde and Mrs. Jones I have made myself to a certain extent liable. Now, how did I act? First of all I paid the travelling expenses of Mr. O'Brien, Mr. Douglass, Miss Shepparde, and Mrs. Jones from Melbourne to Sandhurst. Then at the close of the first week I handed over to Mr. O'Brien the whole of the money, in cash, paid me by Mr. Stanley, without deducting the expenses paid out of pocket, and, at Mr. O'Brien's request, I gave him certain post-dated cheques to meet the company's expenses in case the second week at Sandhurst should not prove remunerative. All this I did, though, mark you, neither Mr. O'Brien nor Mr. Douglass had a claim upon me to the extent of a farthing; and for doing this, out of a pure desire to save these people annoyance, I am pilloried in the 'Australasian.' By the terms of our agreement, even the railway fares from Melbourne to Sandhurst should have came out of the proceeds of the piece, and not out of my pocket.
'I came down to Melbourne, and there I found that a cheque given me for some scrip (a cheque for £54) was valueless, and that consequently I would not have funds to meet the cheques given to Mr. O'Brien. I wrote at once and told him so; and there the matter ought to have ended as far as I was concerned, for those cheques were advanced as a loan, and not given by me as manager of the company responsible for their salaries. The receipts for the week in Sandhurst amounted to £127 16s 6d. Of this I received from Mr. Stanley £20 18s, and of that sum Mr. O'Brien received £18 2s 6d. I had no money left at all. I had not even sufficient to pay the passage of myself and wife to Sydney. You say truly that Mr. O'Brien holds my dishonored cheques; but you might have said, also, that Mr. O'Brien had no right to demand from me the money those cheques represent, and that he knew a week before he presented them that they would be dishonored.'
It is clear, therefore, from Mr. Cooper's explanation, that he made no money by the production of 'Foiled' at Sandhurst. But though Walter Cooper disclaimed any managerial responsibility in connection with the performance of the play there, he took a considerable share in the arrangements, and his connection looked very like management. When the intention of producing 'Foiled' at Sandhurst was first spoken of, it was stated that Mr. Cooper was going to travel with the company to the other colonies, in the same way that Fred Younge travelled with his 'Caste' company. The project was mentioned in several of the newspapers, and as Mr. Cooper was in Victoria at the time, he had every opportunity of correcting this statement if he had thought proper. Mr. Cooper could not wonder, therefore, that something more than a merely general impression prevailed as to his being in the position of manager to what might be termed the 'Foiled' Company. Such being the impression, it is nothing surprising that, coupling his sudden departure from Melbourne with the dishonoring of the cheques given by him to a member of the company, the conclusion should have been arrived at that he had left the colony to escape his managerial responsibilities. As one of the earliest efforts at Australasian dramatic authorship, Mr. Cooper's venture was hailed with satisfaction, and the public, for the time, was gratified that he had cleared himself.
But Mr. Stuart O'Brien and others had something to say in reply to Mr. Cooper. Dating from the Theatre Royal, Ballarat, January 9, 1872, Mr. O'Brien writes :-
'Sir,— I am sorry to contradict Mr. Cooper's statements, but, in justice to Mr. Douglass and myself, I must do so. Mr. Cooper's engagement with us was to pay us our Melbourne salaries under any circumstances. He did so for the first week, and handed me cheques for the following week, to be paid by me to Mrs. Jones, Miss Shepparde, Mr. Douglass and Mr. O'Brien. If the receipts of 'Foiled' reached, as they did in Melbourne (say) £100, the profits were to be divided, after salaries and expenses— Mr. Cooper one half, Mr. Douglass and self the other half.
'I enclose you Mr. Cooper's letters. You will find by one of them he states that there will be money enough in the bank to meet the cheques he gave me. They were no loan, as Mr. Cooper and I had taken the Adelaide theatre between us, and his cheques for £20 and £15 were from him to me as his partner, and to pay his share of the expenses to Adelaide.
'Mr. Cooper's last words to me were : 'If the salaries come in, do not use the cheques, and pay into my credit any balance that may be left.' There was £7 10s, I think, coming to Mr. Cooper from Mr. Stanley, which Mr. Stanley paid me in two of Mr. Cooper's dishonored cheques amounting to £10 4s 6d.
'On coming to Melbourne our cheques were presented at the bank and returned N.S.F., and I may say that I had every confidence in Mr. Cooper's statement that he had funds in the City Bank of Sydney; otherwise I would not have involved myself as I have done.'
Mr. Douglass, writing from the same place, says : 'Allow me to endorse every word of the above, and at the same time to express my sorrow that this matter should have been made public. In justice to ourselves, Mr. O'Brien and myself have no other course open than this: stating the truth.'
Mr. O'Brien produced several letters and documents to corroborate his statement. In a letter from Mr. Cooper to Mr O’Brien, under date November 21, is the following, relating to the arrangements for the tour alleged to have been in contemplation:— 'We can play here (Sandhurst) for a fortnight, then go to Castlemaine, and then go to Ballarat or to Hobart Town for the Christmas. After Hobert Town we may visit Ballarat or Adelaide. I leave you to arrange these matters, and, of course, will leave all future arrangements in your hands. My part of the business will be simply to go forward as agent, and bill the places where we intend to open.' In a letter dated November 22, Cooper says : 'Bayliss has not got the Ballarat theatre. We had better secure it, and also the Hobart Town theatre for Christmas. Do you think it worth while playing in Castlemaine?' In one letter dated November 30, speaking of the arrangements, Cooper says: 'I am to find you, Douglass, Miss Shepparde, no one else. Now, I don't want to break my word with Appleton, though the engagement was only a contingent sort of affair.' A document in Mr. Cooper's handwriting, dated December 9, contains the following: 'Received from Mr. Cooper, cheques postdated for £6, £5, £5, and £7, salaries of Miss Jones, Miss Shepparde, Mr. Douglass, and Mr. O'Brien, to December 16 next; also one bank cheque to be filled in for a sum not exceeding £35, for company's expenses.— F. Stuart O'Brien.' These cheques were dishonored, and on December 19 Mr Cooper wrote to Mr. O'Brien regretting the unfortunate turn things had taken, and offering to give him the play of 'Foiled' as compensation for his losses. He says: 'I think, if I place 'Foiled' in your hands, make it over to you as your sole property, you may be able to square yourself and me too. I therefore make the piece over to you for the nominal sum of £100— that is to say 'Foiled' is your property, if you like to have it for that price, with the option of paying me the money when it suits your convenience, and if it never suits your convenience never to pay me. This is the only reparation I can make you, I hope you will be able to arrange for me with the other people, whose money I will pay as soon as I can.'
From this it must be gathered that Mr. Cooper did intend to travel with a 'Foiled' company; that he did make himself responsible for the salaries, and that not being able to pay them, he offered reparation to Mr. O'Brien, and promised to pay the others as soon as possible. Cooper returned suddenly to Sydney, and brought upon himself a lot of odium.
There was a partnership subsequently between, if I remember rightly, J. J. Bartlett, Mr. Cooper, and a gentleman who belonged to a minstrel company. After producing certain of Mr. Cooper's plays in Sydney and other New South Wales towns, the party intended touring the United States. I think, however, this also ended in failure, as did most of Mr. Cooper's ventures. The unfortunate gentleman, after many domestic troubles, joined the great majority at an early age.
Mr. Bartlett, whose wife was a Miss Moon, sister of a distinguished musician of the sixties and seventies, came to Australia in the early sixties, having with him, they then being children, Bland and May Holt. Bartlett entered into theatrical management with Mr. William Dind, in the Prince of Wales' Opera House, Castlereagh-street, but the fire of January, 1872, dissolved the partnership and began the series of mishaps which ended Mr. Bartlett's career
upon the stage of this life.
In the articles re Barry Sullivan ('Sportsman,' September 7, 1904) the name of Mr, Wilton cropped up, he being the gentleman who held the lease of the Theatre Royal, Melbourne, when Mr. Sullivan arrived. This gentleman came to Sydney with Mr. Sullivan, and, as mentioned in Mr. Amory Sullivan's letter, committed suicide at Tattersall's Hotel, Pitt-street. Mr. Wilton had a son, H. D. Wilton, who, late in 1871, died at Church-street, South Shore, Blackpool, England, at the early age of 29 years. In Australia he had acted as agent for Lady Don, and returned with that lady to England. Young and volatile, he did not take that care of himself which a man of more mature years would. It is to his credit, that he stood by Lady Don in all her troubles incidental on the management of the Newcastle Theatre, and his death was not only acutely, felt by Lady Don, but by a large circle of friends and acquaintances.
The end of 1871 and the beginning of 1872 were eventful years in matters theatrical in Melbourne. Added to those mentioned in recent articles, the Theatre Royal went down by fire in January, 1872, a few weeks after the Prince of Wales' Opera House in Castlereagh-street met a similar fate.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES In New South Wales and Elsewhere. No. LXXVI., Sydney Sportsman, 26 October 1904, 3
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Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES In New South Wales and Elsewhere. No. LXXX., Sydney Sportsman, 28 December 1904, 3
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In these operatic and dramatic reminiscences I must not be suspected of writing a history of the colonial stage, a huge task in the present day. The early history of the drama in Sydney is very much obscured. Though dramatic talent was available in the very dark, dismal days of Botany Bay, the Governors, autocrats in everything, had 'objections,' not of a religious character, you may be assured, but fearsome of giving the 'bounded' population too much freedom and amusement. Yet one Governor did extend his sympathy to the unfortunates, and permitted the erection of a theatre by one Robert Sidaway. The Governor was John Hunter, and we are informed by “Our Historical Records,” the editor of which quotes from the “Edinburgh Advertiser” of May 18, 1798, that — “The theatre at Botany Bay was built entirely by the convicts, and cost about an hundred pounds. With singular propriety, the gallery is the largest part of the house. The admission is one shilling, which is paid either in money or in flour or meat. A benefit for the widow of a soldier who was drowned produced £12.” ‘Saunder's Newsletter” (Dublin) of September 12, 1797, mentioned that the ex-convict Sidaway was living in a state of ''great respectability,” and that he had a contract for serving the colony with bread, and a free grant of several hundred acres of land, which he cultivated. Mr. Sidaway was a first-fleeter, under a sentence of seven years transportation. He became a very prominent personage in the primitive commercial life of Sydney, and had a lease of land a little off George-street, between Charlotte-place and Margaret-street, where possibly stood the first theatre.
Mr. Sidaway does not appear to have taken any part in the management of the theatre. Possibly, as a capitalist, he erected the building at the request of some who had some experience in theatricals in the old country. The manager's name was Sparrow, and the actors named are Mrs. Davis, Messrs. Chapman, Green, Hawkes and Hughes. The pieces chosen for the opening night, January 6, 1796, were Young's tragedy "The Revenge," and the farce "The Hotel". It was on this historic occasion that the prologue, said to have been written by pickpocket George Barrington, “True Patriots We,” was spoken. After the theatre had been opened for a short time it had become popular, and every art was practised by the worst portion of the prisoner population, to obtain admission. There were no pockets to pick of coin, but as admission could be obtained by payment 'in kind,' extraordinary devices were adopted. One fellow, we are told killed a greyhound belonging to an officer of the 102nd Regiment, and, having 'dressed' it succeeded in palming it of on some gastronome as choice kangaroo, at 3d per lb. How the scoundrel must have sniggered whenever he thought of the choice dish being devoured by an epicure? I reckon he did not snigger when the circumstance was discovered and another animal, not of the kangaroo order, was called into play.
Crime increased so much that the Governor and his advisers ordered the place to be closed.
Seven years (symbolic number) prior to the above effort at establishing a theatre, some of the prison population were permitted to celebrate the King's' birthday, January 4, 1789 (George The Third being King) with a dramatic performance, “The Recruiting Officer,” by Farquhar. The admission to this, the initial performance in Sydney, being presumably gratis.
Some years ago a colonial writer dug up an ancient copy of the London 'Sporting Magazine,' in which was printed as having been received from a Botany Bay correspondent a notice of a benefit performance in the year 1799. It is published verbatim: -
“BOTANY BAY THEATRICALS.
Our readers may perhaps be amused with the following record of fashionable entertainments of the inhabitants of Botany Bay. Who knows but the drama and the stage may yet derive support from this colony? We need scarcely add that at the enchanting representation mentioned below, all the spectators were transported.
MRS. PARRY'S NIGHT
(By permission of his Excellency),
At the Theatre, Sydney, Saturday, June 1, 1799, will be presented
FORTUNE'S FOOL.
Ap Hazard (for this night only), Mrs. Parry; Sir Charles Danvers, by P. Parry; Tim Seymour, by J. White; Orville, by W. Smith; Samuel, by H. Parsons; Sir Bamber Blackletter, by P. H. Hughes; Mrs. Seymour, by Mrs. M'Cann; Miss Union, by Mrs. Radley; Lady Danvers (for this night only), Mrs. Miller.
After the play a new occasional address will be spoken by Mrs. Parry.
To which will be added
BONTON.
Sir John Trotley, by P. H. Hughes; Colonel Tivey, by W. Smith; Lord Minikin, by W. Knight; Tessamy, by H. Parsons; Davey, by J. White; Lady Minikin, by Mrs. Radley; Gymp, by Mrs. Sparkes; and Miss Titup, by Mrs. Parry.
Boxes 5s, front boxes 3s 6d, pit 2s 6d, gallery 1s. Tickets to be had of Mrs. Parry, and of W. Miller. Doors open at half-past five, begin at half-past six."
Some interesting particulars, in the shape of footnotes, are given as to the personality of the players. P. Parry, formerly a grocer in Oxford-street, London, transported for life for highway robbery (Mrs. Parry was presumably the wife of P. Party, and probably followed her husband— or was allowed to keep him company—to Botany Bay; there was a Sarah Parry, a life prisoner, in the first fleet); Mrs. M'Cann, a brothel-keeper at Marylebone, London, transported for seven years (for keeping a 'disorderly house' in Sydney Mrs. M'Cann to-day would get three months). Mrs. Sparkes came out free, but, the chronicler says, "lives with Vandercombe, who is a steady fellow." P. H. Hughes, who was also in the earlier performances, was a printer by trade, and was in all probability the man employed to print Government orders before the advent of George Howe and the 'Sydney Gazette.' Here we have Hughes a printer, beyond all doubt in Sydney in 1799, while George Howe did not arrive until the year 1800.
Philip Gidley King, when in London in June, 1798, wrote his namesake, Under Secretary King, asking for some stationery for Norfolk Island, to which place he had been appointed Lieutenant Governor, and in this letter he says: — "And as I can procure a small printing press for six guineas, which will be useful for the quick dispersion of necessary orders, etc., there being one at Port Jackson. I shall be much obliged by that indulgence being extended to Norfolk Island." I think there can be but little doubt that the playbill and the tickets for Mrs. Parry's benefit were printed on the printing press then in Sydney, and by the actor-printer Mr. Hughes. Anyhow, the unanimity which has existed between press and stage for over a century was commenced at this benefit of Mrs. Parry, and the regret is that we have not a copy of the playbill or the ticket for the occasion.
Of the other performers in these historic dramatic performances two names are mentioned, Francis Grosvenor, alias Foy, transported for seven years, and Pavey, an Oxford-street grocer, whose term is not given. The paragraph which states that the audience were 'transported' may be read two ways, but it stands to reason that the soldiers and free inhabitants would be present at such a dramatic performance, the absence of other amusements being apparent.
Of the ability of the performers we have no mention. That they were not performing for a living may be taken for granted, the appearances of the players being too intermittent to allow us to hope that- there was a 'ghost' walk on the orthodox treasury day. But that there was some money about in the year of the colony 1799 is apparent from the published list of charges for Mrs. Parry's benefit; 5s, 3s 6d.,2s 6d and 1s would be considered good prices to-day. The William Miller from whom tickets could be purchased was a person of some consequence in the primitive town. William Miller had a residence in the neighbourhood of the fire station in Lower George street, kept servants, and owned a sloop which traded to the Hawkesbury. The Mrs. Miller who acted the part of Lady Danvers (for the night only) was probably the early shipowner's wife. If, however, there may be some fog enveloping the first actors and the earliest printer, there is no haze about the first scenic artist. This gentleman's name was Lancashire, a youth when sent out, but who seems to have given offence to some of the 'powers' by his evidence in a celebrated trial, where one Isaac Nichols was charged with stealing tobacco— a 'put-up' case, as it would be termed to-day.
John William Lancashire tells his own story in a petition to Governor Hunter, while lying in Sydney Gaol under sentence of death for a put-up case of forgery or uttering (no doubt there were some blanky scoundrels among the 'Upper Ten ' in the early days). Lancashire said that he was a youth of honest, respectable and worthy parents; had always lived in affluence, and had never a blemish upon his character until he made the slip for which he was transported for seven years. He had been in the navy under Sir Charles Cotton, but owing to ill-health he had to retire. Then he entered the banking house of his uncle, Robert Williams, in Birchin-lane, where he was employed as cash clerk — where, he says, he had opportunities of forging for thousands of pounds, not for shillings, as he was then under the death sentence for.
Lancashire was, of course, an amateur scene painter, but be must have been clever at the business. He gives as a reason for the persecution and unjust condemnation the fact that he had applied to the soldiery of the 102nd Regiment, who comprised a company of amateur comedians, for payment for some scenery which he had painted for them. Governor Hunter believed the youth, and reprieved him. This precursor of Andrew Torning, William Pitt, Habbe, Hemming, Clint and afterwards established himself as a land agent in Sydney, for in old 'Sydney Gazettes-.' he advertises that he has land for sale on Brickfield Hill.
The correspondent of the 'Sporting Magazine," or his transcriber on this side of the globe, goes on to say that the author of the 'ceremonial address' spoken by Mrs. Parry was "the composition of that remarkable rogue of an attorney, Mr. Michael Massy Robinson, a very fluent versifier, who had a queer history of his own, alike as regards the villainy which occasioned his transportation, and later, when he threw away excellent chances in Sydney, and was re-transported to Norfolk Island, that inferno for souls doubly damned, only to re-emerge brisk as ever, and push his way to some of the most responsible and profitable posts at the disposal of the Governor."
This scribe, whether the Botany Bay correspondent of the 'Sporting Magazine' or not, is somewhat in error as to the sinfulness of Australia s first poet, leaving Barrington out — Michael Massey Robinson. This individual was an attorney in good practice, transported in 1798 for “an attack on Mr. Oldham,” “the attack” being per medium of a threatening letter, Robinson came out in the ship Barwell, in a special cabin, the same vessel which brought Judge Advocate Dore.
Robinson made friends with Dore on the passage. The latter, not much of a lawyer, if a lawyer at all, was glad to have such an accomplished man at his elbow, and on arrival, by representations made, by Dore, Governor Hunter conditionally emancipated the poetic attorney, and Dore immediately appointed him his clerk and registrar. The news of the emancipation reached EngIand and Oldham got excited over the possibility of his ancient enemy re-appearing in England and writing more threatening letters. But Governor Hunter disabused his mind on that score, and Oldham rested in peace. Robinson was afterwards sent to Norfolk Island, convicted of perjury, for seven years.
But the Norfolk Island of Robinson's time was not the Norfolk Island of John Price's time; it was a happier place than Sydney was, by all accounts. In those days if a man became obnoxious to those in high places, nothing was easier than to formulate a charge against him, have him convicted, and deported to Norfolk Island or the Coal River.
Captain Piper, one of the earliest of our sportsmen, was commandant at Norfolk Island at the time, and allowed Robinson to return to Sydney within a year or so, for which he got into trouble with the irritable Governor Bligh.
But Robinson triumphed all over his enemies. In, 1810, Governor Macquarie appointed him chief clerk in the Colonial Secretary's office, a position of some importance. Some of Mr. Robinson's poetry has come down to us, but unfortunately the "address" spoken by Mrs. Parry on her benefit night is not among it.
Very little of any interest in matters theatrical occurred in the first 30 years of the nineteenth century. We have a hazy record of some exiles meeting and reciting passages from Shakespeare, and in Macquarie's time we are told that there was a theatre in a loft on Brickfield Hill, and that the Governor attended a performance there. At Emu Plains, when a penal settlement in Sir Thomas Brisbane's time, some exiles got up an evening's entertainment, consisting of 'Rob Roy' and' Honest Thieves.'
Then in Governor Darling's time the Sydney gaol on the debtors' side was the scene of an amateur performance, 'Bombastes Furioso' being the bill of fare, the guard bed in the debtors' room being converted into a stage. The public was admitted to witness the performance.
In the year 1832 Governor Bourke granted Mr. Barnet Levy a theatre license for a saloon in connection with the Royal Hotel, George-street, not of course the present building, but on the same site. He afterwards built a theatre, which he named the Royal, this being the first attempt which succeeded. Mr. Levy is recognised as the founder of the legitimate drama in this country. Mr. Levy's licence provided that only pieces licensed by the Lord Chamberlain should be produced, so that any literary dramatic talent which may have existed in the colony was shut out.
The first performance in the saloon of the Royal Hotel took place on Boxing Day, 1832. The saloon was fitted up as a miniature theatre, 'Black-eyed Susan' and the old farce, 'Monsieur Towson,' being the programme. The theatre was loyally opened, all parties singing 'God save the King.' The little theatre filled each night of performance and money was refused on many occasions. The success was so great that Mr. Levy built the larger establishment mentioned above. The new theatre is described as having been handsomely fitted up with a neat circle of dress and private boxes, an upper tier of boxes, a gallery, and a spacious pit. The house was capable of holding £130. It was opened with the “Mutiny at the Nore,” and "The Miller and his Men." Mr. Meredith was the first manager, before succeeded, in a couple of years by Mr. Simmons. The latter appears to have been a very energetic manager, producing such heavy pieces as "Venice Preserved," “The Honeymoon,” “Pizzaro,” etc. During the Simmons reign the charges for admission were 5s, 4s, 3s and 2s. and the playing nights four a week, Tuesday and Friday being off ones.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. No. LV., Sydney Sportsman, 1 June 1904, 8
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On September 7, 1836, was laid the foundation stone of the Victoria Theatre, Pitt-street, with full Masonic honours. It took over 18 months to make the building ready for the public, and to make the opening night a success, Mr. Wyatt, the proprietor, engaged a company specially for the occasion. In those far off days quick passages to England were unheard of, and the 'cable' was not. Mr.Wyatt did the next best thing in the circumstances, he went to Hobart Town, Van Diemen's Land, so known then, and engaged as good performers as could be obtained and the theatre there could spare.
'The Sydney Herald' in 1838 appeared but twice a week, Mondays and Thursdays. The proprietor, Mr. Ward Stephens, of Gloucester-street and Lower George-street, Sydney, paid but little heed to the theatrical events of the town, though Mr. Wyatt advertised freely with him. In the issue of Monday, 26th, March 1838, appeared this advertisement :-
Royal Victoria Theatre.
The Public is now respectfully informed that, the above theatre will reopen for the reception of the public this Evening, 26th March 1838, when will be produced for the first time Shakespeare's Tragedy in five acts,
OTHELLO.
The Duke of Venice. Mr. Collins; Ludovico, Mr. Morton; Brabantio, Mr. Lane; Roderigo, Mr. Simes; Cassio, Mr. Groves Montana. Mr. Falchon; Othello, Mr. Arabin (from the Hobart Town Theatre); Iago, Mr. Spencer; Gratiano, Mr. Allwood; Antonio, Mr. Hollis. Julia, Mr. bnuth ; Daulo, Mr. Gazes ; Marco, Mr.Powell; Giovanni, Mr. Balton; Desdemona, Miss Winstanley ; Emilia, Mrs. Arabin.
As an interlude, Mr. Falchon, 'from the Hobart Town Theatre,' sang the popular song, 'Paddy's Wedding.' '
The evening entertainment concluded with the laughable farce.
'The Middy Ashore,' or 'A Spree Upon Land.'
The doors were open at half-past 6, and the performance commenced at 7 punctually. The prices of admission were dress boxes (or circle) 5s, upper boxes 4s, pit 2s, gallery 1s. The old world custom of half-price at 9 o'clock, never heard of now, existed then, the pit being the only exception. Boxes could be secured for the night or for the season, to be taken at the box-office from 9 to 11 each day. To prevent disappointment, no box would be kept unless the admission fee was paid at the time of selection. The plan of the dress circle was always on view at the box-office. Children in arms were not admitted, not even at the old country fee of one guinea each. Mr. Joseph Wyatt signed the advertisements as proprietor, and wound up loyally with VIVAT REGINA.
It must be admitted that Mr. Wyatt's company was a generally useful one, Mr. Arabin 'starred' in bills and advertisements, and Miss Winstanley ditto, ditto, not objecting to appear in such a farce as 'The Middy Ashore.' Mr. Wyatt took care to expand the list of characters in 'Othello' in a way that the Divine William never dreamt of. I am under the impression that, in the present day, if 'Othello' were produced in anything like good form, that an Irish comic song would not be tolerated immediately after it. 'Paddy's Wedding,' however, brings back reminiscences of John Drew and Billy O'Neill, who first, I think, introduced the rollicking song to the Melbourne public. The Mr. Morton who played Ludovico was a near relative— brother, I believe— of Mr. Maddison Morton, the dramatic author. On Mr. Morton's decease his widow kept for a time a tobacconist's shop in Market street, combining the business with newsagency and bookselling. The shop was No. 72, within two doors of Pitt-street, and now built over by Farmer and Co. The lady was there in 1878.
Commenting on the performance of Shakespeare's grand tragedy, the first time, I think, of its production in Australia (Arabin may have played the part in Van Diemen's Land), the 'Herald' critic gave the star credit for a 'chaste conception of the character,' his great fault being that he delivered all soliloquies to the audience, a fault not confined to Mr. Arabin, as most of the old time tragedians always took the audience 'into their confidence,' Mr. Spencer "played that pretty rascal lago well but confided all his villainy to the audience," the critic no doubt thinking that Spencer should have kept his villainy well bottled up until the closing scene. I have seen many Iagos, but never yet saw one who could conceal his villainy. Though excellent in comedy, Miss Winstanley and Mrs. Arabin were counted rank failures in tragedy. The critic considered that Mr. Groves misconceived the character of Cassio, and as to the farce, Mrs. Murray, "a petite little lady with a shrill voice, was animated and likely to become a favourite." Strange to say, the critic admitted that he had forgotten the name of the man who sang the comic song, 'but it served to amuse.' The 'Herald's' critic did for the opening night of the Victoria Theatre what John Baldwin Buckstone once said that a critic did for one of his dramas, "Damned it with faint praise."
Mr. Wyatt, anxious to please his patrons, added to his company. He had a monopoly now. After Mr. Barnet Levey's death, the widow continued to direct the Theatre Royal, but the strain appears to have broken her health, as in the issue of the 'Herald' which announces the opening of the Victoria Theatre, she advertises her thanks to those who sympathised with her in her trouble, and attributes her illness to the cares and worries of theatrical management. She was not the first nor the last who suffered worries from theatrical management. Added to Mr. Wyatt's company at the. time were Mr. and Miss Lazar, Mr. and Mrs. Cameron, and Mrs.Clarke.
At one time the name Lazar was a household word In Australian theatricals. Some years ago a son of this old-time actor had the lease of the Theatre Royal, Castlereagh-street. Mr. John Henry Want, now K.C., then a pushing junior barrister and a patron of all legitimate sport, in which may be included the drama, had business relations with Mr. Samuel Lazar. On occasions the 'treasury' required assistance to enable the 'ghost' to walk with comfort, and on such occasions Mr. Want generously came to Mr. Lazar's aid— I think at one time Lazar's indebtedness to Mr. Want amounted to £600, good coin of the realm advanced to keep the theatre going. As some sort of security, Mr. Lazar gave Mr. Want control of the O.P. box for his private use and that of his friends. While Mr. Lazar was in active management Mr. Want and his friends enjoyed the occupation of the O.P. box without let or hindrance. But evil days fell upon Mr. Lazar; he lost his reason, and was confined until his death in one of the asylums. His interest was still maintained in the theatre; his daughter, Miss Victoria Lazar, afterwards Mrs. Moss succeeded to her father's interest in the lease. But the lady questioned Mr Want’s rights and felt disposed to dispute his possession of the O. P. box. Unfortunately for Mr Want, all the documents and memoranda in connection with his transactions with Mr. Sam Lazar were destroyed in a fire which took place on his premises. Mrs. Moss, however, temporised (I am writing entirely from memory), and agreed that Mr. Want should have the box alternate nights, Mrs. Moss and her friends occupying it for the other three. For peace sake, I presume, Mr. Want agreed to this, and for a time things went on amicably enough. But Mrs. Moss tired of the arrangement, and blocked Mr. Want's entry altogether. Then Mr. J. H. Want went to law. He invoked the aid of the Chief Judge in Equity. The matter, like most Chancery matters, dragged its slow length along for many months, if not years. Then Mr. Justice Owen gave his verdict against Mr. Want. The latter was not satisfied; he appealed to the Full Court and again was beaten. But he was not faint-hearted. He had helped Sam Lazar with good coin, and if he could not recover that he would at least have the 'compensation' that Lazar in his time had allowed him the use of the O.P. box. Mr Want appealed to the Privy Council, and, fate of fates, while the appeal was under way, another 'authority' stepped in and ended the proceedings. In 1892 the 'fire fiend' seized the Theatre Royal, and ended not only Jack Want's long-drawn-out suit, but also Miss Victoria Lazar's (Mrs. Moss) interest in the lease. As fire had destroyed the theatre, there was no theatre to lease! The costs, which all fell on Mr. Want, must have been simply enormous. In the last moments of the Theatre Royal Mr. George Musgrove was manager, with Mr. C. L. Goodman as treasurer, Sam Lazar's representative being the lessee.
The management of the Victoria Theatre, as was absolutely necessary, varied its programme to suit its patron’s tragedy, melodrama, comedy, and farce, with good, bad, and indifferent actors, until the beginning of the year 1841, when a new actor of some old country note struck Sydney. This was none other than FRANCIS NESBITT M'CRON, a name yet remembered by some ancient Playgoers. Not many, however, remember him, but those who do remember Nesbitt— his stage name— place him next to G. V. Brooke. My dead friend, Sam Banks, a personal friend and devoted admirer of Mr. Nesbitt's, placed me in possession of much relating to the private history of the actor. M'Cron was a native of Manchester (England), born in 1809. His mother was named Armstrong, his father a captain in the army. Nesbitt M'Cron was educated for the medical profession, but his taste for amateur theatricals led him to the stage. He stood 5ft 10in in height, very erect in gait, and walked as if on parade. His voice was powerful and melodious. My thirty-years' friend, John Bennett, whose life-long experience of actors ought to make him a judge, says that Nesbitt's voice was the most musical that he ever heard.
M'Cron 's resolution to adopt the stage as a profession was distasteful to his family, but he had made his choice and was determined on following it. Under his second name, Nesbitt, he became a member of a travelling company in Ireland, in the course of which he met G.V. Brooke and Barry Sullivan. Of both these great actors Nesbitt spoke in the warmest terms of friendship and affection. After touring England, Nesbitt struck Scotland, where he met Gordon Griffiths, who subsequently came to Sydney. From Glasgow, in 1840, Nesbitt returned to Ireland, at the request of his relatives, who still thought to wean him from the stage. During a visit to Cork he met Miss Annie Mills, the daughter of respectable parents, and wooed her, but the parents objected, not to the man, but to his profession. Failing their consent, Nesbitt eloped with the lady and married her. In 1840 the couple took passages in the ship Marchioness of Bute, and arrived in Sydney on January 7, 1841. Nesbitt brought letters of introduction to several big people. Governor Gipps being among the number. That to the Governor was never delivered; the others secured him a billet as tidewaiter in the Customs, Henry Parkes occupying a similar billet about the same time. A quarrel with a superior officer induced him to throw up the appointment. In checking cargo Nesbitt wished to sit, the superior officer ordered him to stand, and Mr. Nesbitt 'cut and run.' Failing to get other employment, Nesbitt joined the police force, and for a part of one night walked 'a beat' in Sydney streets. He resigned in the morning.
At that time Mr. Joseph Simmons was manager of the Victoria Theatre, and to him went Mr. Nesbitt. As the latter had been brought up in the south of Ireland he had just “the last taste of the brogue” on his tongue, but could, when he pleased, lay, aside the 'accent.' While conversing with Mr. Simmons, Nesbitt unconsciously used the brogue, which set Mr. Simmons, a Hebrew with a "lisp," in roaring laughter. The idea of playing Hamlet with an Irish brogue tickled the fancy of the Hebrew manager. Mr. Nesbitt, however, gave 'Rolla's address to the Peruvians' in a style and in an accent never before heard by Mr. Simmons. There was no trace of brogue, and the Hebrew, who could tell a good thing when he saw it, immediately closed with the new actor, who had dropped unheralded amongst them. The play of 'Pizzaro' was in rehearsal, Mr. Simmons being the Rolla, but he generously gave up the part to Nesbitt. There was but a peer attendance, but by the time half price had arrived the people in the street heard that a genius was playing at the Vic., and the house became crowded. Nesbitt next appeared as Richard III, crowding the house for fourteen nights, an unprecedented run for Shakespeare at such a time, and a distinct tribute to the great merits of the actor. His list of characters during this engagement consisted of William Tell, Rolla, Othello, Macbeth, Richard III, Sir Giles Overreach, Octavian, Sir Edward Mortimer, and Virginius. As indicating Mr. Nesbitt's real character, it may be mentioned that when he accepted the engagement with Simmons, Mr. Conrad Knowles, who had left the pulpit for the staged held such parts as Hotspur, Mercutio, Hamlet, The Stranger, Falconbridge, and such. These Nesbitt would not play, not from any fear of comparison, but from a sense of Justice towards the other actor.
In 1841 Mr. Wyatt went to England in search of talent, and made some engagements. I think he was absent when Nesbitt was engaged, but early in 1842 the first contingent arrived. This consisted of John Gordon Griffiths, Mr. and Mrs. Harry Deering (the parents of Olly Deering and Mrs. W. B. Gill), and Mr. and Mrs. Mereton (the first-named selected as Mr. Simmons' successor in the management). After a time came Madame Carendini, Mrs. Stirling (afterwards Mrs.Guerin, and now the widow of Richard Stewart, and mother of Richard, Docy, Nellie, and Maggie Stewart, who have all reached success upon the colonial stage), and Frank and John Howson. These came from Hobart Town. Then followed Madame Torning, Mr, James and Madame Louise, Mr. and Mrs. George Coppin and others making the Victoria company a particularly strong one. Of all these, but George Coppin, at 85, remains. Long may he remain!
Nesbitt remained with the company, and 'Coriolanus' was put into rehearsal; but Nesbitt's 'weakness' overtook him, and John Gordon Griffiths performed the part. Nesbitt then crossed the Tasman Sea to Van Diemen's Land; and played at the old Albion Theatre, Launceston, and at the Victoria, Hobart Town, for several seasons. He then crossed to Melbourne, where he secured an engagement at the old Queen's Theatre, in Queen-street, built by John Thomas Smith, the Melbourne Whittington, differing only from Dick in as much as Dicky was but thrice Lord Mayor of London, whereas John Thomas Smith was seven times Mayor of Melbourne. Mr. Nesbitt's liking for strong drinks was a source of constant worry to his managers.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. IN NEW SOUTH WALES AND ELSEWHERE No. LVII., Sydney Sportsman, 15 June 1904
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In the 'Sportsman' (25/5/'04) I made casual mention of the charming singer and burlesque actress, Julia Mathews, who made her first Australian appearance in Sydney in the old Victoria Theatre, in December, 1854, when she was but ten years of age, the character being Little Pickle, in the 'Spoiled Child." Julia, however, had commenced her theatrical career at the MarionetteTheatre in Leicester-square, London. From there she went to the Strand Theatre in the opening of a pantomime produced there in 1853, while Mr. Aldcroft was manager. At the Strand she appeared in several juvenile characters with marked success, gaining the approval or the London press. At the Victoria, Sydney, Miss Mathews remained 12 months, when Mr. George Coppin induced her parents, who were always her "agent" to accept an engagement at the Olympic, Lonsdale-street, better known in those days as "The Iron Pot" from the nature of its structure. Here Miss Julia increased her popularity until she became the idol of the people. In parentheses, it may be said that in juvenile parts Julia Mathews had a rival in little Anna Marie Quinn, about whom more at another time. At the termination of her engagement with Mr. Coppin, Julia went on tour through the goldfields of Victoria, then studded with theatres, and yielding showers of gold, Dannae-like. Next we hear of her with G. V. Brooke at Melbourne Royal, in such parts as Moth in "Love's Labors Lost," the fool in "King Lear," and other juvenile Shakespearean parts. Later on, we are told, though I don't remember it, and know her career for many years, she appeared as Ophelia, Margaret Overreach ("New Way to Pay Old Debts"), and other characters of that class with Brooke. If she did it must have been as understudy to Fanny Cathcart (Mrs. Robert Heir-Darrell), or when Miss Cathcart had fallen out with the Coppin-Brooke Combination, a severance which lasted a couple of months. Miss Mathews' first appearance in burlesque was in the "Nymph of Lurleyberg." Subsequently she joined George Fawcett (Rowe, but he was never known as Rowe in Australia) at the old Princess' Theatre in Spring-street, one of the very few old houses that fell into the hands of "the knacker," instead of becoming a prey to fire, the usual fate of the theatre. At the Princess' Miss Mathews appeared in all the burlesque and singing parts, which helped to make her famous on the stage. Here also she played many light comedy parts in "The Irish Heiress," "London Assurance," etc., etc., in Irish parts such as Anne Chute in the "Colleen Bawn," in which latter, with Dick Stewart, she made a decided hit. From Melbourne Julia went to New Zealand, where she married Mr. W. H. Mumford, much to the disgust of her parents, who thus lost their "gold mine.'" After some months absence from the stage, she reappeared at the Princess', Dunedin, and at Christchurch and Hokitika. Upon her return to Melbourne, she appeared at the Haymarket under George Coppin's guidance. Here she drew great audiences, her singing and histrionic powers having matured wonderfully. From this engagement she went straight to London, where Mr. Russell, director of Covent Garden Theatre, secured her for the role of the Grand Duchess, in which, and other operatic parts, she gained much distinction. I am afraid that her visit to London was not of such a character as would enhance Julia's reputation before the world. We heard that she had attached herself to a high up member of the British aristocracy; that she kept her brougham and liveried servants, and had done with the stage. The 'cad' of the British aristocracy of the sixties was not built on the lines marital, as poor Julia soon discovered. When she severed this connection, Miss Mathews toured the Continent and America, meeting with success wherever she went. I forget who it was that piloted her, but I know that it was not Mr. Mumford. At the now famous City of St. Louis, Julia was struck down with rheumatic fever, and on May 18, 1876, succumbed to the attack at the early age of 32 years.
I do not think poor Julia's life was a very happy one. From her infancy on the boards she was the breadwinner for her parents ; her teens being simply the drudgery of the stage. Her mother's eye A never off her on the stage, and her father, who was a check-taker at the pit entrance, had his eye on her from the front. Julia was never seen without one or other in attendance. I had it from Julia's own lips at a rehearsal of "The Irish Heiress," on the stage of the old Princess', that she could have married R. O'Hara Burke, explorer, then an inspector of police at Castlemaine, and that it was her rejection of his suit that induced him to accept the leadership of the expedition, which ended so disastrously to himself and others. Yet she wore his miniature on her breast, and mourned his death. Perhaps it was a good advertisement. Having reminisced about 'old Rogers' ("Sportsman," 6/7/'04), let us have a turn at 'old Lambert.' He differed from Mr. Rogers inasmuch as he had a very long English training in good theatres before he came to Australia. I heard him on a 'farewell' benefit night (which was not a farewell), say that when he first met G. V. Brooke at the Theatre Royal, Hawkins-street, Dublin, he (J. C. Lambert) was playing juvenile parts. The actor who passed successfully the ordeal of a Dublin theatre of 60 or 70 years ago was somebody. Dublin was the top rung on the ladder of fame, which landed the actor in London. Mr. Lambert commenced his theatrical career in his native county of Norfolk, and his commencement was that of a strolling player, and he has left in a MS. autobiography some amusing recollections of his barnstorming and stroller's life. His first appearance in Australia was at the old Queen's, in Queen-street, Melbourne, another of the old houses that did not go down by fire. Strange to say, be failed to immediately impress the Melbourne public, but the time did come when the play-goers by the Yarra Yarra, next to Brooke, swore by Lambert. My first sight of Mr. Lambert was as Mr. Aspen in the "Nervous Man," G. V. Brooke being the M'Shane. Heavens! what a scream it was from start to finish! The name indicates the character. About the year 1865 there was published a handsome quarto volume entitled 'The Lambert Album.' It contained 16 character portraits of the actor, and there were but three copies of the volume published! The portraits were by the old firm of Batchelder and O'Neil. There were two portraits of Mr. Lambert as Sir Peter Teazle, as Sir Anthony Absolute, as Lord Ogleby, as Justice Shallow, as Sir John Falstaff, as Sir John Vesey, and as Daddy Hardacre. I have seen Lambert in all these characters and many more, excepting Lord Ogleby. In everything he did Mr. Lambert was as perfect as stage effect could make him. In the smallest, as in the largest, characters he was simply perfect in his make-up. As the Apothecary in, "Romeo and Juliet," a character of half-a-dozen lines, he took as much pains to make perfect as he did in Sir Peter Teazle or Anthony Absolute. Many good critics say that Lambert, as Sir Peter Teazle, has never been equalled upon the Australian stage. I have seen Wallack (Julia Harland's father), Lambert, Rogers, Coppin, Cathcart, Hoskins (Julia Harland's husband), and some others in the part, and I must admit my preference for Lambert. Mr Rogers was, as I have said, more the bucolic Sir Peter, but a fine performance nevertheless.
In the mid sixties, when Barry Sullivan, having raised the Theatre Royal and its plays to the highest pitch of excellence, returned to England, Mr. Lambert and five others, having private means, leased the theatre and made money. The five were H. R. Harwood, Richard Stewart, T. S. Bellair, Vincent, and Hennings, the scenic artist. On Mr. Vincent's death I think his widow, Miss Clevland, stepped into his shoes. It was under this management that Mr. J. C. Williamson and the genial Maggie Moore first "Struck Oil." And in this connection a good story is told. Mr. Harwood (real name Biggs, a carpenter by trade, who made his debut as an actor at the old Victoria in Pitt-street in 1855; conducted the negotiations. The Williamsons wanted a certain figure. Harwood demurred, as 'Dutch comedy' had been done to death by Emmet, and the negotiations were about to fail, when, with keen business instinct and a knowledge of what they could do with "Struck Oil," Miss Moore asked if Harwood would share the house after a certain sum for expenses, Harwood jumped at the offer, and closed with the "Muricans." How did Mr. Harwood bite his nails for weeks after, when he stood on the pavement in Bourke-street and watched the people flocking to the Royal. He and his partners gained, of course, but Harwood said that he missed "all the tat" through not giving the Williamsons the salary they asked.
At the Royal, Mr Lambert and his partners made money, and the former retired into private life at a time when his powers had reached maturity. Having only his wife, who also played occasionally, Mr Lambert's income need not be heavy to enjoy the later years of life. As a citizen he was above reproach. He was not a society man; he habitually attended divine service at St. Peter's and carried the plate, "and was so quiet, demure and respectable that he might be taken for a bank manager, or for the respectable bank clerk in a large commercial house."
Mr Lambert retired to the town where he was born to spend the evening of his life, the now cathedral city of Wells. From "Buttlands," Wells, in September 1868, he wrote to a Melbourne friend a chatty letter, in which he showed that he was perfectly satisfied with his life and its cheerful coming close: — "I am living in my native town, which possesses about three thousand inhabitants, among whom are many old school fellows and ancient friends. My life is passing very happily in reading, writing, shooting, sleep, billiards and bowls. The place is attractive enough to induce professional people to visit it. Emma Stanley was here for one night, and we had a long-chat together. We have now a company of actors, gentlemen in appearance, not devoid of talent, and playing to good houses.
On Monday next a circus opens; so you will see my dear friend, that I am not quite mentally, as I hope not for some years to be physically, buried. The happiest portion of my professional life , was spent in Melbourne, but the greatest felicity I have enjoyed from my birth I now experience.'" And when the time came to "ring down," Death found J. C. Lambert quite ready.
"Died at Hobert Town on the 19th of March, 1862, Sir William Don, aged 36 years." Such was the unexpected announcement that met the Melbourne public three days later. Ten years before that I saw the dead walls of the city of Dublin placarded with the announcement that "Sir William Don, Baronet, the Eccentric Comedian," was about to appear at the Theatre Royal. His advent to Australia had a special interest for myself and all who came from the city by the Liffey; for had not Sir William Don taken unto himself for wife one of the prime favorites of the old Queen's, in Dublin, Miss Emily Saunders? There were three of the name at the Queen's Charlotte Saunders and a brother, a co median, bow-legged, whom we gallery boys nicknamed “Bandy Saunders." But Dublin had known Sir William Don be fore he took to the stage as a profession. He had been A.D.C. to one of the Lords-Lieutenant of Ireland, and well up in Dublin society, and had well advertised himself in private theatricals before, on loss of fortune, he took to the boards as a professional. The first appearance of the Dons in Melbourne was made in 1860. Lady Don in "The Daughter of the Regiment," and Sir William in the farce of "Toodles." Just imagine a 6ft 6in man in such a character as Mr. Toodles. The Marsh troupe of child comedians had previously introduced the farce to Melbourne, when Master George played the part; the contrast between the 4ft-nothing boy and the 6ft 6in baronet was ludicrous. To add to the fun, Don had all the stage furniture made in miniature, so that he walked as easily over chairs and tables as he did over footstools. His greatest hit, however, was as Queen Elizabeth in Kenilworth burlesque, with Lady Don as the Earl of Leicester. Six feet six inches, and splendidly made up, as the red-haired virgin Queen! But Sir William Don did not confine himself to English comedy; he excelled an Bailie Nicol Jarvie, Jock Howison, Dandie Dinmont, and suchlike; but perhaps one of the most extraordinary performances he ever took part in, and certainly one of the most extraordinary that I ever witnessed, was when "The Rivals" was produced with an "Ollapodrida" company — all stars and all good men in their several lines. Amongst them was Sir William Don, as Fag! John Drew, the Irish comedian, was Bob Acres; so you may guess what a 'screamer' it was. Of Lady Don's ability no eulogy can be too high. As a vocalist and an actress she was attractive in everything she appeared in, and even without her husband she held her own on the stage until the baronet's family thought it was but right that his widow should "retire on her rank." There was no estate, but I believe the Wauchopes of Edmonstone, near Edinburgh , and Newton House, Mussellburgh, N.B., to whom the barren title went on Sir William's death, saw to the widow's comfort. Sir William Don had gone through two large fortunes before he had taken to the stage, and when he threw up his commission in the Guards and took to the boards, it was in the hope of being able to buy back his old Scottish home. In a stage speech at Melbourne, in which he advised everybody to avoid debt, he said that he had been in the hands of usurers since he was "so high," indicating about 8ft from the boards. "To owe £20," said he, "and have £19 19s 11d to pay it with, was simply misery, but with £20 1s heaven!" To a friend in Melbourne he wrote from Hobart Town, a fortnight before his death, in a very cheerful strain :— "I have been dreadfully weak and pulled down since I have been here, and in bad spirits; but within the last two or three days I have Sir Walter Raleighed wonderfully. This is the most magnificent climate in the world. Come over at once. We shall be here for a fortnight longer and then Launceston two weeks, then back to Melbourne for Adelaide. Our success has been very great, Behold the proof: Receipts at Launceston, one week £416 Receipts at Hobart Town, one week £360 Total ................................................ £776 Our share ..........................................£388
The journey from here to -Launceston is really wonderfully beautiful. You will be delighted with It. Come at once." Even then the grave was opening for him, and he knew it not. Lady Don survived him 13 years, dying in England September 20, 1873, leaving an only daughter. To Sir William Don is attributed a freak which has been set down also to the credit or debit of W. E. Gladstone. Sir William had a habit of travelling third-class on the railway out of Edinburgh. To break him off the habit, the officials one day caused a number of chimney sweepers, with their bags and brushes, to be put into the same compartment. Don took in the situation. 'Come along with me, my lands," and after "shouting" for them in the refreshment room, he purchased first-class tickets for the lot, and planted himself and the sweeps in a first-class carriage. When they reached the end of their journey the drab cloth linings of the Carriage were sooty indeed.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXI, Sydney Sportsman, 13 July 1904, 3
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In my last article I made mention of Miss Julia Harland, her father, Mr. Wallack, and her husband, Mr. William Hoskins— a splendid dramatic and musical trio. The former died on August 19,1872, while her husband was touring New Zealand with Miss Florence Colville, whom he subsequently married. Miss Julia Harland was descended from a family highly honored and respected in the dramatic world. Her father, Mr. John Henry Wallack, visited Australia, on pleasure bent, in 1862, and appeared on the occasion of Lady Don's benefit at the Theatre Royal, Melbourne, as Sir Anthony Absolute, but increasing years and defective memory prevented his reappearance. He was a very gentlemanly actor of the old school. His elder son was, in his time, the best Don Caesar de Bazan; and the younger son, J . W. Wallack, had made a name for himself on the American stage.
Miss Julia Harland made her mark in English opera many years before she came to the colonies, when she succeeded Madame Anna Hilton at the Princess' Theatre, London, as prima donna of the English Opera Company, then under J. M. Maddox, a somewhat eccentric manager, whom London 'Punch' is said to have dubbed 'King Maddox.' In that company, with Donald King, Leffler, H. Horncastle, and Allen, she became the operatic star of London. Some time after this she accepted an engagement with Thomas Rouse, known in pit and gallery as 'Bravo Rouse,' succeeding Miss Annetta Mears at the Grecian Saloon, City-road, London. During her stay at this house, under the conductorship of Mr. B. Isaacson, her splendid talents, as one critic tells us, brought the little theatre into notoriety and nightly filled the coffers, much to the gratification of the manager. One of the best operatic companies then obtainable was engaged to support Miss Harland. There was a Mr. Fraser, described as a very able tenor, who died in America; Mr. Charles Horn, a son of an eminent composer, a baritone from the English Opera House named Baldwin, Mr. Eaton O'Donnell, Mr. H. Horncastle, Mr. Patrick Corri, son of Hadyn Corri, of Dublin, and brother of Mrs. Frederick Younge, the eminent comedienne, so well known in Australia in the fifties and sixties. Then there were the sisters M. A. and Emma Crisp, a Miss Johnstone, Mr. R. Phillips, and Mr. Campbell, father-in-law of John Dunn, a comedian who flourished in Melbourne in the fifties, sixties end seventies. His correct name Was John Benjamin Donohoe, and two of his daughters, Miss Rosa Dunn, now Mrs. L. L. Lewis, and Miss Marion Dunn, now Mrs. Marcus Clark, widow of the journalist and novelist, are well known to Australian readers. Of the Dunn family I shall have something to say at another time. With the company supporting Miss Harland was the eminent comedian Fred Robson, better known as Little Robson, A goodly company truly. After severing her connection with the Grecian Theatre. Miss Harland appeared at several of the principal theatres in opera. In 1856, in company with her husband, William Hoskins, Walter Sherwin, Linley Norman, and the basso Farquharson, she left London for Australia, arriving in Melbourne in August of the same year, and announcing themselves as the English Opera Company. Miss Julia Harland made her first appearance in Melbourne on September 1, as Lucia, in "The Bride of Lammermoor," Mr. Hoskins appearing the same evening in the farce a "Fast Train — High Pressure Express," as Jack Delaware. The company was successful throughout the colonies, Miss Harland's talents, being every where appreciated. In 1859 she joined the Opera Company at the Princess' Theatre, and in conjunction with Madame Carandini, Messrs. Laglaise, Emile Coulon, Schultz, John Gregg, and others, appeared in "II Trovatore," its first production in the Australian colonies— Miss Harland in the character of the gipsy Azucena, which was universally acknowledged to be a triumphant and thoroughly artistic performance. On the retirement of Mr. Hoskins from management in Melbourne, and during his absence from the city, Mrs. Hoskins had lived in complete retirement, and for some weeks before her death suffered severely from dropsy. In private life Mrs. Hoskins was highly esteemed. Her brother-in-law, H. H. Hoskins, a solicitor, and that genial actress, Mrs. Alfred Phillips, were with her in her last moments.
Mr. William Hoskins was the son of Abraham Hoskins, gentleman, of Newton Park, Burton-upon-Trent, Staffordshire, England, and was born February 17, 1816. He was first educated at the Grammar School, Burton-upon-Trent, where his uncle. Rev. Hugh Jones was headmaster. From this school he went to Trinity College, Cambridge, being intended for one of the liberal professions, but, refusing to study for the church, was articled to a solicitor at Birmingham. His stage fever began at the early age of 10 years, after witnessing a performance of the Stanton Company, whose performances were given in a large malt house attached to Mr. Newman's Blue Stoop Hotel, Burton. The idea of being an actor never left him, and one day he threw up his articles and bolted for London, where, at the Pantheon Theatre, he paid 10s for the privilege of playing Antonio in "The Merchant of Venice." He had resolved, however, to be a leader or nothing, and paid three guineas to play Hamlet, and Slasher in "P.P., or the Man and the Tiger." He made his first professional appearance as Icilius in "Virginius" with Messrs. Macsfield and Kelly in Southampton. During this engagement his father forgave what he considered his son's folly and supplied him with money to become a lessee; but, the speculation failing, he took on engagement with Manager Smith, of the Norwich Circuit, playing alternate nights with G . V . Brooke. Hoskins was the original Cardinal Richelieu in Bulwer's play of that name, a part played by him in 1840 for 101 nights. In 1843 he opened at Covent Garden, succeeding Jas. Anderson as Charles Courtley , in "London Assurance." (Imagine the ponderous Anderson as Charles Courtley!) It was during this engagement that Mr. Hoskins discovered that his forte was comedy, not tragedy. Many other actors had ideas of tragedy when they were genuine comedians, Leston and little Robson being cases in point. Next he went to Manchester, under Mr. John Knowles, and from there was en gaged by Mr. Greenwood, partner of Mr. Samuel Phelps, of Sadlers Wells, opening at that theatre in 1846 in the two act comedy, "Naval Engagements," in which 'old Lambert' made such a hit years after in Melbourne. His first great London hit was as Lucio in ''Measure for Measure." From Sadlers Wells, in 1851-52, he joined Mr. E. T. Smith (father, of Dr. L. L. Smith, of Melbourne) as manager and principal comedian, at Drury Lane, thence to the Olympic, with Mr. William Farren in a similar capacity, He then returned to Mr. Phelps, and from Sadlers Wells he came to Australia. He held an indisputably first place in these colonies; in every principal theatre in Sydney, Melbourne, and New Zealand he has been leading comedian and manager.
In December 1884, at the age of 68 years, Mr Hoskins took his farewell of the stage at the Theatre Royal, Melbourne. The piece chosen was the old comedy, "The Heir at Law," in which the veteran actor had won laurels in the past. Mr. Hoskins was, of course, the Dr. Pangloss, LL.D., A.S.S. The play is now obsolete, but full of good materials, and every character in it requires an actor. Mr. Redwood was the Lord Duberly, a character connected in my memory with Rogers and Lambert, and it will take a very great actor to efface their memories. Titheradge was Dick Dowlas; Richard Stewart, as Zekiel; J. R. Creville, Kenrick; Herbert Fleming, as Steadfast; Mrs. Chippendale, as Lady Duberly; Jenny Watt Tanner, as Caroline Dormer; and our not-yet-forgotten favorite Myra Kemble, as Cicily. A grand cast! The old Royal was crowded, and at the conclusion of the play Mr. Hoskins, in evening costume, delivered his farewell address. It was an instructive history of the stage, and few actors were more capable of handling such a subject as was William Hoskins. At the conclusion of his address the scene opened and disclosed the stage full of people, actors, musicians, Bohemians, personal and professional friends, headed by Mr. George Coppin, who was spokesman for the crowd. Mr. Coppin, who could (and can) be serious when he pleased, was humorous and sentimental by turns. He recalled the days when he and Hoskins were boys together, "when the stage and all associated with it were so different from what it is now, and maybe so much better." At the end of Mr. Coppin's pleasant speech, he handed Mr. Hoskins a purse of 50 sovereigns, for which useful gift the recipient expressed his warm thanks. In this connection it may be mentioned that to Mr. Hoskins Sir Henry Irving is indebted for much good tuition when the now stage leader was a novice, and Irving did not forget his old tutor on the occasion of his fare well benefit. He sent a drat for £100 to swell the fund. And thus Mr. Hoskins pleasantly and regretfully bade fare well to stage life, though I think he had taken some pupils to coach up in the profession.
The career of Mr. Hoskins under the Southern Cross was a varied one, and in a monetary sense not a success. Though a great actor, there was a want of stability about the man which prevented the accumulation of money. Though a lessee and manager on several occasions in various cities, none of the gold ever clung to his finger's. He was as much a failure, as a business man, as was G. V. Brooke; few actor-managers are successful that way. While Hoskins was lessee of the Melbourne Royal, he entered into a verbal agreement with Walter Montgomery to play a season in Melbourne. Montgomery was then in Sydney, and was to sign the agreement on arrival at Melbourne. In those days Mathew Henry Taylor shared with Tom Pavey the legal business of the theatrical profession. Tom was solicitor for Hoskins, and Taylor for Montgomery. Mr. Taylor had been in partnership with John Baxter Bennett, who never did anything shady, but the partnership had been dissolved, and Taylor was on his own. On arrival at Melbourne, Montgomery wished to give a series of readings at St George's Hall, for his own benefit. To this Hoskins objected, naturally thinking that the readings would injure the subsequent theatrical season; and St. George's Hall being next door to the Theatre Royal, the Montgomery readings would attract the public and injure the ordinary business at the theatre. Hoskins declined to sanction the readings, and Montgomery consulted Taylor as to how far he was tied to Hoskins under the verbal agreement. It is a standing joke that no man should sign a verbal agreement; but to get rid of Mr. Montgomery's verbal agreement, much correspondence ensued. Montgomery (per Taylor) wrote that unless readings were to be given and take precedence of the season at the Royal, Montgomery would not complete the agreement. "And this," wrote Taylor, "is Mr. Montgomery's ultimatum." As Hoskins said, he might just as well have sent his pomatum. Hoskins would not agree to the readings, and Montgomery broke his word as to the engagement. It was, of course, a serious loss to Hoskins, as Montgomery always drew crowded houses. That, however, is only one instance of want of business tact: there were many others.
In Sydney, Mr. Hoskins came across Miss Florence Colville, then under the alleged protection of a certain sporting butcher, who is still with us. Mr. Hoskins saw the germs of dramatic talent in the lady, and induced her to adopt the stage as a profession, a better one than "that other." The gay Lothario was, like Barkis, willing, and the lady toured with Hoskins during the lifetime of Julia Harland, and he eventually married her. On her death he married a Miss Bowman, a daughter, I think, of G. V. Brooke's old friend and supporter, Dr. Bowman, of Russell-street, Melbourne. Summed up, this may be said to have been Hoskins' Australian career. He landed in 1856, and made his first appearance at the old Queen's, in Melbourne. He became manager of the Ballarat Theatre in 1858, and of the Theatre Royal, Melbourne, in 1863. He subsequently managed the Haymarket Theatre, Melbourne, and rebuilt the Theatre Royal at Christchurch. From 1884— his big benefit— until his death on September 28, 1886, he was a teacher of elocution in Melbourne.
John Benjamin Dunn (family name Donohoe, mentioned above) was an old London actor of vast experience, who had served articles, as it were, under W. C. Macready and other eminent actors. He first came into note in London, when the singer and dancer Rice, known as 'Jim Crow' Rice, came from America and took the Big Smoke by storm with his American eccentricities. "Wheel about and turn about and do just so; Wheel about and turn about, and jump Jim Crow," accompanying the song with a dance and a jump. To counteract the attraction John Dunn was put forward as the English Jim Crow, and succeeded. He came from California to Melbourne in 1855 with his family, one daughter (Rose) being on the stage. Miss Dunn became an especial favorite, and in a long season at the Princess' in the early sixties established herself in the good opinion of the Melbourne public. When George Fawcett Rowe was dramatizing Dickens, Miss Dunn's impersonations were a feature in the plays, notably Barnaby in 'Barnaby Rudge.' Miss Dunn, however, was not an enthusiast in stage matters, and when Mr. L. L. Lewis, an eminent amateur musician, and in a good commercial position, 'came along' Miss Dunn embraced the opportunity and became Mrs. Lewis, in which capacity she has enjoyed a happy life, and at one time used to come from her retirement at St. Kilda and assist at swell readings in the aristocratic suburb. The other daughter, Marion, made her first appearance in Melbourne at a time when Docy, Maggie and Nellie Stewart were budding. Miss Marion Dunn married Marcus Clark; he dying early, left the little lady with a large little family, for whom she has bravely battled and won. John Dunn, the father, may be said to have died upon the stage. After a performance, in August 1875, he fell dead on his own doorstep in Fitzroy. John, notwithstanding a certain - amount of Bohemianism, was careful of the pence, and left his widow the solid consolation of a couple of thousands of pounds sterling. There was a son, a good-looking lad, who tried the stage and failed. The talent went with the daughters. The mother was not an actress, but she was a splendid housekeeper and managed her four-in-hand team splendidly.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXII , Sydney Sportsman, 20 July 1904
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Charles Lamb, in an essay on some old actors, remarks that the casual sight of on old playbill which he had picked up brought back such a flood of memories that he was constrained to 'write them up.' Lamb says : 'These old remembrances makes us feel how we once used to read a play-bill, not as now, peradventure, singling out a favorite performer, and casting, a negligent eye over the rest, but spelling out every name, to the very mutes and servants of the scene.' This was written over 80 years ago, and the words are applicable to-day. There is no greater delight to an old playgoer than in turning over a sheaf of old play-bills and living in the past, and with these dead and gone actors recalling happy days that are no more.
Next, perhaps, to the delight of recalling the actors and actresses of our boyhood days is the present delight of running through old books and papers, musty with age; when in search perhaps of one object you light upon another and are equally a gainer of pleasure. One day recently, to get rid of some cobwebs which had gathered about the brain, I strolled among some of my old familiar friends, the second-hand booksellers of Sydney, and in the shop of Mr. J. Murphy, 22 Castlereagh-street, I came across what was to me an almost priceless treasure, a copy of the play-bill of the opening night of the old Queen's Theatre, Melbourne, now nearly 60 years ago. Mr. Murphy very kindly presented me with the relic, and as it brings back to earth, in memory, some of our ancient favorites, I may be excused for quoting it in extenso.
QUEEN'S THEATRE ROYAL,
QUEEN-STREET, MELBOURNE.
OPENING NIGHT.
THURSDAY EVENING, MAY 1, 1845.
The proprietor having completed his arrangements for the opening of the New Theatre Royal, Queen-street, on the above-named evening, has the honor of announcing to the patrons of the drama —the public of Melbourne and its vicinity—that he had secured all the available talent in the province, and is in communication with neighbouring colonies for the purpose of adding strength to his company.
Previous to the rising of the curtain an opening address will be delivered by Mr. Nesbitt.
ON THURSDAY EVENING, MAY 1, the performances will commence with Tobin's celebrated Comedy (in five acts),
THE HONEYMOON.
Duke Aranga ……………… Mr. Nesbitt
Balthazar ………………….. Mr. Capper
Count Montalban …………. Mr. Boyd
Rolando ………………….... Mr. Cameron
Jacques …………………….. Mr. Lee
Lampedo ………………...… Mr. Cochrane
Campillo …………………... Mr. C. Boyd
Lopez ……………………… Mr. Miller
Servant …………………….. Mr. Jacobs
Juliana ……………………... Mrs. Cameron
Zamora …………………….. Mrs. Knowles
Volanto …………………….. Mrs. Boyd
Hostess …………………….. Mrs. Avins
Villagers …………………… Messrs. Jones and Smith
In Act 4 a rustic dance incidental to the Comedy.
End of the Comedy, an Admired Song by Mrs. Knowles; a Comic Song by Mr. Miller.
To conclude with the laughable Farce of the
UNFINISHED GENTLEMEN ;
or
BELLES, BEAUX, CANTABS AND TIGERS.
Lord Totterley (an
Adonis of 60) ………………. Mr. Capper
Hon. Frisk Flammer ………... Mr. Boyd
Jem Miller (an Incipient tiger
or gentleman's gentleman)….. Mr. Miller
Charles Danvers ……………. Mr. C. Boyd
Bill Downey (an unfinished
gentleman, a polished philoso-
pher) ………………………… Mr. Lee
Bailiffs ………………………. Messrs. Cochrane and Jones
Louisa (with songs) ………..... Mrs. Knowles
Chintz ……………………..… Mrs. Cameron
Doors open at half-past 6. Performance to commence at 7 precisely.
Dress circle 5s, half-price 3s ; upper Circle 4s, half-price 2s ; pit 2s 6d, half price 1s 6d ; gallery 1s 6d, no half price.
Proprietor, Mr. Smith ; stage manager, Mr. Nesbitt; mechanist, Mr. Capper.
Vivat Regina.
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Mrs. Avins was the last of the thespians who opened the "old Queen's" to "Pass over." She died in the Actors' Homes, built by Mr. George Coppin some years ago. Mrs. Avis had been a subscriber to the Dramatic and Musical Fund founded by Mr. Coppin, which gave her a claim on the Homes, of which she availed herself.
Mr. Capper died between the ages of 80 and 90 years. I had the pleasure of meeting the ancient on more than one occasion, long after he had retired from the stage. He was particularly fond of reminiscing both in the newspapers and on the platform and was as full of old lore as the hungriest antiquarian could desire. Mr. Capper wrote a book, about which more at another time.
Six weeks later, the success of Mr. John Thomas Smith's theatre having precipitated matters, Mr. George Coppin, with a company, crossed over from Launceston, under the following agreement ; —
''Theatre, Launceston,
“May 30, 1845.
“We, the undersigned, hereby agree to proceed to Melbourne by the brig Swan, and to perform there under the management of George Coppin, Esq., for a season, and to return to Launceston when required, he paying passages both ways; and we also bind ourselves under a penalty of £25— to be paid to the said George Coppin— that we will not perform at the Melbourne Theatre, or any other place of amusement, unless it is under the management of the said George Coppin, or by his free will and consent.
'”Signed) Mr. and Mrs. Rogers, Mr. and Mrs. Charles Young, Mrs. and Miss Thompson, Messrs. F. B. Watson, E. A. Opie, J. Hambleton, J. Wilks, B. Rae, J. Megson, W. Howson, A. Howson, and A. M'Donald.”
Mr . Opie, or one of the same name, was a scene painter, and Mr. J. Megson was leader of the orchestra.
On arrival Mr, Coppin found that he could not come to terms with Mr. J. T. Smith, who, by the way, was also the proprietor of the St. John's Tavern, next door, and sooner then be "stuck," or allow the monopolist to dictate his own terms, Mr. Coppin engaged the large room at the Royal Hotel, in Collins-street, where afterwards stood the well-known and much-frequented, and where now stands the Union Bank of Australia, with a firm determination to oppose the theatre. John Thomas Smith appears to have taken fright at the energy of the man from Launceston, and came to terms. What these terms were, Mr. Smith announced in his playbill:-
QUEEN'S THEATRE ROYAL,
Queen-street, Melbourne.
The proprietor is happy to announce to his friends and the public generally that he has entered into an agreement with Mr. Coppin and the entire of his Corps Dramatique, to perform alternate nights with the present company for one month only. Trusting the greatest combination of talent ever witnessed in any of the colonies will receive the patronage and support it will ever be his study to deserve.
On Saturday evening, June 21, 1845, the entertainments will commence with Sir E. Lytton Bulwer's celebrated play (In five acts), entitled the
LADY OF LYONS.
Claude Melnotte ………… Mr, Charles Young
Colonel Damas ………….. Mr. Rogers
Beauseant ……………….. Mr. Thompson
Glavis …………………… Mr. Coppin
Mons. Deschappelles Mr. Watson
Pauline ………………….. Mrs. Coppin
Madame Deschappelles … Mrs. Watson
Previous to the play, and during the
evening, the band will play : — Overture, 'Italiana in Algero' (Rossini); overture, 'Fra DiaVolo' (Auber); .quadrille, 'Royal Irish' (Julien).
Wreath dance ……………. Mrs. Chas. Young
Song—
'Should He Upbraid 'Me …. Mrs. Rogers
Comic song ……………… Mrs Hambleton
Mr. and Mrs. Charles Young will dance the 'Tarantella,' in the costume of the country.
To be followed by an entirely new interlude (never acted here), called
THE FOUR SISTERS.
An entirely new comic double, Irish Jig by Mr. and Mrs. Charles Young.
The whole to conclude with the very laughable farce of the
TURNPIKE GATE.
Crack the Cobbler …………. Mr. Coppin
Joe Standfast ………………. Mr. Rogers
Nights of performances during the present month Tuesdays, Thursdays, and Saturdays.
On Monday night will be produced Howard Payne's celebrated tragedy of
BRUTUS,
By the members of the Melbourne Company.
On Tuesday evening will be produced the celebrated comedy of
THE SOLDIER'S DAUGHTER,
And a variety of entertainments by the Launceston Company.
The prices of admission and the time of opening were as on the first night of the theatre.
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Sixty years ago the playgoers of Melbourne got enough for their money. Those who recollect Charlie Young as a comedian will try to imagine him as Claude Melnotte, and then the Tarantella and double Irish jig! and the afterwards classic Mrs. Charles Young-Herman Vezin dancing a double Irish jig. I won der what London Haymarket audiences would have thought of it. However, it would appear as if, in the long ago, all thespians engaged for general utility and general usefulness. You won't require the fingers of one hand to count those of these double bills who new remain on earth.
After a time the amalgamation of the companies took place under the sole management of Mr. Coppin, Mr. J. T. Smith (the proprietor) taking a share of the profits for his rent. I have obtained an insight into the methods and cost of working an early-day theatre. Leading actors in 1845 received from 30s to 40s a week, and were satisfied. Ten years afterwards the same class of actor got from £7 to £12 per week. The entire working of the Queen's Theatre in 1845, with the combined companies, in expenses, was under £60 a week. What profits the manager and lessee must have divided !
What accounts we read of the same old Queen's in the golden roaring 'fifties, when red-shirted, sun-browned diggers, 'lucky diggers' lounged in the dress circle, smoked their pipes, called out to their acquaintances in other parts of the house, pelted their favorites on the stage with golden nuggets, and drank champagne at fabulous prices, ate and drank, sang and danced, as if the good times were never to end. And while the theatres crowded nightly with prices quadrupled, the St. John's Tavern adjoining did a roaring trade. John Thomas Smith, a Magistrate and a member of the City Council, raked the shekels into the till in bucketfuls. The daily and nightly saturnalia beggared description. The time and place are apropos for an incident, which occurred in the early days of the Queen's Theatre and St. John's Tavern.
In July 1846, the neighborhood of the theatre was the scene of an alarming riot, which kept Melbourne in some excitement for more than a week, and threatened at one period to end in a
general fight between Orangemen and Roman Catholics. The Orangemen decided to celebrate the anniversary of the Battle of the Boyne by a banquet in the Pastoral Hotel, which stood on the north-east corner of Queen and Little Bourke streets. The building was
decorated for the occasion, and Orange flags were displayed on polls from the windows facing Queen-street. This display aroused the passions of the R.C's., who assembled in hundreds round the Pastoral Hotel, many on both sides being armed. The Mayor, James Frederick Palmer, hurried to the spot. He ordered the door of the hotel to be opened, and entered, for the purpose of putting a stop to the riot ; but the R.C's., now finding the door opened, rushed through the hallway to the staircase, where they
were met by the Orangeman, and a regular battle ensued.
J. F. Palmer was a medical man, who, on arrival in Melbourne, found that the manufacture of gingerbeer and cordials would pay better than would the vending of Epsom salts and jalap. Palmer in after life became Speaker of the mixed Legislative Council, and President of the Legislative Council under Responsible Government. The doctor was squat, fat man, with a pair of calves that would have been the envy of Dr. Dill Macky to-day.
The crowd in front fired into the hotel, and 'Yellow-bellies' quickly responded. At this moment Father Geoghegan arrived and attempted to restrain his parishioners. As the good old padre (he was the first priest in Melbourne, and became Bishop of Adelaide); was in some danger of getting an ounce of lead, John O'Shannassy and a Mr. Hurley went over to his rescue, when Hurley got a bullet in the shoulder. Another man, drinking a glass of ale in the bar of the St. John's Tavern was badly wounded in the cheek, the shot having crashed through the bar window. The riot now was at its height; the doors, windows, and the furniture of the Pastoral Hotel were demolished ; the one party attacking the building and endeavoring to force an entrance, the other , defending every inch of ground. Fortunately some soldiers appeared upon the scene, and temporary peace was secured.
The R.C/s were induced to disperse by the promise of Dr. Palmer, and his brother magistrates that the Orange dinner should not total place. Three or four persons were badly wounded in the riots. Several of the Orange party were taken into custody and bound over to keep the peace. Mr. William Hinds, a grocer of Queen-street, was charged with firing the shot which wounded Mr. Hurley, and was committed for trial. The town was alarmed the whole of the night by skirmishes between detachments of both factions. On the following day the rival
greens and yellows assembled in different parts of the town. The whole of the hotels were closed by order of the authorities. Many of the shops were shut, and a dense fog, perhaps opportunely settled down upon the town. The police and military were called out, and having formed in Market-street, proceeded to an hotel in Flinders-street, where fifty Orangemen were assembled, but who quickly dispersed when the military and police appeared. They next proceeded to the top of Flinders-street, where afterwards stood the Stork Hotel, where some eighty Roman Catholics were assembled. After some hesitation these were persuaded to go to their several homes. The town was put under martial law for the night, and the soldiers bivouacked in Collins-street, opposite the Royal Exchange Hotel, which stood where the Bank of New South Wales stood thirty years ago. This riot gave birth to the Party Processions Act, prohibiting any party flag from being explayed under any circumstances in the colony of New South Wales, an Act more honored in the breech than in the observance.
The old Princess' Theatre, in Spring street, was built in 1854 by Mr. G. B. W. Lewis, who married Rose Edouin. It was of corrugated iron, and called Astley's Amphitheatre; and therein, with a good stud of trained horses, gave the uproarious diggers the delight of a circus. In 1857 John Black, who built the Theatre Royal in Bourke-street, bought the place, and, by adding a stage, etc., converted it into the Princess' Theatre, wherein Joseph Jefferson made
his first appearance. Of the great American actor-manager more hereafter. While George Coppin was building the Olympic — or 'iron pot'— John Black was building the Theatre Royal. That was in 1855. Mr. Black, in three years, made a huge fortune— or 'pile,' as the diggers named it— as a carrier between Melbourne and the diggings. His long line of drags and wagons were the means of supplying thousands of diggers with the necessaries of life, as much as £100 a ton being paid as freight to Bendigo, 100 miles from Melbourne. Mr. Black's great ambition was to own a theatre, and a fine building he erected. It was the first building lighted with gas in the city. The streets were then lighted with oil lamps, though a company had been formed, and was building its works on the Yarra. Mr. Black, however, built his own retorts, and made his own gas. Black thought that he could manage a theatre as well as he did his horse and bullock teams, but he found to his cost that the two enterprises took a totally different stamp of man to control. After a year of small successes and some heavy failures he leased the theatre to George Coppin, who immediately transferred G. V. Brooke and his company from the 'iron pot' to the Bourke-street establishment. The Theatre Royal was opened with 'The School for Scandal,' Mr. G. H. Rogers being the Sir Peter Teazle. The old Royal had many ups and downs from the first day that John Black opened it, and numerous owners, mortgagees, lessees and managers tried their luck in it. Few, outside the actual covenanting parties, knew who really did own the Royal. Fred. Bayne, the solicitor, had some big interest in it in the late fifties, as he claimed and got the free use of a stage box. The dress circle entrance was on a different leasehold, and at one time complications were threatened. In the late fifties Brooke and Coppin were lessees. The pair dissolving partnership, Brooke retained the Royal, Coppin taking the old Olympic and the Cremorne Gardens. Brooke at this time should have been worth £50,000. Henry Edwards and George Faucett Rowe became managers after Bob Heir had resigned. Brooke went travelling, and things got messed up generally. Then Ambrose Kyte, with a rent roll of about £10,000 a year, came in, lending the management money and getting the lease as security. He put Barry Sullivan in, and for some years the Royal was the best-conducted theatre in the Southern Hemisphere.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. NO. LXIV., Sydney Sportsman, 3 August 1904, 3
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A still-existing link between the drama of the fifties and the stage of to-day is Dr. James Edward Neild, who under a variety of pen names, has been writing in the interests of the theatre and the public for half a century. Born 80 years ago in the horsey town of Doncaster in Yorkshire, but descended from an Irish family who emigrated into England in 1642, James Edward Neild received his early education in Leeds, and in 1843 went to Sheffield to an uncle, a surgeon in large practice, and was apprenticed to him for five years. Subsequently he completed his medical studies in London at University College. He passed his examination in 1848, and thereby was privileged to add the letters L.S.A. after his name. For two years he practised his profession at Oulton, near Leeds, and was for three years house surgeon of the Rochdale General Dispensary.
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In 1853 he came to Melbourne on a visit, but was so taken up with that city, then in its 'roaring days,' that he decided to remain. He for a time abandoned the practice of his profession, and entered into business as a chemist and druggist with Mr. D. R. Long, the establishment being at the corner of Bourke and Stephen streets, the latter better known now as Exhibition-street. In 1857 he married the daughter of his partner, and for many years the firm of Long and Neild flourished in the pills and poultices line. But Dr. Neild had always a desire to be numbered amongst the fraternity popularly known as 'ink-slingers,' and in 1855 became one of the staff of the 'Age,' just then founded by a commonwealth of compositors. As a reporter Dr. Neild did the usual routine work of a morning journal, and when he ceased to be a reporter he became a contributor of theatrical notices to the paper. In 1856 a very readable publication appeared, printed by Shaw, Harnett and Co., owned and edited by Mr. T. L. Bright, and khown as 'My Notebook.' For this highly intellectual publication Dr. Neild was engaged to write dramatic notices. Some brilliant articles appeared, but 'My Notebook' ran its course in about a year ; a purely literary venture having 'no show' in those days. In 1856 there was a daily and a weekly 'Argus,' the latter being merely a resume of the week's news. In 1857 Mr. Edward Wilson issued the 'Examiner' from the 'Argus' office, Mr. T. L.
Bright being its first editor, and for two years Dr. Neild contributed to its columns a weekly article on the theatres, under the nom-de-plume 'Christopher Sly,' heading the articles with the transformed tinker's very happy expression :
'Let the world slip, we shall ne'er be younge.'
Mr. Wilson also issued another journal, in the interests of the squatting and farming classes, 'The Yeoman.' Eventually, in 1864, 'The Examiner,' 'The Yeoman,' and 'The Weekly Argus' were blended, and produced 'The Australasian.' For this latter journal, under the pen name 'Jacques,' and subsequently as 'Tahiti' and '***', Dr Neild praised and slated theatrical performances for years. He became a contributor to Melbourne 'Punch,' amongst other journals, notwithstanding his multifarious, duties as a critic, a lecturer in medicine at the University, editor ot the 'Australian Medical Journal,' and a general medical practitioner, Dr. Neild found time to write two comediettas, which were successfully staged.
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In 1855 Dr. Neild, with R. H. Horne ( 'Orion'), James Smith, John Edwards, Tom Pavey, the two Henninghams, and a few other choice spirits assembled in the 'eating house' in Elizabeth-street, Melbourne, known as Williams' dining rooms and founded the Melbourne Garrick Club. Subsequent meetings were held at Kelly's 'Argus' Hotel, next 'The Argus' office. Dr. J . E. Neild was chosen the first secretary, and held the office for some years. He also took part in some of the earlier performances of the club, chiefly in characters bordering on low comedy.
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It is, however, as a dramatic critic that we have to deal with the genial little doctor. In this character he had the reputation of being a hard hitter, and at times he hit so hard that he earned reprisals. One noteworthy one is in my memory at this moment. In 1858 Professor Anderson, 'The Wizard of the North,' appeared in Melbourne. None of the present generation remember this gentleman— a big, bony, braw Scot, who was born at Kincardine in 1814. Anderson's life was a series of ups and downs. In his time he played many parts. The love of the life of a strolling player early led him to the boards. During his early travels it is said that he was brought into contact with Signor Bletz, the cleverest magician of his time. New ideas entered the mind of young Anderson ; he saw, watched, and set himself to unravel the mystery of the Signor's tricks. In a short time he gave a 'magic' entertainment in Aberdeen, and met with success far beyond his expectations. Every performance of a new trick urged him on, and presently he assumed the 'nom de stage' 'The Wizard of the North,' and commenced to make for himself a name. He made a tour of Scotland, and made the acquaintance of M. Phillipe, who was as celebrated in France as Anderson was in Scotland. By great study and hard work Anderson became a great magician , constructing, even at the expense of his daily meals, the best apparatus his means would allow him, and devoting his inventive genius to new tricks. We are told that vicissitudes, struggles, hardships, and continuous, labor made up this portion of the Wizard's career. After a second tour through Scotland, Anderson worked his way into the northern and midland counties of England. After a long season in Yorkshire he proceeded to Hamburg, Sweden, Norway and Denmark. After successful visits to the several towns on the Baltic, he reached St. Petersburg, and obtained the personal patronage of the Emperor Nicholas. He remained some months in the Russian capital, earning considerable sums of money. After a tour through Russia he returned to England, via Berlin and Vienna. Shortly after his return home he appeared by command at Balmoral. In 1851 he went to America, and made a tour of the entire Union from Maine to California, and from St. Lawrence to the head of the Mississippi. His profits were great, clearly indicating his success as a magician. He then returned to England, and appeared at several of the West End theatres. His big success, however, was at the Lyceum, in the Strand. Finding this house too small to accommodate the audiences that assembled, he took Covent Garden Theatre, and there appeared in a series of dramatic parts, including , 'Rob Roy,' William' in 'Black Eyed Susan,' Rolla and other characters. On March 15, 1856, the season at Covent Garden was about to close with a performance commenced an hour after noon and continued during the afternoon until midnight, when the entire entertainment was to finish up with a masquerade. While the latter was proceeding, on the morning of the 16th, the house took fire, and in a few hours was reduced to a heap of ruins. By this calamity Anderson not only lost money, but he lost his entire apparatus, the accumulation of many years. Soon after this the Royal British Bank, in which he had invested his savings, smashed. Anderson was not, however, disheartened. He looked abroad to right himself. A most liberal offer, was made him by Mr. George Coppin, which , was accepted, resulting in his visit to Australia, engineered by Mr. E. P. Hingston. He made his first appearance at the Theatre Royal, Melbourne, in June, 1858. The management erected a platform from the opposite side of the stage, in front of the dress-circle, to the prompt side, which enabled the wizard to exhibit his tricks and magic to the occupants of the circle when occasion required. His success in Melbourne was great. Not only did he draw full houses as a magician, but his dramatic representations drew large audiences. I saw him play Rob Roy, Bailie Nicol Jarvie, Jock Houison, Dandle Dinmont, and many other Scotch characters, which, notwithstanding a lumbering gait, he played well. In characters requiring pure English he was a failure, and he knew it. After his Australian tour, Anderson visited California, India, China, Japan, Ceylon, the Sandwich Islands, West Indies, and South America. He then returned to England through America, losing a lot of his earnings through the Civil War. On his arrival in England he found himself again nearly stranded ; but, not disheartened, he again put his shoulder to the wheel, and gradually began to gather the fruits of his industry. He was now in very indifferent health, and had suffered greatly. His death took place at Darlington, in February, 1874, at the age of 60 years. His last public appearance was made in the town where he died, on January 29, where he played his last trick— that of firing a banknote from a pistol and lodging it in a candle. There was a peculiar coincidence in connection with this trick. The father of the local correspondent of a London journal furnished the material for Anderson's first trick, when a pupil, the correspondent, himself furnishing the note for the professor's last trick.
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Dr. Neild did not take kindly to Professor Anderson,' 'Christopher Sly' dubbed the Wizard of the North, a clumsy charlatan, and applied many other unfriendly epithets. The criticism, however, did not effect the attendance at the Royal, but a night came when Anderson had his revenge. 'Christopher Sly' was in the dress circle one night, when the professor ascended the staging, and standing right in front of the critic gave him a terrible 'tongue thrashing.' Neild sat it out, and when fairly tired Anderson returned to the stage and continued the performance.
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Mr. E. P. Hingston became famous as the agent of Artemus Ward, and as the manager of Messrs. Spiers and Pond's ‘Hall by the Sea,' at Ramsgate. His brother, James Hingston, recently deceased, was well known in Melbourne as a Bohemian of the wealthy order. Later on he travelled, and published his experience under the title of the 'Australian Abroad.' I met James Hingston a few months before his death, in Pitt-street, when he told me that he had learned the secret of being able to travel without baggage. James went home a couple of years ago for medical advice, but he was past medical remedies, and died of cancer. By his will he left something like £20,000 to the Melbourne Benevolent Asylum to erect a one-storied building for aged men, as, when a member of the Asylum committee he was always pained to see aged, gouty, and rheumatic men struggling up four stories of the dormitories. Pity Mr. Hingston did not give the ancients in the asylum the benefit of his money during his lifetime, as I understand there is some hitch in the will which so far has prevented the erection of the building.
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It was while Mr. Hingston was in Melbourne as agent for 'The Wizard,' Anderson, that a great transformation took place in the appearance of the front of the old Theatre Royal. The approaches to the upper circle, stalls, and pit were open to the general public, and became a lounge for all the deadbeats and town loafers, who congregated nightly in the hall. Mr. Hingston suggested that the hall should be a means of revenue to the proprietors of the theatre, and a source of comfort to theatre-goers. Accordingly, the place was renovated and decorated in superior style. A gallery of pictures, all Australian subjects, by 'S.T.G.' and other well-known artists of the day was secured, and the walls decorated therewith. Where are those pictures now ? They are invaluable, in whosoever's hands they may be. Natty little tables were dotted about the place, active waiters in snow white jackets introduced coffee for teetotalers, and liquors of all types for others. The place was named 'The Vestibule,' and a six penny refreshment ticket admitted the in dividual beyond the portals. The theatre ticket, of course, admitted the playgoer. The hitherto frowsy bars on both sides of the vestibule also underwent a complete change; the Hebes, dressed in black silks, and the pick of the profession at that, attended to the wants of the Johnnies of the day. It was the Hingstonian change, and the success attending Spiers and Pond's introduction of the first English eleven that laid the foundations of the fortunes of the firm, a success which culminated in the present gigantic English firm of Spiers and Pond, Limited. The Melbourne firm presented Mr. Hingston with a very handsome and valuable finger ring as a souvenir of his happy suggestion.
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Dr. Neild's pen helped him into a scrape with the robustious Thomas Padmore Hill, the elocutionist. This time, however, the pen was used in a private matter, though the assault arising out of it occurred in the vicinity of the dress circle of the Theatre Royal. The occurrence took place on December 21, 1876. For ; twelve months previous Dr. Neild had been attending Mr. Hill's family professionally at Mr. Hill's own request, and had never charged any fee. The doctor was extremely generous in this way to all members of the profession, the humblest member of which could always rely upon medical aid in case of necessity. Parenthetically, it may be said that Dr. L. L. Smith, son of a former lessee of Drury Lane Theatre, was equally generous in a similar direction. To Dr. Neild Mr. Hill had repeatedly expressed his gratitude for the valuable services rendered. Hill asserted that Neild had insulted his wife, but the accusation had not the slightest foundation. On the night in question Dr. Neild , was at the theatre with a party of ladies. When coming out after the performance Hill went up to him and said, 'I want to speak to you ; I am going to bring you before the public.' Neild replied, 'I cannot speak to you now ; I have some ladies with me.' Hill became very much excited, and offensive in his language, when the doctor told him to go to the devil. (Hill had had frequent interviews that evening with 'James Hennessy') Hill then struck the doctor in the face and cut his lip. A ticket collector interfered, and Neild got the ladies into the dressing room. Hill then went into the centre of the lobby, and roared out, 'That is Dr. Neild! He's a damned scoundrel ! He insulted my wife. I'll show you up, sir! I have got your letters!' The lobby was full of people coming out of the dress circle. Neild said, 'The man is drunk : it's a pity there are no means of giving him in charge.' Neild then went downstairs with the ladies, and on entering a wagonette Hill again went up and said, 'I have slapped your face, sir, and I'll do more.'
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The outcome of the assault was an appearance at the police court, when Dr. Neild swore that he had never insulted Mrs. Hill; he had been her medical attendant. A correspondence afterwards took place between Mr. and Mrs. Hill and Dr. Neild. The latter informed Hill as to the nature of his wife's correspondence. Mrs. Hill had separated from her husband, and lived in lodgings at Jolimont. There Dr. Neild was called in to see Mrs. Hill. Hill was not present, but the doctor sent for him, as Mrs. Hill was laboring under very great nervous excitement. Hill came at noon, much annoyed at being sent for, as he said he could do nothing for his wife. The doctor offered to prescribe for her, but she refused medicine. Hill's presence seemed to further excite the wife, and she left the premises. Hill and Neild followed her down the road towards the Yarra, but lost sight of her. She was subsequently found by the police on the road leading to Richmond, and was brought back to her lodgings. Mrs. Hill had previously been in communication with Dr. Neild, as to her literary abilities, and the doctor had spoken to Mr. Hill about it. Mrs. Hill, living apart from her husband at Emerald Hill, had received letters from Dr. Neild, but they appear to have been of a purely friendly character, though they did commence 'Chere' Amie,' and ended 'Yours always.' In the course of the hearing at the police court, Dr. Neild admitted that five years previously he had applied to have Mr. Le Roy bound over to keep the peace. Le Roy had threatened the doctor with personal chastisement on account, of something disparaging written about Le Roy's Wife, known as Madame Duret on the stage—the same who, I think, first introduced the 'Octoroon', to the Australian public. The Neild v. Hill police court case ended in the police magistrate, Mr. Call, inducing Hill to apologise and pay three guineas costs, the latter going into the pocket of 'Jack' Edwards, Dr. Neild's old Garrick Club crony, who appeared to conduct the case against Hill.
(To be continued:)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXIX, Sydney Sportsman, 7 September 1904, 8
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Coming back to Joseph Jefferson for a while. The American comedian sailed from San Francisco for Sydney on September 10, 1861. In those days there were no fine steamers to make the voyage a pleasure trip, but Mr. Jefferson possessed the happy knack of making himself comfortable anywhere; and though the good ship Nimrod took 64 days to do the trip between the Golden Gate and Port Jackson Heads, the comedian had a very fine time of it. His chief occupation, besides reading and sketching, was a humorous attempt, he tells us, to divert a cheerful, pleasant Roman Catholic priest Father O'Grady, from celibacy: "I told him he was altogether too good a fellow for a single man, and assured that he would never know what true happiness was until he had a wife by his side and half a dozen children by his knee. Our theological arguments on the quarter-deck were a source of great amusement to ourselves and the passengers. Father O'Grady, when he got excited, would walk up and down the deck, tossing his long arms wildly about, as if he were making signals of distress." Nothing in their theological arguments, however, disturbed the friendship of the pair. Jefferson was (and is still, I hope) too mild and gentle to disturb the peace of anyone. I verily believe that the American comedian is "pigeon-livered and lacks gall." (This is meant to be complimentary.)
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Mr. Jefferson gives an amusing description, in an article published some years ago in the 'Century Magazine,' of his first encounter with Australian theatrical managers. Old Sydneyites will remember the individual, whose portrait is not drawn in colors too flattering: “He was an undersized, round-shouldered little Cockney Rolamo. Where he got that remarkably Italian appellation I cannot say; but if his ancestors belonged to the 'land of song' they must have strayed into the very heart of Whitechapel just previous to the birth of their son and heir, as his dialect was strongly impregnated with the drawling twang of that locality. It was recorded of him that he was never known to put an 'h' in the right place, and his talent for reversing the 'w' and 'v' amounted almost to genius. He had originally been lamplighter in the theatre, but by his industry and intelligence he rose to be its manager, and he was in the zenith of his fame when I arrived in Australia. After my introduction by my agent to Mr. Rolamo as the coming man, who was to make his (the manager's) fortune, that worthy cast a patronising eye over me, but did not seem at all overwhelmed, taking my arrival with provoking coolness. This chilling atmosphere pervaded the office until my agent unrolled some highly inflammable printed matter, the novel character of which seemed to attract the great man's attention, and condescending to address me, he said: 'You see, Mr. Jeffries - oh, I beg pardon, Jimmison I mean— with all due respect to you, there 'as been so many blawsted Yankee comics over 'ere that we are kind o' sick on 'em. You may a hextra good lot for all I know, but lately the queerest mummers we've 'ad 'ave come from Amerikee. This printed stuff you've got looks spicy— in fact I don't know as I ever see spicier - but it don't prove nothink, does it?' " Jefferson's agent broke in with the assurance that the comedian was quite legitimate and not a mummer. “ 'Legitimate!' exclaimed the manager. 'Well, that's the worst rot of all. The legitimate would wentilate my theatre on the first night; and as for that dismal old guy, 'Amlet, I wouldn't 'ave 'im at no price.' “
Jefferson assured the big man that Hamlet was not in his list of characters, and that as far as he was concerned the reputation of Mr. Rolamo's 'theatre' would not suffer through his productions of Shakespeare's plays). “I admitted his perfect right to protect himself against fraud, and that as I was a stranger, I proposed first to show him what my material consisted of, and wound up by offering to rent his theatre and company, paying him a good bonus to relinquish the management into our hands for a month, and that if we could agree upon terms his money should be paid in advance. At this proposal the hard features of Mr. Rolamo softened into an oily sweetness that was lovely to behold. He gently put out both hands to grasp mine; his eyes fairly beamed on me with affection, and his heart seemed so touched that it quite choked his utterance. 'My dear lad' said he, 'that's the way I like to hear a cove talk, for I always believes in a cove wot believes in hisself.' ”
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Mr. Jefferson explains that he found the acting much better than he expected, “in fact, throughout the colonies, I was invariably impressed by this dramatic excellence.” Mr. Jefferson's explanation of this is that actors who had originally come from England to 'star,' remained to make their homes in the colonies, and settled down into the different stock companies. He, however, had no cause to complain of the support given him; on the contrary, he felt that he had his work cut out for him if he were to stand out prominently amidst such surroundings.
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Of his first appearance in Sydney, Mr. Jefferson says: - “I found the company obliging, and, as I expected, thoroughly competent. Matters progressed favorably, the pieces for the first week were rehearsed, and all things were duly prepared for the opening. The house was quite good on that night, and the audience generous and sympathetic. They seemed to appreciate what a thorough stranger I was, and as a stranger, gave me welcome.” When the curtain fell, Jefferson was congratulated by the company and Mr. Rolamo, who, the comedian fancied, was a little annoyed that he had not made better terms with the star, as he said, " ‘I say, do you know I took you for a green 'un when I first meet you, as you had a kind of innocent look about you that took me in; but you're sharp, do you know that ?’ “
Jefferson didn't think that he was particularly sharp, but thanked the manager for the delicacy of the compliment, and hoped that he might live to deserve it. From Jefferson's own story, he does not consider himself to have been "a frost" in Sydney, though many old memories amongst us say that he was. Perhaps Mr. Jefferson does not care to admit it right off. I personally know that he was not a frost in Melbourne, where he “ran” for 164 consecutive nights at the old Princess.
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At the expiration of the Sydney engagement Mr. Jefferson voyaged to Melbourne — no rail then. George Faucett who afterwards added Rowe to his name, had the old Princess Theatre all to himself and a ''shocking bad hat" sort of concern it was. If I am not mistaken George Faucett got the 'old barn' on a long lease at a low rent, but he pegged away at it, and eventually won. Jefferson made the same terms with Faucett as he had with the gentleman whom he names Rolamo. He admits that his success in Melbourne was more flattering than it had been in Sydney. "The audiences were numerous and fashionable, and the articles in the daily papers referring to our plays and acting were of the highest literary character." A just tribute to the critics' acumen and literary ability of Messrs. James Smith, James Edward Neild, and William M. Akhurst, the two former being still with us.
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At the conclusion of his Melbourne engagement Jefferson went into the mining and provincial towns, where his success was as genuine as it had been in the metropolis. He tells an amusing story of his experiences in one of the mining townships, where the bill-poster and bell-ringer were generally one and the same individual. On the way from his hotel to the theatre Jefferson came across a knot of people, in the midst being a little fat man in a seedy suit of black, swinging and ringing a big brass bell, gesticulating violently, pausing in his swings and calling out in stentorian tones : "Oh, yes! Oh, yes! Ladies and gentlemen, now or never is your only chance to see the greatest living wonder of the age— Joseph Jefferson, the great hactor from America. His powers of producing tears and smiles at vun and the same time is so great that he caused the Hemperer of Roushia to weep on his weddin' night, and made her Gracious Majesty the Queen bust out laughin' at the funeral of Prince Albert. He is the bosom friend of the President of Amerikee, and the hidol of 'is 'Ighness the Prince of
Wales. "
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Jefferson said that he always had a horror of orators, but the orator on the barrel top in the mining township added horror to his previous experience. The actor rushed to the theatre and demanded of the manager, the meaning of the exhibition. The manager explained that it was the usual thing in mining towns, that G. V. Brooke and other great men had been so 'belled' and 'tolled,' and that he, the said manager, thought that Mr. Jefferson would have liked it. “Like it!” said Jeff, “If it is not stopped at once I will not act to-night.” So the little fat man was ordered to cease his harangue and come down from the barrel. But the bellringer wouldn't budge; he wasn't half through, and it would injure his business and ruin his reputation to be cut off “in the heye of the public,” and "he'd be blowed" if he'd stir until he had finished. The manager appealed to Jefferson to let him go on. “Now, mark me,” said Jeff, “If he rings that bell again or opens his mouth, I don't act.” That settled it. The little fat man stood with his arms folded, a la Napoleon, glaring defiance at the manager and his satellites; but they seized him, and a desperate struggle ensued. The tall white hat of the ''town bell" was completely smashed over his eyes, and in stamping violently in his rage the head of the barrel burst in, letting him through until only the fat head appeared at the top. They tipped the barrel over and rolled him off inside, to the great amusement of the bystanders, who had been roaring with laughter all the time.
In Tasmania Jefferson tells of a singular incident. He acted the 'Ticket of Leave Man' for the first time in Hobart Town, and there was much excitement in the city when it was announced. "At least 100 ticket of leave men were in the pit on the first night of its production. Before the curtain rose I looked through at this terrible audience; the faces in the pit were a study. Men with low foreheads and small, peering, ferret-looking eyes, some with flat noses, and square, cruel jaws and sinister expressions — leering, low and cunning — all wearing a sullen, dogged look, as though they would tear the benches from the pit and gut the theatre of its scenery if one of their kind was hold up to public scorn upon the stage. This shows the power of the drama. An author might write an article abusing them, or an artist paint a picture showing up the hideous deformity of their features — all this they could bear and even laugh at. But put one of their ilk on the stage in human form, surrounded by the sympathetic story of a play, and they would no more submit to an ill-usage of him than they would to a personal attack upon themselves.”
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“The first act of the play produced but little excitement. These men seemed to enjoy the humorous and pathetic side of the story with great relish, but when I came upon the stage in the second act, revealing the emaciated features of a returned convict, with sunken eyes and closely shaved head, there was a painful stillness in the house. The whole pit seemed to lean forward and strain their eyes upon the scene; and as Bob Brierley revealed to his sweetheart 'the secrets of the prison house,' there were little murmurs of recognition and shakings of the head, as though they fully recognised the local allusions that they so well remembered; deep drawn sighs for the sufferings that Bob had gone through, and little smothered laughs at some of the old, well remembered inconveniences of prison life; but then, Bob was a hero, and their sympathies were caught by the nobleness of his character and innocence of crime, as though each of these villains recognised how persecuted he and Bob had been.”
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As the play proceeded their enthusiasm increased. Wherever Bob was hounded by a detective, or ill-treated by the old Jew, they would howl their indignation at the actors; and when he came out unscathed at the end of the play, a monument of persecuted innocence, they cheered to the echo. This performance rendered Jefferson very popular with a certain section of Hobart Town society 40 years ago, and he was often accosted in the streets by "old hands," who told him the woes and sufferings they had undergone. In fact, they looked upon him quite as an "old pal." Jefferson admits that these courtesies were very flattering, but the inconvenience of being poked in the ribs, and being told that they knew him, as much as to say, “Ohl pal, all right, we know — you've been there,” became somewhat frequent and irksome. The life that Jefferson retreated to on his retirement from the stage was that of a country gentleman, his favorite amusements being hunting, fishing, and sketching from nature.
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In the days when Jefferson was delighting Australian audiences with 'Bob Brierley,' when Mrs. Woolridge was the Mrs. Willoughby, when Julia Mathews was the Sam, H. R. Redwood or Lachlan M'Gowan the Melter Moss, Ned Holloway the Jim Dalton, Annie Lockhart the May, Marcus Clark had not produced his story of Van Demonian and Norfolk Island convictism— 'His Natural Life'— and the 'Ticket of Leave Man' was about the only item of the sort presented upon the stage. Yet I remember the late Mr. J. J. Welsh telling me that when a company with which he was connected, playing at Launceston, billed ''Margaret Catchpole," a lady, representing a certain family, waited upon the management, and, as a favour, asked that the play be withdrawn, and the manager obligingly complied with the request. To-day, of course, in Hobart the play-going public does not get its writers wrung by the performances of the 'Ticket of Leave Man' or 'His Natural Life,' or any personally objectionable play.
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Apropos “Ned” Holloway ("Jim Dalton"). This old identity goes back so far in theatrical annals that one wonders where and when he commenced. Fifty years ago he was a noteworthy actor, and with his wife travelled every inch of Australia where an actor or a company could show. As far back as 1862 Mr. “Ned” Holloway (no relative of the other Holloways) and his wife played in the Prince of Wales Theatre, Bathurst. Not many remember that little theatre. It stood close to the old Club House Hotel, and in it were given some excellent dramatic representations. In those days there was an excellent travelling population, which made Bathurst its head centre for a time. You had to “go round by Bathurst” to reach Hill End, Tambaroora, etc., and hotels and theatres flourished. There was another and a larger theatre round in Durham-street, which a few years ago stood as it did — stage, galleries, etc.— in the days of G. V. Brooke, though the building was used as a hay and corn store. The railway killed the glory of old Bathurst, though a brilliant effort was recently made to regild the city through the Federal Capital. As to Ned Holloway, he travelled to the Lachlan diggings, and had with him the late Shiel Barry, an Irish comedian of merit, who afterwards became famous in London and Dublin. Long before that, however, Mr. Holloway had come to the point in his profession, having performed in Victoria in the early fifties. Mr. Holloway is an ancient, but by no means played out. The old man's vitality is amazing, and that voice — well, I don't know another like it. The Holloways made money, and Ned's ambition, years ago, was a farm on the Hawkesbury (Mrs. Holloway was a native of that neighbourhood, I think), where he and his wife could settle down and end their days in peace after life's fitful fever. But the wife died, to Ned's great regret and loss, and the old man kept battling on. He formed for years one of Alfred Dampier's company, but I have lost sight of him for some time. Like the late Clarence Holt, Ned Holloway in his early days aspired to be the T. P. Cooke of the colonies, his favourite sailor character being William, in 'Black-eyed Susan.' There is a yarn in the profession that after Clarence Holt returned to Victoria in the early sixties he gave glowing accounts of his success at Drury Lane, accounts which fired the ambition of Ned Holloway, who expressed the intention of taking a trip to the "big smoke." "I would," gently insinuated Holt, ''and," he added kindly, "I'll give you a note to the management. Everything Australian goes down in London. You'll get a show! Open at Drury Lane in 'Black-eyed Susan.' It's a popular favourite. The house will be crammed. You speak outside; it's a good 'take.' Bound on the stage, the applause will be immense, and when you open your mouth you'll be so bally well hissed that you'll wish yourself back in Australia." But then Clarence Holt was not esteemed a generous man to brother professionals.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXVII., Sydney Sportsman, 24 August 1904, 8
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Contemporary with the arrival of Joseph Jefferson and Harry Sullivan came the opera troupe, controlled by as true a gentleman as ever set foot upon our shores,
WILLIAM SAURIN LYSTER
who arrived from San Francisco in 1861. In the troupe were Madame Lucy Escott, Miss Rosalie Durand, Miss Georgia Hodgson (Mrs. W. S. Lyster), Mr. Fred Lyster, and Mr. Henry Squires.
Before entering upon a history of the troupe's Australian career, I may be permitted to give a sketch of the enterprising gentleman who brought the singers to our shores, and who ended his days amongst us.
Mr. Lyster was born on March 21, 1828, at 116 Lower Baggot-street, Dublin, where his father, Chaworth Lyster, then resided. The father held a commission in the British Army, and had seen service during the Irish Rebellion in 1798. After his marriage he retired from the army, and became the agent of some extensive estates in Ireland, one of which belonged to William Saurin, then Attorney-General, after whom the future operatic manager was named. At the age of 13 years, William Lyster, recovering from a very serious illness, was sent on a voyage round the world in a sailing ship, and in that ship be visited Sydney and Melbourne in 1842. In 1847 he went out to the Cape of Good Hope, and served as a volunteer in the Kaffir war under Sir Harry Smith. A year afterwards he crossed over to the United States, and took to the stage. He had some qualifications for the profession, but it is said that his success, on the whole, was not encouraging, and in 1855, purely from a love of adventure, he joined a filibustering expedition against the peace of Nicaragua, organised by General Walker. Mr. Lyster, with the rank of captain, fought in three or four battles, and was then commissioned to the States to enlist recruits. During his absence Walker and his companions came to an untimely end, and the expedition collapsed.
In the year 1857 Mr. Lyster appears to have directed his energies into a more agreeable channel. He got together his first operatic company, consisting of the artists named above. The company did well in the Western States, and Mr. Lyster found himself able to spread himself towards Australia. On arrival in Melbourne he enriched his troupe by the engagement of the well-known and popular baritone, Mr. Farquharson, and Mr. J. E. Kitts. The company met with complete success, and Melbourne established itself as the headquarters of opera in Australia. The troupe kept together for six years, visiting the colonies in turn.
In New Zealand they had continuous employment for eight months.
From 1861 until 1880 Mr. Lyster was so intimately connected with opera that an account of his career will consist of little else than a chronicle of the several companies that apppeared under his auspices. No venture, however, exceeded the first in its results. From 1861 to 1868 novelty succeeded novelty until the public were made acquainted with the best operas extant. As an instance of his industry it maybe mentioned that 'Don Giovanni' was produced for the first time in Australia on September 23, 1861, and 'The Huguenots' (Farquharson as Marcel) on October 14, 1862. The latter opera ran for 22 nights. In 1860 the company was strengthened by the addition of Madame Simonsen, whose first great success came about in 'L'Africaine,' in conjunction with Armes Beaumont. The latter had joined the Lyster troupe some time previously in Sydney, but it was not — so the critics say — until he was entrusted with the part of Vasco-di-Gamma that he stepped into the front rank as a tenor singer.
After a long and successful stay in the Australian colonies, the company left for California in 1868, under Mr. W. S. Lyster's direction, sailing for San Francisco in the Alexander Duthie. In those days there was no Pacific mail service. The States projected tour proved a failure at the outset, and Mr. Lyster promptly returned to Australia, by way of New Zealand, in the barque Novelty. After the departure of Madame Escott and Mr. Squires, regular opera was absent from Melbourne for some time. Then a company which had arrived from South America appeared for a brief season, under the management of Mr. Lyster at the Haymarket Theatre, the principal singers being Vitali, Devoti, Bertolini and D'Antoni. Mr. Lyster then entered onto a sort of temporary partnership with Mr. John Smith, and went to England to engage another company. Under the joint management of Messrs. Lyster and Smith, Signora Baratti, Lucy Chambers, Signor Neri, and Signor Dondi appeared in Melbourne in 1870 the engagement lasting 12 months. Then came opera-bouffe in February 1871 a successful experiment, as comic opera had its share of public interest. Mr. Lyster's next venture was in conjunction with Cagli and Pompei in May, 1871, when a very strong body of singers was introduced: the Coys. Signora Zenoni, Signora Cortesi, and Signori Rosnati, Coliva and Dondi. The conductor was Mazzovati, and the troupe ran through a series of works of Italian composers at the Princess' Theatre. They then went to the Opera House, then known as the Prince of Wales Theatre. Then came Agatha States and her company, with Giorza as conductor, they performing for a limited period under Mr. Lyster at the Haymarket. For over ten years opera had been heard at each theatre at Melbourne, but it never could claim a settled home. The first performances in 1861 were given at the old Royal in Bourke-street ; some successful ones were given at the old Princess'. When the 'Varieties' was burned down, the Prince of Wales Opera House was built in Bourke-street East in 1873 by a company, of which Mr. W. S. Lyster was the managing director: and on the return of the Lyster-Cagli troupe from a tour in the neighboring colonies opera was given for the first time in the new theatre. A big triumph was achieved in the production of 'Moses in Egypt,' with Susini in the leading part. After this, English, French and Italian opera were played in turn, with Alice May Emilie Melville, and Clara Thompson shining in Offenbach and Le Cocq. The Palmeri Troupe appeared in 1874, but nothing remarkable was done in serious opera until 1877, when 'Lohengrin' was produced, with Madame Antoinetta Link and Signor Paladini in the leading parts. It had a long, though not remunerative, run. Ill health, in 1878, induced Mr. Lyster to visit England, and with him went his wife and Mr. Armes Beaumont.
While in England Mr. Lyster entered into an agreement with the London Comedy Company, and returned to Melbourne in 1879, not much better, however, for his trip. On his return there
had been short seasons with Madame Hersee, Mr. Verdi, and Madame Boema, interspersed with dramatic performances.
Many years before his death Mr. Lyster established himself on a farm at Dandenong, occupying his leisure time in breeding cattle and sending away produce to market. At this pleasant homestead Mr. Lyster frequency surrounded himself with genial friends, but in the last year or so of his life his health compelled him to reside near the city. He died, at the house of his friend, Mr. William Dean, at Hawthorne, on November 27, 1880, aged 52 years. His widow— nee Georgia Hodson— surviving him over 20 years.
When the Lyster Opera Troupe returned to San Francisco, in 1868, they did not go as they came; they left behind one of their number.
ROSALIE DURAND, wife of Mr. Fred Lyster. This lady was a native of the United States, of French descent, and made her first appearance at Baltimore in 1854. On the morning of December 8, 1868, Mr. Lyster, according to the newspapers of the day, left his lodgings in Macquarie-street North to attend a rehearsal at the Prince of Wales Opera House, Castlereagh-street, leaving his wife at home, apparently in the best of health and spirits. When Mr. Lyster returned to his lodgings, he found his wife lying dead upon the bed. Medical evidence proved that she had died of heart disease. The theatre was closed that night, and on the following day Sunday— her remains were interred in the R.C. Cemetery, Devonshire-street, and at the head of the grave was placed a very modest headstone, on which was a very
meagre description :-
I.H.S.
Sacred to the Memory of
ROSALIE DURAND LYSTER,
Who departed this life
8th December, 1868.
Aged 33 years.
While in Australia, Mr. Henry Squires had an experience of the fickleness of an Australian audience. After their first performance in Melbourne the troupe journeyed to Adelaide, where they had a full measure of success. Meanwhile some excitement was created in Melbourne. Mr. Squires was an excellent tenor, every Melbourne judge of music and voice conceded that. He was popular with those who did not understand music, but who were charmed with the beauty of his voice and his general bearing. The devoted Escott, too, had won her way into the affections of the playgoers. But Melbourne people had an idea that however excellent a vocalist, Mr. Squires was an injudicious letter writer, and his friend, the recipient of the letter, more injudicious than the writer, in publishing it. In the San Francisco 'Bulletin,' 11th June, 1861, appeared extracts from two letters written by Mr. Squires to a friend at the Golden Gate. These letters were dated March 11 and April 9, 1861. The first went thus: — "My Dear Friend, — We saluted the Antipodes on the 1st instant, after the delightful voyage of 52 days. We reached the trade winds eight days after sailing, when we had weeks of charming weather. For days and days the glorious Pacific was as quiet as a duck pond. I shall not attempt to give you scenes du voyage, as your knowledge of the world will enable you to picture for yourself the various characteristics eccentricities, etc., of a caged troupe of opera singers. Captain Hart and his agreeable half contributed largely to the pleasure of the voyage. The table was A.1. — fresh meats, vegetables, and fruits in abundance. The heat was severe in the tropics, but we managed to keep be low boiling heat under the h-awning.
"I like this shore. Melbourne is a fine city, but everything and everybody is 'blwasted English.' The streets are broad and clean, some of them as wide as Pennsylvania Avenue. The public buildings, churches and residences generally are built of beautiful stone, and present an elegant appearance. I could almost imagine myself dropped down in some provincial town in England; there are the same Saturday night markets in the streets, the same gin shops, bar
maids, hawkers, etc., and the same promiscuous use of the eighth letter of the alphabet.
“There are three theatres in operation here, besides the Cremorne Gardens, singing saloons, etc. Lyster has made arrangements for the troupe to open on Easter Monday, the 25th instant. 'Lucia di Lammermoor' has been selected for the opening, when your most obedient will make his bow as the unfortunate and broken-hearted Edgardo.
"We have a chorus of 17 men and 11 women, and a capital orchestra. The theatre is larger than the American in San Francisco. It is handsomely decorated, has a full depth of stage; is harmonic, but badly lighted.
“I can foresee that my absence from San Francisco will seem interminable. I could gladly return to-day, and the sentiments you expressed on board the Golden Age, upon your return to California, I can fully appreciate."
In the second letter Mr. Squires announced the debut of the troupe. "It was a great hit. Madame Escott and myself received a cordial welcome and call after the first act, second act, grand sestette encored, and call at the close. Abundance of applause in last act, and a jolly call at the close of the opera, which was 'Lucia,' as stated in my last."
They played 'Lucia' three nights. 'Maritana' followed and was a great triumph. ''There were seven encores during the performance. So you see the Melbourneites mean to have the worth of their money. It is a good public, and the applause, if vociferous, is discriminating." Lurline followed. Miss Hodgson made her first appearance in 'Maritana,' and Rosalie Durand made her debut in 'Fra Diavolo,' which had been deferred from the first week in consequence of her illness. She had a fine reception.
Respecting an Australian favorite, Mr. Squires wrote: — "I must not omit to mention Mr. Farquharson, our new basso and baritone. He has a magnificent voice, and is withal a gentleman. Unfortunately he goes to London in July to join the troupe at Her Majesty's Theatre. We have some hopes that he may join us, on our return, in California."
These letters were published in the Melbourne newspapers while the Lysters were in South Australia. Melbourne people were boiled with indignation at being dubbed "blawsted English," and Mr. Squires was promised a warm reception on his return. 'Martha' was the opera chosen, for the re-appearance of the troupe. I was present, and I do not remember the old bouse ever being so closely packed, even on G. V. Brooke's last night, which was, up to the 'Martha' night, the record. It was said that many came around with certain missiles in the shape of vegetables, etc.; but, to the credit of that great audience, they were not used. The opening scenes were listened to with impatience, and when Squires came on as Lionel, the house rose at him. Pit, stalls, upper circle and gallery hissed, hooted and groaned, while the dress circle took the singer's side; ladies waved their handkerchiefs, and gentlemen frantically clapped their kid-gloved hands. The uproar lasted for several minutes. In moments of cessation Mr. Squires would essay to speak, the attempt only causing the uproar to break out afresh. Squires stood his ground manfully, backed up by Farquharson, who stood by his side with his right hand on the left shoulder of the other during the turmoil. When the vocal exercise had tired the audience a little, Squires was heard to say that what he had written was really intended as a compliment. This appeared to be adding insult to injury, and the uproar broke out again. Mr. Farquharson was seen to whisper something to Squires, and instead of attempting another speech, the tenor, having given the "office" to the orchestra, commenced the 'Last Rose of Summer,' Squires, in splendid voice, sang in superb style. When he had finished the packed house rose to the occasion, and rewarded the now smiling singer with round after round of applause. He had made his peace, and had gone bravely through his "baptism of fire." Henry Squires was not again troubled about his "blawsted English."
Madame Escott and Mr. Squires were married, and settled down in some charming spot in Italy on ample means, gathered during a careful career, and were able to thoroughly enjoy the evening of life. Mrs. Squires died late in 1895. I believe Mr. Squires still lives, at least I have not heard of his death Mr. Fred Lyster is still in the land of the living, in California I think; while Armes Beaument is still heard of, occasionally, in Melbourne. Of these and others of the troupe more anon.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXVIII., Sydney Sportsman, 31 August 1904, 8
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A correspondent, with the not uncommon name of Jones, writes to say that Nesbitt M'Cron's first application for employment to Mr. Joseph Simmons was unsuccessful on 'account 'of his brogue,' and that Nesbitt never did duty as a policeman; that friends interviewed Mr. Simmons, and induced him to give the new man a "show." I am quite aware that Henniker Beaton, in his "Dramatic Stars," mentions the failure of Mr. Nesbitt in his first interview with Mr. Simmons; but I have indisputable evidence that Mr. Simmons, on hearing Nesbitt recite, engaged him on first application. That Nesbitt did police street duty for half a night is also beyond a doubt.
Mr. John Thomas Smith ("Sportsman," 15/6/'04), who (built the first theatre of any size in Melbourne, the Queen's, was a Sydney native, and therefore entitled to some notice in these annals. He was born in 1816, and educated by the historic pedagogue, Mr. Cape. He began life as a cadet or junior clerk in the Bank of Australasia on the foundation of that institution. From the bank he went to the Colonial Stores Department. This clerical work he found unsuitable, and he obtained an appointment as assistant teacher at the Aboriginal Station, then existing on the banks of the Yarra Yarra, where now are the Botanical Gardens. He voyaged to Melbourne at the end of the year 1837 in the steamer James Watt. He did not remain long at the Mission Station, on leaving which, on the advice of Captain Lonsdale, then commandant at the settlement, known as Beargrass, Mr. Smith turned his attention to commercial pursuits, and became manager for John Hodgson (afterwards well known in municipal and Political life). He soon, however, struck out for himself, and before many years had laid the foundations of business that afterwards brought him in a competence.
About the year 1845 he built the Queen's Theatre, amongst its early lessees and managers being George Coppin, Morton King and Charles Young. In 1842 Melbourne was incorporated, and Mr. Smith was elected to a seat in the Council, which I think he held until his death in 1879. Alongside the theatre, and on the corner of Queen-street and Little Bourke-street, was the St. John's Tavern, which Mr. Smith built and occupied while the theatre was in full swing. In 1853 Mr. Smith, then Mayor for the second time, gave a grand fancy dress ball in the theatre, the first of its kind in Victoria. The theatre had to be enlarged for the purpose, and to do so 40,000 English bricks at £21 per 1000 were used. During his third year as Mayor (1854-55) he gave another fancy dress ball in the old Exhibition Building, which stood on the site of the Mint. Of Mr. Smith's good qualities as a citizen it is not necessary here to speak. He gained high honours in the social and political life of his adopted colony. His sister was the mother of the three Gregorys, David, Edward and Charles, well known in cricketing circles in the sixties and seventies, and grandmother of the cricketing Gregorys of today.
To that old Queen's Theatre went Nesbitt M'Cron for a season, but his purse suffered much by his excesses whenever anything in business annoyed him, or he had been led into convivial company. From the Queen's he accepted a star engagement at Adelaide. He was bound under a peculiar arrangement. It was laid down in the bond that he was to receive £100 per week! — For four weeks. There were but twelve performances in the four weeks, and the last night of the twelve was to be for his benefit on terms. No money was to he paid him until the end of the engagement, and if he failed to make his appearance but once, the engagement was broken, and what he had earned declared forfeit. For eleven nights everything went well. The programme was frequently changed, and the house was crowded nightly. The piece selected for his benefit was "The Mountaineers," in which his Octavian was a masterly performance. After rehearsal he was invited to dine with some friends of the management, who professed great regard for the actor. He went to the dinner, drank wine, and became insensible! Word was sent to the theatre, and an actor named Thompson undertook the part. No mention of Mr. Nesbitt's "illness" was made, and no apology offered. The theatre was crammed to the roof, but Nesbitt never received one penny for his eleven nights' work, nor the proceeds of the benefit taken in his name.
Writing on this incident some years ago Mr. S. H. Banks said: "It was, of course, quite an accident that he became drunk, but the circumstances suggest something outside of accident on the part of some one, of which, it is to be hoped, the management was perfectly innocent.'" I shall have something more to say about Mr. Nesbitt later on.
While Nesbitt was absent from the Victoria Theatre, another actor of some note appeared upon the scene. This was Mr. Morton King, who had gained some experience on the English stage. He had come to New South Wales without any intention of acting, his object being to engage in trade. He started as a timber merchant, but the bad times of the early forties brought him down, and perforce he was obliged to return to the stage. He first played at the Victoria for a benefit, the play being "The Fall of Tarquin," Mr. King enacting the role of Brutus. He was then engaged by the management for a round of Shakespearean and other leading characters. In his young days he must have had a good appearance, and was recognized as an actor of merit. When I saw him, years after he had left the stage and was in political life, he had grown stout and florid. As an actor he was rather stilted, "mouthed," and "ranted" a deal, and had a somewhat harsh voice, I saw him act but once, of which more anon. The critics of his time said that he defied all the laws laid down by Hamlet in his instructions to the players. He suffered also by comparison with the recent "star," Nesbitt M'Cron. Mr. King was brought up to the silk trade, which he followed in the old country with success until he became stage struck. When about 30 years of age he came to Sydney, where he met George Coppin, and struck up a life-long friendship. After his appearance at the Victoria Theatre he went to Melbourne and Adelaide, and appeared in both cities, in a round of characters. In 1851 he opened a new theatre at Adelaide, with "The Lady of Lyons," he being the Claude Melnotte. The gold fever threw Mr. King back into business pursuits. Under his proper name, Mark Last King, he joined a Mr. Gibbon in business as auctioneers and estate agents and earned a competence which placed him in easy circumstances, until his death. In 1859 he entered Parliament as member for one of the Bourke County constituencies. The only occasion upon which I saw Mr. King upon the stage was at a performance of "The Merchant of Venice," by members of the Victorian Parliament, in aid of the Shakespeare Scholarship Fund. The performance was given in the Theatre Royal, Mr. King being the Shylock and Mr. George Coppin the Launcelot Gobbo. The other of the early lessees of the old Queen's, in Melbourne, was one well known in Sydney, and who died here, Charles Horace Frisbee Young. By a strange coincidence, one day last week, the same name cropped up in the Sydney Divorce Court. Charles Young, the name he was best known by, was born in Doncaster, in April 1819. His parents followed the dramatic profession, and with them he studied until he made his first appearance in London, the character being Little Pickle in "The Spoiled Child," and Young Norval in Holmes' tragedy of "Douglas." (In this tragedy there is a most extraordinary blunder. The author was a parson, and a man of great learning, yet he speaks of ''Mountains, inaccessible, by shepherds trod.")
Charles Young subsequently appeared as Noah Claypole, in "Oliver Twist." He left the stage for a time and spent four or five years at sea, chiefly in English coasting vessels. In 1843 he arrived, I think, at Hobart Town as second officer of a ship. Anyhow, at whichever port he landed, he met in Hobart Town his sister, the wife of Mr. G. H. Rogers, the well-known comedian. This determined him to again take to the stage and make his home in Australia. He made his first appearance at the Victoria Theatre, Hobart Town, in the character of Michael in "William Tell." He became the lessee of the Queen's Theatre, Melbourne, in 1851, being then in partnership with another old-time low comedian of great merit John P. Hydes.
Charlie Young's first wife was a Miss Thompson, daughter of a Liverpool merchant, her mother being a Miss Cooke, the daughter of James Cooke, who for 30 years was principal bass singer a the Theatre Royal, Drury-lane. Mrs. Young was niece to the late William L. Rede, and cousin to those well-known actresses, Mrs. W. West and Mrs. Waylett. Mr. and Mrs. Thompson came to Australia when the daughter was an infant, settling, I think, in Van Diemen's Land, where her mother, through a reversal of fortune, was again obliged to turn to the stage as a means of living. When but eight years of age, Mrs. Young played juvenile parts with great success. At 15 years of age she married Charles Young, at Launceston, Tasmania, and with Charlie assisted in the management of various theatres in which they had an interest. The couple went to England in 1857, Charlie obtaining an engagement as leading low comedian at the Strand Theatre, while the wife made her first appearance in England at Sadler’s Wells Theatre, under the management of Mr. Samuel Phelps, as Julia an "The Hunchback." She subsequently appeared in a long line of characters at the Haymarket. The English domestic life of the Youngs was not of the happiest. The wife seems to have been of a suspicious jealous character, and Charlie did not appear to have been as circumspect in his conduct as he should have been. The fact that husband and wife were playing at different houses, in totally different lines of business, and in the largest city in the world, "the city of magnificent distances" as far as theatres were concerned, may account for a lot of the trouble Anyhow, Mrs. Charles Young obtained a divorce, and Charlie came South once more. Mrs. Young then married an actor of parts more in her line, Hermann Vezin, from whom, if my memory serves me, she was divorced. On his return to Australia Charlie Young became the most popular low comedian in the colonies and as a burlesque actor had no compeer, which is saying a good deal, considering the dramatic talent which glutted the Australias in the sixties and seventies. We had then Harwood, Richard Stewart, Fred Young, Wigan, Bill Andrews, Harry Jackson, G. H. Rogers, J. C. Lambert, etc. Mr. Charles Young had a sister on the stage, Fanny, a very capable and pleasing actress, wife of a low comedian, who was known as George Washington Daniells. I don't know that Mr. Daniells ever blessed his godfather and godmother; but I do know that much "borak" was pocked at him over his name. He was, however, a good, steady fellow, notwithstanding his cognomen. Mr. Charles Young married secondly a lady who acted as Hebe at William Pitts Garrick's Head Hotel, Bourke street, Melbourne. My last chat with Charley Young was, in company with Sam Banks, at the Museum Hotel, which stood in William-street, Woolloomooloo, alongside the Blind Asylum workshops site (not then built), the exact site being where a large furniture warehouse now stands. The Museum Hotel was a red brick building standing in solitary glory, and a melancholy inn at any time. Charlie was then in bad health, crotchety, disappointed in life and not caring much how the curtain fell. He died there in January 1874.
In 1846-7-8 Mr. Nesbitt was again at the Victoria Theatre, Sydney, erratic occasionally, but still a great favourite with playgoers. Early in 1848, to relieve a strain, Mr. Nesbitt went to Maitland, then a quiet, a very quiet, town. East Maitland, the old Government town, I mean. I don't think West Maitland was then thought of excepting as a camping ground for teamsters. In Maitland in 1848 was an amateur dramatic club of some pretensions. A large building behind the old Fitzroy Arms had been transformed into a very handsome little theatre. Amongst the performing members of the club were Alfred Levien, father, I am told, of Mr. Harry Levien M.L.A., Solomon Cohen, Francis Sandoe John Sheppard, Sam Russell, Samuel Hawker Banks, and many other not half bad actors. The initial performance of the club was "the Rover's Bride" and "The Man With the Carpet Bag," in aid of the hospital funds. When it became known that the great star, Nesbitt, was ruralising in the town, he was waited upon and asked to assist in some of the performances. I think the club played weekly. Mr. Nesbitt made six appearances with the club, first as William Tell, then as Othello, and finally as Master Heywood in Douglas Jerrold's now-forgotten play, "The Rent Day"— the play only is forgotten, the landlord never forgets the rent day. Each of the parts named Mr. Nesbitt played twice, the leading lady being Mrs. Arabin, mentioned in connection with the opening of the Victoria Theatre ten years previously. In Mr. Nesbitt's time the club appears to have played twice a week, the performances in every sense being successful: good houses, consequently plenty of cash, the funds of the hospital benefiting largely, in addition to which the club was enabled to present Mr. Nesbitt with a purse of 50 sovereigns; not quite up to his Adelaide terms, but infinitely better, as he handled the cash.
Soon after his Maitland experience, Mr. Nesbitt, with his wife and family, left Sydney for San Francisco, then bursting upon the world's astonished gaze as a gold producing country of extraordinary wealth. In 1849 crowds of Sydney folk, known on the Pacific Slope as "Sydney Ducks," and not at all beloved, made their way to the fields, so that Nesbitt found many friends amongst the audiences, and he needed them, as events proved. He appeared at the American Theatre, Kearney-street, under the auspices, of Manager Attwater, and under his family name, M'Cron. James Stark and Mrs. Hudson Kirby (who subsequently come to Sydney as Mrs. Stark) were the leading performers. Business was very bad at the time (the end of 1848),
"Forty-nine" had not commenced to roar, but Attwater at once engaged M'Cron to alternate with Stark. The salary for three nights a week was good, and, as if going one better, in bad business it was paid nightly. Stark had been, playing to empty houses. M'Cron filled the theatre, a circumstance which annoyed Mrs. Kirby— who was engaged to be married to Stark— very much. The lady made no disguise of her feelings towards the Sydney actor, though there were others, from Sydney in the company, and left no stone unturned— as the saying is— to get Nesbitt out of the theatre. The outcome of her animosity will be detailed at another time.
(to be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. IN NEW SOUTH WALES AND ELSEWHERE. No. LVIII., Sydney Sportsman, 22 June 1904
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To be chronologically correct, it must be mentioned that the opening of the Victoria Theatre was the death warrant of the Theatre Royal. Barnet Levey died before the 'Vic'' was completed, and his widow kept the Royal open for a while, but the theatre suddenly closed on March 22, four days before Joe Wyatt opened his new venture. The Royal remained closed until the big fire removed it in March 1840. The fire originated in a stable on the adjoining premises, belonging to a Mr. Blanch, a mathematical instrument maker. The officers of a regiment then in Sydney, who had been attending a ball, hurried to the fire and assisted to remove goods, etc. In the early forties an Italian opened a canvas show in Hunter-street, and subsequently erecting a stage and scenery, named the concern the Olympic, and commenced in opposition to Wyatt. He got together a good company, but after a time the canvas theatre collapsed.
About the time that Levey opened the Royal in George-street, a theatre was opened in Launceston, and, we read that Mr. Cameron took a company from that town to Hobart Town and opened in "The Stranger." The first theatre named in the northern capital of Tasmania was the Royal Olympic, which formed part of the London Tavern, as did the Royal in George-street, Sydney. Amateur theatricals were popular in those days, chiefly amongst the military, and amongst these military amateurs was our own George Herbert Rogers. There exists a playbill in Launceston of a performance of "Charles II, or the Merry Monarch," given by the men of the 96th Regiment. In 1845 Mr. George Coppin leased the Olympic, and kept it open for a number of years. In 1850 the Lyceum Theatre, in Cameron-street, was opened under the management of Mr. James Melville. The Cornwall Rooms and the Royal Clarence theatre were opened in the same year. At the Rooms Miss Catherine Hayes appeared, the charges being 21s, 10s 6d, and 5s. The Theatre Royal was opened in 1857 it stood where the Empire now stands, and on its stage many Thespians of note appeared. ln 1863 the Lyster Opera Troupe appeared at the Royal. The Royal was closed in 1878.
In Southern Tasmania, Hobart now has one theatre, and that an old one. The De Graves family had something to do with its erection. One of its early managers was Robert Osborne. Later on J. W. Watson and John Davies held the reins. In the early days, at the Freemasons Hotel, in Harrington-street, was a theatre owned or leased by Mr. and Mrs. Clarke. There the soldiers from the barracks congregated, and the townspeople also patronised the show. Tommy Atkins was not then excluded from the theatre. Later on the Tasmanian Hall across the street was devoted to the drama. Mr. Delsarte had some connection with this establishment. Then there was the Hobart Hall in the same street. Next there was the Royal Albert Theatre, chiefly supported by seafaring men. This latter has been transformed into an hotel and is known as the Carlton. Circuses flourished, too, in those early days. Of the old actors in those old Tasmanian theatres one still lives in Sydney, at about 90 years of age— Mr. James Hasker.
Amongst the members of the theatrical profession mentioned in these bygone annals, none occupied a larger space in public affection than GEORGE HERBERT ROGERS, with whose death the Australian stage lost one of its best and brightest ornaments. But very few of his stamp have appeared upon the colonial stage. In London he would have ranked with the elder Farren, who is said yet to have left no successor, and he died in 1861. Mr Rogers was the son of a physician, whose widow married Major Elsey, of the Bank of England. His family was connected with that of Joseph Rogers, whose name appears frequently in volumes of Poetry chiefly of a religious character, and also with the Poet Herbert Rogers, from whom he took his second name. As brothers he had Professor Henry Rogers and John Rogers, and as half-brother Dr. Elsey, of the Port Essington expedition. An unfortunate family squabble drove Rogers when a young man from home, and in a wild moment he entered as a private soldier in the 51st Regiment at Chatham. Before his friends could take steps to purchase his discharge, or effect a reconciliation the, 51st was ordered to Van Diemans Land, and Mr. Rogers went with his company. Though repeatedly invited to return home, Sergeant Rogers as he had become, steadily refused; he had not forgotten, and I believe never did forget, the domestic trouble that drove him from home, and from the probabilities of a distinct position in the best circles of England. In connection with private theatricals at Hobart Town Rogers showed marked ability, even among the professionals with whom he sometimes appeared. The Colonel of the regiment, a patron of the drama, gave Mr. Rogers every latitude, and the lady lessee of the theatre attached to the Freemasons' Hotel, in Harrington-street, Mrs. Clarke, was eager on all occasions to obtain his services. The Colonel was a frequent visitor behind the scenes, and the fair lessee worked her point very adroitly. Though enlisted for 21 years, the term of the service, and though unwilling that the regiment should lose the services of such a steady man as Sergeant Rogers, the Colonel admitted that there was nothing in the regulations to prevent Sergeant - Rogers buying himself out of the army, provided that he (the Colonel) saw no objection. With such a fair pleader the Colonel was brought to see no objection, and Sergeant Rogers became Mr. Rogers, of the Theatre Royal, Hobart Town. I believe the fair lessee found the sovereigns with which to make the novel purchase, but as Mr. Rogers the actor was as great a favourite as was Sergeant Rogers the soldier, the indebtedness was soon wiped out.
In a particular range of old men Mr. Rogers had no compeer in Australia. Mr. J. C. Lambert has been frequently brought into comparison, but, though frequently playing the same characters, no comparison could be made; both excelled, because both gave distinct and widely different readings. In such characters as Sir Anthony Absolute, Mr. Rogers led, while as Sir Peter Teazle, Lambert's rendering was the more refined, the more courtly; yet when you saw Rogers as Sir Peter, you were forced to inquire whether Sheridan meant the baronet to be courtly or ''country," for that is how I distinguish between the pair. Sir Anthony suited Rogers eminently; the choleric old baronet was personified to the life. I remember on one occasion, in the middle of a scene, where Sir Anthony leaves, having "disowned" his son, the Captain, the enthusiasm of the audience rose to such a pitch that the actor was compelled to return and bow his acknowledgments. In such parts as Mr Hardcastle ("She Stoops to Conquer") Grandfather Whitehead, Lord Duberly, Lord Ogelby, and old men in domestic drama and high comedy, his sway with the audience was unbounded. In his acting he was sympathetic to a degree. I recollect, at the Melbourne Theatre Royal, when Lady Don reappeared in the "Daughter of the Regiment," how sympathetic the house was, the sympathy being induced by one little touch of nature on the part of Mr. Rogers, the touch that makes us all kin. Lady Don had left her husband, Sir William, in a Hobart Town grave. It was her first appearance, I think, since his death; certainly it was her first in Melbourne since the sad event. Rogers was the old sergeant of the play. When Lady Don came to the front she completely broke down, and, falling on the shoulders of "old Rogers," she sobbed aloud. It was no stage trick, but the genuine outburst of a heart that had sustained an irreparable loss. The old sergeant took her to his arms, and gently patting her on the shoulder whispered words of condolence. The audience silently awaited the recovery of the lady, and when she was able to speak her first lines, Lady Don had no reason to be other than satisfied with her reception. She was still remembered, and her dead husband had not been forgotten.
Coming to Mr. Rogers' professional career, Mr G. V. Brooke expressed the opinion that he equalled William Farren; and Charles Mathews, when in Australia, expressed his wonder that Rogers had never tried the British stage, as he was sure that he would have been successful. Charles Mathews offered, if Mr. Rogers would go to London, to ensure him an engagement, but Rogers was too deeply rooted in the affections of Australian playgoers to take the trip— not that he had any reason to believe that he would be a failure. Mr. Rogers married a sister of the late Charles Young, comedian (see "Sportsman," 22/6/'04), and left a family of six, three sons and three daughters. Two of the latter adopted their father's profession. One of the sons is Mr. Horace Rogers, reporter, of the "Sydney Morning Herald." Mr. G. H. Rogers died at Melbourne on February 13, 1872, the cause of death being the bursting of a blood vessel, his age being given as 53 years. The genial actor, good citizen and staunch friend, was buried in the Melbourne General Cemetery, in close proximity to a number of players who had "gone before"— Ellen Mortyn, Marie St. Denis, Mrs. Vickery, Hattie Shephard, and many others. On his tombstone are inscribed the lines by Longmore: —
"There is no death; what seems so is transition. This life of mortal breath Is but a suburb of the life Elysian, Whose portal we call death."
Referring to Mr. Joseph Wyatt, who built the Victoria Theatre in 1838, I have described him as a leather merchant and ironmonger having his place of business next to the School of Arts in Pitt Street I find that Mr. Joseph Wyatt was a draper carrying on business in the early thirties (and before) at "16 Lower Pitt street," at No. 15 being his brother William, carrying on as a boot and shoemaker or dealer. The number then stood to the north of the School of Arts of today. In 1844 Mr. William Knight was the leasee of the Victoria Theatre, while Mr Joseph Wyatt occupied the Victoria Hotel, attached. On the southern side Mr A. J. Levy kept the Garrick's Head, and on the northern a few feet away, Mr. William Dind, of very healthy memory in connection with theatricals, kept the Star and Garter. On the corner of King-street was the Black Boy Inn afterwards known as the Liverpool Arms and, when kept by Ben Palmer and J B Moore, a house of call for theatrical people. Nearly opposite the Victoria Theatre a little to the north perhaps, was the Clown Inn, kept by no less a personage than George Coppin, then 25 years of age, now with 60 added on, and still hale and hearty and talking of spending £20,000 on alterations end improvements to the Theatre Royal, Melbourne. This Clown Inn was one of Mr. Coppin's unfortunate speculations. He did not, however, risk his all there, but quickly went to Launceston, as seen above, where he showed that he knew more about drawing audiences than he did about drawing beer. I believe the old gentleman, if he once more appeared in the "Spider Dance," or as Jem Baggs in the "Wandering Minstrel," would draw again. With the exception that Mr. Coppin was succeeded in the Clown Inn by Mr. Geo. Skinner, who in the same year removed himself and the name to a house at the corner of Hunter and George streets; that Mr. William Knight had become a landholder; and that John Gordon Griffiths, whose private residence was in Bligh street, had succeeded him as lessee of the theatre, the occupants of 1844 held their positions for some years after. In those days publicans and innkeepers were not "rolling stones." In 1843 Mr. Joseph Simmons, restless when unoccupied, opened the City Theatre in Market-street, where now stands an hotel, two doors from George-street. I am not sure that it is not the actual building with a new front. Associated with Simmons in this venture was a Mr. Bellmore, of whom little is known. The theatre was opened on May 20, Nesbitt M'Cron delivering a prize address. There were three pieces staged, "The Balance of Comfort," "The Painter of Ghent," and "Magnetic Influence." The company included Knowles, Fenton, Belfield, Meredith, Phillips, Madame Goutrot, Senora Ximenes, Mrs. Wallace, and three "Misses" Jones, Taylor, and Thompson. The population was not large enough to support two playhouses, and the smaller went to the wall. For a time the "City" became an auction mart, but in the early seventies Mr. Michael Hegarty, hailing from Melbourne, came along, secured the premises, and opened them as a cafe, the attraction being the waitresses in fancy bloomer costumes. I believe the venture did pay, as Mr. Hegarty enlarged his sphere of operations and removed to the old Adelphi, in York-street, of which more anon.
Of the company performing under Mr. Simmons, one is remembered well in Sydney by the old generation — Mr. P. Belfield, better known by the sobriquet of "Paddy Belfield", though his name was Peter. Mr. Belfield was a tailor by trade, to which he reverted when he left the stage, or the stage left him. My last recollection of Mr. Belfield as an actor was when he played the King in "Hamlet" to Barry Sullivan at the old Royal, in Melbourne, when Sullivan was playing his first engagement in 1862. Truth compels me to say that I had never seen the King so played, before or since. I believe, like dear old "Paddy," Gardner, Mr. Belfield at one time appeared in Irish characters, and I am of opinion that he could play such. In the early seventies Mr. Belfield was in business as a tailor, in partnership with his son Francis, in the now Oxford-street, near the old Robin Hood Inn, between Brisbane and Edward streets. While there he conceived the idea that the Surry Hills and Woolloomooloo should be able to support a theatre of their own, and that that theatre should be "agin his own door." Negotiations were opened up with Mr. Sydney Burdekin, who granted a lease of certain vacant land in Liverpool-street, with a right of entrance from Oxford-street. The site was about midway between the old-time Blind Beggar public-house— now Andy Flanagan's — and the lane leading down to Yurong-street. The shares were £1 each, payable, I think, in shilling subscriptions. The walls got up some feet when the funds ran short, and the scheme collapsed. Sydney Burdekin seized the bricks and built a neat row of cottages on the site. Mr. Belfield subsequently started business in George-street, Brickfield Hill. "One morn I missed him on the accustomed hill," and found that he had become the lessee of the Victoria Hotel, attached to the Victoria Theatre, in Pitt-street. That was in 1878. He played the part of host for a few years, and returned to his trade, this time in Liverpool-street, a few doors from George-street, and here he made his "last stand." In 1889 he was gathered to his fathers, after an extended colonial career, varied by many ups and downs. All said and done, there were many worse men than the old Thespian, "Paddy" Belfield.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LX., Sydney Sportsman, 6 July 1904, 3
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There died in Melbourne, last week, one who may be termed the mother of the Australian stage, if 90 years of life can give the lady a claim to the title. Mrs. Theodosia Stewart was the widow of Richard Stewart, comedian, who died but last year, and has been a figure in Australian theatres for over two generations. My first recollection of Mrs. Stewart was in the year 1861, if my memory is not playing me a trick, when she came from Sydney to Melbourne with her husband, Richard Stewart, and a small family of three girls and one son. But Mrs. Guerin was even then a veteran on the stage. She had appeared years before at the old Victoria Theatre in Pitt-street, and had a splendid record. Her first husband, I am informed, was a Mr. Stirling—what his occupation was I have at present no knowledge. On his death she married a Mr. Guerin, who, I think, had a seat in the orchestra. I have before me a playbill of the: ROYAL VICTORIA THEATRE of August 2, 1851, 'When will be produced a drama of intense interest, entitled 'Therese, or the Orphan of Geneva.' Carwin, Mr. Willis; Fountain, Mr. Griffiths ; Picard, Mr. G. H. Rogers ; Lavigne, Mr. F. Howson ; Therese, Mrs. Guerin ; Bridget, Mrs. Gibbs ; Nannette, Miss A. Hart. Flute solo with variations, Mr. Robert ...hen; ballad, ''A Lovely Youth," Madame Carandini; drum polka, Miss F. Griffiths ; ballad, 'The Keepsake,' Madame Sara Flower ; song, 'Those Odious Diggings.' Mr. John Howson. The whole to conclude with the extravaganza of "The Loves of Lord Bateman and the Fair Sophia.'' That is just 53 years, the lady then being 37. Here is another bill which may be quoted, as the entertainment took place two nights after, and Mrs. Guerin was in the cast : ROYAL VICTORIA THEATRE. Under the patronage of the Captain and Officers of the Oriental and Peninsular Steam Navigation Company's steamship Chusan, For the Benefit of Madame Sara Flower, On Monday Evening, August 23. The performance will commence with the Grand Operatic Drama, entitled, "The Female Mascaroni; or, The Fair Brigands." Dance, Miss F. Griffiths. Grand instrumental trio arranged from Meyerbeer’s opera of "Il Clociato" for piano, violin, and violincello. Madame Sara Flower, Mr. A. Moore, and Mr. Frank Howson. Duet : 'As it Fell Upon a Day.' Madame Sara Flower and Mrs. Guerin. To be followed by the interlude, 'Sent to the Tower.' Comic Song : 'Seven Ages,' Mr. G. H. Rogers. Favorite Song, Madame Carandini. The whole to conclude with the farce, "Out on the Loose". Boxes may be secured on application at the Royal Victoria Theatre. Tickets may be obtained of Messrs. Woolcott and Clarke, Lower George-street; and at Madame Sara Flower's residence, Riley-street, South Head-road.
There is much food for reflection in these two playbills. How often have I listened enraptured to the notes of poor Sara Flower, sweetest of singers: or hung on the notes of Carandini. No mention here of the four daughters who afterwards grew in beauty, and became as famous as their mother; and G. H. Rogers, of whom I wrote quite recently in a comic song, 'The Seven Ages.' I heard him in it once. Sara Flower rested in the old Devonshire-strict Cemetery, near Rosalie Durand, and both have been removed to La Perouse; Carindini died not long ago in England, The Howsons went to California; and now the last of a long list, Mrs. Guerin-Stewart, has gone over, at the age of 90 years.
In Melbourne, Mrs. Guerin appeared but at intervals, and then purely in drama, I never heard her sing, excepting in the chorus of witches in 'Macbeth,' while her husband was the Hecate. Lock's music was always given then with Shakespeare's tragedy. Mr. Stewart was always employed, and at a good salary, before he became one of the six who had leased the Royal ('Sportsman,' l3/7/'04). In addition, the family was growing up, and required tuition, which the mother was fully qualified to give. Docy (Theodosia) was the first to face the footlights ; Maggie next, quickly followed by Nellie and Dick, jun., the latter two being Stewarts, the two former Guerins. When Mr. Richard Stewart retired from the stage he was possessed of sufficient means to keep himself and wife comfortable in their old age, but, like Mr. H. R. Harwood, he lost all in the boom days ! At an advanced age Mr. Stewart returned to work ; his occupation being that of treasurer to one of the big theatrical firms. This position he filled until his death, a couple of years ago.
Henry R. Harwood was married thrice, his first wife was a great Melbourne favorite, Miss Mortimer. She made Harwood the actor he was. His second wife was not, I think, upon the stage. On her death he married Mrs. Collins, a widow, but better known to us as Docy Stewart, who survives him. Richard Stewart, junior, married one of the Deorwyns. Though broken in fortune in her great age, Mrs. Guerin-Stewart was lovingly looked after by Dick and the girls. In 1857, in a Sydney directory, 'Mrs. Guerin, actress,' resided at 97 Woolloomooloo-street, right opposite George Commins' Cottage of Content Hotel. *****
The programme of Madame Sara Flower's benefit is interesting in many particulars The Chusan was the first P. and O. mail boat to enter Sydney Harbor, the first of a long line of splendid steamers. To celebrate the arrival of the steamer a grand ball was given, at which such reverend seigniors as Stuart Alexander Donaldson, James Martin, Charles Nicholson, W. C. Wentworth, and other notabilities acted as stewards. Four hundred applications for tickets had been made and were 'considered' by the stewards. How many were refused we know not, but no doubt the exclusives were exclusive, and made many hearts ache by refusals
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Apropos Charles Dillon ('Sportsman,' 25/5/'04), a correspondent writes that the Dillons in Sydney in 1863 were a decided success, and that they elevated the drama in this city. They appeared at the old Victoria on April 4, the house then being under the management of Raphael Tolano, the initial piece being 'Louis XI,' a drama first played in Australia by G. V. Brooke, and subsequently made famous by Charles Kean, it being one of that actor's best characters. I think Kean was the original Louis XI. Supporting Dillon at the Vic. was Henry Neil Warner, a grand actor, who never did himself justice. He always reminded me of a great actor in the English provinces, who made periodical appearances in Dublin, his native city, T. C. King. Just here let me interpolate an anecdote. When G. V. Brooke was last in Dublin, he, with J. L. Toole, went to visit T. C. King in Queen's-square. "Everybody thought that King was dying, and he certainly looked as if he had not long to live. "We went into his bedroom"— I am quoting Tco'e— "and I was very much impressed with the sorrowful manner in which they erected each other, their deep, rich voices adding to the solemnity of the occasion. Poor Brooke was much moved at the close. 'Well, my dear Tom,' he said, 'Please Good, you'll soon get better.' 'God bless you, Gus, you're very kind, but we'll never meet again.' Brooke leaned over the bed, and kissed King very tenderly on the forehead, and said, 'Good-bye ' We had a cab at the door. When we got into it Brooke said, 'Poor Tom! I fear he is right. We shall never see the dear fellow again.' Brooke sailed a few days after for Australia, and was drowned at sea." T. C. King lived for many years after. He was alive in 1888, according to J. L. Toole.
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Getting back to Dillon and his sup ports in 1863. Fred Younge, Charles Burford, F. C. Appleton, J. Hall, Sam Howard, Danie's (? which), J. P. West, Jas. Hasker, H. Clifford, and C. W. Barry, the latter a sterling actor of the old school of tragedians. The ladies were — Mrs. Dillon. Mrs. Charles Poole, Mrs. Fred Younge, Mrs. Charles Jones, and some others more or less noted. Charles Dillon had, I admit, a long list of characters in which he shone — 'The Gamester' (to my mind this was Charles Kean's greatest part), 'Wild Oats,' 'Ruy Blas,' 'The Willow Copse,' 'The Wife's Secret,' etc. No doubt in his prime, or when I saw him in Dublin in the early fifties, he was great in these char actors, but he had become stale when I saw him, in 1863, in Australia. An anecdote of John Dunn ('Sportsman,' 20/7/04). The Zavistowski Sisters were playing at Bendigo. The Zavs were a mother and two daughters. In the company at Bendigo was John Dunn, 'Cast-iron Jack,' as he was call ed. A local scribe expressed his dissatisfaction with the Zav trio. and especially with the mother, whom, I think, he accused of having swindled a washerwoman out of her weekly wash bill, or was it Madame who accused the newspaper man of having bilked the laundress? Anyhow, Madame provided herself with a greenhide whip, and, waylaying the ink slinger, laid it lustily about his shoulders. A police court case resulted, Madame being summoned for assault. The court was crowded, of course, and much amusement resulted from the trial. The bench of magistrates considered that an assault had been committed, but under great provocation, and fined the defendant Zav one shilling. Then 'Cast-iron Jack' strutted to the table, and, dumping down a handful of silver, handed melodramatically to the clerk, the required coin.
*****
In the course of this series I have had occasion to make mention of Avonia Jones, who became the wife of the lamented G. V. Brooke, in Liverpool, in 1863 ('Sportsman,' 25/5/04.). In the year 1860 the dead walls and hoardings of Melbourne were plentifully adorned with huge posters, printed by Charlwood and Son, and Shaw, Harnett and Co., announcing that Mrs. Melinda Jones and Avonia Jones, mother and daughter, had arrived, and would appear at an early date. In those times Thespians were not heralded as they are to-day— three or four months before arrival. They just dropped in, as it were, from the, clouds, and did their 'fixings' on arrival. The Jones's had arrived at a period when there was a decided lull in matters theatrical. Prior to the Ladies from the States, we had numerous tragic stars, Mr. and Mrs. James Stark, Mary Provost, G. V. Brooke, Nesbitt M'Cron, Clarence Holt, M'Kean Buchanan, a spluttering actor, , who had one good character, Sir Har- court Courtley ('London Assurance'), ; and Henry Neil Warner. While G. V. Brooke held the Australian stage as the 'greatest tragedian of the age,' no great actor in the higher walks of the drama visited these shores. When Brooke left the colonial stage clear, Barry Sullivan arrived, having as his agent Mr. J. H. Wilton, who came in a similar capacity with G. V. Brooke. Then Mr. and Mrs. Charles Kean appeared upon the scene, Engineered by Mr. George Coppin. Then we had Montgomery Howe, James Anderson, Creswick, etc., so that in 1860, when Mrs. and Miss Jones arrived, they at once filled the public eye— Mrs. Jones physically, Avonia mentally. The mother, a weighty woman, made but one appearance, when she played Romeo to her daughter's Juliet. I cannot say that she conveyed to me an agreeable idea of the love-sick young gentleman of Verona. The latter was corpulent, and displayed wealth of limb which was certainly not practical. Mrs. Jones had filled a leading position on the American stage, and the daughter, who was born in 1836, clung to her for domestic reasons, with a tenacity which was described as 'filial even to piety.' The father of Avonia Jones, the Count Joannes, was a vain eccentric, yet clever author, and actor. Why the wife separated from him and took the daughter with her need not be dealt with now ; suffice it that, in the opinion of her friends, she acted wisely. Miss Jones, it is said, inherited nothing from her father but his good looks and great ability. Her personal gifts were 'tall. well-made, with a lithe form and expressive features and voice. She seemed born to become a tragedy queen. A classic head, wreathed with hair as dark as a raven's wing, and a complexion that was clear, though colorless, surmounted a figure that regularly responded in every phase of emotion she was called upon to Portray. Such was the enthusiastic eulogy passed upon the lady by a critic of the day, a critic who still lives and occasionally criticises; I cannot enthuse as did this writer, as I have a distinct recollection of certain Americanisms and a touch of nasal twang. Had she lived and studied, Miss Jones would have made a great actress. Her Medea was perhaps her best piece of acting; but later on when playing with Brooke, she made a great Lady Macbeth. Another great hit was in 'As You Like It.' and as Beatrice in 'Much Ado About Nothing,' although on one occasion poor Brooke, as Benedict, was so "overcome" that the performance was sadly marred. Space does not permit of going through her list of characters, but no actress of her age — she was but 32 when she died— had played such a round of characters and played them so well.
*****
In 1861 she went to England with her mother and G. V. Brooke, and appeared at Drury Lane theatre, where she created a marked sensation. In Birmingham Brooke was arrested for debt and had to go through the Bankruptcy Court. On his release he and Miss Jones played at Manchester. At this time they had not been married, and the Manchester "Examiner" thus noticed this performance: "The great and ever interesting tragedy of Macbeth was last night given for the benefit of Miss Jones, who had evidently gained friends among our playgoers during a brief engagement. On this occasion she had procured the services of Mr. Gustavus Brooke, and as this gentleman has not appeared in Manchester for some ten or twelve years there could be no surprise at seeing the house crammed to excess in every part, stalls, boxes, pit, gallery, all equally crowded. Mr. Brooke on his appearance with Banquo on the heath, was received in the most enthusiastic manner, and shared his 'calls' with Miss Jones."
*****
As a truthful chronicler, some not very pleasant facts must be given. Mr. Brooke had a domestic quarrel with the lady whom we all recognised for years in Melbourne as his wife, and the lady left, placing herself under the protection of Mr. Henry Edwards, an old time Sydney actor, well and favorably remembered in the fifties. Mr. Edwards had succeeded Robert Heir as Brooke's manager, and by some means could not make ends meet, hence the quarrel between the two men, in which, possibly, the lady may have had a share of the blame thrust upon her. Mr. Edwards now dead, was in Sydney a few years ago with "Little Lord Fontelroy," He and Mrs. Edwards (Mrs. Brooke that was) kept for many years an hotel at Callao. When Mr. and Mrs, Brooke separated, Avonia Jones brought a good deal of scandal on herself by constantly appearing in the street and elsewhere with the tragedies. It was determined to return to England At that time there was an exodus of actresses and actors from Australia. Miss Jones took a farewell benefit, at which Brooke did not appear. She delivered an address, in which she slated her critics for entrenching upon her private life. One newspaper ungenerously stated the address was written for her by a professional address writer, and that this "beloved parent" was prompting her through the hole in the baize curtain." Mr. Brooke had announced his departure in the ship Suffolk, and as a guarantee that he was at last going, the receipt for the passage money was published in the newspapers. Mrs. and Miss Jones took their passages in the ship The Great Britain, and Brooke went in the same vessel. An army of bailiffs were waiting on Sandridge Pier, to make an arrest. Richard Younge was arrested at the suit of Robert Heir, but promptly settled the claim. (By the way, a very well-informed friend, who knew both gentlemen well, tells me that Richard and Fred Younge were not brothers, a delusion under which I have labored for 55 years.) Miss Jones was arrested at the suit of Mr. R. H. Horne ( "Orion") for £30, the price of a tragedy ordered, but which she refused to accept. Two gentlemen guaranteed to pay any claim Mr. Horne could sustain, and Miss Jones was released. Anxious inquiries were made for Mr. Brooke, but it was not until The Great Britain had sailed that it was assured that the tragedian had got away from our shores. When in Europe and America, Miss Jones kept up a constant correspondence with some Australian friends. In one letter she gave details of the career of Wilkes Booth, the assassin of Abraham Lincoln. Miss Jones knew Booth intimately. He had been her playmate in childhood, and her letter at the time of the tragedy is extremely interesting.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXIII, Sydney Sportsman, 27 July 1904
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A still-existing link between the drama of the fifties and the stage of to-day is Dr. James Edward Neild, who under a variety of pen names, has been writing in the interests of the theatre and the public for half a century. Born 80 years ago in the horsey town of Doncaster in Yorkshire, but descended from an Irish family who emigrated into England in 1642, James Edward Neild received his early education in Leeds, and in 1843 went to Sheffield to an uncle, a surgeon in large practice, and was apprenticed to him for five years. Subsequently he completed his medical studies in London at University College. He passed his examination in 1848, and thereby was privileged to add the letters L.S.A. after his name. For two years he practised his profession at Oulton, near Leeds, and was for three years house surgeon of the Rochdale General Dispensary.
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In 1853 he came to Melbourne on a visit, but was so taken up with that city, then in its 'roaring days,' that he decided to remain. He for a time abandoned the practice of his profession, and entered into business as a chemist and druggist with Mr. D. R. Long, the establishment being at the corner of Bourke and Stephen streets, the latter better known now as Exhibition-street. In 1857 he married the daughter of his partner, and for many years the firm of Long and Neild flourished in the pills and poultices line. But Dr. Neild had always a desire to be numbered amongst the fraternity popularly known as 'ink-slingers,' and in 1855 became one of the staff of the 'Age,' just then founded by a commonwealth of compositors. As a reporter Dr. Neild did the usual routine work of a morning journal, and when he ceased to be a reporter he became a contributor of theatrical notices to the paper. In 1856 a very readable publication appeared, printed by Shaw, Harnett and Co., owned and edited by Mr. T. L. Bright, and khown as 'My Notebook.' For this highly intellectual publication Dr. Neild was engaged to write dramatic notices. Some brilliant articles appeared, but 'My Notebook' ran its course in about a year ; a purely literary venture having 'no show' in those days. In 1856 there was a daily and a weekly 'Argus,' the latter being merely a resume of the week's news. In 1857 Mr. Edward Wilson issued the 'Examiner' from the 'Argus' office, Mr. T. L.
Bright being its first editor, and for two years Dr. Neild contributed to its columns a weekly article on the theatres, under the nom-de-plume 'Christopher Sly,' heading the articles with the transformed tinker's very happy expression :
'Let the world slip, we shall ne'er be younge.'
Mr. Wilson also issued another journal, in the interests of the squatting and farming classes, 'The Yeoman.' Eventually, in 1864, 'The Examiner,' 'The Yeoman,' and 'The Weekly Argus' were blended, and produced 'The Australasian.' For this latter journal, under the pen name 'Jacques,' and subsequently as 'Tahiti' and '***', Dr Neild praised and slated theatrical performances for years. He became a contributor to Melbourne 'Punch,' amongst other journals, notwithstanding his multifarious, duties as a critic, a lecturer in medicine at the University, editor ot the 'Australian Medical Journal,' and a general medical practitioner, Dr. Neild found time to write two comediettas, which were successfully staged.
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In 1855 Dr. Neild, with R. H. Horne ( 'Orion'), James Smith, John Edwards, Tom Pavey, the two Henninghams, and a few other choice spirits assembled in the 'eating house' in Elizabeth-street, Melbourne, known as Williams' dining rooms and founded the Melbourne Garrick Club. Subsequent meetings were held at Kelly's 'Argus' Hotel, next 'The Argus' office. Dr. J . E. Neild was chosen the first secretary, and held the office for some years. He also took part in some of the earlier performances of the club, chiefly in characters bordering on low comedy.
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It is, however, as a dramatic critic that we have to deal with the genial little doctor. In this character he had the reputation of being a hard hitter, and at times he hit so hard that he earned reprisals. One noteworthy one is in my memory at this moment. In 1858 Professor Anderson, 'The Wizard of the North,' appeared in Melbourne. None of the present generation remember this gentleman— a big, bony, braw Scot, who was born at Kincardine in 1814. Anderson's life was a series of ups and downs. In his time he played many parts. The love of the life of a strolling player early led him to the boards. During his early travels it is said that he was brought into contact with Signor Bletz, the cleverest magician of his time. New ideas entered the mind of young Anderson ; he saw, watched, and set himself to unravel the mystery of the Signor's tricks. In a short time he gave a 'magic' entertainment in Aberdeen, and met with success far beyond his expectations. Every performance of a new trick urged him on, and presently he assumed the 'nom de stage' 'The Wizard of the North,' and
commenced to make for himself a name. He made a tour of Scotland, and made
the acquaintance of M. Phillipe, who was as celebrated in France as Anderson was
in Scotland. By great study and hard work Anderson became a great magician , constructing, even at the expense of his daily meals, the best apparatus his means would allow him, and devoting his inventive genius to new tricks. We are told that vicissitudes, struggles, hardships, and continuous, labor made up this portion of the Wizard's career. After a second tour through Scotland, Anderson worked his way into the northern and midland counties of England. After a long season in Yorkshire he proceeded to Hamburg, Sweden, Norway and Denmark. After successful visits to the several towns on the Baltic, he reached St. Petersburg, and obtained the personal patronage of the Emperor Nicholas. He remained some months in the Russian capital, earning considerable sums of money. After a tour through Russia he returned to England, via Berlin and Vienna. Shortly after his return home he appeared by command at Balmoral. In 1851 he went to America, and made a tour of the entire Union from Maine to California, and from St. Lawrence to the head of the Mississippi. His profits were great, clearly indicating his success as a magician. He then returned to England, and appeared at several of the West End theatres. His big success, however, was at the Lyceum, in the Strand. Finding this house too small to accommodate the audiences that assembled, he took Covent Garden Theatre, and there appeared in a series of dramatic parts, including , 'Rob Roy,' William' in 'Black Eyed Susan,' Rolla and other characters. On March 15, 1856, the season at Covent Garden was about to close with a performance commenced an hour after noon and continued during the afternoon until midnight, when the entire entertainment was to finish up with a masquerade. While the latter was proceeding, on the morning of the 16th, the house took fire, and in a few hours was reduced to a heap of ruins. By this calamity Anderson not only lost money, but he lost his entire apparatus, the accumulation of many years. Soon after this the Royal British Bank, in which he had invested his savings, smashed. Anderson was not, however, disheartened. He looked abroad to right himself. A most liberal offer, was made him by Mr. George Coppin, which , was accepted, resulting in his visit to Australia, engineered by Mr. E. P. Hingston. He made his first appearance at the Theatre Royal, Melbourne, in June, 1858. The management erected a platform from the opposite side of the stage, in front of the dress-circle, to the prompt side, which enabled the wizard to exhibit his
tricks and magic to the occupants of the circle when occasion required. His success in Melbourne was great. Not only did he draw full houses as a magician, but his dramatic representations drew large audiences. I saw him play Rob Roy, Bailie Nicol Jarvie, Jock Houison, Dandle Dinmont, and many other Scotch characters, which, notwithstanding a lumbering gait, he played well. In characters requiring pure English he was a failure, and he knew it. After his Australian tour, Anderson visited California, India, China, Japan, Ceylon, the Sandwich Islands, West Indies, and South America. He then returned to England through America, losing a lot of his earnings through the Civil War. On his arrival in England he found himself again nearly stranded ; but, not disheartened, he again put his shoulder to the wheel, and gradually began to gather the fruits of his industry. He was now in very indifferent health, and had suffered greatly. His death took place at Darlington, in February, 1874, at the age of 60 years. His last public appearance was made in the town where he died, on January 29, where he played his last trick— that of firing a banknote from a pistol and lodging it in a candle. There was a peculiar coincidence in connection with this trick. The father of the local correspondent of a London journal furnished the material for Anderson's first trick, when a pupil, the correspondent, himself furnishing the note for the professor's last trick.
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Dr. Neild did not take kindly to Professor Anderson,' 'Christopher Sly' dubbed the Wizard of the North, a clumsy charlatan, and applied many other unfriendly epithets. The criticism, however, did not effect the attendance at the Royal, but a night came when Anderson had his revenge. 'Christopher Sly' was in the dress circle one night, when the professor ascended the staging, and standing right in front of the critic gave him a terrible 'tongue thrashing.' Neild sat it out, and when fairly tired Anderson returned to the stage and continued the performance.
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Mr. E. P. Hingston became famous as the agent of Artemus Ward, and as the manager of Messrs. Spiers and Pond's ‘Hall by the Sea,' at Ramsgate. His brother, James Hingston, recently deceased, was well known in Melbourne as a Bohemian of the wealthy order. Later on he travelled, and published his experience under the title of the 'Australian Abroad.' I met James Hingston a few months before his death, in Pitt-street, when he told me that he had learned the secret of being able to travel without baggage. James went home a couple of years ago for medical advice, but he was past medical remedies, and died of cancer. By his will he left something like £20,000 to the Melbourne Benevolent Asylum to erect a one-storied building for aged men, as, when a member of the Asylum committee he was always pained to see aged, gouty, and rheumatic men struggling up four stories of the dormitories. Pity Mr. Hingston did not give the ancients in the asylum the benefit of his money during his lifetime, as I understand there is some hitch in the will which so far has prevented the erection of the building.
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It was while Mr. Hingston was in Melbourne as agent for 'The Wizard,' Anderson, that a great transformation took place in the appearance of the front of the old Theatre Royal. The approaches to the upper circle, stalls, and pit were open to the general public, and became a lounge for all the deadbeats and town loafers, who congregated nightly in the hall. Mr. Hingston suggested that the hall should be a means of revenue to the proprietors of the theatre, and a source of comfort to theatre-goers. Accordingly, the place was renovated and decorated in superior style. A gallery of pictures, all Australian subjects, by 'S.T.G.' and other well-known artists of the day was secured, and the walls decorated therewith. Where are those pictures now ? They are invaluable, in whosoever's hands they may be. Natty little tables were dotted about the place, active waiters in snow white jackets introduced coffee for teetotalers, and liquors of all types for others. The place was named 'The Vestibule,' and a six penny refreshment ticket admitted the in dividual beyond the portals. The theatre ticket, of course, admitted the playgoer. The hitherto frowsy bars on both sides of the vestibule also underwent a complete change; the Hebes, dressed in black silks, and the pick of the profession at that, attended to the wants of the Johnnies of the day. It was the Hingstonian change, and the success attending Spiers and Pond's introduction of the first English eleven that laid the foundations of the fortunes of the firm, a success which culminated in the present gigantic English firm of Spiers and Pond, Limited. The Melbourne firm presented Mr. Hingston with a very handsome and valuable finger ring as a souvenir of his happy suggestion.
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Dr. Neild's pen helped him into a scrape with the robustious Thomas Padmore Hill, the elocutionist. This time, however, the pen was used in a private matter, though the assault arising out of it occurred in the vicinity of the dress circle of the Theatre Royal. The occurrence took place on December 21, 1876. For ; twelve months previous Dr. Neild had been attending Mr. Hill's family professionally at Mr. Hill's own request, and had never charged any fee. The doctor was extremely generous in this way to all members of the profession, the humblest member of which could always rely upon medical aid in case of necessity. Parenthetically, it may be said that Dr. L. L. Smith, son of a former lessee of Drury Lane Theatre, was equally generous in a similar direction. To Dr. Neild Mr. Hill had repeatedly expressed his gratitude for the valuable services rendered. Hill asserted that Neild had insulted his wife, but the accusation had not the slightest foundation. On the night in question Dr. Neild , was at the theatre with a party of ladies. When coming out after the performance Hill went up to him and said, 'I want to speak to you ; I am going to bring you before the public.' Neild replied, 'I cannot speak to you now ; I have some ladies with me.' Hill became very much excited, and offensive in his language, when the doctor told him to go to the devil. (Hill had had frequent interviews that evening with 'James Hennessy') Hill then struck the doctor in the face and cut his lip. A ticket collector interfered, and Neild got the ladies into the dressing room. Hill then went into the centre of the lobby, and roared out, 'That is Dr. Neild! He's a damned scoundrel ! He insulted my wife. I'll show you up, sir! I have got your letters!' The lobby was full of people coming out of the dress circle. Neild said, 'The man is drunk : it's a pity there are no means of giving him in charge.' Neild then went downstairs with the ladies, and on entering a wagonette Hill again went up and said, 'I have slapped your face, sir, and I'll do more.'
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The outcome of the assault was an appearance at the police court, when Dr. Neild swore that he had never insulted Mrs. Hill; he had been her medical attendant. A correspondence afterwards took place between Mr. and Mrs. Hill and Dr. Neild. The latter informed Hill as to the nature of his wife's correspondence. Mrs. Hill had separated from her husband, and lived in lodgings at Jolimont. There Dr. Neild was called in to see Mrs. Hill. Hill was not present, but the doctor sent for him, as Mrs. Hill was laboring under very great nervous excitement. Hill came at noon, much annoyed at being sent for, as he said he could do nothing for his wife. The doctor offered to prescribe for her, but she refused medicine. Hill's presence seemed to further excite the wife, and she left the premises. Hill and Neild followed her down the road towards the Yarra, but lost sight of her. She was subsequently found by the police on the road leading to Richmond, and was brought back to her lodgings. Mrs. Hill had previously been in communication with Dr. Neild, as to her literary abilities, and the doctor had spoken to Mr. Hill about it. Mrs. Hill, living apart from her husband at Emerald Hill, had received letters from Dr. Neild, but they appear to have been of a purely friendly character, though they did commence 'Chere' Amie,' and ended 'Yours always.' In the course of the hearing at the police court, Dr. Neild admitted that five years previously he had applied to have Mr. Le Roy bound over to keep the peace. Le Roy had threatened the doctor with personal chastisement on account, of something disparaging written about Le Roy's Wife, known as Madame Duret on the stage—the same who, I think, first introduced the 'Octoroon', to the Australian public. The Neild v. Hill police court case ended in the police magistrate, Mr. Call, inducing Hill to apologise and pay three guineas costs, the latter going into the pocket of 'Jack' Edwards, Dr. Neild's old Garrick Club crony, who appeared to conduct the case against Hill.
(To be continued:)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXIX, Sydney Sportsman, 14 September 1904, 8
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When Barry Sullivan first appeared in Melbourne, in 1862, he was fairly a frost. He was exceedingly seedy in appearance, and, having followed closely upon Brooke, was looked upon in the light of an interloper. He was introduced to Australia by Mr. Wilton, who had pioneered G. V. Brooke six years previously. The company at the old Royal was not the best that could be gathered in— added to which the theatre was in a state of sad repair, unclean and bedraggled-looking. Again, Mr. Sullivan's chief support was ; an ambitious rival, Henry Neil Warner, who did not treat the stranger as generously as he should have done. I am afraid the critics, too, were not as lenient to the newcomer as they might have been. That Sullivan felt the criticisms keenly may be gathered from the fact that on one occasion, as 'Richelieu,' he altered the text to suit his purpose— 'Beneath the rule of men entirely 'just,' the pen is mightier than the sword.' I heard him utter the lines, but they brought no responsive answer from the audience. Again, on another occasion, when hissing was prevalent, he stepped to the front and angrily exclaimed 'What do you want ? Don't think that I came here to make a name ; I brought it with me.' Mr. Barry Sullivan brought some of the trouble on to his own head. The people of Melbourne were used to seeing the leading lady share the call with the leading actor, but Sullivan always strutted before the curtain in answer to the call, which was not always for him. On such occasions the call would be for Mrs. Heir a vociferous one—when that lady would be led on by her husband, though often he was not in the cast. In after years I have seen Barry Sullivan, in the pink of fashion, leaning on the arm of Ambrose Kyte, chatting gaily with Mr. James Smith, the then recognised critic of the 'Argus,' and opposite the 'Argus' office too! and that after 'having a deadly quarrel with the critic.
Sullivan is said to have been born in Birmingham, of parents in very humble life. He was always reticent as to his early career. On one occasion he unbent just a trifle, at a national banquet given him in Dublin in December 1878, when he said : 'It may not be considered out of place if I mention, here the fact that I commenced the art which I have the honor to profess, not on the first rung of the ladder, but on the very ground. While yet a boy I stood alone in the world, without father, mother or friend, without means, and master only of 'a little Latin and less Greek.'
Sullivan was quite Homerian in a sense, inasmuch that at his death several cities claimed the honor of his birth. His parents were Irish, and he has often expressed himself as 'Irish to the heart's core,' and certainly his brogue was corroborative of his Irish origin. Some claim that Sullivan was born in Cork county, one faction standing up for Clonakilty, another for Dunmanway. It has, however, been placed beyond doubt that Thomas Barry Sullivan first saw the light on Shakespeare's birthday, April 23, 1824, in Birmingham, county of Warwick, the county which gave the immortal Will a birthplace. However, the Sullivans made Cork their home, while the future tragedian was yet a child. There he was found in 1838 a poor, ill-educated lad on the foot-board of life, as an assistant in a drapery store, a new establishment opened by one Swinburne, in Winthrop-street. From there he went to Todd's, another drapery house.
It was while in this establishment, a lad of 15, he was described as having a 'handsome Irish face, already showing in its lineaments the dawning of character and resolution, a sparse, elegant figure, and a profusion of jet-black ringlets.' So, at least thought the local players, into whose good graces he won his way. Finding that he had a tenor, light, but pleasing, he was invited to appear for one night at the old theatre in George's- street (Cork), for the benefit of one of the Misses Smith, the charming duetists, recognised as nieces of Kitty, the fascinating Countess of Essex, known on the stage as Kitty Stephens. Barry Sullivan appeared as Young Meadows in the once comic opera ''Love in a Village," that being his first appearance on the stage. His success was beyond a doubt, and manager Seymour at once engaged him to play 'leading, singing, walking gentleman.' In the spring of 1840 a Dublin tragedian named Paumier visited Cork and became manager of the George's street theatre. Under him Sullivan gained many valuable hints in fencing and dramatic elocution, which he found of great value in after life. During an engagement of operatic stars, Mr. and Mrs. Wood, the George's-street theatre was burned down, a calamity which caused Paumier to leave for England. Sullivan now found his former manager, Seymour, who had converted a hall in Cook-street into a theatre, naming it The Victoria. 'The ghost seldom walked,' a circumstance attributed by Seymour to the visit of a travelling booth managed by one Collins, who, with a good company, attractive melodramas, and low prices, did a roaring trade. Sullivan went over to Collins and obtained permission to appear in a round of legitimate characters. The venture was successful, money poured in, and Collins grew so joyful that he set about erecting a large wooden building as a theatre. With the old booth his luck went out, and Barry returned to the old 'Royal Victoria Theatre.'
During the winter of 1840, Barry Sullivan had the felicity of supporting Ellen Tree, then in the heyday of her youth, beauty and power, in Cork. Paul Bedford was in the company at this time and played Blueskin to Sullivan's Darrell in 'Jack Sheppard.' When things were quiet in Cork, the players migrated to Waterford, Limerick, and other neighboring towns. About this time the first and only instance of Barry Sullivan ever getting 'tight' occurred at Clonmel. He was Dewelskin the Smuggler in 'Rory O'More,' and in the scrimmage lost control of himself and ill-used one of the attacking party, and, grieving over this, he decided to abandon strong drink. "And," says a biographer, "he had strength of character, and religiously kept his resolution to the end." That is scarcely correct, however, as to my personal knowledge Sullivan always had a pint of Dublin stout with his supper every night.
At a banquet given Sullivan in Cork, in December 1878, in replying to the toast of his health, the tragedian said, among other things : 'I was going to the theatre, and as I was passing through the principal street, Denny street, there was a cry of fire. I went down with the other boys— for I was only a big boy at the time— to look at the fire, and presently I saw a very beautiful girl looking out of a window above, and with her a gentleman with a white head. ' To make a long story short, I went through the flames and saved those two. Suddenly I remembered that I was wanted at the theatre, which was in the Market House, and I really did not think that I had done anything worth remembering. Two or three days afterwards, however, it became known that the boy, the individual, the young man, who had saved the lives of this lady and gentle man - I remember they were Mr. Primrose and Miss Primrose, his daughter - it was discovered that it was young Sullivan, the vulgar little player, who had done this. Up to that time our theatre had been doing very badly, but from, this time forward we had crowded houses, I tell you.' A similar incident is recorded of G. V. Brooke.
In 1842 Barry Sullivan was supporting Charles Kean in Edinburgh, and 20 years after Barry Sullivan was at the Royal in Bourke-street, Melbourne, with a magnificent company, while Charles Kean, with a good company, was playing at the Haymarket Theatre on the opposite side of the street ! Barry Sullivan played Gaston to the star's "Richelieu," and in this connection may be mentioned an incident. In 1857 Barry Sullivan was playing 'Richelieu' in Edinburgh, and the Gaston of the night was Henry Irving ! It would be impossible (and quite unnecessary) to follow Sullivan in his upward career In England, Scotland, Ireland, and America, in these columns. His colonial career touches us more nearly.
On G. V. Brooke's return to England in 1861 the larger cities of Australasia had, for the first time, an opening for a first-class tragedian. Barry Sullivan took the tide at the flood, and entering into negotiations with Mr. J. Wilton, who at that time had the lease of the Theatre Royal, agreed to make his de but at that house. I think Barry Sullivan come to Australia "on his own." Mr. W. H. Campbell, recently residing in San Francisco, but in the fifties or sixties a resident of Melbourne, recalling matters theatrical, wrote thus to a friend :_ "I frequently met and was pretty well acquainted with G. V. Brooke and Barry Sullivan during the golden early days of Victoria, better known then as Port Phillip, the Australia Felix of the veteran pioneer, John Pascoe Fawkner. Brooke was undoubtedly the most popular actor who had ever set foot in the colonies, but he had left for good before Sullivan's arrival there. The contrast between the two men, both Irishmen, as they were, was very striking. Brooke was good natured, convivial, careless, and had moments of superb inspiration. Sullivan, on the other hand, was practical, energetic, abstemious, methodical. He was for the most part painfully aware of his importance, had immense vim, aimed high, and succeeded in reaching the grand goal of his ambition.
"The days when genteel comedy was at its best in Melbourne found Sullivan, with Joseph Jefferson, Fanny Cathcart (Mrs. Heir-Darrell) Heir, and a galaxy of lesser talent, playing at the Princess. I think, they opened in 'Money,' Barry Sullivan as Evelyn, Jefferson as Graves. A little supper was tendered these gentlemen and the two captains commanding the ships which brought them out to Australia. Of those who made merry that night, only Mr. Jefferson, Captain D.H. Johnson, R.N.R., and myself remain to tell the tale. H. B. Donaldson, of Sandridge, was there, and my fellow-survivors doubtless remember how he and the genial C. Throckmorton went through the farcical comedy of marrying the landlord's daughter over the broom stick, for the special entertainment of our theatrical guests.
'It fell to my lot to propose Mr. Sullivan's health. In doing so I alluded to a keen, fussy controversy going on in the newspapers over a dispute between the tragedian and the management of the Royal, in which the ladies of the company were involved— owing to Sullivan's method in regard to them being at variance with those formerly practised. My endeavour was to throw oil on the troubled waters and bring the unhappy dispute to an end. So I ventured to suggest to our friend the desirability of a compromise, or such concession as might please the ladies and satisfy popular prejudice and clamour.
"Jumping up, the tragedian replied in these words, 'Do you think, sir,' addressing me personally, 'that I will concede ? No, sir! Never, sir! ! Not for a moment, sir ! ! ! Do you mean to say that I, Barry Sullivan, must stoop down to the people of Melbourne ? No, sir ! Far from it. I'll bring them up to me.' And he carried his point, as he always did, by sheer pluck, energy and 'go.' "Though very abstemious, Mr. Sullivan was not a total abstainer. I on many occasions supped with him at Spiers and Pond's Cafe Royal, when he invariably partook of a broiled steak or chop, accompanied by a pint, or half a pint, of Guiness' Dublin porter. He was fond of praise, though impatient of adverse criticism. 'Did you see my Don Caesar?' he asked me on the street a few days after the production of 'Don Caesar de Bazan.' He fished for a compliment and received a well-merited one."
The trouble with the ladies alluded to was that which was deemed discourteous, in not ''leading a lady on" in answer to a call or sharing the call with her. Sullivan, however, in after years, got on very well with the ladies ; he always had a double company and paid good salaries. The Cafe Royal alluded to above was the Cafe de Paris, run by Spiers and Pond, and occupied the frontage to Bourke-street, the theatre being built at the rear. I have, as one of my treasures, a picture of the old building, with a group of actors and actresses in front, in the group being G. V. Brooke, Robert Heir and his wife, Dick Stewart, and many other thespians long 'gone over.' In a basket phaeton, harnessed to two ponies, sits Christopher Pond, a fine, stalwart man, popular and prized. Sullivan's supper was not always broiled steak or chop. I remember on one occasion having business with him, after the theatre had closed, when his supper consisted of a lump of soused fish and the usual half-pint of Guinness' stout.
In 1863 Barry Sullivan came to Sydney and met with great success. On his return to Melbourne he secured a lease of the Theatre Royal from Ambrose Kyte, the first time in his life that he accepted the responsibility of management. He secured Hennings as scenic artist and H. R. Harwood as nominal stage manager, and on March 7, 1863, commenced a series of Shakespearian revivals. Then came the Keans, and the rivalry between the Keans and Barry Sullivan gave Melbourne the most brilliant theatrical season it ever enjoyed. The Keans were supported by a specially gathered company, each member of which was asked by Mr. Coppin to sink himself and his rank 'for the occasion only,' out of compliment to the distinguished visitors. Kean and wife brought with them J. F. Cathcart and — Everett, with Miss Chapman (a relative of Mrs. Kean). Henry Edwards, and other stock leaders of the day agreed to play "second fiddles" to the Keans and their company, it is an open secret that Charles Kean was disappointed with his Australian trip. He was, in fact, played out, and, but for the great assistance of his wife, would have been a dead frost. Old Londoners, who recollected his princely revivals of the Shakespearian drama, flocked to see him; but, divested of their spectacular effects, the plays, at the Haymarket, Melbourne, were as unlike the plays at the Princess', London, as Charles Kean was unlike his father, the great Edmund Kean.
Of Barry Sullivan, James Smith, who is regarded as the Nestor of Australian dramatic critics, and who has been associated with press work in Melbourne for over 50 years, thus wrote-: — 'As a man I did not like him. He was cold, hard, and repellent, and his vanity amounted to disease. He Seriously believed that the British stage had only produced thro j great actors— David Garrick, W. C. Macready, and himself. His self-love was as irritable , as it was irritating, and his jealousy of other actors almost childish. I could never detect any of the fire of genius in his performances ; but he professed great talent, and that 'infinite capacity for taking pains' which comes very near genius. Short of that, he was one of the best all round actors I ever saw—equally good in tragedy, comedy, Irish drama and farce. He was also an admirable manager. He was master of all the duties and detail connected with a theatre, from the call-boy upwards. He was very frugal, perhaps penurious ; for instance, he would see that no candle ends were wasted behind the scenes. And no doubt he was right, for 'colonials' are naturally wasteful and unthrifty, and poor Brooke's loss of the fortune he had made here was in part attributable to his carelessness and his, toleration of extravagance, and pillage in his subordinates. In spite of his jealousy, Barry Sullivan, while managing the Theatre Royal in this city (Melbourne) surrounded himself with an excellent stock company— such a company, indeed, as could not be organised now (1892), a company scarcely less complete and efficient than Daly's. Every piece he produced he had handsomely mounted, thoroughly, rehearsed, and effectively played, and I have always understood that he went home with a small fortune. I do not suppose his personal expenses ever exceeded £2 or £3 a week. His temper was as vile as Macready's, without being conscious of and penitent for it, as that actor was."
While in Melbourne Mr. Barry Sullivan's right-hand man in management was Mr. Son Amory. The latter, now dead,-was in Sidney, a few years ago, when I had some pleasant chats about old times and old people, of which and whom more at another time.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXV, Sydney Sportsman, 10 August 1904, 8
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In a previous article ('Sportsman, 27/7/'04) I made mention of Avonia Jones' interest in Wilkes Booth, the assassin of Abraham Lincoln. As the letter, written to a friend in Melbourne, immediately after the tragedy, is extremely interesting I venture to give it. The letter is dated from Portland, State of Maine, May 1, 1865. In it Miss Jones says :— 'You have heard ere this that Abraham Lincoln is dead ; killed by one who believed that he was avenging the South ; but you do not know that the hand which struck the blow was that of one of my most intimate friends. I enclose you his portrait, and tell me if you think that such a face is that of an in famous assassin, as he is now branded. I have known John Wilkes Booth since he was four years old. He and his brother Edwin, three years his senior, were my childish playmates, and many happy hours we have spent together. John was over impetuous, enthusiastic and hot headed ; but kind-hearted, generous, and good-tempered. He was two years older than I am, and all three of us, as we grew up, retained a warm interest in each other's welfare, the success of either being a common delight. Edwin and I continued a constant correspondence, and I was mainly instrumental in bringing about his marriage with a dear friend since dead. Having no brother of my own, the Booths became such to me ; and when John and I met again, after a long absence, 10 months ago, the old fraternal relation was immediately resumed. Last winter, when I was performing in Washington, I saw a great deal of him. He played Romeo for my farewell benefit— it was his last performance on the stage, and a splendid piece of acting it was. . . He was intensely enthusiastic in the cause of the South, and told me in confidence that he had sent all his wardrobe to Nassau, and that as soon as the South met with any reverses he should go there, but would make all the money he could first, because the Confederates needed money as well as men. He had not acted for many months, but had been making a large fortune in oil speculations. One day I read him your letter, in which you alluded to Charlotte Corday. I remember now the look that passed over his face, and his wonder that such a woman had not arisen here. The last time I saw him was on the day I came from Baltimore to secure Colonel Nixon's exchange (which Miss Jones had obtained by her personal intercession with Mr. Stanton, the Secretary of War). I ran after him to tell him the good news, at which he was overjoyed. He took me to the cars, kissed me, and bade me good-bye, and I never saw him more. Mother woke me early on the 15th of April with the news that President Lincoln had been assassinated. I simply felt shocked: but when she told me that he had fallen by the hand of John Wilkes Booth, all my thoughts centred in my old playmate and his family. Edwin Booth was playing an engagement at the Boston Theatre, and my first anxiety was on his account. I felt that I must go at once and see him. Mother and sister strenuously opposed it, for they did not want me mixed up in the affair owing to the intensely excited state of public feeling ; but at such a time how could I abstain from proving the genuineness and sincerity of my friendship? I went immediately to Boston, and, oh, how grateful he was ! I found him completely crushed by the blow, for, apart from his horror at John's act, it has ruined his career, which was a most brilliant one. And he seemed greatly troubled about the effect which the news would have upon his mother, who made an idol of John. I wanted to go back to New York, and the proposition was eagerly responded to; but when I reached that city I found that Mrs. Booth had gone on to Philadelphia to her daughter there, so that she might be near when John was captured. ... On the night of the assassination John managed to escape and was not discovered for a fortnight. He had fractured his leg in springing from the private box on to the stage of Ford's Theatre at Washington, rode 30 miles on horseback before the limb was set, and then had to limp on crutches into Virginia, where his friends represented him to be a wounded Marylander on his way home. At last he was tracked near Port Royal, and surrounded in a barn. When called upon to surrender he said that he never would while life remained. He was heavily armed, and as his 'brave' pursuers were afraid to enter and seize him, they set the barn on fire. It set my heart on fire to hear how, after his companion surrendered, he stood with his back against a burning hay-mow, calmly leaning on his crutch, while the flames hissed and crackled round him, determined to sell his life dearly. The roof above gave way, and he involuntarily looked up. At that moment a valiant sergeant fired at and mortally wounded him. He lived about three hours afterwards, and his last message to his mother was, 'Tell her I died for my country.' They brought his body to Washing ton, whither Edwin went to beg for it, but his request was refused. The remains of poor John were sewn up in a blanket — they would not allow even the rough box that had been made for them to be used, and he was buried, as the official announcement says, 'where no mortal eye can ever see him.' " While admiring Miss Jones' loyalty to the friend of her childhood, one can scarcely sympathise with her in what she calls the cowardly acts of the soldiers pursuing the murderer of the popular President, seeing that Wilkes Booth shot Lincoln in the presence of his wife, and without a moment of warning. The murder may by some be looked upon as political and patriotic, but it was cowardly, nevertheless. However, that's only my opinion. What memories crowd around Joseph Jefferson. ('Sportsman,' August 10, '04.) It has been said that he was 'discovered' in Melbourne. He arrived in that city, via Sydney, from California, in 1861 with a flourish of trumpets, advance agents, and mammoth posters. He opened in the wooden band-box; known now as the old Princess', in 'Rip Van Winkle,' and made his mark at once. He had not been playing many nights before Spring-street was deemed almost too small for the cab and carriage traffic which invaded the locality. The theatre was crowded in every part, and the playgoer who had not seen 'Rip' and Joe Jefferson was considered as benighted. Supporting Jefferson on his first appear ance were Mr. and Mrs. Robert Heir, Mrs. Alfred Phillips, Mr. J. C. Lambert, Clarence Holt (father of Bland of the same name), Richard Stewart, Fitzgerald, a stalwart Irish-American actor of the melodramatic order, and dear old sour-surly Jimmy Milne. Rip Van Winkle was perhaps Jefferson's character, and memory lingers on the many splendid points in it. His next best character was Asa Trenchard in 'Our American Cousin,' a part of which he was the original performer. Jefferson and Southern— the latter an Englishman—were stock actors at £10 a week each at Laura Keene's theatre in New York in 1857-58, when Tom Taylor wrote 'Our American Cousin' for the manageress. Jefferson was cast for Asa Trenchard a rough Kentucky backwoodsman, a character which Jefferson completely remodelled, and Southern for Lord Dundreary. The latter character was 'so shadowy and vapid,' as one critic styled it, that Southern threw it up, rather than risk what little reputation he had acquired. As this would have entailed his dismissal from the company and a severance of pleasant companionship, 'Jefferson filled in the outlines of the character with a number of oddities of gestures, gait, and gag, so as really to give it a certain amount of prominence, and to render it highly diverting. Thus amended, Southern consented to play it, made it a success, added to it new features from time to time, and when he carries the play with him to London — John Baldwin Buckstone being the Asa Trenchard— Lord Dundreary made a tremendous hit, and the unfortunate actor amassed considerable wealth by his incessant repetition of a part which he had originally rejected."
The late Richard Stewart was the Lord Dundreary of the Melbourne Princess', and right well old Dick played it.
I have seen Jefferson in over 20 of his characters, and could never tire of him. Salem Scudder in the 'Octoroon' (which had been introduced at the Princess' by Madame Duret and Mr. J. H. Le Roy, before Jefferson's advent, George Fawcett Rowe being the Salem Scudder), Solon Shingle, Bob Acres, Dogberry, Bottom the Weaver, Cornet Ollapod, Dr. Pangloss, Newman Noggs, Mazeppa (burlesque), Caleb Plummer ('Cricket on the Hearth'), Mr. Golightly ('Lend Me Five Shillings'), Graves ('Money'), Tobias Shortcut, and some others. 'Midsummer Night's Dream' was the first Shakespearian production Mr. Jefferson attempted, and the company at the Princess', who had been well drilled by G. V. Brooke and William Hoskins in the bard of Avon's plays, were rather sceptical of the American's ability to interpret 'Sweet Will.' They tittered a little, especially the ladies, at rehearsal, but Jefferson, in a quiet way, said, "Ah ! you may laugh, ladies, but you will find that my 'Bottom' will fill the house.'' And his 'Bottom' did fill the house for many nights.
If Jefferson had not been a great actor, he would have been a great painter, as it is, pictures from his brush are much valued. Unlike most of those of whom I have written, Joseph Jefferson is still on top in rural retirement in the United States.
Apropos Barry Sullivan ("Sportsman" 10/8/04), a correspondent, with the best intentions, draws my attention to a couple of omissions in the actor's personal history. I am not so sure that we have anything to do with the private history of Thespians. If we did meddle with such in the first half of the last century I am afraid we would cause much scandal, and perhaps be not always on the side of truth. It is, however, a fact that in his very readable book of reminiscences George Vandenhoff (himself an actor of much merit, and son of the great actor, John Vandenhoff, who died in 1861) makes no mention of Barry Sullivan whatever. Whether the story be one of romance or base desertion I am not prepared to say, but gossip says that Sullivan treated the lady shamefully. Miss Vandenhoff, sister of George, was a leading actress, a very pretty woman and supported her father in all his pieces. The romantic part of the story is that Miss Vandenhoff died broken-hearted, and that the name of Barry Sullivan was tabooed in the family. The story of Miss Kyte is well known in Melbourne, but no one outside the family circle ever quite got the actual facts. Mr. Ambrose Kyte, when lessee of the Theatre Royal, was a man of ample means and of humble origin. I have heard him on a public platform, when seeking a seat in Parliament declare that on his arrival in Port Phillip in 1840, an immigrant from Tipperary, he worked for ten shillings a week and saved four shillings out of it. His first venture was that of keeping a hay and corn store in Bourke-street, opposite the Eastern (or Paddy's) Market, where he afterwards built the row of fine houses and shops known as Kyte's Buildings, , one of which, by the way, was occupied for years by Mrs. Williams' waxworks exhibition— the first of the kind, I think in the Colonies-which were afterwards known as Kreitmayer's, Mrs. Williams having married the professor, though I quite forgot what Kreitmayer did "profess." Mr. Kyte's luck was always in, until close up to his death, when the tide turned. Anyhow he was a great friend of Sullivan's, and without doubt may be considered as a factor in the actor's fortune. Just before Sullivan's departure for England a banquet was given him, at which Ambrose Kyte presided, and at which eulogistic speeches were made. While the banquet was in progress and the speeches were being made, Miss Kyte was silently packing up her trunks preparatory to making a midnight flit. Any how, she left her home, much to the consternation of her friends. Some time elapsed, when it was discovered that the lady had sailed for London, a couple of
days before Barry Sullivan was cheered off from Sandridge Railway Pier. Mr Kyte was very prompt. He despatched his wife to London by the first steamer, and intercepted the lady before any damage was done. Mr. Sullivan's friends asserted that the actor knew nothing of the young lady's escapade, but there had been whispers of an engagement to marry and-well, you know people will talk. The romantic young lady returned with her mother to the paternal roof, and if everything did not end happily as in the story books, well, everything should have ended happily.
To Mr. Ambrose Kyte Australia is mainly indebted for the Burke and Wills' Exploring Expedition, his donation of £1000 being the nucleus of the fund which assisted the expedition on its unlucky journey.
Just to correct a typographical error. When conducting the Theatre Royal Melbourne, Barry Sullivan's right-hand man was his son, Amory Sullivan. At the beginning of his reign Mr. Sullivan would be heard to inquire if anyone had seen his son Amory. Towards the close of his reign Mr. Sullivan never inquired for his "son Amory." It was Mr Amory Sullivan who was always in request and some people did say that Mr. Barry Sullivan was trying to pass off his son Amory as his younger brother! Mr. James Smith alluded to Sullivan's bad temper ("Sportsman," 10/8/'04), but some actors would rouse the temper of the Angel Gabriel. Here is an instance : In 'As You Like It,' at a provincial theatre in an English midland county, Sullivan, of course, was the melancholy Jacques. Touchstone was represented by one of those clowns who disobey Hamlet, and speak more than is set down for them. This particular clown was under the impression that he could improve on Shakespeare. In the wrestling scene, when the wrestler was thrown, he (the clown) had to say, in relation to being out of breathe, "He cannot speak, my Lord !" In order to obtain a cheap laugh this clown said, "He says he cannot speak, my Lord!" which, of course, made the unthinking laugh and the judicious grieve. When the act drop fell Sullivan went over to where the would-be wit and comedian was standing, and said, "Touchstone was a fool, but not a damned fool, as you have made him. You have obtained a laugh, sir, but you have spoilt your part '' Had Mr. William Hoskins been about a simple 'damn' would not have sufficed.
Sullivan had the misfortune on the sixtieth night of the run of Colley Cibbers' adaptation of Richard III., to receive an unlucky sword thrust in the left eye, Mr. Sinclair, the Richmond, having made a mistake in the preconcerted business of the great fight in the final act. For some time the recovery of the sight of the eye was despaired of, but after lying twenty days and nights in utter darkness, Richard was himself again, seemingly all right, at least.
In this engagement at Drury Lane Sullivan performed Macbeth and Richard III on alternate nights during the engagement, the latter with 'new historical scenery' by William Beverley, and 'historically correct costumes' designed by Alfred Maltby from researches among acknowledged authorities.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. NO. LXVI., Sydney Sportsman, 17 August 1904, 3
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At Spiers and Pond's 'Hall by the Sea’, at Margate, when the 'Special Bohemian' of the 'Orchestra' arrived at his destination ('Sportsman,' September 28, 1904), he found 'A crowd, a Tricon playing, surrounded with gas jets, looking as if Spiers and Pond were practising hard to set the Thames on fire, more gas devices and jets over the facade (for which word I am indebted to the 'Standard'), and a large poster, which informed me that Claribel's Ballads were to be sung every night.
***
'On being restored to consciousness'—he does not say how he became unconscious, I have my suspicions — 'I found the concert had commenced. M. Jullian was the conductor; and the programme included the names of Madame Parepa, Mdlle. Liebhart, Miss Eyles, Miss Rose Herssee, Mr. Farquharson, Mr. Weiss, and Mr. Perron (vocalists), Miss Kathleen Ryan, Miss Kate Gordon, and Herr Strauss. Herr Meyer Lutz was the accompanist, The hall was crammed, and the concert went off like one of Spiers and Pond's champagne corks. The orchestra is first-rate, and Jullian conducts with all the chic of his father before him. I never heard popular music more popularly played than the lighter selections on Saturday. As for the singing, we had the pompous Parepa, who was not half so much to my Bohemian taste as the graceful and unpretending Rose Hersee, who sang 'Where the Bee Sucks' in a way that electrified Margate right through the hall and out and across the road, right down to the bathing machines. Then there was Fraulein Liebhardt, who was vociferously recalled for her 'Lover and the Bird' (especially the 'Bird'), and the chivalrous-looking Weiss, who kept his 'Watch at the Fore’, although it was long past that hour, and, of course, his watch must have been awfully slow, although the song wasn't; and there was the terrific basso from the colonies called Farquharson, who accompanied capitally on the piano and sang the 'Wolf' with the most hilarious hilarity. (At this point I had an interview with Spiers and Pond in the refreshment room.) George Perren was then on with Mr. Weiss, and, as by this time the place had been formally opened, the duet was appropriately 'Hall's Well,' after which Miss Kathleen Ryan played a lot of Weber on the piano, and a flutter went through many a manly Margate heart to behold that clever and fascinating young lady, with the large dark eyes, and the power of the wrist, not to mention— (Spiers and Pond have just sent for me). To resume, Miss Kate Gordon also gave us a touch of her very excellent quality on a somewhat obdurate Broadwood, and Miss Eyles having contributed 'The Lady of the Lea,' which the programme informed us was composed by 'Claribel' (Ha! ha! I now see how her songs are to be done every night!), and Spiers and Pond having executed a most successful duet together in the shape of a bow from the orchestra, exhausted nature could do no more, and I rushed off to sup with a noble and intimate friend at No. 4 Royal Crescent. When I emerged from the hall a very beautiful experiment in lights was going on under the direction of my talented and affable friend, Mr. George Dolby. It appeared that whenever the transparencies at the hall were lit up, all the Margate lights, including the pier lights, went down. It had an indescribably beautiful effect, and, as such, reflects great credit on Spiers and Pond. Our old friend Dolby did not seem to see it in the same light, and made severe remarks upon the Gas Company. Mr. Thorne (local assistant of Mr. Hingston, the manager), having been despatched to sit on the gasometer, peace and harmony were restored, and your old Bohemian speedily found his weary form reposing elegantly on a sofa, at No. 4, above distantly referred to. There was hock, much hock, a beautiful balcony, and cigars; also fair women, and a murmurous sea in front. I like the lot, my noble friend , ———.
'Come! (said your own Bohemian to the company generally) unto these yellow Margate sands, with yellow Margate boots on at 4s 6d, and there take hands. Where the wild waves tumble o'er— and in which I shall bathe to-morrow, probably in the afternoon, drinking in the meantime a cup of kindness yet (with a slice of lemon in it) to Spier's and Pond, than whom I——'
(Here our correspondent's letter becomes luckily illegible. We are, however, enabled from other and more trustworthy sources to state that the Margate Hall-by-the-Sea is likely to prove a well-merited success.— Ed.)
***
The old Melbourne Royal and the historic cafe are doomed. After a life of half a century, with a fire midway, the old building, I believe, goes. The history of the Melbourne Theatre Royal will include the history of the best days of the Victorian stage, when the acting was acknowledged to be at his best, and without the adjunct of pretty scenery and elaborate properties. The theatre was built by John Black, a name unknown in theatricals until then, but well known on the road between Melbourne and Sandhurst as a carrier in the early fifties, at a time when carriage meant £100 per ton. Out of his pile Mr. Black built the Royal, and lost his pile. It was opened in 1855 with the 'School for Scandal.' The old Queen's was then open, and doing well, G. V. Brooke being the attraction. The Queen-street house was good enough for the prehistoric days of Melbourne, but with the discovery of gold and the advent of thousands of gold-seekers, and the success of thousands of these in gold finding, the 'playhouse' erected by John Thomas Smith in the forties was found to be inadequate to the public wants.
When George Coppin (whom God preserve) went to England in search of talent, and found G. V. Brooke, he also bethought him that, being such an expensive star-— £300 a week— and he dependent upon one small theatre, was not, in colonial parlance, good enough. Accordingly he made his way to Birmingham, and entered into a contract with Messrs Bellhouse and Co. to build him in sections an iron theatre, capable of holding £300. Mr. Coppin's first agreement with G. V. Brooke was, I believe, for 200 nights at £50, or a total of £10,000. The theatre was named the Olympic, out of compliment to the theatre so named in which, in 1847, G. V. Brooke made his first London appearance. The Melbournites, however, dubbed it the 'Iron Pot,' though it was as pretty and cozy a theatre as anyone could wish. Brooke, however, did not open it; that honor was bestowed on the Wizard Jacobs, as Brooke was playing elsewhere. In 1856 George Coppin became possessed of the Royal. In that year Brooke and Coppin entered into partnership, before, I think, the original engagement was concluded. They separated in 1858, Brooke retaining the Royal, Coppin taking as his share of the assets the 'Iron Pot' and Cremorne Gardens, at which latter place he did a roaring business. It was then, I think, that Brooke commenced to lose money. As I have pointed out before he was not a business man and relied upon others to look after his interests. At first Richard Younge managed for him, then Robert Heir. Henry Edwards, from Sydney, was engaged in the stock company, and George Fawcett was running the old Princess'. On the failure of Heir as manager, Edwards and Fawcett were appointed. Their management ended in disaster. Ambrose Kyte was owner of the building, and had been called upon on many occasions for accommodation cheques to keep the ghost walking. The failure of Edwards and Fawcett, as managers, was the means of healing a breach that had occurred between Coppin and Brooke, and the former returned to the Royal as manager. Its position at this time was not satisfactory. After giving Burton's circus a show, Wilton had it for a while, and under his auspices, in 1862, Barry Sullivan appeared. In 1863 Sullivan showed what he could do in management, and in 1865 William Hoskins and Clarence Holt joined hands, holding together until 1867, when the theatre came under the joint management of six very worthy stage men — J. Chambert, Charles Vincent, H. R. Harwood, Richard Stewart, T. S. Bellard, and John Hennings, the scenic artist. The six held together, and did well for some time. Each man had his allotted duty in management, and did it. The first break in the six was the death of Charles Vincent, occasioned by an accident, deemed of small moment at the time. He had purchased a horse, and was about mounting to go for a ride when the animal became restive and threw the rider; in the fall one of his hands was injured, lockjaw set in, and the popular husband of Miss Cleveland went the way of all flesh. Mr. Lambert went England and ended his days in the village in which he first saw the light. Tom Bellair went into hotel management. He kept the Rainbow at Ballarat for some years, and died in the principal hotel at Wagga Wagga. Harwood retired, and went on a tour to to India and China, I think. The partnership then became Coppin, Greville and Hennings, and Harwood again joined later on. The old Royal Theatre was burned in March, 1872. The piece being performed on the fatal night was the 'Streets of New York,' the hero of which was played by a very capable actor of those days, James Carden, Miss Eloise Juno also being in the company. Mr. G. R. Ireland and all the members of the company suffered losses in wardrobes, etc. The historic cafe was then in the occupation of the renowned scenic artist, William Pitt, father of the architect of today. Mr. Pitt had for many years kept the Garrick's Head Hotel, opposite the Eastern Market, where his right-hand Hebe was the now Mrs. Roberts, of the Criterion Theatre Hotel, Sydney, but then well known to us youngsters as Miss Polly Smith. The first to discover the fire was Jack Conway, the well-known cricketer, who was smoking a midnight cigar at the window of Sayers' Prince of Wales Hotel, Bourke-street. Six months previously the Haymarket Theatre was burned down, and but a few weeks before the Prince of Wales Opera House, in Castlereagh-street, went under to the same agency. In the seventeen years life of the old Royal there were memories both pleasant and painful. In the seventeen years there were, it might be said, three periods, the Brooke, the Sullivan, and the Montgomery. Mark the distinction between the two pieces, that at the opening 'The School for Scandal,' and that at the close, 'The Streets of New York!' A decadence truly.
As the actors were homeless through the fire, and out of work, and many out of cash, something had to be done for their relief. Among the most attractive efforts to gather in coin was a cricket match on the principal Melbourne ground, the cricketers in costume, and to some extent supporting the characters they sustained. George Coppin appeared as Paul Pry, J. R. Greville as 'A party by the name of Johnstone,' Mr. Hennings as Claude Melnotte, Mr. Carden as Enoch Arden, Richard Stewart as Lord Dundreary, Ireland as Cassio, John Dunn as 'That Rascal Jack,' Appleton as Ronaldo, Roberts as Asa Trenchard, old Jimmy Milne as Mike Feeney, and minor men in various guises. At the time of the fire the Princess' was empty, and the lessee, William Saurin Lyster, offered it to Mr. Coppin and his friends for a short season. Mr. Coppin made a speech — he was always great on speeches — in which he detailed his sorrows. Six years previously he had started life afresh without a sixpence; he had succeeded, but the fire had swept away most of the provision which he had made for old age and a large family. Yet Mr. Coppin re-built the Royal and opened the new venture on Cup night (Cup winner, John Tait's The Quack), 1872, with an address written by Dr. Neild and spoken by Mrs. Collins, then (later on Mrs. H. R. Harwood) nee Docy Stewart. Then followed 'To Oblige Benson' and 'Milky White,' in both of which Mr. Coppin appeared. The company proper was at Adelaide, but Coppin did not wish to miss a bumper house such as always eventuates on Cup night. Since then the fortunes of the theatre have been varied. Many new theatrical ventures have sprung into existence, the most formidable being the gorgeous Princess'.
At the time of the opening of the Theatre Royal (No. 2), the Princess' was in full swing with a strong company under Stuart O'Brien and Miss Jones, heavy tragedy being the order of the night. During the same Cup week a dramatic benefit was given Mr. John Whiteman, who had filled as many parts in life as did the late George Adams. Mr. Whiteman was a blacksmith by trade, and a poet by instinct, his little volume, 'Sparks from the Anvil,' being readable. He had been a publican, and in that, as in other trades, had his ups and downs. On the benefit night Coppin and Stewart appeared; Marcus Clarke wrote an address, which was spoken by John Edwards the younger. Looking over those old bills, one comes across many names now absolutely forgotten, of the seniors George Coppin being about the only one of a long list now remaining; and about this time— 1872 — there arose a controversy regarding 'deadheads,' in which Mr. George Coppin, Morton Tavares, and others took part. The germ of the controversy was as to whether Vice-Regal patrons should not pay for seats occupied in the theatre even on 'command nights.' The Vice Regal delinquent at whom George Coppin was hitting, and hitting mighty hard, was Viscount Canterbury, who in his earlier days was known as John Henry Thomas Manners-Sutton. The correspondence was carried on with some vigor, the theatrical critics, strange to say, siding with the deadheads, from a fellow-feeling perhaps. There was a dramatic association in existence in Melbourne at the time, and the matter was thoroughly threshed out at its meetings. Viscount Canterbury, who appears, from the correspondence, to have been a persistent deadhead, asked Mr. Coppin to send in an account of the 'items,' but this Mr. Coppin declined to do, on the ground that his profession never gave credit. Of this interesting dispute more anon.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXXIII., Sydney Sportsman, 5 October 1904, 3
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Mr. George Coppin's controversy with John Henry Thomas Manners-Sutton, Viscount Canterbury and Governor of Victoria 1866-1873, clearly proved that some Vice-Regal people were afflicted with very bad memories, or something worse. In the very early seventies Mr. Coppin founded an institution known as THE DRAMATIC ASSOCIATION which had a council to direct its affairs, and kept a minute-book with commendable regularity. The first hint the newspapers got of there being trouble about Vice-Regal dead heads was through the 'Age' of December 21, 1871, in which the proceedings of the council of the Australasian Dramatic, Operatic, Musical and Equestrian Association — comprehensible enough in all conscience — were reported. Amongst the business transacted there was a resolution, carried unanimously: 'That as his Excellency Lord Viscount Canterbury and suite patronise public entertainments upon the free list, an application should be sent to all managers from this association to discontinue a practice so unprofitable to the profession, and so undignified for the representative of her Most Gracious Majesty the Queen.'
The 'Age' newspaper was evidently read at the gubernatorial breakfast table, as under date December 21, Lieutenant J. S. Rothwell, private secretary, writes: 'George Coppin, Esq., Chairman of the Council Australasian Dramatic, etc., Association,' thus:
'Sir— His Excellency, Viscount Canterbury has observed, in the report (in the 'Age' of this morning's issue) of the proceedings yesterday of the Australasian Dramatic, Operatic, Musical and Equestrian Association presided over by you, the announcement that the council has adopted a resolution, of which the following passage is the commencement: 'That his Excellency the Governor of Victoria, Lord Viscount Canterbury and suite, patronise public entertainments upon the free list, etc.'
'With reference to the assertion contained in this passage, Viscount Canterbury instructs me to state that if it should be intended to convey the inference that his Excellency is, or has been, in the habit of being present at dramatic, operatic, musical or equestrian entertainments without payment, that inference would be directly contrary to the facts of the case.
'It is, indeed, a fact that his Excellency's attendance at entertainments of this character has generally been at the request of managers, and it is also true that he has frequently attended them at considerable inconvenience to himself, but he is not aware of a single instance in which he has not paid for the seats which he has occupied; and if you should have any claim which, through inadvertence on my part, remains unsatisfied, against his Excellency for seats occupied by him at your theatres: or if there should be any manager among those with the council of which you are the president who has entered, or is about to enter, into communication, in accordance with the resolution to which I have referred, who has not been paid for the seats occupied by his Excellency at the dramatic, operatic, musical or equestrian establishment under his control, I shall esteem it a favor if the account should be sent to me, in order that it may be examined, and, if found correct, paid.'
To this very formal communication Mr. Coppin replied, in an equally formal manner :-
'Sir, —I have the honor to acknowledge the receipt of your letter of December 23 (sic) at 10.30 on Saturday night.
'In reply I most respectfully decline to furnish an account in order that it paid. The old established rule of my profession will not permit me to acknowledge debtors for admission to the theatre.'
Lieutenant Rothwell came again : —
'Sir,— I have laid before his Excellency Viscount Canterbury your letter of the 26th instant, which only reached me this morning (December 28), in which you have refused, for a reason alleged therein, to state the instances, if any, in which seats occupied at any time by his Excellency at any theatre under your management have not been paid for.
'His Excellency has instructed me to refrain from making any comment on this refusal, and I am to inform you that any correspondence with you on this subject is now closed.'
There were other letters, but those quoted contain the germ. The Melbourne press naturally sided with Government House as against the player, and that without hearing any reason from Mr. Coppin. The 'Australasian' was particularly severe, and extremely unjust, in its criticism of the action of the Dramatic Association. It heaped upon the devoted head of Coppin all the obloquy it could. The papers, the 'Argus' especially, believed Lieutenant Rothwell's assertion, and in fact, told George Coppin that he was a liar — if not in as many words, at least by strong inference. Thus the 'Australasian' :— 'That Association has been blamed for adapting an insolent and insulting resolution; and what says Mr. Coppin? His Excellency ought to pay for admission to the theatres. Very well. We are assured on excellent authority that Viscount Canterbury does so. When the Governor attends the Theatre Royal a cheque for the admissions is sent to the management next morning by the aide-de-camp. What becomes, then, of all this offensive talk about the free list? Mr. Coppin and his friends have made a great mistake, and have committed a glaring breach of good taste and propriety; but instead of contritely acknowledging their error and making a frank apology, they attempt to explain and justify their misconduct, and they fail signally. They should remember that the Melbourne public of 1871 is not the Melbourne public of 1855. Any sort of managerial flummery would go down at the earlier epoch. 'We have changed all that.' Mr. Coppin has done good service to the drama in days gone by, and we cheerfully acknowledge it ; but he is incapable of reading the signs of the times. 'Dodges' are out of date, and playgoers are beginning to understand that charitable benefits— especially when given on the worst night in the week, or the year— are mere devices to enable the manager to pull in sufficient people to pay the usual expense of the house, which, under ordinary circumstances, would not have been covered; while as regards the deduction made on that account before any surplus is handed over to the charity to be benefited, it is very well known that the expenses are down at 50 percent, higher than they actually are, the plausible excuse being that a charitable performance has the effect of lessening the average attendance on the night before and the night after it takes place. When David Garrick, being then manager of Drury Lane Theatre, gave a benefit for the theatrical fund instituted in connection with that establishment, he handed over the gross receipts of the house to that fund without deductions of any kind. He did the same when Mrs. Gibbes took a benefit on the 10th of March, 1754 and also on November 11, 1753, when the performances were, 'on behalf of a gentleman with a very large family.' This was true charity, but, so far as our recollections of Garrick's voluminous published correspondence serves us, he never boasted of it; and never traded upon it.
But then Garrick was a gentleman.'
OI course the sting of the article is in its tail, but the 'Australasian' scribe was a bit previous. George Coppin was the last man in the world to allow his 'bone to go with the dog,' and the Dramatic Association loyally backed him up. The 'Daily Telegraph' (Melbourne), in its issue of December 29, said: 'It is a very remarkable correspondence, and it has this outcome: If Viscount Canterbury is not the biggest of falsehood mongers, Mr. Coppin is the meanest. There is no escape from that very unpleasant dilemma. We shall all be agreed on the point that one or the other — the Governor or the manager ought to be hissed out of the theatre the next time he appears there.'
The Dramatic Association appointed a sub-committee to investigate the whole matter, and from the tenor of its report one can imagine that the snuff-taking, port-wine-loving Viscount Canterbury would wish that he had taken no public notice of the resolution passed by the A.D.O.M. and E. A., but had let sleeping dogs lie. On Wednesday, January 3, 1872, the council met at St. George's Hall, when there were present— George Coppin (in the chair), James Simmonds (sec.), R. Stewart, William Pitt, J. H. Wilton, Richard Capper, Fred. Coppin, G. Seide, J. R. Greville, John Hennings, R. Scott, W. Holmes, G. Chapman, and John Dunn. Amongst other business done was the election of Martin Simonsen and Enderby Jackson as governors. Miss Lizzie Watson was also elected to a similar position ; and Mr. J. H.Wilton was transferred from membership to governorship. Mr. Edward Gladstone and Mr. James Alison were elected members. Amongst the subscriptions acknowledged were 10 guineas from Spiers and Pond, London ; a guinea from Dan Melhado, Sydney; and a guinea from Tommy Trotter, of whom more at another time.
Lieutenant Rothwell's letter was read, and Mr. Coppin entered into an explanation of the correspondence which had passed between him and the Lieutenant. Mr. Coppin explained that he refused to furnish an account on several grounds. Theatrical management was a ready money business. No one whatever could pass a check-taker without first purchasing his ticket of admission, with the exception of those who received the compliment of being placed upon the free list, ‘a compliment, by the way, which was not practised by any other trade or profession but theirs. Etiquette opened the doors of a of place of public amusement, without demanding a ticket, to the representative of her Majesty, and in return, custom dictated the presentation of a cheque to the management with as little delay as possible, the amount of that cheque being generally regulated by the liberality of the Governor and the amount he received from the public purse by way of salary. Lord Canterbury had neglected to carry out that principle, and he (Mr. Coppin) could but think that the omission on the part of the Governor was not at all in accordance with the dignity we had a right to expect from a well-paid representative of Royalty.’
The meeting passed a resolution confirming Mr. Coppin's action, and appointed a committee of three— Messrs. Wilton, Capper and Simmonds — to report upon the matter in dispute. At the following meeting the committee brought up its report. The document placed Lord Canterbury and his private secretary in a somewhat unenviable position. The committee presented a few cases which were indisputably shown to be glaringly inconsistent with Rothwell's assertion. 'Visits of his Excellency the Governor to the Theatre Royal, Melbourne, upon which occasions no payments have been made : 1867 — August 21, command, no payment. 1868 — January 13, patronage, no payment; November 23, command, no payment; 1869— January 4, command, no payment; May 1, command, no payment; May 27, patronage, no payment (Note A); October 28, command, no payment. 1870 — May 14, command, no payment. About this time it appeared that the acting manager instructed the box-bookkeeper to make out an account against the Governor. He also informed his partners that he had spoken to Lieutenant Rothwell for the purpose of obtaining payments. No notice, as yet, has been taken of the communication. June 30, command; December 13, patronage. The sum of £3 15s has been paid for the last two visits, at the rate of 5s per ticket for the centre box, the established price being 7s 6d per ticket. Authenticated by the account books of the theatre and the statements of the treasurer.
'Theatre Royal, Haymarket : 1867—January 11, command, no payment; August 10, command, no payment. The absence of the manager leaves a blank of three years. 1870 — November 4, command, no payment; November 9, patronage, no payment (Note B). Authenticated by the accounts of the theatre and the treasurer.
'St. George's Hall (Weston and Hussey): 1869 — June 23, command, no payment; July 23, command, no payment. Authenticated by the books and the statements of the managers.
'Town Hall, Melbourne : 1871— May 13, benefit concert, patronage, no payment (Note C).
'Note A. — Your committee consider that this night had special claims upon the Governor's purse. The entertainments were given by the Foresters' Society, for the benefit of the Melbourne Hospital and the Benevolent Asylum. The printed accounts show 'no payment' for the Gubernatorial party.
'Note B. — Your committee report these two occasions as 'no payment' because the manager did not participate in the amount that his Excellency presented to the official assignee of an insolvent estate nearly three years old. If the Governor had paid for his boxes within a reasonable time, the manager would have received the share he paid to the 'star,' and the proportion to which he was justly entitled for providing the entertainment.'
In other words, the Governor, Viscount Canterbury, only paid for the boxes when, three years afterwards, the official assignee in the estate of the insolvent manager was collecting the debts due, and furnished his Excellency with an account of the amount of his indebtedness.
'Note C. — This is a special case for notice, as the benefit was given to relieve a talented artist from pressing difficulties and to provide funds for his passage to England. The accounts and statements of members of the managing committee prove 'no payment.' The above facts are sufficient to prove the general correctness of the resolution, and the consequent inaccuracy of the statement contained in the letter of the private secretary. Your committee are not in a position to show that his Excellency attended operatic entertainments without paying for admission, as the leading operatic managers are absent from the colony, but inasmuch as they are aware that those managers frequently, and most publicly, complained of this being the case, they can hardly suppose that they would do so without adequate cause. Your committee may further refer to the correspondence of a late manager of the Haymarket Theatre, which has been published in a Melbourne newspaper, in support of the allegation, contained in the resolution. The manager, in question had literally to 'dun' the private secretary before he could obtain any answers to his letters or an acknowledgment of his claim, and at last reaped scarcely any personal advantage from his persistency. The nights upon which his Excellency, the Governor visited the places of amusement free, in company, with his Royal Highness the Duke of Edinburgh have been struck out of the list's that have been produced, as your committee acknowledge with gratitude the patronage and assistance given by his Royal Highness to the Galatea amateur performances contributed £120 11s. 6d. to the building fund of the Asylum of Decayed Actors, established by the Hon. George Coppin. Your committee, in conclusion, report that the terms of the resolution are fully borne out by the facts.— Richard Capper, chairman of the committee.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. NO. LXXIV., Sydney Sportsman, 12 October 1904, 3
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The Vice-Regal indignation of Lord Canterbury, filtered through Aide-de-camp Rothwell, at being bowled out in his dead-headism, was extremely amusing. The 'great dailies' were compelled to publish the report of the subcommittee, notwithstanding their abuse of Geo. Coppin and his associates, and their desire to stand well with the Government House set. But as the 'great dailies' did not publish all the correspondence, George Coppin did, and with alliteration worthy of John Norton's best efforts he gave it to the world :— 'Concise Clippings! Concentrate Conclusions!' and a 'round unvarnished tale' of the trouble
between 'The Governor, the Dramatic and Musical Profession,' and 'The Press and Mr. Coppin.'
On the publication of the details as given in the 'Sportsman' last week Lieutenant Rothwell demanded of Mr. Coppin an immediate account, which, he repeated, would be examined, and if found correct, paid. On Mr. Coppin refusing to recognise any debt in connection with admissions to theatres, the irate Lieutenant announced that Viscount Canterbury would immediately place the matter in the hands of his solicitor. One can understand a solicitor making a demand for a debt, but the demanding of the immediate furnishing of an account is another matter. You may lead a horse to a trough, etc., etc., and George Coppin proved equally obstinate. Eleven months after, Mr. Morton Tavares, from his pig ranch in New Zealand— the esthetic Tavares took to rearing pigs in the late years of his residence in Maoriland— wrote Mr. Coppin, per favor of the 'Australasian,' thus : — 'Sir, — I find that you have claimed and received from the Governor of Victoria payments for his visits and command nights to your theatre. You are aware that his Excellency commanded a night during the first week of my engagement with you. I am therefore entitled to half the amount he paid on that occasion.' (If George Coppin gave Tavares one half the gross receipts, as this demand would indicate, the said George Coppin must have been demented at the time.) 'As far as I am concerned, I was quite contented with the honor of his presence and with the presence also of the Marquis of Normanby and Lady, whom he brought with him, especially as their visit brought a good house.
'Do you not think it rather ungentlemanly to 'solicit' that he would give a command, and then ask him to pay for it? For you told me you intended doing so, and you also said that you did not expect him to pay for it.
'You cannot claim that I am not entitled to it on account of the arbitration, because that only related to releasing you from the balance of the six months' engagement I had with you. You paid me for the fortnight I played at the Royal, and the visit of the Governor was on the second night of my appearance.' (Tavares was such an awful frost that George Coppin, at the end of a fortnight, asked to be relieved of the balance of the six months' engagement, and a sum as compensation was fixed by arbitration.)
'You will please pay over the amount to the Editor of the 'Australasian,' or any person he may appoint, to be given in charity to some one of the benevolent societies of Victoria.— Yours, etc., Morton Tavares.'
***
To this Mr. Coppin replied:—
'To the Editor of the 'Australasian.' Sir, — I regret that the unpleasant subject of his Excellency the Governor's visits to places of public amusement, without paying for admission, has been revived by the publication of a letter from Mr. Morton Tavares in last week's 'Australasian.' As the first line of his epistle is a mis-statement, I shall not go beyond it, and will simply deny that I have ever claimed payment from the Governor for his visits and command nights at my theatre. On the contrary, I have declined to furnish an account, under the conviction that his Excellency ought to have carried out the established rule of previous Governors by presenting a cheque for whatever amount he considered becoming the dignity of the Queen's representative for the occupation of the Vice-Regal box. As this subject is again unfortunately thrust before the public, I trust you will allow me to state the position of the case at this moment. Upon the publication of the unanswerable report of the Council of the Australasian Dramatic Association, his Excellency announced in the newspapers that he should place the matter in the hands of his solicitors. More than two months ago, a communication was received from his solicitors stating that : 'We are instructed by his Excellency Viscount Canterbury to request that you will, without delay, furnish us with a memorandum,' etc., etc. An immediate reply was sent, and there the matter rests — waiting, I presume, his Excellency's further instructions before another step can be taken towards a settlement of an obligation emphatically repudiated, but thoroughly proved— Yours, etc., George Coppin.'
* * *
When Mr. Richard Capper presented the report of the sub-committee respecting the Vice-Regal 'dead-heads,' he, being followed by others, made a very interesting speech. Mr. Capper, be it remembered was a very old actor, of the respectable stock type, not perhaps in the first flight, but good enough and solid enough for the times in which he flourished. He had retired from the stage in 1850, so that his re-appearance in connection with the Dramatic Association was a labor of love. In addition, Mr. Capper was an author of some ability. In 1868 he published a volume in Melbourne, entitled, Dramatic Illustrations of Ancient History, Arranged for the Stage.' The volume included 'Judith' (niece of William the Conqueror), 'The Mummy Makers of Epypt,' 'Eurynome,' 'Centheres,' 'Eadburga,' 'Babylon,' and 'Nimrod the Hunter.' I am not aware that any of the plays were put upon the stage.
In presenting his report, Mr. Capper said some bitter things about the press. It must be admitted that actors and writers have generally, at some time or other, a quarrel with the press. Actors, as a rule, are very touchy, and, when offended, threaten to 'bash' editors and newspaper men generally.
Mr. Capper commenced by remarking that it had been publicly stated that the committee were mere marionettes, whose strings were in the hands of Mr. Coppin. To that statement he wished to give the most emphatic denial. For his own part he had had no connection with theatrical management, or theatres since 1850. He was a gentleman living on his means. He was quite independent of Mr. Coppin and of Viscount Canterbury, and he believed the other two gentlemen comprising the committee to be equally independent. But no opinion of the 'Argus' was worthy of respect. They had only to look over the columns of that journal for the past 22 years to see its profligacy and villainy in every way. The 'Argus' pursued a 'disgraceful course in connection with the Ballarat riots, and it was that paper which killed Sir Charles Hotham. Its villany was now directed at spiting him, but he cared nothing for it.
With regard to the 'dead-head' business, it seemed to him that his Excellency the Governor was utterly ignorant of the course which became the dignity of an English nobleman. It was the custom, whenever the representative of the Queen gave his patronage to an entertainment, to return a sum proportionate to the gratification he had received, and calculated to support the honor and dignity of the lady he represented. Here we had a Governor, who was paid a handsome salary, and it was his duty to maintain the honor and dignity of the Crown of England. If he did not do so he deserved to be told of it. In England the patronage of a nobleman to an unknown actor often procured him an engagement on the London boards; but what was meant by a command night here he did not know. It appeared to him to mean nothing but the Governor going on the cheap. The theatres of this country had done a good deal for charities. The Melbourne Hospital was commenced with money raised by a theatrical performance; and when an emigrant ship was wrecked, 416 souls perishing, the seven survivors were presented by the Rev. Mr. Thompson with a large sum of money raised in the same way. As to the patronage of Governors, he held in his hand a bill of theatrical performances patronised by Governor Snodgrass in 1836, and on the morning after those performances, Governor Snodgrass sent 37 sovereigns!
The emigrant vessel alluded to by Mr. Capper was the Cataraqui, bound from Liverpool to Port Phillip, wrecked off King's Island, in Bass Straits, August 4, 1845. The official record says that 414 were lost and nine saved. Mr. Capper is, I think, in error as to the status of Colonel Kenneth Snodgrass in 1836. In that year the Colonel was Major of Brigade and senior officer in command of the troops, having his office in the Barrack yard in George-street and his private residence at Barham Hall, Darlinghurst, afterwards the house of E. Deas-Thomson. From December 6 1837, to February 23 1838, the Colonel was Acting-Governor on the departure of Sir Richard Bourke, and prior to the arrival of Governor Gipps. As senior military officer he would be Lieutenant-Governor.
Mr. Wilton was not quite so irate as Mr. Capper, but he was perfectly independent in the matter. The greatest possible care had been taken to check all the accounts lest an error should creep into the report. He was connected with Hussey's entertainment at the time the Governor's patronage was given. Though the performances were drawing crowded houses at the time, the whole of the centre of the hall was cleared and fitted-up at great expense for the convenience of the Vice-Regal party, yet not a shilling was received. He was sure there was no member of the association who did not regret that the Governor should find himself in the position of being contradicted on a statement which ought to have been cautiously considered before it was inserted in a newspaper. It was very singular that, according to the letters of Lieutenant Rothwell, the Governor should not know of a single instance in which he had attended places of public amusement without paying. A large amount of sympathy was justly felt for Mr. Coppin, who had been abused right and left for his action in a matter the whole responsibility of which rested with the Council of the Association. There was no body of men who had behaved more liberally to charitable institutions than the theatrical body. It was rare for a respectable travelling theatrical company to pass through a country town without giving a performance for the local hospital, or some such institution. Mr. 'Jimmy' Simmonds, the third committeeman, made no comment on the report. This gentleman must not be confounded with the old-time actor of the same name, located for many years in Sydney. This Simmonds, who died comparatively young, was a good-looking Hebrew, a low comedian of fair renown, and was for a time lessee of the Haymarket Theatre, Melbourne. Mr. Simmonds was not very successful in management; in fact, I don't think anyone did succeed well in the management of the Haymarket. The Keans did well, but then they were under exceptional patronage, the Governor, Sir Charles Darling, having, it was said, Royal orders to see that the Keans succeeded.
George Coppin took up the thread of the discourse, and, in moving the adoption of the report, complimented the gentlemen forming the sub-committee on the great moderation displayed in its preparation. He thought they had acted wisely in selecting only a few of the more important cases to report upon. He also thought they had acted very judiciously in erasing the nights his Excellency the Governor had visited the theatre with H.R.H. the Duke of Edinburgh. The Prince was a distinguished visitor to these colonies, and it was not at all surprising that the doors of every public place of amusement were thrown open to him; while it was most gratifying to all to know that the attention shown his Royal Highness had not been forgotten by him. The great interest the Prince took in the establishment of the Dramatic Association, in imitation of his Royal mother, was illustrated by his own personal exertions in forwarding the amateur performances of the Galatea Company, which contributed upwards of £120 to the funds of the asylum, attached to the Association. The prominence which the Prince had given to our much-respected townsman and artist, M. Chevalier, in London, should be accepted as a proof of his good will, and his last act of consideration in regard to the son of poor Aspinall must touch the sympathies of every Australian colonist. Every outspoken man who was not afraid to speak in suppression of an abuse was sure to meet with the censure of the toadies. Since this present exposure had been made, he (Mr. Coppin) had certainly had a very liberal share of abuse, both privately, professionally and politically. He could afford, however, to laugh at such terms as 'meanness' and 'cowardice,' for his character was so well engraved in the minds of all colonists that whatever opinions might have been formed of him privately would not be displaced by a very injudicious and ill-advised article in a very violent newspaper. His theatre had been compared to a sinking ship, and himself to a sinking manager struggling to make one last kick before going down, but so long as he had public opinion on his side, his head would have to be poked under water several times before he was drowned. Again, his theatre had been given up to 'unsavory costermongers and foul-mouthed roughlings.' This was certainly very complimentary to the thousands of people who had recently attended the Theatre Royal. But the greatest discovery of all was, that they found out that he was no actor —that he was simply disgusting, and not amusing. It was gratifying to him to know that so many people liked to be disgusted. These remarks would go very well alongside of many rather complimentary notices he had received from the same newspaper. Why was this thus? Why this abuse from persons who did not believe in what they wrote, and certainly did not think what they said. It was simply because he declined to take upon himself the responsibility of answering a letter addressed to the chairman of the association— in other words, to usurp the functions of the council. Let them apply this to a bank, a hospital, or any such institution, and see how it would act. If the same thing were to occur again he should act in precisely the same manner, in consideration of the subject due to his brother directors. As to his 'Paul Pry' speech, he took all the subjects from the newspapers, and he claimed an equal right with any press man to criticise public events either as Paul Pry or George Coppin. (In explanation of this Mr. Coppin, as Paul Pry, always delivered a stump speech on current events.) He was accused, very absurdly, of desiring to throw mud at the Governor, because his Excellency was the representative of Royalty. The idiot who wrote these words knew as little of his political history as he did of his professional standing. He challenged anyone to show that, during the 30 years he had been in this country, he had not always been a most loyal and conservative member of the community. If he had anything to blame himself for, it was that his respect for the institutions of the old country had checked his desires to keep pace with the requirements of the times. If the Home Government continued its policy of sending out as Governors needy gentlemen who pocketed the money of the colonists to relieve their encumbered estates in England, he said that the sooner they elected a Chief Magistrate from amongst themselves the better. And he would tell the 'Argus' this, that the want of dignity and liberality on the part of some of our colonial Governors was having the effect of rapidly changing Conservatives into Democrats, and of driving Democrats into Republicanism. There was an English Act of Parliament which provided a retiring allowance for Colonial Governors after they had served a certain time, upon the presumption that it was necessary to maintain a certain dignity by spending the amount they received in the colony in which they resided. It only required a Colonial Act of Parliament to compel the Governor to spend his salary. People had asked him, 'What would you do if you were Governor?' Well, he would take a private box at the opera or theatre, and give the manager so much a year. He would not shuffle out of State balls on the Queen's Birthday. If there was no room large enough for the purpose he would spend £200 or £300 in procuring one, so that those who had a right to be present on such occasions should not miss the annual entertainment. If from any such circumstances as a death in the family the ball would be indecorous, he would select a future day on which to spend the money he received for the special purpose of this celebration. He would also accept invitations to races, take the luncheons, and drink the wines, but he would give a Governor's Cup to be run for, or a Queen's Plate, or a Victorian Purse, in recognition of the hospitality he had received. He would also subscribe to the Horticultural Society. If he went to dog or poultry shows he would either give a prize or pay for admission. Which was all doubtless very severe upon Lord Canterbury and certain members of his family.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. NO. LXXV., Sydney Sportsman, 19 October 1904, 3
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The jealousy exhibited by Mrs. Hudson Kirby against Mr. Nesbitt was roused by several incidents; first business was awfully bad, James Stark, Mrs. Kirby's affianced husband, had been playing to empty benches, so poor, as pointed out, that salaries were paid nightly. We may guess that the treasury contained only the night's receipts when the management "walked the ghost" in that fashion. The actors, to be on the safe side, stuck to the arrangement, as any night might close the theatre. When Nesbitt appeared things altered, as if by a magician's wand; the houses were packed, the actor evoking the utmost enthusiasm, on the nights, alternately with Stark, when he appeared, and the treasury filled. Mrs. Kirby was an imperious lady who could brook no rival near her coming husband's throne. There was a Sydney actor named Hambledon in the theatre. With him Mrs. Kirby first quarrelled, and in front of the curtain one night, with alleged tears in her eyes, she complained to the audience that she had been "insulted by those damned Britishers!" Mrs. Hudson Kirby was herself a favourite with the 'Frisco audiences, and the sight of their favourite in tears drew not ears, but revolvers. Nesbitt was playing Richard III, the house, as usual, was crowded, and the audience, naturally sympathising with the lady, called loudly for Nesbitt. When he came before the curtain he was so assailed that he could not make himself heard for a while. When he did get the ear of the audience he explained that he had no quarrel with anyone in the theatre; that he had never insulted anyone, and least of all a lady. But while making on effort to explain what he thought was the cause of the complaint, he was stopped by a man in the body of the pit exclaiming with an American drawl, "Shoot the b—r"— not beggar. Instead of leaving the stage under such intimidation, as a timid actor would, Nesbitt stepped to the footlights, and opening the breast of "Richard's" shirt, said firmly and defiantly, "Shoot, and be damned. I come from a country where men do not fear bullets." Very brave, but a dangerous experiment in front of a lot of red-shirted, well-bearded, half-drunken diggers from every clime under the sun. But Mr. Nesbitt's melodramatic attitude and fearless words changed the erstwhile antagonistic audience into friends, and the play proceeded uninterruptedly.
The incident upset the weak man. He flew to his usual consoler, brandy; just a little at first, by way of sedative, his usual remedy in cases of annoyance, and as usual, he took on overdose. During the next performance, while under the influence of liquor, something happened which put him in mind of the Hudson Kirby incident, and remembering the shoot and the "beggar" episode, he without an saving clause, condemned the audience and Americans generally to the care of his Satanic majesty and the warm regions generally. This was the signal for a general outburst of temper in the audience, and Nesbitt's friends feared for his safety. In an English or Australian theatre decayed vegetables or an occasional ancient egg would be the most unpleasant weapon used by an irritated audience, but in San Francisco in 1849, and with a deadly hatred against "Sydney ducks," the shooting irons were the argumentative measures introduced. And as the weapons were always handy to the diggers, who shot first and inquired afterwards, Nesbitt's friends wisely smuggled him from the theatre, and left the piece to be finished as best the management could. Mr. Nesbitt subsequently had an engagement at Macguire's Opera House, but details are meagre. When the Starks came to Sydney in 1853, Mr. Stark expressed his regret at the 'Frisco incident, but poor Nesbitt had by that time joined his fathers on the Golden Shore.
So many obstacles were placed in Nesbitt's way by those opposed to everything English— "blawsted English," as Henry Squires once said— particularly if that English had an Australian flavour about it, by the people of San Francisco that he became disgusted with his surroundings, and again had recourse to the bottle, lost his prestige upon the stage, and finally determined to try his luck at the "diggings." At the goldfields he found (what he ought to have known) that his strength was not equal to pick and shovel work, and he returned to 'Frisco. At this time he suffered terribly from rheumatic gout, and to relieve the pain, had recourse to morphine, and could take a grain and a half, said to be enough for five men, without any ill effects to himself.
During Nesbitt 's stay in California the place was infested with lawless characters from all quarters of the globe. Many of these outlaws were from Sydney— "old hands," the dregs of the convict system. On his return to 'Frisco, Nesbitt encountered a gang, who promptly proceeded to strip him, search his clothing, and generally "stick him up." Enfeebled as he was, resistance was out of the question. But while the process of searching was going on, Nesbitt recognised some Sydney faces among the gang, and saw some hope for himself. He asked them if they did not remember him? They did not, and did not care a "continental" who he was. When he announced that he was Nesbitt, of the Victoria Theatre Sydney, they were incredulous. If he were Nesbitt, let him give them "a bit of some play," Just to let them see. Nesbitt recited for them "Tell's Address to his Native Mountains," when one of the gang said: "You must be Nesbitt; no other man could recite that like him." The deadbeat actor's property was returned to him. He was hauled off to the "brigand's camp," and treated to the best of everything. They made him rest with them for a while, and, like Good Samaritans, sent him on his way rested. They offered him money, but Nesbitt was not without coin, though sorely hampered by illness.
In 1852 Mr. Nesbitt returned to Sydney. The voyage from the Golden Gate had so recruited his health that he was enabled to accept an engagement from Gordon Griffiths at the Victoria Theatre for a round of characters. His friends noticed that his fire had gone out, but enough was left to show what the man had been before he made the fatal trip to California, for fatal it was to his future career upon the stage. During the Victoria Theatre season new critics had come to the front, and these had not seen Nesbitt in his prime; yet they eulogised his acting, and the season was generally successful.
We next hear of Nesbitt early in 1853. Mr. Banks, then resident in Melbourne met an old acquaintance (James Holdstock, of Maitland), who informed him that Nesbitt was then lying dangerously ill at Passmore's Sydney Hotel. This hotel was in Queen-street, down near Flinders-street, and opposite "Bowden's Folly," as the old Western Market foundations were called. Bowden was an old-time city councillor, who caused a heap of money to be spent on the preliminaries of the markets. The foundations remained for years monuments of Bowden's folly. I think Mr. Passmore was an old Sydneyite, hence the name of the hotel. There is a big story hanging to this old-time Melbourne hostelry, which may be told another time. Mr. Banks—it was a Sunday morning— went to the hotel and inquired for Nesbitt. The landlord refused admission; but as Nesbitt had left his family in Sydney, and was alone in Melbourne, Banks would not take a refusal. Passmore said that Nesbitt was dying and ought to be let die in peace. All the more reason, thought Sam Banks, that he ought to be looked after. Sam expressed his determination to stay all night, or until he had seen his friend. At last Passmore gave in. On reaching the room he found Nesbitt lying as if in death, but the actor recognised his friend, and begged him to obtain for him his usual remedy, morphine. "A grain and a half of morphine will save my life," wailed the actor. Banks called at almost every chemist's shop for the morphine, but was refused by one and all; the quantity, they said, was enough to kill five men! Despairing of getting relief from his friend, Banks was returning to Passmore's to report the failure of his mission, when he met Dr. W. H. Campbell, to whom he was well known. The doctor lived in a pretty villa cottage, which he built at the corner of William-street and Bourke-street, afterwards the offices of Robert Cooper Bagot, the secretary of the Victoria Racing Club, and later still of the Volunteer Force, but on the site of which is now built Menzies' Hotel. Banks asked the doctor if he would give a dose of one grain and a half of morphine to a patient, and Campbell's reply was that he never knew but one man who could take such a dose, and that man was Francis Nesbitt McCron, the actor!
Banks explained the circumstances, the doctor gave the order for the morphine, and while Sam went for the drug the doctor made his way to the Sydney Hotel. The morphine was administered, and after seeing the patient in a peaceful sleep, Campbell and Banks left, promising to return early in the morning. Instead of finding a dying or dead man, they found Nesbitt up, shaving himself, and as bright and brilliant as if he never had a day's illness. That same Monday morning Nesbitt visited the Queen's Theatre, where he closed with the lessees and managers— Charles Young and John P. Hyde—for a season of 14 nights and a clear benefit. With a little extra care and total abstinence he played the engagement successfully, and then left to join his family in Sydney. Mr Banks followed soon after, and the pair agreed that after Banks had wound up some business which he had in hand, the pair should travel together. It was ordained otherwise; he had recovered his health and was anxious after a rest in the bosom of his family in Sydney to continue his colonial tour. The Victorian goldfields were in full swing, gold was being had for the seeking, theatres were being erected everywhere anything like a population had gathered. Though the theatres could not compare with the palaces of to-day, they satisfied the wants of the mining population, and the money was rolling in. With a steady man keeping him company, Nesbitt might yet have reaped a golden harvest; but in an unlucky moment, a freak, a whim, he, quite unknown to his family, shipped for Geelong, where he at once commenced an engagement which proved to be his last. The play for the evening, the fateful 28th of March 1853, was a favourite one with Nesbitt, Sheridan Knowles' "William Tell," which was played without a hitch up to the last act. After the curtain had fallen it was observed that there was something wrong with Mr. Nesbitt. He was seen to fall backwards, and on going to see what was the matter it was found that the actor had swooned. The sorrowful episode resembled in some measure the last appearance of the great Edmund Kean. That genius, whose brilliance had been dimmed by excesses such as Nesbitt suffered from, fell fainting on the shoulder of Charles, was carried from the stage, and never made another appearance. The actors in the Geelong theatre, knowing Mr. Nesbitt's weakness for alcoholic drinks, thought that his swoon was the result of over indulgence, that he was in fact what would be called to day "suffering recovery." What do you think the imbeciles did? The members of the theatrical profession are usually very lenient to their brethren who are weak, but on this occasion the sympathetic instinct was absent. The unfortunate actor was convoyed to the watchhouse. The peculiarities of the symptoms aroused the suspicion of the lockup-keeper, who immediately sent for medical aid. The moment the doctor saw the patient he diagnosed the case as not one of alcohol, or yet suffering a recovery, and ordered Nesbitt's immediate removal to the hospital. This was done, but as the hospital authorities were not aware of his morphine habit, or the cause of his exhaustion., their efforts to resuscitate the patient were unavailing, and Nesbitt's troubled life was ended. "Thus on March 29, 1853, at the early age of 44 years, the stage lost its bright particular star, his family an affectionate husband, and his friends the society of a genial, accomplished gentleman."' Such was the eulogy passed upon Mr. Nesbitt on his decease. The remains of the actor were interred in Geelong Cemetery. Some three years after, when another erratic genius, Gustavus Vaughan Brooke, was playing an engagement in Geelong, he visited the grave of his old friend, and, finding it unmarked, caused to be erected a monument to keep green the memory of the man whom he denominated his great predecessor in the affections of the Australian people. In honour of this thoughtful tribute of Brooke, a local poet composed some lines, which may be reproduced:
Neglected and forgotten the dead tragedian lay
Without a stone to mark the spot where he mouldered into clay,
Until a kindred spirit came, who, from green Erin's shore,
Elisha-like, the mantle of dramatic genius wore.
He gazed upon the naked sod, and then, with upturned eyes,
Bade to his countrymen and God a fitting tribute rise.
Thus generous hearts assimilate, when there's a touch within
Of universal nature, which makes the whole world kin.
In the spring of 1858 Mr. and Mrs. James Stark came to Sydney, and commenced an engagement under John Gordon Griffiths' management. Amongst the company engaged to support the transatlantic stars was a Sydney native, Thos. Willis, who is spoken of as a juvenile actor of great ability. He had been, in fact, a pupil of Mr. Nesbitt's, and profited greatly by his master's tuition. Mr. Willis had a great affection for Nesbitt. He has heard how his friend had been treated in 'Frisco, and believing that the Starks had a share in the trouble, he savagely assailed Mr. Stark on the stage in the presence of the company. It was only by the interposition of friends that Willis was prevented assaulting the American actor. For this grave offence Willis had to leave the company, and the knowledge of the circumstances reaching the public ear, the Starks suffered until the facts had become known. The American couple expressed their regret at the death of Nesbitt, and solemnly, declared their innocence of having had any hand in the Californian trouble. Young Willis did not long survive his friend. A few months after his vindication of Nesbitt on the stage at the old Vic he died, and the profession lost a promising actor. The Starks visited Melbourne, Hobart Town, and Launceston, and made "quite a pile." After a few years they returned, but found things theatrical mightily changed. G. V. Brooke had taken Australia by storm, and had such a hold on the play-going public that when the Starks appeared in tragedy and high comedy the American accent became distinctly marked, and the pair played to Luke warm audiences; in fact they utterly failed. On this occasion they further explained the Nesbitt-'Frisco business. They said that it had been published that Nesbitt had spoken disrespectfully of the Californian people, but that they (the Starks) did not believe it; that it was an unfortunate business, and that if Nesbitt had been less stubborn and wayward all would have been well. The Starks have long since passed to their rest, and like Nesbitt, "after life's fitful fever, sleep well.”
(To be Continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. NO. XIX, Sydney Sportsman, 29 June 1904
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That Shakespearian controversy (in the "Sportsman," May 18, 1904) has awakened long dormant memories, and a pleasant evening recently spent with one, who, like myself, lives chiefly in the past, has served to recall many incidents in connection, with music and the drama not before seen In print.
What old faces we brought back in our gossip! What happy days we revived! The days when John Gordon Griffiths managed the old Victoria Theatre in Pitt-street, numbering in his company such artistes as Sarah Flower, Madame Carandini, Sam Howard (known as "Gypsy”“ and sometimes Tinker" Howard, the former from his appearance, the latter from his trade before taking to the stage), Mrs. Guerin (afterwards Mrs. Richard Stewart, and still with us), the Sisters Howson and their brothers, and many others of equal calibre and fair fame.
John Gordon Griffiths was a Shropshire man, born in August 1810, and shortly after leaving school joined a dramatic company. He became a member of the M’Kay circuit, and subsequently joined Mr. Alexander at Glasgow. It was while with these managers that Mr. Griffiths acquired a knowledge of Lowland Scotch, which made him a success in such parts. After leaving Scotland he played in London, and there met Mr. Joseph Wyatt, of the Victoria Theatre, Sydney, who induced him to come south.
He arrived in 1842, and opened in “Hamlet.” He met with great opposition, mainly, I think, from the friends and admirers of Francis Nesbitt McCron, who was in or near Sydney at the time. Griffiths, however, overcame the trouble, and eventually become manager of the Victoria Theatre, and in 1855 filled the same position at the Prince of Wales Theatre, Castlereagh-street. He retired after a short term, and took up his residence at the Pier Hotel, Manly, where he died on March 4, 1857. Gordon Griffiths was a good man, and a good actor.
The years 1855-56 saw many eminent actors in Sydney, Julia Mathews, Mrs. Charles Poole, Fanny Cathcart (Mrs. Robert Heir, and afterwards Mrs. Geo. Darrell), Lola Montez, Mrs. Charles Young (afterwards Mrs. Hermann Verzin), Mrs. James Stark, Julia Harland (a daughter of the house of Wallack and wife of William Hoskins), Marie Duret, the sisters Gougenheim, etc., etc., G. V. Brooke, George Coppin, Joe Rayner, Robert Heir, Richard Younge, Charles Young (not related), J. P. Hydes, James Stark, William Hoskins, John Dunn (father of Mrs. Marcus Clarke and Mrs. L. L. Lewis, M’Kean Buchanan, Charles Burford, etc., etc. Mr. George Coppin is the only one in this list who, to my knowledge is still amongst us. Strange to say, Mr. Coppin "managed" most of them at one time or other, and “imported” direct not a few of them. Julia Mathews and Lola Montez died in the United States; Charles Poole died in Boston, in the same country; and, presumably, Mr. and Mrs. Stark, Mr. M’Kean Buchanan, and Marie Duret returned to the country from which they hailed, and laid their bones there. Mrs. Charles Young, after a chequered domestic career, died not long since in England, I believe. Julia Harland and Fanny Cathcart lie near Ellen Mostyn, Mrs. Vickery, Marie St. Denis, Hattie Shepherd, John Dunn, G. H. Rogers, and other Thespians in the Melbourne General Cemetery. Poor Bob Heir sleeps his last sleep at the Bluff, having died at sea on his way, with his wife, to fulfil Maoriland engagements. Dick Younge died in England, Charles Young at his residence, the Museum Hotel, William-street Woolloomooloo, next to the Blind Asylum of to day.
I have in front of me an interesting playbill of the good, old-fashioned sort, about three feet in length and one foot wide. It is dated 1859, and was from the printing office of Charlwood and Son, “Herald” passage, Bourke-street East. It is issued for the Theatre Royal, Melbourne, and announces the farewell performances of MR. G. V. BROOKE. The play on this particular night is “Macbeth,” Brooke in the principal part, of course; Richard Younge as Macduff; Ben Tannett, the scenic artist (who, like W. J. Wilson, played occasionally), was the Banquo; dear old Lambert, his wife, and “Old” Downey, with the cracked voice, were the witches; Harwood was Duncan; Bob Lawrence (who married Carrie George) was Malcolm; Fanny Morgan, Donaldbain; and Tilly Earle, Fleance - The Lady Macbeth was Mrs. Vickery, one of the best I have ever seen in the character. Locke’s music was given in full, the Hecate being a Mr. Hancock, who, with his wife, was popular as a singer. Brooke did not go to London then, nor for a couple of years afterwards. When Richard and Fred Younge left Brooke he brought Henry Edwards from Sydney as manager, and Edwards brought Dick Stewart, Wigan, Bill Andrews, and other old Sydneyites. Then George Fawcett Rowe was brought into the management, and in their hands it was said that G. V. Brooke was ruined. Ambrose Kyte was now the supposed owner of the Theatre Royal, and it must be admitted, if he were truthful, that he assisted the treasury with much money. About this time, 1861, Miss Avonia Jones appeared upon the scene, at the Theatre Royal. She was the daughter of an actress (Mrs. Melinda Jones) who had filled a leading position on the American stage; her father was the Count Joannes, "a vain clever and eccentric author and actor, from whom the wife was separated." Avonia inherited nothing from her father but his handsome face; - at least Avonia herself said so. I never saw the father, but Avonia Jones was handsome and attractive, and on her arrival in Melbourne, in 1860, she was but 24 years of age. Here is a description of her, published in 1878, when she had been years dead, by one who knew her well and intimately. “Tall, well-made, with a lithe form and expressive features, and a sweet, powerful and flexible voice, she seemed born to become a tragedy queen. A classic head, wreathed with hair as black as a raven’s wing, eyes equally dark, and a complexion that was clear, though colourless, surmounted a figure that readily responded to every phase of emotion she was called upon to portray.” No wonder that the advent of such a lady at the Theatre Royal, Melbourne, caused some disruption in the Brooke household. The lady whom we knew as Mrs. Brooke joined her fortunes, domestic and otherwise, with Mr. Henry Edwards, and a newspaper war, much scandal and a lot of bitterness were imported into matters theatrical in the year of our Lord eighteen hundred and sixty-one, in Melbourne.
Mrs Melinda Jones appeared seldom; she was without doubt “fat, fair and (certainly) forty.” I saw her play once, the character Romeo, her daughter being the Juliet. That was at the old “Princess” Theatre, in Spring-street. When Brooke saw the young lady he fell in love with her right off, and married her, as we then understood. When the quarrel with Edwards and Faucett caused G. V. Brooke to fall back upon George Coppin as his manager, the latter brought Richard Younge and other old supporters back to the old house – in Bourke-street. The nightly speeches by Coppin and the daily letters by Kyte, Faucett, and Edwards were choice, but the Shakespearian and other performances with Brooke and Avonia Jones in the leading characters, will live in memory.
Nothing has been seen before, and I am certain that nothing has been since, to equal them as joint performers. A great exodus of theatrical people, London-wards, took place then, the brothers Younge, Hancock and his wife, Mrs and Miss Jones, G. V. Brooke, and others taking part. Even then there was trouble. Richard Younge had a writ served on him at, I think, the suit of Robert Heir; Miss Jones was threatened with arrest at the suit of R. H. Home (“Orion”) who claimed to have written a drama which the lady declined; Brooke was sought for by the Sheriff’s officers, but could not be found; Younge promptly satisfied the claim against him. Miss Jones gave surety to defend any action which Horne might bring (he never brought one); and the Great Britain was said to have gone without the great tragedian. Wherever he had hidden himself, Mr. Brooke did leave in the Great Britain, and reached London.
It was announced some years afterwards that he had married Avonia Jones on February 28, 1863, at St. Philip’s Church, Liverpool. He led a very erratic life in England, Mrs. Brooke (Miss Jones) having left him for a time, ostensibly as a duty to her mother, but in reality because of her husband’s unhappy fondness for strong drinks. Playing at Belfast, poor Brooke was incapable one night of performing. The audience hissed, and Brooke, in dudgeon, advanced to the footlights, bowed to the audience, stuttered out a farewell, and left that stage, never to return. At Birmingham he was arrested for debt, and to obtain his release had to declare himself bankrupt. At last he picked himself up, and determined, with his only sister, to return to Melbourne under engagement to his old friend George Coppin. He took passage in the S.S. London, which, as all the world knows, foundered in the Bay of Biscay in January 1866, and Brooke and his sister went down in her. Richard Younge had returned to Australia before, and at a dramatic performance in Sydney delivered an address on the death of Brooke when the news reached this city.
I have before me another old playbill, only one of many, time stained, mildewed, and yet revered. It was issued from the Caxton Printing Office, 146 Pitt-street Sydney. Old Sydneyites will remember that it stood between the then Foxlow-place and Brougham-place, known in later days as Moore street and Rowe-street. The building was peculiar, being somewhat of the colonnade type. The printer himself was also peculiar, and E. G. is sadly remembered by some. He did most if not all, the theatrical and sporting printing. He was a jolly good sort; and at Jack Hampton’s Metropolitan Hotel in the garden beneath the trees, enjoyed with his friends the good things of things of this life. But Mr. G. fell on evil days, and Fiji for a time, and subsequently San Francisco, was his home. One cannot help but admire, however inexcusable, the ingenuity with which he engineered his way out of Sydney. He drove a handsome buggy, with a spanking horse, the admiration of Sydney. On the morning of his departure — a Saturday— he went among his friends and raised £30 each from half a dozen— “wages had to be paid,” and other engagements had to be met. To each he sold the horse and buggy, promising delivery in the afternoon. The last friend visited was a reverend father at St. Mary’s, who readily advanced such a prominent citizen as Mr. G. the sum required, and the reverend father became the proprietor of the horse and buggy. His claim was disputed, but he had a receipt and possession. A steamer was off Miller’s Point ready to sail. Mr. R. B. Smith - Bob Smith - the solicitor was on board seeing friends off. He encountered Mr. G., the latter saying that he was seeing some friends off also. He ostensibly got into a waterman’s boat, watched Bob Smith off and returned to the steamer; and sailed with her. The maddest man in Sydney on Monday, when the news of Mr. G.’s elopement was made known, was Robert Burdett Smith! Unlike another very prominent citizen and sporting man, who left about the same time, Mr. G. did not return to the city of the beautiful harbour. The Golden Gate was good enough for him.
This playbill is of the Victoria Theatre In the sixties, when Rachael Tolano was lessee, Mr. and Mrs. Charles Dillon the stars, and “Belphegor the Mountebank” and “The Bonnie Fishwife” the bill of fare. Charles Dillon was announced as the great London tragedian, and was pronounced “a triumphant success.” It was the last week but two of their engagement. In the company was Henry Neil Warner, Fred Younge, C. H. Burford, Sam Howard, Appleton, James Hasker, and some minor men, including Mr. Harlowe, who was a brother of Richard and Frederick Younge, but, being a minor actor and merely a prompter, the brothers insisted on a nom-de-theatre. Amongst the ladies were Mrs. Charles Poole, Mrs. C. Jones, Mrs. M’Gowan and Miss Dickson. In the afterpiece Mrs. Dillon was the Miss Thistledown and Maggie Macfarlane. As the former she sang the old ballad “Ever of Thee,” and in the latter, of course, “Caller Herring.”
I saw Charles Dillon in Dublin in the early fifties as Belphegor, and I saw him in Australia in the sixties in the same character. He had not improved. Australia seldom gets an actor in his prime. I saw J. L. Toole in the Queen’s, Dublin, as Fanfaronade in “Belphegor,” with Dillon, and I saw him in the Royal, Sydney, and I thought it was a cruelty to induce the old gentleman so far away from the scenes where he was tolerated to such places as Sydney and Melbourne, where every playgoer is a critic.
Though Charles Dillon - of course I am speaking of the Charles Dillon of the mid-sixties, not the stage fraud who visited us under the same name years after - played a “round of characters,” he pinned his fame to the melodrama. “Belphegor” not only In Australia but in England, and it was, when the actor was in his prime, a splendid performance. The only man whomever played it in Australia to equal Dillon was to my mind, Clarence Holt, father of Bland Holt.
The Bancrofts, in their published memoirs, pay a high compliment to Dillon in this character. It may be perhaps from the fact that Mrs. Bancroft, when a little lady known only in the West of England as Marie Wilton — and now Lady Bancroft, thank you! — played Henri, that the particular circumstance is mentioned, but the mere mention shows how jealous the “star” of our old days was of any “fat” falling to the stock actor, Dillon objected to the little lady weeping at his pathos, but as she explained that she could not help weeping, he insisted that her weeping attracted public attention from him. Eventually the matter was referred to the manager, who decided that Henri could weep to his (her) heart’s content.
Henry Neil Warner was an especial favourite at Ballarat when that city was golden and could support a theatre and a good company. Warner was a great actor, but, like all good men in his line, had his little failing. When Barry Sullivan first appeared in Melbourne, Warner was engaged to support him, and did so very ungenerously. There was a prejudice against Sullivan at the time, why I know not. Warner was the favourite, and as the curtain fell Warner was called for, Sullivan ignored. One night, the play was “Richelieu,” Warner of course the Nemours. At the conclusion Warner as usual was called for, but Sullivan stepped in front. The decrepitude of the Cardinal had been left off, and Sullivan stood, towering in rage, amidst hisses, hoots and shouts of “Warner,” “Off, off” etc., etc. Sullivan bided his time. When a lull came he stepped forward with, “What do you want? I did not come here to make a name; I brought it with me.” The tone of the audience changed towards him, and after a year or two Barry Sullivan ruled at the Royal, with a double company, composed of the best men and women in Australia. Warner subsequently went to America, and, I believe, died there.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. No. LIV, Sydney Sportsman, 25 May 1904, 3
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Some controversy has been carried on in the Sydney papers respecting the tercentenary celebration at Melbourne of Shakespeare's birth, and, strange to say, the 'authorities' differ. As a matter of fact, some years before the date of the centenary, April 23, 1864, the Melbourne Garrick Club had made arrangements to celebrate the occasion with a performance of "The Merchant of Venice," introduced by the Introduction to the 'Taming of the Shrew,' and, sandwiched, a tableau of Shakespearian characters. The Garrick Club was founded in 1855 by some enthusiastic amateur actors, who were anxious to fret their little hour upon the stage for charitable purposes.
Amongst the founders of the club were James Smith (of the 'Argus'), James E. Neild, M.D., and W. J. Wilson, a scenic artist of much dramatic ability, all three, l am gratified to say, still living. Then, as president, there was R. H. Horne, better, perhaps, known as 'Orion' Horne, from the fact that he wrote a poem under that title, which was published in London at the extraordinary price of a farthing. There was Tom Pavey, the solicitor, who acted for all thespians when they had any legal matters on hand, John Edwards, the younger, who was articled to John Barter Bennett, the solicitor, Alfred Bliss, of Bliss and Joy (what a combination!), auctioneers. - There was J. B. Castieau, who had been in the service of the Government as ruler at the Melbourne Gaol, and a score of others, more or less Bohemian. The first performance was given at the Theatre Royal, under the patronage of Governor Sir Charles Hotham, who had with him in his private box the Colonial Auditor-General, Mr. Grimes, a pompous individual, who was given the appointment through his aristocratic connections, notwithstanding his plebeian name. The piece chosen was "The Heir at Law,” John Edwards performing Dr. Pangloss. It will be remembered that Pangloss has a catch phrase, naming the author whom he quotes. At that time the Victorian finances were in somewhat of a muddle, and when Edwards, as Pangloss, should have said, "Two and two are four, 'Cocker,'" Edwards said "Take 3 from 6 and 5 remains, Grimes," which so offended the Auditor-General that he left the theatre, though asked by Sir Charles Hotham to remain.
Poor Jack Edwards was a thorough Bohemian, a native of Tasmania, to which I believe his father, also a solicitor, was sent for something connected with Chartism. Articled to John Barter Bennett, the latter always patronised the Garrick Club performances, but a time came when he was called upon to put the question very straight to young Edwards, as to which profession he would adopt, that of law or the stage, “For you know, Edwards that you cannot follow both.” Jack chose the law, though he did not abandon the amateur stage.
This erratic individual was born in 1836, at Launceston, and educated by two clergymen, one of whom, Mr. Trollope, had been head master of Christ's Hospital, and started the first collegiate school in Victoria. Edwards was brought to Port Philip when a child and, after schooling, was articled first to Mr. Trenchard, whose son was a suitor for the hand of enchanting Julia Mathews at the same time that R. O'Hara Burke, the explorer was urging his suit. Julia however wedded neither, though I have her own word for it that she would have married Burke had he returned. O'Hara Burke was dead then, and his name was a good advertisement for the gentle, guileless Julia. She wore his picture in miniature and contrived to lose it one Sunday afternoon in the Botanical Gardens.
Edwards was transferred to Mr. Bennett, and had charge of the Common Law department; but, as mentioned, he was more frequently to be found, behind the scenes of the Theatre Royal than at the County Court; which was supposed to be his happy hunting ground. He was admitted a solicitor in 1858 and entered Parliament in 1859, being known as the 'Collingwood Chicken' and the 'Native Companion.' He had as colleagues the late Charles Jardine Don, a stonemason, and the first Labor member ever returned to Parliament, and George Milner Stephen; brother of Sir Alfred Stephen, and the gentleman who afterwards posed as a faith healer. Mr. Edwards was high up in Masonry, very, open-handed and good-hearted, too much so for his own good.
The writer was associated him once in a dramatic performance in aid of the fund being raised for a memorial to G. V. Brooke. The play was the “Poor Gentleman,” Edwards being the Dr. Ollapod, and this scribe Sir Robert Bramble. On the morning of the performance Mr. Edwards sent for me. He had been to Sandhurst a couple of days before, performing for the same object, and had caught a cold, and a bad one. He was in bed, with old Dr. Serrell alongside, and a blister as big as a blanket on his chest. To play that night was out of the question. I was commissioned to interview Mr. William Hoskins, erstwhile of Sadler’s Wells Theatre, and who was the lessee of the old Princess', in Spring-street, where we were to play. Hoskins had the Royal at the same time; it was at the latter house that I saw him, in the 'treasury,' as the ramshackle office was called. I have seen men out of temper in my time, but I have not as yet come across one who equalled William Hoskins on that morning. You see, we 'shared the house' after a certain sum— £60, I think— was deducted for rent. Mr. Hoskins was afraid that the public would get wind of Mr. Edwards' illness, and the receipts would suffer. Hoskins was the best player of such characters as Ollapod and Dr. Pangloss that I have ever seen. Of course he had to fill the gap, and right well he did it. Dr. J. E. Neild was entrusted with the apology for Edwards. The little doctor was never subject to stage fright, but in making the apology he led the audience to believe that John was suffering a recovery, or something of the sort. But when Dr. Neild announced that Mr. Hoskins was to be the Ollapod of the night the cheers nearly raised the roof. Like Marcus Clarke, Mick Maloney, and a few of that kidney, John Edwards' Bohemianism shortened his days.
The Shakespeare memorial, which has been the subject of some controversy recently, was started by Barry Sullivan, with the object, of purchasing a statue which the sculptor Summers was preparing. Sullivan was the moving spirit in the statue enterprise, while G. W. Rusden, the Clerk of the Parliaments, favoured a scholarship at the University. The statue was cast in plaster, and was to cost £1000. The plaster cast was unveiled by Barry Sullivan on the steps of the Public Library, where now stands the statue of Sir Redmond Barry. The statue was never cast, the funds not coming in fast enough, the subscriptions being returned by the treasurer, Frederick Wilkinson, Master in Equity.
The scholarship fared better. Mr. Rusden got up a dramatic performance of the “Merchant of Venice,” the parts being taken by members of Parliament, Mr. George Coppin, M.L.C., the father now of the Australian stage, being the Launcelot Gobbo. Another old actor, though long retired, Mark Last King - on the stage Moreton King—was the Shylock. Few Sydney people today remember Moreton King, though he played in the old Victoria Theatre, in Pitt Street and was considered a great star. A prologue was written by Mr. G. W. Rusden and spoken by Mr. J. D. Wood, the barrister, who has recently returned to his native land (Tasmania) to end his days. Vincent Pyke, at one time Minister for Customs under Sir James M'Culloch, wrote and spoke a very smart epilogue. Mr. Pyke afterwards, betook himself to Maoriland, where he loomed big in politics and Bohemianism. The Garrick Club played “The Merchant of Venice” on the evening before the date, April 23, of the tercentenary, Samuel Hawker Banks, a Sydney native and well-known literary man, being the Shylock. On that night, for the first time in Australia, and I think the only time, the introduction to the “Taming of the Shrew” was performed. Herbert Palmer, afterwards on the literary staff of the 'Age,' being the Christopher Sly. The tableau of Shakespearian characters was centred by the late William Pitt, the well-known scenic artist, who was always pressed into the service when a bust of Shakespeare was needed. In addition to his scenic art, Mr. Pitt kept the Garrick's Head Hotel, in Bourke-street, opposite the Eastern Markets, and where, by the way, I first made the acquaintance of the now Mrs. H. L. Roberts, of the Criterion, but then the favourite of Melbourne, and known as Miss Polly Smith. In Mr. Pitt's cellar, not the one where he kept the casks, but another, quite distinct, were nursed some of the finest sporting dogs I have ever seen, dogs that would charm my valued correspondent, the Hon. Thomas Reibey of Entally. The well-known theatre architect and M.L.C. (Victoria) is the son of this Mr. William Pitt, of the Garrick's Head. The Shakespearian performance which has given rise to the commentary was that given by Mr. Harry Edwards (whom some old Sydneyites will yet remember; he was with us not long before his death, when he bought 'Little Lord Fauntleroy') at Ballarat, which was then the home of the drama, though I am afraid it is not now. But all the dramatic efforts to make a Shakespearian jubilee failed, with the single exception of the Rusden Scholarship, and it is very questionable now if the memorial to the 'divine William' is remembered.
Joseph Michael Forde, ANNALS OF THE TURF AND OTHER SPORTS. No. LIII, Sydney Sportsman, 18 May 1904, 8
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Joseph Michael Forde, ANNALS OF THE TURF AND OTHER, PASTIMES In New South Wales and Elsewhere. No. LXXVI., Sydney Sportsman, 30 November 1904, 3
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I have made frequent mention in recent issues of the 'Sportsman' of Messrs. Spiers and Pond, those old-time lessees of the Cafe de Paris attached to the Theatre Royal, Melbourne, and other ventures of a like character. I enjoyed the personal friendship of Mr. Christopher Pond for some years, and have sweet memories of his 'kindly disposition and good-heartedness. he was the active man in the business, Mr. Spiers being the calculating head. The partners commenced in the 'roaring fifties' in a very small way, exceedingly small when compared with the gigantic proportions their business in England assumed in later years. In the early and mid-fifties in Melbourne there was a number of political agitators, who professed everything political, from placing the entire population upon the land, by means of driving all the squatters across the Murray, to creating fortunes for everybody by means only known to themselves, and to be disclosed only when they got into Parliament.
Amongst the most enthusiastic of those agitators was one named Mooney, who kept the National Hotel at the top of Bourke-street, on the northern side, near Spring-street. There was a music hall attached, which was much frequented by diggers— lucky and unlucky— down for a spree. Mr. Mooney had been to California in 1849, and came to Melbourne in the 'roaring days.' Though keeping a public-house, he was a great advocate for farm life and settling the people upon the land. 'A farm, a vote, and a rifle' was Mr. Mooney's motto, and when the 'roaring' began to cease in the late fifties, Mr. Mooney returned to California, which country he was always careful to say was better suited for agriculture than was Australia. This Mooney (of the National) must not be confounded by old colonists with 'Long Mooney,' a wild Irishman whom long residence in Port Phillip had not tamed.
'Long Mooney' owned and the City Arms at the corner of Lonsdale and Elizabeth streets, and held some adjoining properties, acquired before the fifties began to roar. Mr. Mooney, of the City Arms, was an ancient colonist as years then went, having arrived at the Yarra Yarra before Melbourne was out of long clothes. He got, however, into the clutches of the Colonial Bank, and that Institution held all Mooney's property at his death.
Underneath the National Hotel, when kept by Mooney of 'the farm, the vote, and the rifle,' was a large dining-room which was run by Spiers and Pond. If I remember rightly, it was named the ''Shakespeare Grill,' and had a portrait of the great dramatist as a sign. The bill of fare at the Shakespeare was simple in the extreme; oysters ad lib (if you paid for them) chop or steak with a boiled spud and a half a pint of British beer, the latter brought from Mooney's tap upstairs, and all for the (then) surprisingly low charge of one shilling. Spiers and Pond succeeded well in the cellar, and looked about to extend their usefulness. The cafe attached to the Theatre Royal was then in a most deplorable condition. I think Jimmy Ellis, of the Cremorne Gardens, had something to do with it, but the management was anything but good. Spiers and Pond got a lease of the premises, and transferred their 'grill' there. They did a good business, but it was not until E. P. Hingston ('Sportsman,' Sept. 7) suggested the 'Vestibule' and certain arrangements connected there with that the Cafe de Paris and 'parts adjacent' commenced to disclose improvements. The firm then turned their attention to creature comforts at the old Princess' in Spring-street. A more disreputable-looking structure it would be hard to find. The lessee, George Fawcett, was struggling, with an indifferent company, to make ends meet; the bars, which jutted on the pavement, were as unkempt as the lowest pub on Collingwood Flat, and few of the twitter class of people frequented them. Spiers and Pond got a lease of the bars, and with paint and putty soon put a new face on the place, naming it 'The Piazza.' As at the Vestibule, the Hebes were all attired in black, the attraction at the Piazza being three sisters named Kiley, pretty girls, well educated, of good family and highly respectable and respected. With such attendants the Piazza became an attraction, and with that attraction the fortunes of the theatre became assured. The first big rise the firm made was in 1862. In the previous year they determined to import a team of English cricketers, and for the purpose of making a selection they despatched their book-keeper, Mr. Mallam, with carte-blanche to do the needful. The Spiers and Pond envoy succeeded in getting together twelve good men under the leadership of H. H. Stephenson, the other members of the team, being Bennett, Caffyn, Griffith, Hearne, Mudie, Iddison, Charlie Lawrence, Mortlock, Sewell, E. Stephenson, and George Wells. Caffyn came again in 1864 and remained for some years, commencing a hairdressing business in Hunter-street, subsequently removing to George-street, where, in 187I, he sold out to Mr. John Campbell (Mr. Amory Sullivan's 'young assistant 'barber'). Mr. Charles Lawrence is still in Australia, enjoying a pension from the New South Wales Government Railways, and keeping his hand in by coaching School cricket in Victoria.
The Spiers and Pond XI. played their first match against Eighteen of Victoria on New Year's Day, 1862, on the Melbourne Cricket Ground. The attendance was enormous, and the speculation paid from the jump. I was given to understand that Spiers and Pond cleared something like £16,000 out of their venture. Messrs. Spiers and Pond 'went for' another speculation, but it did not come off, unfortunately for the Australian people. The firm offered Charles Dickens the sum of £10,000 clear, over and above all his travelling expenses and maintenance, for a twelve months' reading tour through the Australian colonies. The gentleman through whom the offer was made pressed upon Dickens the advantages which would accrue to his overwrought system from a perfect rest of six or eight weeks' voyage; and pointed out what a rich and unworked field for the observation and study of character Australia would present to him ; but Dickens could not be induced to accept the engagement ; and while thanking Spiers end Pond for their offer, dwelt up on the large sums he was making by his readings in England, incidentally mentioning that, by announcing one night's reading at St. George's Hall, Liverpool, he was sure of netting at least £300. Mr. Spiers, at a later date, waited upon Dickens In London and renewed the offer, but without success.
Having made 'a pile' in Melbourne, the partners, still devoted to each other, resolved to try their luck in England. Accordingly they sold-out their Melbourne interests to their late bookkeeper, Mr. W. P. Mallam, and Mr. Achilles King, who, however, cannot be said to have emulated Spiers and Pond in money making. At any rate they had not the luck or their predecessors. Spiers and Pond returned to England, where in a few years they revolutionised the system of supplying the London public with refreshments. At the Criterion Theatre and Restaurant, in Piccadilly; built by Spiers and Pond in 1878, at a cost of £80,000; at the Holborn Restaurant, near Southhampton Row; at the refreshment rooms of several railway stations, and at the International Exhibition at Paris, the names of Spiers and Pond became household. The immense strain of the business told upon the health of both partners, principally, however, upon Mr. Pond. This gentleman, whom I knew better than I did Mr. Spiers, had no special advantages of education, and no special training for the business which he had embarked in. He and his partner catered for the great encampment on the Werribee, in 1862, and from their success on that occasion, there could be little doubt but that they could successfully cater for any army. A writer —who knew him well— said of him, on his death in August, 1881, that he was 'sanguine, impulsive and imaginative, his busy mind was continually revolving enterprises on a large scale, some of which he subsequently carried out, in London, while his partner, with a cooler judgment, a more phlegmatic temperament and considerable financial , ability, supplied the necessary restraint to his ardour, and took a severely practical view of Mr. Pond's projects.' Personally, Mr. Pond was popular with all who knew him, and I can recall his tall figure as he stood at the money desk in the cafe, with a pleasant word and smile, and an impressive 'thank you,' for each guest as he departed. 1 can also recall his first and last, and only, appearance upon the stage as an actor when he appeared at the Theatre Royal in the little afterpiece written for the occasion by James Smith, and entitled, 'A Broil at the Cafe.' It was upon the night when a benefit, more as a compliment than for the coin it produced, was tendered the partners upon the eve of their departure for England. Few men, not being themselves given to literature or the fine arts, had a higher appreciation of, or a greater respect for, the manifestation of literary and artistic culture in others than Mr. Pond. 'To gather around him a group of actors and actresses, operatic performers, and men of letters, and to call forth their conversational powers, around a table which bore ample evidence of his lavish hospitality, was one of the delights of his life during the last years of his residence in Melbourne.' Some there are still left who remember some such gatherings at the old Cafe de Paris and in the snug room at the Piazza. Mr. Pond was about 62 years of age at his death.
I have before me a picture of the old Royal in Bourke-street, which is of much interest just now in connection with Spiers and Pond. On the one side— the western— is the Royal Hotel, in the centre 'the vestibule,' and on the right hand, or eastern side, the Cafe de Paris; and adjoining the latter is visible a portion of the establishment of Mr. Bennett, the wig maker, whose manager Mr. John Campbell was. The whole of the frontage of the theatre was leased to Messrs. Spiers and Pond. In the picture, against the columns of the vestibule, are the poster boards with the announcements 'G. V. Brooke and Avonia Jones' distinctly visible. Another poster board bears the announcement of a benefit to the then stage manager, Mr. Richard Younge, the piece chosen being the 'Hunchback.' On the pavement is a group of actors and actresses, and not a few idlers, attracted, no doubt, by the fact that Mr. Davis, the neighboring photographer, had his camera in position, and was about to 'take' the lot. In this group is G. V. Brooke, having on his left hand the lady who had come from England with him as his chief support, Fanny Cathcart, afterwards Mrs. Robert Heir, and subsequently Mrs. George Darrell. On his right stands Mrs. Lambert, wife of one of the best 'old men' Australia has ever seen. In the group also are Lambert, Heir, Dick, Stewart, and many others. Seated in a basket phaeton, is Christopher Pond, then, I remember, slowly recovering from the effects of a broken leg.
One of the English ventures— and a successful one— was 'The Hall by the Sea,' at Margate, under the management of E. P. Hingston, and where for some months — or was it years ? — the attraction was our old Australian friend, Farquharson. One of the best advertisements 'The Hall by the Sea' had was contributed by 'A Special Bohemian', to 'The Orchestra,' in July, 1866. It was dated from 'Margate,' at 'midnight':—
'I am here, Mr. Editor, at Margate.' I came hither on the saloon steamer the Albert Victor, as a guest of the renowned Australians, Spiers and Pond, whose delectable drinks no doubt are familiar to you. I think it was last Saturday I came, but I am not sure. But I am perfectly sure about the Albert Victor, and Spiers and Pond, and the drinks. Pond is the taller of the two, in order to distinguish him from Spiers, for as they are always to be seen together, any less obvious distinction, such as baptism, would be perfectly aimless and ridiculous. They are very jolly to look at, and are the most charming conversationalists in the world. Like the fairies in the nursery story, they only open their mouths to let fall rubies, and pearls, and diamonds for you to gather up. In fact, their speech is always ravishing, like this (murmured gently going down the after-saloon stairs), 'What'll you take to drink?' Or again, 'I think you will like this hock.' Or again, 'What do you say to a little pineapple,' and gems of that nature. On the whole, the voyage to Margate on board the Albert Victor was of the most pleasant description. I did not see much of the scenery on the way down, common politeness keeping me near Spiers and Pond in the lower saloon for the better part of the day; but I am told the look-out was particularly beautiful to those who like that sort of thing. My description, therefore, must be necessarily brief. After we left London Bridge we sailed majestically past Billingsgate. Chelsea, the Tower Hamlets; Kew, and the Eddystone Light (a fine structure, sir, hut I did not see it, being just then particularly engaged with Spiers and Pond in the lower saloon). Scarborough, Hungerford, and Rosherville Gardens; had a chat with the Man-at-the-Nore. and eventually arrived at Margate late in the afternoon.
''We in the lower saloon had known for some time that we were approaching the jetty, from the strong bouquet of Hebrews, wafted on the evening air, and it was with feelings of reluctance that we ascended the wooden stairway and made our way through the lanes of Israel towards shore. Margate, as you know, my dear editor, is a royal burgh, situated opposite Gravesend, and not far from Yarmouth, on the Isle of Thanet. It is one big lodging-house, the people live on shrimps, and wear yellow boots without heels, and machines are 9d, including towels. This is Margate, which, having seen, and having secured a humble apartment, I found it nearly time to rejoin my fast friends, Spiers and Pond at their new 'Hall-by-the-Sea' at the inaugural ceremony incidental to the opening of which we had been invited to assist. The 'Hall-by-the-Sea,' you see is meant to be— well, eh ! a hall by the sea. That is, you can eat and drink as you can only eat and drink chez Spiers and Pond; and in the evening there is a concert, and afterwards a ball and the charge is one shilling. That's a hall by the sea. The hall itself is very pretty, and large and comfortable, though tolerably bad for vocalists. I don't know much about architecture myself, else I would give a long and elaborate description of the hall, but luckily the 'Standard' reporter does, and as he is a friend of mine I make free to borrow his account. 'The hall (he writes) is a longish square, with triangular roof and level walls, divided into compartments.' There you have the whole place lucidly before you, and I need only add that the orchestra is erected about the middle, much in Covent Garden style, with passages at the sides ; that the 'salle' is hung with stuff, festooned with flowers ; that tolerably decent statues are arranged along the walls at intervals, and that the chairs are cleared away after the concert for dancing, to give you the 'tout ensemble' in a sentence. It is bounded on the north by the sea, on the east by the Marine Parade, on the south-west by the railway station, and on the south by nothing in particular.'
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF. AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXXII., Sydney Sportsman, 28 September 1904, 3
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As Mr. Amory Sullivan ('Sportsman,' 7/9/'04) is evidently unacquainted with Mr. W. H. Campbell, I may be permitted to quote the latter gentleman's letter to Mr. Lawrence, Mr. Barry Sullivan's biographer, in full. There is nothing uncomplimentary to the great actor in the letter, and I cannot conceive that Mr. W. H. Campbell can be an impostor, though Mr. Amory Sullivan fails to remember him.
Thus the biographer : "His (Barry Sullivan's) success was by no means assured at the outset, however, as the colonial players were not sufficiently off with the old love to be on with the new. In other words, they still retained wistful yearnings towards the prodigal who was fated
never to return. But Sullivan was not of that fibre to become disheartened under momentary coldness. It was an up-hill fight, but he conquered by sheer tenacity and strength of will.
"Mr. W. H. Campbell, a prosperous Ulster man, at present (1893) residing in San Francisco, writes as follows in an interesting communication to the author:
— 'I frequently met and was very well acquainted with both G. V. Brooke and Barry Sullivan during the golden early days of Victoria, better known then as Port Phillip, the Australia Felix of the veteran pioneer John Pascoe Fawkner. Brooke was undoubtedly the most popular actor who ever set foot in the colonies, but he left for good before Sullivan's arrival there. The contrast between the two men, Irishmen as they were, was very striking. Brooke was good-natured, convivial, careless, and had moments of supreme inspiration. Sullivan, on the other hand, was practical, abstemious, methodical. He was for the most part painfully aware of his importance, had immense vim, aimed high, and succeeded in reaching the grand goal of his ambition."
" 'The days when genteel comedy was at its best in Melbourne found Sullivan, with Joe Jefferson, Fanny Cathcart, Heir, and a galaxy of lesser talent playing at the Princess'. I think they opened in 'Money;' Barry as Evelyn, Jefferson as Graves. A little supper was tendered those gentlemen and the two captains commanding the ships which brought them out to Australia. Of those that made merry that night only Mr. Jefferson, Captain D. H. Johnson, R.N.R., and myself remain to tell the tale. H. B. Donaldson, Sandridge, was there, and my fellow survivors doubtless remember how he and the genial C. L. Throckmorton went through the farcical ceremony of marrying the landlord's daughter over the broomstick for the special entertainment of our theatrical guests."
" 'It fell to my lot to propose Mr. Sullivan's health, and in doing so I alluded to a keen, fussy controversy then going on in the newspapers over a dispute between the tragedian and the management of the Royal, in which the ladies of the company were involved, owing to Sullivan's methods in regard to them being at variance with those formerly practised. My endeavor was to throw oil upon the troubled waters, and bring the unhappy dispute to an end, so I ventured to suggest to our friend the desirability of compromise, or such concession as
might please the ladies and satisfy popular clamor and prejudice."
" 'Jumping up, the tragedian replied in these characteristic words : "Do you think, sir," addressing me personally, "that I will concede ? No, sir ! Never, sir ! Never for a moment, sir ! Do you mean to say that I, Barry Sullivan, must stoop to the people of Melbourne ? No, sir! Far from it. I'll bring them up to me !" And he carried out his point, as he always did, by sheer pluck, energy and 'go.' "
" 'Though very abstemious, Mr. Sullivan was not a total abstainer. I, on many occasions, supped with him at Spiers and Pond's Cafe Royal, when he invariably partook of a broiled steak or chop, accompanied by a pint or half a pint of Guinness' Dublin porter. He was fond of praise, - though impatient of adverse criticism. 'Did you see my Don Caesar ?' he asked me on the street one day, after the production of 'Don Caesar de Bazan.' He fished for a compliment, and received a well-merited one.' "
Mr. W. H. Campbell renewed his acquaintance with Mr. Barry Sullivan, in San Francisco, early in 1876, whither he had gone to open the new Baldwin Theatre. Thus Mr. Campbell anent this interview : "Strolling up Market-street one afternoon I met Barry Sullivan, who invited me into the Baldwin Theatre, where a rehearsal was going on. As we chatted quietly in the back stalls his quick ear detected some mistake in the recital of the piece. 'What's that? What's that ? Horrible. That will never do, never do,' he muttered. Then he called out lustily, 'Stop ! stop ! Hold on, will you, there?' Like a flash he left my side, bounding over seats, footlights, and every impediment, and was on the stage amidst the performers before I could realise what was the matter. A good deal of his financial success he attributed, by the way, to his son, Mr. T. S. Amory Sullivan, whom he described to me as a very capable business man, who attended closely to details."
Surely Mr. Amory Sullivan must remember this Mr. W. H. Campbell.
In 1885 there appeared a pamphlet entitled, 'The Truth About the Stage.' It created some sensation owing tp its extreme pessimism, and was attributed to the late Hal Louther. In the pamphlet is the paragraph : "My own experience of this eminent tragedian (Sullivan) contrasted agreeably with the lying reports of my stage companions. If I had been fortunate enough to meet Mr. Sullivan at the commencement of my career, I should have been saved many years of toil and degradation. .... I have known his finest dramatic situations ruined by young actors who, through nervousness, have either forgotten some particular piece of business, or failed to give the proper cue. At the end of the act, when some poor fellow had gone to the tragedian's dressing-room to apologise for his shortcomings, instead of black looks and a curse; he received kind words of encouragement. On one occasion, when a persevering young actor ruined a grand scene in a Shakespearian play , I heard Mr. Sullivan interrupt his apology, when the curtain fell, with the following words : 'My dear boy, you did your best. You were a little nervous. You will do better next time.' "
Barry Sullivan's biographer says :— "It is satisfactory to find that Mr. W. H. Campbell's personal estimate of the Sullivan of the sixties agrees in the main with the impression left upon the mind of Mr. James Smith, the Nestor of Australian dramatic critics, who has now been associated with the fortunes of the 'Argus' for fully 40 years.' (This was written in 1893.) In a communication to the author, written some 12 months ago, apropos of our hero's career in the colonies, this accomplished journalist says, inter alia : 'As a man I did not like him. He was hard, cold and repellent, and his vanity amounted to a disease. He seriously believed that the British stage had produced only three great actors— David Garrick, W. C. Macready, and himself. His self-love was as irritable as it was irritating, and his jealousy of other actors was almost childish. I could never detect any of the fire of genius in his performances; he possessed great talent and that 'infinite capacity for taking pains' which come very near genius. Short of that, he was one of the best all-round actors I ever saw, equally good in tragedy, comedy, Irish drama and farce. He was, also, an admirable, manager. He was master of all the duties and details connected with a theatre, from those of the call boy upwards. He was very frugal, perhaps penurious. For instance, he would see that no candle ends were wasted behind the scenes. And no doubt he was in the right, for colonials are naturally wasteful and unthrifty; and poor Brooke's loss of the fortune he had made here was in part attributable to his carelessness and toleration of extravagance and pillage in his subordinates. In spite of his jealousy. Barry Sullivan, while managing the Theatre Royal in this city (Melbourne), surrounded himself with an excellent stock company — such a company, indeed, as could not be organised now — a company scarcely less complete and efficient than Daly's. Every piece he produced was handsomely mounted, thoroughly rehearsed, and effectually played, and I have always understood that he went home with a small fortune. I do not suppose his personal expenses ever exceeded £2 or £3 a week. His temper was as vile as Macready's without being conscious of and penitent for it, as that actor was. I wrote an advance criticism of some performance of Sullivan's, and a day or two afterwards I got into the compartment of a railway carriage on a suburban line, when he opened out upon me in a torrent of vulgar abuse in the presence of half a dozen other occupants of the compartment. His object was evidently to provoke me to strike him. But I preserved my own self-control, and ironically complimented him on his gentlemanly conduct and demeanor ; and he looked and acted like a man possessed by an evil spirit. Only a few months bfore he had dined at my house in company with Joseph Jefferson and Sir Charles Gavan Duffy. "
''Sullivan's reign at the Theatre Royal, Melbourne, was certainly not the least brilliant episode in the history of that theatre. He was one of the most hard working of managers and actors. He never spared himself, and he did not spare others. Indeed, he could not have succeeded or have fulfilled his duty to the public had he been indulgent or remiss. There was a good deal of person al magnetism in the man ; he could be almost winsome in his manners, but you felt that it was the attractiveness of the 'well-graced actor.' "
Mr. Amory Sullivan will admit that this is not a biased opinion given by one whom Mr. Amory Sullivan conceives was prejudiced against his father.
In connection with the name of Mr. W. C. Macready, I may mention that while Mr. Barry Sullivan was at the heyday of his success in the management of the Royal, a son of W. C. Macready turned up in Melbourne. The young man had been an officer in the army in India, led a fast life, left the army, and became stranded in the City by the Yarra. He appealed to Sullivan, and that gentleman gave him a ''show.' Young Macready appeared for two nights as Captain Absolute, in the ''Rivals." The piece was well mounted, and the support excellent. I saw the actor's debut. In face and figure he recalled the picture of his father, but there all comparison ended. He preached, mouthed and ranted by turns. There was an excellent house the first night, but on the second night a half-filled house ended Mr. Macready's engagement. He got lower in the social scale, and dropped to the grade of "a super," content to carry on a banner. Finally he left the stage in awful disgrace. I forget which Melbourne theatre he was at at the time, but in a state of delirium tremens be appeared among the company one night in a state of nudity. A blanket was thrown over the unfortunate man, he was removed, and the stage door barred against him in the future. I forget what became of him.
Mr. James Smith, "the Nestor of Australian dramatic critics," was born near Maidstone, in the county of Kent, and took to literary pursuits before he was out of his teens. He contributed occasionally to London "Punch," which brought him into contact with Douglas Jerrold, with whom he was associated in the "Illuminated Magazine," for which he wrote regularly. At the age of 20 he was editor of a country newspaper, and a year or two later had the chair of the Salisbury "Journal." This post he held from 1849 to 1854, in which latter year he came to Australia. In 1856 he joined the "Argus" staff as leader-writer, fine art and dramatic critic, and has been almost uninterruptedly connected with that paper ever since. He it was who advocated the institution of a National Gallery, and was one of the founders and the second editor of Melbourne "Punch." He was also editor of the "Evening Mail," the first afternoon paper published in Melbourne. From 1863 to 1868 he was Librarian at the Parliament Houses, an appointment conferred upon him by, I believe, the late Sir John O'Shannassy. His appointment created some jealousy, and one or two members, notably William Fraser, of Creswick, took exception to his appointment. Without doubt Mr. James Smith contributed to the newspapers while Parliamentary Librarian, but I doubt if he slated the actors as Mr. Amory Sullivan's quoted doggerel suggests. While Mr. Smith was Librarian he remodelled, classified and catalogued the library. He has lectured in public for 40 odd years, and in 1860 wrote and staged a drama entitled "Garabaldi." It was produced at the Prince of Wales' Theatre in Lonsdale-street — the same old building known in the early fifties as Rowe's Hippodrome, and later on as the Lyceum, when the Marsh Troupe occupied it, and yet again the Prince of Wales Theatre, when Richard Younge was stage manager, and M'Kean Buchanan, the spluttering American tragedian, was the star. To be just to Mr. Buchanan, there was one character in which he was in comparable— Sir Harcourt Courtly in Boucicault's "London Assurance." Mr. Smith also produced a successful farce —" A Broil at the Cafe" — the scene of which was laid at Spiers and Pond's Cafe de Paris, the piece being produced at the Royal. Mr. Smith has been a prolific writer, and a well read one. G. V. Brooke and James Smith were bound together by strong personal ties, and when Brooke, having made his final appearance at the Royal, was induced to give a short series of readings at the Old Exhibition Building, in William street, James Smith and Mr. and Mrs. Robert Heir assisted. I cannot, at this distance of time, conceive that Mr. James Smith and Mr. Barry Sullivan were unfriendly, as I have seen them together on more than one occasion. Many instances are recorded in which Barry Sullivan showed temper. Without question his conduct of the Theatre Royal was on the highest grade. In his day Melbourne was scandalised by a set of society poodles, who carried their va garies into the dress circle and private boxes of the Theatre Royal. One lady, the wife of one of the gentlemen mentioned by Mr. W. H. Campbell, carried on high jinks, and one night, with some military officers, so scandalised the pit that the denizens of that part of the house loudly called for Mr. Sullivan, who did not happen to be engaged on the stage that night. Mr. Sullivan, seeing how "the land lay," immediately entered the box and removed the occupants, amidst the cheers of the house. On another occasion he marched majestically before a well-dressed snob, whom he was removing from the dress circle, when the snob kicked the tragedian under the coat tails. Sullivan spun round like a teetotum— it was at the stairs— and asked, "You kicked me, sir?" 'I did ! " was the reply. Sullivan hit out with his right, and with one well-directed blow sent the cad reeling to the bottom of the stairs. In the early seventies. Mr. Barry Sullivan made an appearance at the Liverpool Police Court on a charge of having assaulted a stage carpenter, of which more anon.
(To be continued.)
Joseph Michael Forde, ANNALS OF THE TURF. AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXXI, Sydney Sportsman, 21 September 1904, 3
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The rejoicings over the success of the New South Wales horses in the intercolonial matches in October, 1857 at Flemington took a form agreeable to at least two of the parties concerned. Old Sydneyites who had taken up their abode in Victoria were determined that the horseman who had upheld the honor of the mother colony on a 'foreign field,' as it were, should not go unrewarded. Accordingly, some active spirits set about getting up a testimonial to Mr. John Higgerson, who had successfully steered Veno to Victory on the memorable October 3. Subscriptions were had for the asking, the result being that a very handsome gold-mounted whip was purchased for presentation to the successful jockey. The presentation was made on the stage of the Theatre Royal, at a performance given under the patronage of the Victoria Jockey Club 'and the Sydney sporting visitors.' The piece staged was an old-time melodrama, 'Fraud and its Victims,' a play we never hear of nowadays. The chief performer on the male side was an actor then new to Melbourne, Mr. W. H. Stephens, who earned for himself the nickname of 'Jockey' Stephens, through his capital performance of a jockey in some racing drama. In thosegood old racing days a 'laughable farce,' as the playbills had it, wound up the evening's performance. Between the play and the farce, Mr. Hamilton, of 'Bell's Life,' appeared on the stage, accompanied by Mr. Johnny Higgerson. Mr. Hamilton, in a neat and appropriate speech, made the presentation. The whip mountings were exquisite, and the gold band bore the inscription : —
'Presented to Mr. Johnny Higgerson,
Trainer and Rider
of G T. Rowe, Esquire's c g
Veno,
as a Memento of the Challenge Match.
October 3rd, 1857.'
Though it was Mr. Higgerson's first appearance on the boards of a theatre, his 'stage' being usually a four-wheeler, Mr. Higgerson was not amiss in his speech of thanks. The newspapers of the day did not report the speech, but I know that Mr. Higgerson said that Wellington did not feel prouder at Waterloo than he (Johnny Higgerson) did on Veno in the champion match. The owner of Veno, Mr. G. T. Rowe, who was in the dress circle, had to bow his acknowledgments of the applause which greeted him when recognised. The Sydney sportsmen and the Sydney press admitted that the Victorians took their defeat in a manly fashion, asserting that they would have better luck next time. The gold-mounted whip, the subscribers explained, was not presented as an acknowledgment of Veno's victory, but as a mark of esteem to Mr. Higgerson as a man of whom they were all proud, who did his best in the interests of his employer. Mr. W. H. Stephens, the 'other star' of the night, after a couple of years tearing the colonies, went to London, and became a most successful actor and manager, and was, I think, the first of a long list who having made a name in Australia, made fame and fortune in England.
As Tomboy, ridden by Sam Holmes, had conquered Veno, ridden by Higgerson, in one race at the meeting held immediately after the intercolonial matches, it was thought only right and proper that 'old Sam,' as he was known in after years when he kept the Horse and Jockey Inn, at Enfield on the Liverpool-road, N.S.W., should also have a presentation. This took the shape of a gold watch and chain and a purse of sovereigns. Anthony Greene was the spokesman, and Sam Holmes made a very neat speech. Tomboy was also to have 'shown' on the stage, but Mr. Greene had to apologise for the equine hero, stage fright, or something akin to it, having prevented Tomboy making his bow to the crowded audience at the Princess', for it was at that theatre that Mr. Holmes had his presentation. 'Fraud and its Victims' at the Royal had given way to 'Sardanapulus,' with Mr. G. V, Brooke in the leading part. It was announced as one of a series of performances prior to G. V. B.'s return to England. These announcements were frequently made, and an announcement of a final appearance by Mr G. V. Brooke, became a by-word as one of 'Coppins dodges.' On the night when the presentation was made to Mr Sam Holmes, the sisters Gougenheim—Joey and Adelaide— were playing in 'Court and Stage' supported by George Fawcett, who subsequently went to London and achieved success as an actor and playwright, under the name of George Fawcett Rowe, the latter being his real name.
If not actually on the night of the presentation to Mr. Holmes, it was on the night previous, that Joey, who was the more energetic of the sisters, made a bitter complaint that they, as 'stars,' had great difficulty in getting an opening in Melbourne, unless they accepted undignified terms. As Mr. George Coppin was absent from Melbourne, Mr. G. V. Brooke wrote the newspapers explaining the position. The agent of the sisters had written Mr. Coppin from Hobart Town offering their services at the Royal on certain terms, which we may suppose, from the tone of Mr. Coppin's reply, to have been, perhaps, exorbitant. Brooke gave a copy of Coppin's letter. There it was stated that the expenses were £600 a week! but that he would give the sisters £100 a week and two half-benefits, the engagement to be for a fortnight or a month. These terms, the sisters indignantly rejected, and gave themselves to the old wooden structure known as The Princess', in Spring-street. This old wooden 'Matchbox,' as it was named, had pit, stalls, and bores, and might hold £100 a night on a pinch. What terms they made with George Fawcett we know not, possibly share and share, after deducting a sum for expenses. Strange to say, the 'Old' Queen's' in Melbourne, the Princess' just mentioned, and an old theatre still standing in Durham-street, Bathurst, a relic of the roaring days of the Turon Diggings, and in which G. V. Brooke played, are the only ones, I am creditably informed, which have escaped destruction by fire.
Mr. Holmes, in acknowledging the gift of a watch and chain and a purse of sovereigns, was not to be outdone by Mr. Higgerson in similes; Mr. Holmes said that he was prouder of his position that night than Nelson at Trafalgar! Some little unpleasantness was hinted at over the race won by Tomboy. It was a sweep of 25 sovereigns with 100 sovs added. There were several starters, the principals being Van Tromp, Veno, and Mr. Purcell's Tomboy. Higgerson was on Veno, Waldock on Van Tromp, and Holmes on Tomboy, three as upright jockeys as ever threw leg over saddle. It was said that Holmes rode light, having got rid of some of his weight; and what pained the Victorians more than anything else was the fact that Messrs. Rowe and Atkinson believed it; and Sam Holmes was a Sydney man, too. Those who knew Sam Holmes will, I know, say that such a charge was simply ridiculous. The jockey weighed out and weighed in the same weight, and there was no opportunity, even if he wished it, to play hanky-panky with the weights between times. It may be mentioned that in this race Van Tromp was nowhere but in the race run half an hour afterwards he got second place.
Within the week in which the great Intercolonial Matches were run, the Victoria Jockey Club held, I think, its first meeting. This was the club of which Mr. J. M. Tarlton (U. S. Consul), Henry Phillips, George ???????, Edward Row were stewards, with Mr. W. P. Symons as secretary, and Mr. Richard Goldsbrough as honorary clerk of the course.
Just think of 'John Bull' Goldsbrough, 20 stone if an ounce, in starlet, and breeches, as clerk of the course! It was late in the season, and the horses were not in the best of condition, and the meeting was remarkable for the defeat of all the favorites.
The Intercolonial Matches seem to have given a zest to racing in Melbourne, the V.J.C. meeting on October 7, 8 and 9 being very largely patronised. Tattersall's newly founded rooms attracted a crowd, the regulations framed and the admission fee proving a barrier to a large number of noisy 'bummers,' who did no business and whose chatter, clatter and bounce had been intolerable. This 'push' had to content itself with the kerbstone when Tatt's was established. In the rooms the Sydney people were well represented, foremost amongst them being Mr. G. F. Pickering, editor and part proprietor of 'Bell's Life in Sydney.' It was noticeable that the Sydney contingent wagered only on Sydneyside horses.
The first race of the meeting was a Maiden Plate. Nine came to the post, amongst them a horse called Yankee, entered as a five-year-old, made first favorite, and backed heavily all through. This horse Yankee had done all his galloping as one of a team in Cobb and Co.'s coaches! The coaching crowd believed that they had found a wonder, but the result proved that Yankee was great at a mile, but no further. Though Joe Smith, a well-known rider of the time had the mount, he found his horse beaten at the mile. A horse with the Hibernian name Bathershins proved the winner, while Lady of the Lake, a sister of Alice Hawthorne, ran into third place.
Under the auspices of this club the Victorian Derby of 1857 was run. The entries were Mr. William Greene's Tricolor, Dr. Bathe's Vain Hope, Mr. Dawes' Union Jack, Mr. H. Phillips' Cavalier, Mr. E. Row's Melbourne, Mr. Payne's Skylark, and Mr. Davis' Marco. The added money was £150, the race being won by Tricolor, bred at Woodlands, the old home of Pomeroy Greene and his sons Rawdon and Molesworth. The winner had only been in Anthony Greene's hands for six weeks prior to the race. The Jockey Club Cup, £150 added money, brought a number of well known horses to the post, and was the cause of a special match being made between two of the runners. There were five entries: Mr. Warby's Cardinal Wiseman, Mr. A. Chirnside's Alice Hawthorne, Mr. John Sevoir's Sir Robert, Mr. B. D. Clarke's Camel, and Mr. Payne's Sinbad; welter weights, members of the Jockey Club up. Alice Hawthorne was the favorite against the field. The race was a two-miler, the winner turning up in Cardinal Wiseman, ridden by Mr. Rutland; Alice, with Mr. John Orr up, being second. That night at Tattersall's it was stated that Cardinal Wiseman's victory was only a fluke, and a match between 'The Churchman' and Alice was spoken of. On the following evening the match was made, the owners of Alice laying £1000 to £500, 2½ miles, welter weights, 12st 41b the horse, 12st 1lb the mare, to be run on the afternoon of the next day. Next afternoon the betting was 6 to 4 on Alice Hawthorne, which became firmer when it was known that Johnny Higgerson had the mount on the mare, and the 'gentleman jock,' Mr. Rutland, was to steer 'The Cardinal.' The start was a dead level one. Almost immediately the mare forged ahead, the Cardinal made an effort and passed the mare, the latter, however, got in front again, but Higgerson hauled off at the boggy ground under the hill, where the grandstand is now. Turning into the straight the pair were stride for stride, fighting for every foot; the mare was beaten by three lengths, in 3min 22sec. The horse Cardinal Wiseman surprised everyone. Mr. Warby had purchased him a few weeks before for 200 guineas, for stud purposes, but proving what horse masters call 'too playful,' he was given to one Bentley to train and make what he could out of him. It was now decided that Alice Hawthorne had seen 'her day.' In the first ten days of October, 1857, she had been tried four times, having as riders Steve Mahon, Mitchell, Johnny Higgerson and Mr. John Orr, and she failed to score a win with either up. All four riders gave the verdict 'out of form.'
The Victoria Jockey Club had a 'Great Metropolitan' as part of the programme. It was run on the second day, the added money being a modest 200 sovs. with a sweep of 15 sovs. The starters were: Veno (Higgerson up), Mr. Jenkins' Voltaire, Alice Hawthorne (with Mitchell up), Van Tromp, and five others, Veno and Alice went stride for stride from the start, when Veno went to the front, leaving Alice to fight for second place with Voltaire, who beat the mare by a head. The third day was wet, the entries being second and third rate, and the interest deadened by the absence of the 'big game.' At Tattersall's, at the settling up, everything passed off in first-class fashion. There were no complaints, because there were no defaulters. The bookmakers proper had not as yet become an institution, the betting being done between friends and by well-known sportsmen. Cash betting had not been thought of. Joe Thompson was but 20 years of age, and still in obscurity. The late Sammy Isaacs had not started 'pencilling' at Kirk's Bazaar. I think little Sammy, who 'pattered' for the fighting men at their booth at Flemington on race meetings, was the first recognised layer of the odds per book and pencil.
At the 'settling,' when the champagne had gone round, and everyone was satisfied with himself, his neighbor, and owner of Van Tromp, issued a challenge the world generally, Mr. William Frazer, to Victorian sportsmen, two challenges, in fact. The first was that he (Mr. Frazer) would find a horse in the Geelong district, which he would match against any other Victorian horse for 250 sovereigns, in six weeks' time, two miles, over the Geelong course. The second challenge was somewhat similar, the distance being 1½ mile, Mr. Frazer explained that both horses were strangers to the Flemington and Geelong racecourses. Nothing came of the challenges at the time. But while challenges were flying about Melbourne, new ground had been broken in Sydney. In 'Bell's Life in Sydney' appeared an advertisement worded after this fashion :— A gentleman from Ipswich, Moreton Bay (there was no Queensland then), will back his horse, Newbolt, against the champion of Australia or any horse in the colony (New South Wales, which included everything north of Gabo lighthouse), for nothing less than 500 to 1000 sovereigns, £250 allowed either party removing his horse to either turf. Stakes ready at the Willow Tree Inn, Pitt-street. No deposit but cash down. Match to be made in four weeks, the race run in three months from this date. October 17, 1857. An answer expected by Saturday, as the gentleman is about to leave the colony. No race within 22 days of the horse landing at either post. I don't think the Sydney sportsmen paid much heed to the gentleman from Ipswich, who had such a high opinion of his horse Newbolt.
A coincidence, surely! While I was writing about the Edouin family ('Sportsman,' 27/4/'04) and Cremorne one of the family, Mrs. G. B. W. Lewis nee Rose Edouin, was on her way to pay a professional visit to Sydney, and the lady is now in our midst.
The Mr. Warby mentioned above belonged to an old— very old— Campbelltown (New South Wales) family, which had a big interest in certain valuable Sydney properties. The old Yorkshire Stingo Hotel, at the corner of Castlereagh and Goulburn streets, was an heirloom of the family. Likewise the old Liverpool Arms, at the corner of King and Pitt streets, a house dating back to the old 'lag days' of the colony, but which, when rebuilt, had its name changed to 'Warby's.' I believe it has now passed out of the Warby family.
Joseph Michael Forde, ANNALS OF THE TURF. In New South Wales and Elsewhere. , Sydney Sportsman, 11 May 1904, 8
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Joseph Michael Forde, Launcelot Booth, The Late J. B. Steele. (To the Editor of the "Sportsman."), Sydney Sportsman, 7 December 1904, 7
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My editor has handed me the following very interesting and to me most gratifying letter, and which, being addressed to the editor of the 'Sportsman,' is evidently intended for publication:—
"(To the Editor of the 'Sportsman.')
“Sir, — It is usually understood, I believe, that 'dead men tell no tales,' but in this case, as in others, the exception proves the rule, for according to 'Hayseed,' the present writer of this — to quote his own words— 'died in Sydney some years ago.' Yet in spite of being so heavily handicapped by him, I will, with your permission, 'a tale unfold' in answer to articles appearing in your paper of the 10th and 17th , instant. Under the above heading, the 'Sportsman' of the 10th instant says: 'When Barry Sullivan first appeared in Melbourne he was fairly a frost. He was exceedingly needy in appearance, etc.' Now, sir, the truth is that when Barry Sullivan landed from the good ship City of Melbourne—which brought him to Australia— he, with his son, drove straight to Menzies' Hotel, then in La Trobe-street, Melbourne, where he resided for some months, and right up to his departure for Sydney. Here he stopped at the Royal, and Wilton Hall at Tattersall's, where he committed suicide ; and thereby hangs another tale. Even in those days, old man Menzies' was not in the habit of allowing anyone 'of exceedingly needy appearance' anywhere about his premises, and certainly those whose personal expenses 'never exceeded two or three pounds a week' stood not the ghost of a chance at his hotel. Barry Sullivan appeared the first seven nights in 'Hamlet' following it with 'Richelieu,' 'Richard III,' etc. There were £368 in the first night, and he finished previous to his coming here to £211. Is this the 'frost' you allude to ? Mr. W. H. Campbell's statements are all quite strange to me. Nor do I remember anyone of that name, save the young barber's assistant whom my father put into 'business' (together with a partner), the firm being afterwards pretty well known as 'Campbell and Graham.' The supper alluded to by Mr. Campbell, as being given to Jefferson and Barry Sullivan, I very well remember, but he must be dreaming, surely, when he states 'it fell to my lot to propose Mr. Sullivan's health,' and again, 'of those that made merry that night only Mr. Jefferson, Captain Johnson and myself remain to tell the tale.' Indeed, then where do I (with several more I could name) come in ? James Smith was always very bitter—he never quite forgot the long mongrel ballad published about him, which caused amusement at the time, and which he attributed to the 'Royal's manager.' The first verse I remember ran as follows :-
'I'm young man from the country, librarian I be.
Three hundred pounds and fifty more, a year they give to me ;
My place is but a sinecure, for naught have I to do.
But scribble on the theatres, and damn the actors, too.'
"That James Smith knew that he had failed to put down 'the Royal,' which he had worked so hard ' to accomplish, we have only to quote his own words : 'I have always understood that Barry Sullivan returned home with a small fortune. Quite right, Mr. Smith, he certainly did. In the 'Sportsman' of 17th instant you state that 'Miss Vandenhoff died of a broken heart,' etc. Whereas it is well known at home that consumption carried her off, after a long illness; but there is no 'romance' in consumption.
“In alluding to Miss Kyte, among other things you say : 'The lady had sailed for London a couple of days before Barry Sullivan was cheered off from Sandridge Railway Pier.' Yes, but you forgot to add that he travelled slowly, sailing from Brisbane in the s.s. Souchayo, via the Coral Seas, stopping at Java. Singapore, Calcutta, Egypt, etc., and taking altogether, over six months to reach England.— I am, sir, yours, etc., AMORY SULLIVAN.
"(son, and for 25 years Barry Sullivan's manager), late acting-manager and treasurer of Theatres Royal, Melbourne, Sydney, etc."
* * *
I won't make any apology for "killing" Mr. Amory Sullivan, as it has brought forth such an interesting and instructive letter; but I may say that a few months after Mr. Amory Sullivan's connection with the Theatre Royal, Sydney, ceased, I read with much regret, in a Sydney newspaper, of his death somewhere in Queensland. I believe I have the "cutting" still, and will hunt it up. Needless to say I am much gratified that Mr Amory Sullivan is still in the land of the living ; not to tell tales, but to establish facts. Now, I did not say that Mr. Amory Sullivan died in Sydney. If that gentleman will look up the "Sportsman" of August 10 he will find that my words were, "The later, now dead, was in Sydney a few years ago." Again my words are : "He was exceedingly seedy in appearance." Not 'needy,' Mr. Amory. My opening paragraph on the 10th fully explains why I consider Mr. Sullivan's ,early appearance in Melbourne a ''frost." The fact of there being £368 in the old Theatre Royal on Mr. Sullivan's first night, and £211 on his farewell performance proves, I think, that there was a falling off, my friend ! As I pointed out, the Australian stage was languishing for a star after Brooke left. But money taken at the doors does not make the stage representation brilliant and no one knows that better than Mr. Amory Sullivan.
I am not prepared to fall in with the opinion that the hotel of Archibald Menzies, in Latrobe-street, Melbourne, stood in the front rank. It was in a third-rate neighbourhood, stood a good distance off the street, and was hemmed in by stone buildings which were flush with the alignment line, and had a somewhat dingy appearance. But I will admit that it was a much better stamp of house than the Hope tavern, a dingy two-storied pub which stood on the corner of York-street and Barrack-lane (S.W.), or the Star Hotel, George-street North, Sydney, both of which Mr. Menzies kept before he went to Melbourne. Mr. Menzies left Latrobe-street in the mid-sixties, and built the present Menzies' Hotel at the corner of Bourke and William streets, a house deservedly holding a world-wide reputation.
If Mr Amory Sullivan will look up W. J. Lawrence's biography of his father, published 1893 by W. and G. Baird, 62 Ludgate Hill, E. C., London, he will see a long quotation from a letter of Mr. W. H. Campbell. And let me here interpolate something about Mr. Amory Sullivan's somewhat ungenerous allusion to the ''young barber's assistant of that name whom my father put into business;'' etc, The young barber's assistant" was Mr. John Campbell, who, when Barry Sullivan arrived in Melbourne, was managing the large business carried on by Mr. Bennett next door to the Theatre Royal, Bourke-street East. Mr. Bennett certainly did hairdress and shave, but his main business was that of a theatrical wigmaker and costumier, and Mr. John Campbell and his subsquent partner, Graham, were wigmakers, and I have no doubt, made many wigs for Mr. Barry Sullivan. The two —Campbell and Graham— left Bennett's service and opened for themselves in Swanston-street, and Mr. Barry Sullivan patronised them there, but that he set them up in business I very much doubt. John Campbell, to my certain knowledge, had private property, and I don't think Mr. Graham was without means. Anyhow, from poor Bennett's weakness for strong drinks, and his general neglect of business, the clientele followed Campbell and Graham. After a while Mr. Campbell sold out to his partner, and travelled, like Artemus Ward, with "wax figgurs," Mr. Campbell being himself the maker of the figures. While managing Mr. Bennett's business Mr. Campbell did all the artistic work in Madame Sohier's waxworks exhibition— not bad for a "young barber's assistant.'' Mr. Campbell travelled Tasmania with his 'wax figgurs,' and on reaching Sydney opened his show in Pitt-street in one of Uther's old buildings, where now stands the Imperial Arcade. William Caffyn, cricketer and hairdresser, then in business in George-street, near Elvy's (1871), wanted to go to England, and John Campbell bought him out. Campbell then sold the waxworks show to Johnny Gourlay, the Scotch comedian, and therein hangs another tale. Mr. John Campbell remained some years in George-street, and made money , enough to retire in dignified ease to the suburb of Burwood, Sydney, or at least he lived there— and may still—until he lost his energetic little wife some months ago. Mr. Amory Sullivan will have no difficulty, I think, in interviewing, the "young assistant barber, "John Campbell, any day in the reading room of the School of Arts, or at, I believe, his house in Burwood.
And here it may not be out of place to mention, re W. H. Campbell, that, though the supper was given to Messrs. Sullivan and Jefferson, and while these no doubt great actors have played together and met on and off the stage, I don't think Jefferson in his autobiography makes any mention of Barry Sullivan ! Mr. James Smith is still alive, and well able to take his own part in any controversy re theatricals in Melbourne in the early sixties. I prefer to make no further allusion to the ladies mentioned further than this : Miss Kyte's departure was a "nine days wonder," why she went being best known to herself and her family. Her mother (is it a coincidence?) died last week in Melbourne at a great age. Miss Vandenhoff's illness, perhaps, had nothing to do with the allegation that Mr. Barry Sullivan had neglected her, and that his name was tabooed in the Vandenhoff family. Notwithstanding her "consumption," she might have had a broken heart. Anyhow, Mr. Barry Sullivan's name is not mentioned in George Vandenhoff's book. Again allow me to express my gratification that the curtain has not yet been rung down on Mr. Amory Sullivan.
Joseph Michael Forde, Mr Amory Sullivan, Not Dead Yet. A Correction and Some Explanations., Sydney Sportsman, 7 September 1904, 8
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Joseph Michael Forde, MUMMER MEMOIRS. No. 215., Sydney Sportsman, 26 June 1912, 3
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Joyce Morgan, Conigrave play wins three awards before its Belvoir opening, Sydney Morning Herald, 18 February 1998, 15
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Joyce Morgan, Earthy Carmen swaps charisma for slutishness, Sydney Morning Herald, 21 January 2008, 9
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Joyce Morgan, Good Weekend, 16 June 2007, 4
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Joyce Morgan, Homage to an artist who embraced the new, Sydney Morning Herald, 1 April 1998, 9
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Joyce Morgan, It can't be all work and no play, Sydney Morning Herald, 30 April 1999
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Joyce Morgan, Metropolitan, 12 October 2002, 1
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Joyce Morgan, Metropolitan, 14 June 2003, 6
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Joyce Morgan, Playwright on a mission, The Australian, 22 November 1996, 10
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Joyce Morgan, Playwright's fresco a canvas for history and culture, Sydney Morning Herald, The University of Adelaide, Library Special Collections, 3 January 1996, 5
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Joyce Morgan, Spectrum, 14 April 2007, 18
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Joyce Morgan, Spectrum, 19 August 2006, 4
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Joyce Morgan, Spectrum, 26 January 2007, 4
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Joyce Morgan, Streamlined from south to north, Sydney Morning Herald, 25 March 2008, 12
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Joyce Morgan, Sydney Morning Herald, 11 May 2007, 12
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Joyce Morgan, Sydney Morning Herald, 17 April 2004, 11
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Joyce Morgan, Sydney Morning Herald, 20 September 2000, 3
-
Joyce Morgan, Sydney Morning Herald, 22 March 2004, 14
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Joyce Morgan, Sydney Morning Herald, 22 November 2004, 14
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Joyce Morgan, Sydney Morning Herald, 23 April 2003, 15
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Joyce Morgan, Sydney Morning Herald, 24 October 2002, 17
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Joyce Morgan, Sydney Morning Herald, 30 November 2006, 17
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Joyce Morgan, Sydney Morning Herald, 6 March 2004, 5
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Joyce Morgan, Sydney Morning Herald, 6 March 2006, 13
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Joyce Morgan, Sydney Morning Herald, 7 June 2006, 20
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Joyce Morgan, The Goat or Who Is Sylvia?, Spectrum, 1 April 2006, 4
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Joyce Morgan, The transformer, Sydney Morning Herald, 30 January 1999
-
Joyce Morgan, Trading places, 300 years ago, Sydney Morning Herald, 22 September 2007, 23
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Joyce Morgan, Up the workers, up on stage, Sydney Morning Herald, 23 August 1999, 13
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Juanita, The Advertiser, National Library of Australia, 2 August 1929
-
Juanita, The Advertiser, National Library of Australia, 21 September 1929, 17
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Juanita. Last Performance Tonight., The Advertiser, National Library of Australia, 3 August 1929, 18
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Jubilee At Encounter Bay, South Australian Advertiser, 6 October 1862, 3
-
Jubilee At Encounter Bay, South Australian Weekly Chronicle, 11 October 1862, 3
-
Jubilee At Encounter Bay, The South Australian Register, 25 October 1862, 5
-
Jubilee At Encounter Bay, The South Australian Register, 6 October 1862, 2
-
Jubilee at Maryborough, Queensland Figaro and Punch, 9 July 1887, 17
-
Jubilee Broadcasts from 5AD and ABC, The Advertiser, 5 May 1951, 13.
-
Jubilee Celebrations, Morning Post (Cairns), 30 June 1897, 5
-
Jubilee In The Country, The Brisbane Courier, 1 July 1887, 6
-
Jubilee Play Puts Life Into History, The Examiner, National Library of Australia, 3 October 1951, 4
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Judge will hear "Boys" words, The Age, 3 February 1970, 2
-
Judith Anderson, The Morning Bulletin, 19 September 1987
-
Judith Anderson, The Morning Bulletin, 22 May 1987
-
Judith Anderson, The Morning Bulletin, 26 October 1987
-
Judith Barbour, Privileged, authentic, transcendent, arcane: limits of naturalism in some contemporary Australian plays, Southerly, 37, 1 (March), 1977, 77-92
-
Judith Dale, Women's theatre and why, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 18, April 1991, 159 - 182
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Judith Hughey, Courier Mail, 19 September 1980
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Judith Raphael Buckrich, Mirror mirror on the wall, who's the bravest of us all: a personal view of writing for the theatre in Australia, Overland, 136, Spring, 1994, 18-23
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Judith Womersley, The joker of a new generation, The Sunday Age, Agenda, 10 September 1989, 10
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Judy Adamson, Metro, 11 August 2000, 15
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Judy Adamson, Metro, 11 January 2002, 15
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Judy Adamson, Metro, 12 January 2001, 15
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Judy Adamson, Metro, 13 October 2000, 15
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Judy Adamson, Metro, 14 July 2002, 15
-
Judy Adamson, Metro, 14 September 2001, 15
-
Judy Adamson, Metro, 15 March 2002, 15
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Judy Adamson, Metro, 16 August 2002, 15
-
Judy Adamson, Metro, 16 February 2001, 15
-
Judy Adamson, Metro, 16 March 2001, 15
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Judy Adamson, Metro, 16 November 2001, 15
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Judy Adamson, Metro, 17 May 2002, 15
-
Judy Adamson, Metro, 17 November 2000, 15
-
Judy Adamson, Metro, 18 May 2001, 15
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Judy Adamson, Metro, 19 October 2001, 15
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Judy Adamson, Metro, 2 March 2001, 15
-
Judy Adamson, Metro, 2 November 2001, 15
-
Judy Adamson, Metro, 20 April 2001, 15
-
Judy Adamson, Metro, 21 June 2002
-
Judy Adamson, Metro, 21 June 2002, 15
-
Judy Adamson, Metro, 21 September 2001, 15
-
Judy Adamson, Metro, 22 March 2002, 15
-
Judy Adamson, Metro, 23 August 2002, 15
-
Judy Adamson, Metro, 23 March 2001, 15
-
Judy Adamson, Metro, 23 November 2001, 15
-
Judy Adamson, Metro, 24 November 2000, 15
-
Judy Adamson, Metro, 25 August 2000, 15
-
Judy Adamson, Metro, 25 May 2001, 15
-
Judy Adamson, Metro, 26 April 2002, 15
-
Judy Adamson, Metro, 26 July 2002
-
Judy Adamson, Metro, 26 October 2001, 15
-
Judy Adamson, Metro, 27 October 2000, 4
-
Judy Adamson, Metro, 28 December 2001, 15
-
Judy Adamson, Metro, 28 March 2002, 15
-
Judy Adamson, Metro, 28 September 2001, 15
-
Judy Adamson, Metro, 29 July 2005, 4
-
Judy Adamson, Metro, 3 November 2000, 15
-
Judy Adamson, Metro, 30 March 2001, 15
-
Judy Adamson, Metro, 30 November 2001, 15
-
Judy Adamson, Metro, 31 May 2002, 15
-
Judy Adamson, Metro, 4 August 2000, 15
-
Judy Adamson, Metro, 5 April 2002, 15
-
Judy Adamson, Metro, 5 July 2002, 15
-
Judy Adamson, Metro, 5 July 2002, 4
-
Judy Adamson, Metro, 5 July 2002, 4
-
Judy Adamson, Metro, 6 July 2003
-
Judy Adamson, Metro, 7 June 2002, 15
-
Judy Adamson, Metro, 7 September 2001, 15
-
Judy Adamson, Metro, 8 February 2002, 15
-
Judy Adamson, Metro, 8 March 2002, 15
-
Judy Adamson, Metro, 9 February 2001, 15
-
Judy Adamson, Metro, 9 March 2001, 15
-
Judy Adamson, Metro, 9 November 2001, 15
-
Judy Adamson, Metro, 9 November 2001, 3
-
Judy Adamson, Metropolitan, 26 July 2003, 5
-
Judy Adamson, Metropolitan, 7 June 2003, 5
-
Judy Adamson, Spectrum, 12 November 2005, 35
-
Judy Adamson, Sydney Morning Herald, 20 November 2004, 16
-
Judy Adamson, The drama of risk-taking, Sydney Morning Herald, 3 June 1998, 10
-
Judy Clifford, The Whether Men, Sydney Morning Herald, Metro, 27 August 1993, 2
-
Judy Clifford, Theatre's catcher of the wry, Review, The University of Adelaide, Library Special Collections, 10 October 1992, 10
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Julia Davis, Richard Hart, Dream puppets: the journey of an independent puppet theatre, Australasian Drama Studies, 51, October 2007, 82-89
-
Julia Mant, The testimonial stage: theatrical presentations of the prisoner of war, 1995, Australasian Drama Studies, 36, April 2000, 89-104
-
Julia Postle, Artlook, September 2005, 20
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Julia Postle, Muse, 1 April 2001, 3
-
Julia Whyte, Canberra Sunday Times, 28 March 2004, 2
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Julia Whyte, The Canberra Times, 11 June 2003, 12
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Julia: a flop in Sydney-hit here, The Truth, 22 August 1964
-
Julian Meyrick, F**k Popular Culture: Why Quality Matters and Can be Judged, Griffith Review, 36, 2012
-
Julian Meyrick, Flesh or Bones? Qualitative and Quantitative Descriptions of Theatre Practice, Australasian Drama Studies, 58, April 2011, 22-40
-
Julian Meyrick, Letter to the Field: On The Birthday Party and Cross-Racial Casting Controversy, Contemporary Theatre Review, 20, 1, 2010, 133-137
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Julian Meyrick, Look Back in Confusion. A Comparison of the UK Government 1981 Arts Cut with the Australian Situation, Arena, 6, 1993, 43
-
Julian Meyrick, Meredith Rogers, Editorial Note: ADS Issue 66, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 66, April 2015, 5 - 10
-
Julian Meyrick, Meredith Rogers, Editorial Note: ADS Issue 70, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 70, April 2017, 5 - 6
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Julian Meyrick, Meredith Rogers, Editorial Note: Mostly The Eighties, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 3 - 4
-
Julian Meyrick, The Logic of Culture: The Fate of Alternative Theatre in the Post-Whitlam Period, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 133 - 155
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Julian Meyrick, Wayne Blair in interview, Australasian Drama Studies, 53, October 2008, 153-159
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Julie Day, Liesel and me, On Stage, 13, 1, 2011, 35-36
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Julie Goodall, Melbourne Times, 18 March 1987
-
Julie Goodall, Melbourne Times, 22 July 1987
-
Julie Goodall, Melbourne Times, 24 August 1988
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Julie Goodall, Melbourne Times, 27 July 1988
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Julie Goodall, Melbourne Times, 29 June 1988
-
Julie Goodall, Melbourne Times, 30 April 1987
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Julie Holledge, Mindanao Community Theatre Network, 'To heal our social ills': community theatre practice in the Philippines, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 27, October 1995, 11 - 16
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Julie Holledge, O Gu: a cross-cultural case study of emotional expression in contemporary Korean and Australian theatre, Australasian Drama Studies, 49, October 2006, 76-88
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Julie Holledge, Peta Tait, Tony Mitchell, Introduction to Women Making Theatre for Social Change ADS special focus issue, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 27, October 1995, 3 - 4
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Julie Jenkins, 'Les Miserables' spectacular best in world, The Canberra Times, 24 July 1994, 23
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Julie Kusko, The Australian Women's Weekly, 13 October 1971
-
Julie McKinnon, Carroll, Garnet Hannell (1902–1964), Australian Dictionary of Biography Online, 1993
-
Julie Mills, Bellew, Harold Kyrle Money (1850–1911), Australian Dictionary of Biography Online, 1979
-
Julie Moffatt, The Manly Daily, 10 June 1988
-
Julie-Ann Robson, 'Have you no homes to go to?': Staging the diaspora: a study of Milo's Wake, Australasian Drama Studies, 43, October 2003, 148-163
-
Juliet Herd, The Australian, 21 February 2003, 13
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Juliet Herd, Weekend Australian, 12 April 1997, 10
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Juliet Ludbrook, Theatre memories saved, On Stage, 13, 4, December 2012, 5
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Julietta Jameson, Effie's shoes right size for Terri, Daily Telegraph-Mirror, 31 March 1994, 68
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Julietta Jameson, Make hay while the sun shines, Sydney Morning Herald, 7 December 2013, 13
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Julietta Jameson, What Travel Has Taught Me, Sydney Morning Herald, 2 February 2019, 7 (Traveller)
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Julius Knight Dead. Former Noted Actor, The Argus, 24 February 1941, 3
-
June Bronhill to Return for "Widow", The Age, 21 June 1963, 5
-
June Holms features in Folies Bergere, Barrier Miner, 4 July 1946, 4
-
June Kane, The Northern Territory News, 17 June 1988
-
June Kane, The Northern Territory News, 2 June 1988
-
June Kane, The Northern Territory News, 29 July 1988
-
June Perkins, 7 valleys of nurturing: Exploring the performing arts philosophy of Wesley Enoch: a profile, Australasian Drama Studies, 37, October 2000, 18-26
-
Jung-Soon Shim, Awakening self: images of women in modern Korean drama, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 27, October 1995, 23 - 30
-
Jung-Soon Shim, Performing Emotion Interculturally: The Korean Production of Love Child, Australasian Drama Studies, 49, October 2006, 20-31
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Junior Theatre League, Sydney Morning Herald, 14 July 1934, 8
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Junior Theatre League, Sydney Morning Herald, 25 August 1934, 10
-
Just a Mo!, On Stage, 11, 2, 2010, 10-11
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Just So., The Register, 9 September 1911, 16
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Justin Heazlewood, Muse, December 2001, 6
-
Justin Heazlewood, Muse, June 2002, 8
-
Justin Heazlewood, Muse, March 2002, 18
-
Justin Norrie, Metro, 5 September 2003, 16
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Justin Norrie, Sydney Morning Herald, 26 March 2004, 15
-
Justine Pearson, Unsteady Belongings: Rethinking the Experience of Nation through Movement, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 69, October 2016, 111 - 141
-
K J Kable, St James Hall, Journal of the Church of England Historical Society, 8, 2, June 1963
-
Kabbarli, Sydney Morning Herald, 23 September 1983, 10
-
Kabbarli, The Australian, 22 September 1983, 8
-
Kae Howarde Opera Company, The Mercury, Hobart, Tas., 28 June 1898, 2
-
Kalgoorlie Kedgeree, Sunday Times, 20 April 1913, 3
-
Kangaroo Hunting, Bell’s Life in Sydney and Sporting Chronicle, 19 August 1848, 2, 3
-
Kaori Kobayashi, Shakespeare wallah: George C. Miln's Shakespearean productions in India, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 33, October 1998, 117 - 127
-
Karen Booth, Financial Review, 13 February 1987
-
Karen Booth, Financial Review, 16 April 1987
-
Karen Booth, Financial Review, 16 April 1987
-
Karen Booth, Financial Review, 20 March 1987
-
Karen Booth, Financial Review, 25 September 1987
-
Karen Booth, Financial Review, 26 June 1987
-
Karen Booth, Melbourne Times, 16 September 1987
-
Karen Booth, Melbourne Times, 22 July 1987
-
Karen Booth, Melbourne Times, 23 September 1987
-
Karen Booth, Melbourne Times, 8 July 1987
-
Karen Booth, Melbourne Times, 9 September 1987
-
Karen Cooke, In search of the rhythm of life, The Age, 8 April 1983, 14
-
Karen Danks, Western Farmer, 29 January 1987
-
Karen Davey, Hunter News, 17 April 1988, 0
-
Karen Doan, Times out, 26 April 2001, -1
-
Karen Doan, Times out, 26 April 2001, -1
-
Karen Hardy, The Canberra Times, 20 August 2004, 17
-
Karen Hardy, Times2, 1 August 2005, 8
-
Karen Hardy, Times2, 13 July 2006, 8
-
Karen Heinrich, Flinch art, The Age, 12 June 2002
-
Karen Hobson, Canberra Sunday Times, 19 June 2005, 10
-
Karen Hobson, The Canberra Times, 27 August 1987, 0
-
Karen Kaine-Jones, Contemporary Aboriginal drama, Southerly, 48, 4 (December), 1988, 432-444
-
Karen Lateo, Sunday Telegraph, 1 May 1988
-
Karen Lateo, Sunday Telegraph, 17 April 1988
-
Karen Lateo, Sunday Telegraph, 22 May 1988
-
Karen Lateo, Sunday Telegraph, 24 April 1988
-
Karen Lateo, Sunday Telegraph, 24 April 1988
-
Karen Lateo, Sunday Telegraph, 29 May 1988
-
Karen Lateo, Sunday Telegraph, 31 July 1988
-
Karen Lateo, Sunday Telegraph, 8 May 1988
-
Karen Middleton, Good Times, 18 February 1988, 1
-
Karen Middleton, Good Times, 5 May 1988, 2
-
Karen Milliner, How to work a miracle, Courier Mail, 16 June 2001
-
Karen Murphy, Melbourne Times, 4 February 1987
-
Karen Pearlman, Creative Disturbance: dance and image, RealTime Arts, 54, April 2003, 37
-
Karen Sherry, Locally written plays in Aukland 1870 - 71, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 14, April 1989, 113 - 124
-
Karen Sherry, Popular entertainment in Aukland 1870 - 71, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 18, April 1991, 22 - 29
-
Karen van Ulzen, Dance Australia, February 2004, 42
-
Karen van Ulzen, Melbourne Sun, 4 February 1988
-
Karen van Ulzen, The tyranny of touring, Dance Australia, 173, April 2011, 44-48
-
Karl Smith, Aether, Beat, Theatre and Dance Platform, 21 November 2007
-
Katarina Kroslakova, Limelight, September 2006, 20
-
Kate Bassett, Staying connected, Weekend Australian, 8 September 2007, 16-17
-
Kate Filor, The Southside Chronicle, 2 September 2003, 23
-
Kate Flaherty, As You Like It: Re-imagining Arden in Australian Space, Contemporary Theatre Review, 19, 3, 2009, 317-330
-
Kate Herbert, Smith's Choice, The Herald Sun, 30 May 2008, 79
-
Kate Herbert, The Age, 17 April 1998
-
Kate Herbert, The Herald Sun, 10 March 1998
-
Kate Herbert, The Herald Sun, 12 February 2001
-
Kate Herbert, The Herald Sun, 12 January 2001
-
Kate Herbert, The Herald Sun, 13 February 2001, 58
-
Kate Herbert, The Herald Sun, 13 March 1998
-
Kate Herbert, The Herald Sun, 14 February 2001
-
Kate Herbert, The Herald Sun, 14 June 1997
-
Kate Herbert, The Herald Sun, 15 April 1998
-
Kate Herbert, The Herald Sun, 15 April 1998
-
Kate Herbert, The Herald Sun, 15 May 1998
-
Kate Herbert, The Herald Sun, 2 January 1998
-
Kate Herbert, The Herald Sun, 2 March 2001
-
Kate Herbert, The Herald Sun, 2 May 1998
-
Kate Herbert, The Herald Sun, 20 February 2001
-
Kate Herbert, The Herald Sun, 20 January 2001
-
Kate Herbert, The Herald Sun, 21 July 2003, 115
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Kate Herbert, The Herald Sun, 22 July 1997
-
Kate Herbert, The Herald Sun, 23 February 2001
-
Kate Herbert, The Herald Sun, 23 February 2001
-
Kate Herbert, The Herald Sun, 23 January 2002, 49
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Kate Herbert, The Herald Sun, 23 March 1998
-
Kate Herbert, The Herald Sun, 25 May 1998
-
Kate Herbert, The Herald Sun, 26 January 2001
-
Kate Herbert, The Herald Sun, 27 May 1998, 46
-
Kate Herbert, The Herald Sun, 28 March 1998, 106
-
Kate Herbert, The Herald Sun, 29 January 2001
-
Kate Herbert, The Herald Sun, 29 May 1998
-
Kate Herbert, The Herald Sun, 4 June 1998
-
Kate Herbert, The Herald Sun, 5 May 1998
-
Kate Herbert, The Herald Sun, 7 April 1998
-
Kate Herbert, The Herald Sun, 8 April 1998
-
Kate Herbert, The Herald Sun, 8 April 1998
-
Kate Herbert, Yanagai! Yanagai!, The Herald Sun, 25 August 2006, 82
-
Kate Holden, A2, 7 July 2007, 14
-
Kate Howard Co., Camperdown Chronicle, Camperdown, Victoria, 5 June 1909, 2
-
Kate Howard Dramatic Co., The North Eastern Despatch, Wangaratta, Victoria, 16 June 1909, 2
-
Kate Howard Opera Coy., The Temora Star, NSW, 23 September 1899, 2
-
Kate Howard's Company, Dubbo Dispatch and Wellington Independent, NSW, 20 April 1900, 4
-
Kate Howard's Company, Mudgee Guardian and North-Western Representative, NSW, 19 May 1899, 13
-
Kate Howard's Company, The Goulburn Herald, NSW, 5 April 1901, 2
-
Kate Howarde and Her Musical Coy., The Wyalong Advocate and Mining, Agricultural and Pastoral , NSW
-
Kate Howarde and Her Musical Coy., The Wyalong Advocate and Mining, Agricultural and Pastoral , NSW, 10 February 1904, 3
-
Kate Howarde Co, Carcoar Chronicle, Carcoar, NSW, 1 September 1905, 2
-
Kate Howarde Co. An Excellent Company., Darling Downs Gazette, Qld, 12 May 1900, 2
-
Kate Howarde Co. High-Class Vaudeville Artists., Darling Downs Gazette, Qld, 16 May 1900, 3
-
Kate Howarde Co. Performance at Kelly Basin., The Mount Lyell Standard and Strahan Gazette, Queenstown, Tas., 16 November 1901, 3
-
Kate Howarde Co., Camperdown Chronicle, Camperdown, Victoria, 3 June 1909, 2
-
Kate Howarde Co., Evening Star, Boulder, WA, 27 February 1900, 2
-
Kate Howarde Co., Evening Star, Boulder, WA, 28 February 1900, 3
-
Kate Howarde Co., Grafton Argus and Clarence River General Advertiser, NSW, 14 April 1899, 2
-
Kate Howarde Co., The Albury Banner and Wodonga Express, NSW, 5 September 1902, 17
-
Kate Howarde Co., The Clarence and Richmond Examiner, Grafton, NSW, 26 July 1902, 4
-
Kate Howarde Co., The Corowa Free Press, NSW, 12 August 1904, 2
-
Kate Howarde Co., The Darling Downs Gazette, Qld, 17 March 1903, 3
-
Kate Howarde Co., The Grafton Argus and Clarence River Examiner, NSW, 9 May 1902, 2
-
Kate Howarde Co., The Muswellbrook Chronicle, NSW, 22 February 1899, 2
-
Kate Howarde Co., The North Western Advocate and the Emu Bay Times, Tasmania, 19 January 1909, 2
-
Kate Howarde Co., The Raleigh Sun, Bellingen, NSW, 24 March 1905, 2
-
Kate Howarde Co., The Richmond River Herald and Northern Districts Advertiser, Lismore, NSW, 6 August 1909, 4
-
Kate Howarde Co., The Tumut and Adelong Times, NSW, 2 September 1904, 2
-
Kate Howarde Co., The Wyalong Advocate and Mining, Agricultural and Pastoral , NSW, 20 February 1901, 2
-
Kate Howarde Co., The Wyalong Advocate and Mining, Agricultural and Pastoral , NSW, 20 January 1901, 2
-
Kate Howarde Co., The Wyalong Advocate and Mining, Agricultural and Pastoral , Wyalong, NSW, 27 September 1905, 2
-
Kate Howarde Co., The Wyalong Star and Temora and Barmedman Advertiser, West Wyalong, NSW, 13 September 1904, 2
-
Kate Howarde Co., The Zeehan and Dundas Herald, Tas., 10 May 1904, 2
-
Kate Howarde Comedy Co., The Examiner, Launceston, Tas., 27 May 1904, 5
-
Kate Howarde Comedy Co., Warwick Examiner and Times, Qld, 16 May 1900, 2
-
Kate Howarde Comedy Company. "My Sweetheart"., The Examiner, Launceston, Tas., 31 May 1904, 7
-
Kate Howarde Comic Opera Company, The Mount Lyell Standard and Strahan Gazette, Queenstown, Tas., 14 May 1898, 3
-
Kate Howarde Comic Opera Company. "La Girofle-Girofla", The Mount Lyell Standard and Strahan Gazette, Queenstown, Tasmania, 11 May 1898, 3
-
Kate Howarde Company at the Mechanics', The Examiner, Launcester, Tas., 1 June 1904, 6
-
Kate Howarde Company at the Protestant Hall, The Dubbo Liberal and Macquarie Advocate, Dubbo, NSW, 19 May 1897, 2
-
Kate Howarde Company, Molong Express and Western District Advertiser, Molong, NSW, 9 September 1905, 7
-
Kate Howarde Company, Adelong and Tumut Express and Tumbarumba Post, NSW, 2 July 1909, 3
-
Kate Howarde Company, Hamilton Spectator, Hamilton, Victoria, 21 May 1909, 4
-
Kate Howarde Company, Kalgoorlie Miner, WA, 16 February 1900, 5
-
Kate Howarde Company, The Byron Bay Record, NSW, 5 March 1904, 7
-
Kate Howarde Company, The Clarence and Richmond Examiner, Grafton, NSW, 11 July 1903, 4
-
Kate Howarde Company, The Clarence and Richmond Examiner, Grafton, NSW, 22 July 1902, 4
-
Kate Howarde Company, The Darling Downs Gazette, Qld, 18 March 1903, 2
-
Kate Howarde Company, The Dubbo Liberal the Macquarie Advocate, NSW, 3 February 1904, 2
-
Kate Howarde Company, The Examiner, Launceston, Tas., 2 June 1904, 6
-
Kate Howarde Company, The Examiner, Launceston, Tas., 30 May 1904, 7
-
Kate Howarde Company, The Mount Lyell Standard and Strahan Gazette, Queenstown, Tas., 18 November 1901, 3
-
Kate Howarde Company, The Newcastle Herald and Miners' Advocate, NSW, 26 October 1901, 5
-
Kate Howarde Company, The Wagga Wagga Advertiser, NSW, 25 August 1904, 2
-
Kate Howarde Company, The Wagga Wagga Express, NSW, 20 August 1903, 2
-
Kate Howarde Company, The Warwick Examiner and Times, Qld, 8 August 1900, 3
-
Kate Howarde Company, The Wyalong Star and Temora and Barmedman Advertiser, West Wyalong, NSW, 19 February 1901, 3
-
Kate Howarde Company, The Zeehan and Dundas Herald, Tas., 11 November 1901, 3
-
Kate Howarde Company, The Zeehan and Dundas Herald, Tas., 27 April 1904, 4
-
Kate Howarde Company, The Zeehan and Dundas Herald, Tas., 27 October 1900, 2
-
Kate Howarde Company, The Zeehan and Dundas Herald, Tas., 30 April 1904, 4
-
Kate Howarde Company, The Zeehan and Dundas Herald, Tas., 30 April 1904, 4
-
Kate Howarde Company, The Zeehan and Dundas Herald, Tas., 4 May 1904, 4
-
Kate Howarde Company, The Zeehan and Dundas Herald, Tas., 5 May 1904, 4
-
Kate Howarde Company, The Zeehan and Dundas Herald, Tas., 9 May 1904, 2
-
Kate Howarde Company, Wagga Wagga Express, NSW, 12 November 1896, 2
-
Kate Howarde Company, Warwick Examiner and Times, 29 July 1899, 7
-
Kate Howarde Company., Cairns Post, Cairns, QLD, 21 September 1909, 4
-
Kate Howarde Company., Gympie Times and Mary River Mining Gazette, QLD, 24 August 1909, 3
-
Kate Howarde Coy, The Gundagai Independent and Pastoral, Agricultural and Min, NSW, 25 February 1899, 2
-
Kate Howarde Coy, The Western Chamption, Parkes, NSW, 25 December 1903, 11
-
Kate Howarde Coy., Darling Downs Gazette, Qld, 16 March 1898, 3
-
Kate Howarde Coy., Dubbo Dispatch and Wellington Independent, Dubbo, NSW, 2 December 1905, 2
-
Kate Howarde Coy., The Grafton Argus and Clarence River General Advertiser, Grafton, NSW, 16 July 1909, 4
-
Kate Howarde Coy., The Wagga Wagga Express, Wagga Wagga, NSW, 22 August 1905, 2
-
Kate Howarde Coy., The Wyalong Advocate and Mining, Agricultural and Pastoral , Wyalong, NSW, 30 September 1905, 2
-
Kate Howarde Coy., The Wyalong Advocate and Mining, Agricultural and Pastoral , Wyalong, NSW, 4 October 1905, 3
-
Kate Howarde Coy., Wagga Wagga Express, Wagga, NSW, 26 June 1909, 2
-
Kate Howarde Dramatic Co., Hamilton Spectator, Hamilton, Victoria, 29 March 1909, 4
-
Kate Howarde Dramatic Co., Mudgee Guardian and North-Western Representative, Mudgee, NSW, 26 October 1905, 13
-
Kate Howarde Dramatic Co., The Corowa Free Press, Corowa, NSW, 22 June 1909, 3
-
Kate Howarde Dramatic Co., The Corowa Free Press, NSW, 7 August 1903, 2
-
Kate Howarde Dramatic Co., The Narrandera Argus and Riverina Advertiser, NSW, 2 August 1901, 2
-
Kate Howarde Dramatic Co., The Newcastle Herald and Miners' Advocate, NSW, 28 June 1902, 5
-
Kate Howarde Dramatic Co., The Richmond River Express and Casino Kyogle Advertiser, NSW, 3 August 1909, 2
-
Kate Howarde Dramatic Co., The Wagga Wagga Advertiser, NSW, 25 April 1901, 2
-
Kate Howarde Dramatic Company, Cootamundra Herald, Cootamundra, NSW, 11 October 1905, 3
-
Kate Howarde Dramatic Company, Mudgee Guardian and North-Western Representative, Mudgee, NSW, 2 November 1905, 13
-
Kate Howarde Dramatic Company, The Gundagai Times and Tumut, Adelong and Murrumbidgee Dist, 3 September 1897, 2
-
Kate Howarde Dramatic Company, The Hay Standard and Advertiser for Balranald, Wentworth, M, Hay, NSW, 29 August 1900, 2
-
Kate Howarde Dramatic Company, The Morning Bulletin, Rockhampton, Qld, 4 March 1903, 3
-
Kate Howarde Dramatic Company, The National Advocate, Bathurst, NSW, 21 April 1903, 2
-
Kate Howarde Dramatic Company, The Temora Star, NSW, 22 September 1900, 2
-
Kate Howarde Dramatic Company, The Wagga Wagga Advertiser, 27 August 1901, 2
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Kate Howarde Dramatic Company, The Wagga Wagga Advertiser, NSW, 22 August 1901, 2
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Kate Howarde Dramatic Company, The Wagga Wagga Express, NSW, 17 August 1901, 2
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Kate Howarde Dramatic Company, The Warwick Examiner and Times, Qld, 4 August 1900, 7
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Kate Howarde Dramatic Company, The Yass Courier, NSW, 27 September 1901, 2
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Kate Howarde Dramatic Company. Girofle-Girofla., Toowoomba Chronicle and Darling Downs General Advertiser, Qld, 5 August 1899, 3
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Kate Howarde Dramatic Company. No Mercy., The Wagga Wagga Express, NSW, 25 April 1901, 2
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Kate Howarde Dramatic Company., Hamilton Spectator, Victoria, 26 March 1909, 4
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Kate Howarde Dramatic Coy, The Leader, Orange, NSW, 1 January 1901, 2
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Kate Howarde Dramatic Coy., The Goulburn Evening Penny Post, NSW, 4 April 1901, 2
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Kate Howarde Dramatic Coy., The Northern Star, Lismore, NSW, 18 July 1900, 4
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Kate Howarde Musical Combine, The Clarence River Advocate, NSW, 25 March 1904, 5
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Kate Howarde Opera Co., Zeehan and Dundas Herald, Tas., 21 May 1898, 2
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Kate Howarde Opera Company, Gympie Times and Mary River Mining Gazette, Qld, 8 August 1899, 3
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Kate Howarde Opera Company, The Macleay Argus, Kempsey, NSW, 3 September 1898, 9
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Kate Howarde Opera Company, The Manning River Times and Advocate for the North Coast Di, Taree, NSW, 14 September 1898, 2
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Kate Howarde Opera Company, The Mercury, Hobart, Tas., 28 June 1898, 2
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Kate Howarde Opera Company. "Les Cloches de Corneville", The Mount Lyell Standard and Strahan Gazette, Queenstown, Tas., 22 June 1898, 2
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Kate Howarde Opera Company. "The Bohemian Girl", The Mount Lyell Standard and Strahan Gazette, Queenstown, Tas., 18 May 1898, 3
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Kate Howarde Variety Company, The National Advocate, Bathurst, NSW, 23 April 1903, 2
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Kate Howarde's Co., National Advocate, Bathurst, NSW, 30 April 1897, 2
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Kate Howarde's Combine, The Clarence and Richmond Examiner, Grafton, NSW, 15 March 1904, 4
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Kate Howarde's Company. "The Kelly Gang", The Evening Star, Boulder, WA, 3 January 1905, 4
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Kate Howarde's Dramatic Co., The Adelong and Tumut Express and Tumbarumba Post, NSW, 2 September 1904, 3
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Kate Howarde's Dramatic Company, The Riverine Grazier, Hay, NSW, 24 July 1903, 4
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Kate Howarde's Dramatic Coy., The Bathurst Free Press and Mining Journal, NSW, 27 December 1900, 2
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Kate Howarde's Musical Combine, The Clarence and Richmond Examiner, Grafton, NSW, 19 March 1904
-
Kate Howarde's Musical Combine, The Grafton Argus and Clarence River General Advertiser, NSW, 18 March 1904, 4
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Kate Howarde's Musical Combine, The Leader, Orange, NSW, 4 February 1904, 2
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Kate Howarde's Musical Combine. Auspicious Opening., The Wagga Wagga Express, NSW, 3, 18 February 1904
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Kate Howarde's Opera Company, Toowoomba Chronicle and Darling Downs General Advertiser, Qld, 2 August 1898, 2
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Kate Howarde's Opera Company, Toowoomba Chronicle and Darling Downs General Advertiser, Qld, 4 August 1898, 2
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Kate Howarde's Opera Company. Boccaccio., Toowoomba Chronicle and Darling Downs General Advertiser, Qld, 6 August 1898, 3
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Kate Howarde, The Newcastle Morning Herald and Miners' Advocate, NSW, 15 October 1904, 6
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Kate Legge, Playwright wishes a plague on Hollywood, The Australian, The University of Adelaide, Library Special Collections, 16 October 1991, 12
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Kate Legge, Taking Melbourne to heart, Theatre Australia, The University of Adelaide, Library Special Collections, May 1982, 10
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Kate Maguire-Rosier, Moving ʻMisfitsʻ, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 69, October 2016, 29 - 55
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Kate McClymont, Turning work into play, The National Times, 14 December 1986
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Kate Rossmanith, Spending Two Weeks 'Mucking Around': Discourse, Practice and Experience during version 1.0's Devising Process, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 62, October 1995, 179 - 193
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Kate Rossmanith, Traditions and training in rehearsal practice, Australasian Drama Studies, 53, October 2008, 141-152
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Kate Sands, Melbourne Times, 16 December 1987
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Kate Sands, Melbourne Times, 17 November 1987
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Kate takes part of soldier, The Age, 11 August 1971, 16
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Kath Leahy, Power and presence in the actor-training institution audition, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 28, April 1996, 133 - 139
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Kath Leahy, Roy Rene 'Mo': Australian clown or monarch of the mob?, Australasian Drama Studies, 42, April 2003, 91-111
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Katharine Brisbane, Actor's Equity, Companion To Theatre In Australia, 1995, 23-24
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Katharine Brisbane, An account of four productions at the Festival of Perth incl. The Beaux Strategem; Lysistrata; A Midsummer Night's Dream and Charley's Aunt, Australian Theatregoer, 1, 1 (Winter), 1960, 51-52
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Katharine Brisbane, An act of faith, Weekend Australian, 24 June 1978
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Katharine Brisbane, An odd duty: to lose money, The Australian, 25 May 1968, 12
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Katharine Brisbane, Australia Council, Companion To Theatre In Australia, 1995, 69-70
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Katharine Brisbane, Australian national Playwrights' Conference, Companion To Theatre In Australia, 1995, 72-74
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Katharine Brisbane, Bread and Butter on the Stage, National Library of Australia
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Katharine Brisbane, Bring Us a Diaghilev, The Australian, 9 December 1967
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Katharine Brisbane, Confusion and Conflict over Culture, The Australian, 7 December 1967
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Katharine Brisbane, Democracy and the Trust, The Australian, 26 June 1967
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Katharine Brisbane, Entertaining Australia, Scarp, 24 (May), 1994, 31-38
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Katharine Brisbane, From Williamson to Williamson: Australia's larrikin theatre, Theatre Quarterly, 7, 26, 1977, 56-70
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Katharine Brisbane, Herman Melville's Tragic Vision, The Australian, 23 August 1967
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Katharine Brisbane, Investing in authors: a history of Currency Press, Voices, 3/3, Spring, 1993, 38-50
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Katharine Brisbane, It's a Mini-boom, The Australian, 9 September 1967
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Katharine Brisbane, Looking out from Australia: new directions in the Australian theatre, Island Magazine, 20, Spring, 1984, 36-40
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Katharine Brisbane, Mobilising for the Big Arts Battle, The Australian, 9 April 1968
-
Theatre-restaurant in Neutral Bay Junction, Sydney, opened on 8 November 1961 by George and Lorna Miller. Closed 6 September 1980. first production East Lynne. Cast included Barry Creyton. Director: Bette Bailey Stainton. last production East Lynne.
At a time when serious theatre was renewing itself in smaller and smaller venues, the Music Hall Theatre Restaurant offered actors a rare opportunity to battle with an audience from the footlights on an almost Shakespearean scale. In its heyday the Music Hall was a red plush affair with stalls and a gallery seating 500 at tables covered with red-checked cloths, and a foyer crammed with Victorian bric-a-brac. Moustachioed waiters in Edwardian waistcoats would serve the hearty patrons while the genial George and Lorna Miller, moved among them, playing violin and accordion. At 8.30 p.m. the musical director, Don Harvie, would begin the overture at the piano and the velvet curtain would rise upon an extravagant setting and an absurdly complicated plot. The audience might choose to attend to it or not. It was a challenge for any actor. The Millers opened the Music Hall in 1961 with the melodrama East Lynne, which they had produced successfully at the Bowl Music Hall in Melbourne. The new Sydney production starred Barry Creyton. The early shows were rough affairs. The villain had to learn to duck not only bread rolls but spoons and other missiles. But it was secure work and as the Music Hall's reputation grew and seasons extended to a year or more, many well-known performers learned new skills there. David Atkins, Pat Bishop, Neva Carr Glyn, Beryl Cheers, Linda Cropper, Ron Haddrick, Alexander Hay, Sheila Kennelly, Frank Lloyd and John Unicomb were among them.
Barry Lovett, a versatile actor, was the much-loved master clown; he spent ten years with the company Alton Harvey was the longest-running villain. The designs, created by opera designers like Tom Lingwood, became more extravagant year by year.
The mood gradually changed after John Faassen, an actor and singer, took over as director in 1966 and began writing his own shows. The plays became more sophisticated burlesques of musical and dramatic genres, particularly opera. By 1968 nationalism was making its mark. Her Only Mistake was the first show set in colonial Australia. Stanley Walsh replaced Faassen in 1970 and his first show, The Trials of Hilary Pouncefortt, tapped the new preoccupation with Australian history. It was a melodrama, critical of military authority, set in colonial Sydney in 1850. Walsh in turn was succeeded by Michael Boddy as director and resident playwright. He mounted two successful shows in 1977-78 but when he retired in 1979 the Music Hall returned to revivals. It had run out of energy by 1980, when, despite protests by loyal supporters, it closed after a two-year battle with the local council and the state government over fire safety.
Katharine Brisbane, Music Hall Theatre Restaurant, Companion To Theatre In Australia, 380
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Katharine Brisbane, Not wrong - just different, The Australian, 20 March, 1971
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Katharine Brisbane, Perth Festival: Blasts of Stage Discord, The Australian, 24 February 1968
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Katharine Brisbane, Perth in perspective: a review of the events of the Festival of Perth including the Film Festival 1961, Australian Theatregoer, 1, 3 (Feb/Apr), 1961, 52-53
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Katharine Brisbane, Preserving the disreputable, Hemisphere, 15, 2, March 1971, 30-35
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Katharine Brisbane, Tangible assets: 10 years of Australian drama publishing, Overland, 86, December, 1981, 32-38
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Katharine Brisbane, The Australian, 19 January 1974, 0
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Katharine Brisbane, The battler, the larrikin and the ocker, Commonwealth, 11, 1 (Autumn), 1988, 13-21
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Katharine Brisbane, The changing face of Australian theatre, Landfall, 37/1, 1983, [no pages]
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Katharine Brisbane, The Independent Repertoire, The Australian, 19 August 1967
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Katharine Brisbane, The late flowering of Ray Lawler, The Bulletin, 99/5049, 19 March, 1977, 47-48
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Katharine Brisbane, The Most Secret Shakespeare, Elizabethan Trust News, The Australian Elizabethan Theatre Trust, Autumn, 1972, Number 2, 1972, 2-5
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Katharine Brisbane, The Old Tote: A Duty to Lose Money, The Australian, 25 May 1968
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Katharine Brisbane, The Wind of Change is Blowing, The Australian, 12 July 1967
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Katharine Brisbane, The young lions: playwrights leading the new nationalism, The Australian, 18 May, 1973, 7
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Katharine Brisbane, Theatre bigger and healthier, The Australian, 14 June 1974, 11
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Katharine Brisbane, Theatre in Australia, Hemisphere, 25/3, 1980, 145
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Katharine Brisbane, True Territorian Theatre, New Theatre Australia, July/August, 6, July 1988, 28-31
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Katharine Susannah Prichard, Some modern Australian novels and the national theatre, Arts Quarterly: A Literary Magazine, 1, 1950, 5-8
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Katherine Kizilo, Spectrum, 19 May 2007, 8
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Katherine Lyall-Watson, In Pursuit of Happiness, Time Off, 25 July 2001, 33
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Katherine Newey, Melodrama and Metatheatre: Theatricality in the Nineteenth Century Theatre, Journal of Dramatic Theory and Criticism, Spring 1997, 1997, 85-100
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Kathleen Fisher, Artlook, April 2005, 15
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Kathleen Fisher, Artlook, August 2004, 24
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Kathleen Fisher, Artlook, July 2004, 12
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Kathleen O'Steen, Daily Variety, 22 September 1989, 32
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Kathleen Robinson - Has Faith in Stage-Drama, Smith's Weekly, 10 March 1945, 13
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Kathryn Favelle, Life after George, Times out, 16 August 2001, -1
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Kathryn Favelle, Muse, 1 September 2001, 5
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Kathryn Favelle, Muse, February 2002, 3
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Kathryn Favelle, Muse, June 2002, 3
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Kathryn Favelle, Panorama, 14 July 2001, 12
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Kathryn Favelle, The Canberra Times, 14 May 2002, 9
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Kathryn Favelle, The Canberra Times, 18 May 2001, 12
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Kathryn Favelle, Times out, 1 March 2001, -1
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Kathryn Favelle, Times out, 10 May 2001, 11
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Kathryn Favelle, Times out, 15 March 2001, -1
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Kathryn Favelle, Times out, 15 March 2001, 11
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Kathryn Favelle, Times out, 19 April 2001, 11
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Kathryn Favelle, Times out, 21 June 2001, 12
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Kathryn Favelle, Times out, 22 February 2001, -1
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Kathryn Favelle, Times out, 22 February 2001, 11
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Kathryn Favelle, Times out, 22 March 2001, -1
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Kathryn Favelle, Times out, 22 March 2001, 11
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Kathryn Favelle, Times out, 23 August 2001, 12
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Kathryn Favelle, Times out, 31 October 2002, 4
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Kathryn Favelle, Times out, 5 April 2001, 11
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Kathryn Favelle, Times out, 8 February 2001, 11
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Kathryn Favelle, Times2, 18 July 2006, 8
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Kathryn Favelle, Times2, 30 May 2006, 8
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Kathryn Lowe Henricks, The Adelaide Review, 1 March 1988
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Kathryn McKenzie, SX news, 5 June 2003, 18
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Katia Beaupetit, La nouvelle pièce de Lucy Guerin est présentée ce soir au théâtre, La République du Centre, 9 February 2017
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Katie Nolan, Turn up the intensity, Arts and Entertainment, 6 October 2001, 26
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Katie Pollock, Lambs to the laughter, Sydney Morning Herald, Metro, 2 January 1998, 4
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Katinka, The Age, 10 June 1918, 6
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Katrina Davies, Western Mail, 3 October 1987
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Katrina Fox, SX news, 10 May 2007, 34
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Katrina Fox, SX news, 11 May 2006, 15
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Katrina Fox, SX news, 19 October 2006, 14
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Katrina Fox, SX news, 19 October 2006, 14
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Katrina Fox, SX news, 20 April 2006, 14
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Katrina Fox, SX news, 27 July 2006, 17
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Katrina Fox, SX news, 27 July 2006, 29
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Katrina Fox, SX news, 3 May 2007, 15
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Katrina Fox, SX news, 3 May 2007, 17
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Katrina Fox, SX news, 6 July 2006, 17
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Katrina Fox, SX news, 6 July 2006, 36
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Katrina Lobley, A lady never reveals her age, Metro, 16 November 2007, 15
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Katrina Lobley, All The Right Moves, Sydney Morning Herald, 27 June 2008, 4
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Katrina Lobley, Backstage drama, Metro, 28 September 2007, 15
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Katrina Lobley, Bite size, Metro, 5 October 2007, 4
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Katrina Lobley, Comic Casanova, Sydney Morning Herald, 13 June 2008, 13
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Katrina Lobley, Eros in Boots, Sydney Morning Herald, 4 July 2008, 13
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Katrina Lobley, Heroine Chic, Metro, 5 October 2007, 15
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Katrina Lobley, Just kidding around, Metro, 17 August 2007, 15
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Katrina Lobley, Metro, 10 June 2005, 13
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Katrina Lobley, Metro, 11 August 2006, 15
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Katrina Lobley, Metro, 12 January 2007, 13
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Katrina Lobley, Metro, 12 January 2007, 4
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Katrina Lobley, Metro, 13 January 2006, 11
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Katrina Lobley, Metro, 14 January 2005, 15
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Katrina Lobley, Metro, 15 April 2005, 15
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Katrina Lobley, Metro, 15 September 2006, 15
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Katrina Lobley, Metro, 17 October 2003, 16
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Katrina Lobley, Metro, 2 September 2005, 13
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Katrina Lobley, Metro, 20 April 2007, 13
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Katrina Lobley, Metro, 20 July 2007, 5
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Katrina Lobley, Metro, 20 October 2006, 13
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Katrina Lobley, Metro, 21 December 2006, 11
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Katrina Lobley, Metro, 21 November 2003, 14
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Katrina Lobley, Metro, 23 February 2007, 13
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Katrina Lobley, Metro, 25 August 2006, 15
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Katrina Lobley, Metro, 25 January 2007, 13
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Katrina Lobley, Metro, 25 June 2004, 4
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Katrina Lobley, Metro, 27 January 2006, 13
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Katrina Lobley, Metro, 27 January 2006, 13
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Katrina Lobley, Metro, 28 April 2003, 15
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Katrina Lobley, Metro, 28 July 2006, 12
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Katrina Lobley, Metro, 31 December 2004, 5
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Katrina Lobley, Metro, 4 February 2005, 15
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Katrina Lobley, Metro, 5 August 2005, 13
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Katrina Lobley, Metro, 5 November 2003, 16
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Katrina Lobley, Metro, 6 January 2006, 18
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Katrina Lobley, Metro, 7 January 2005, 13
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Katrina Lobley, Pros and Cons, Sydney Morning Herald, 25 July 2008, 11
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Katrina Lobley, Risen from the ashes, Metro, 26 October 2007, 19
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Katrina Lobley, Send in the clown - don't worry he's here, Sydney Morning Herald, 24 October 2007, 19
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Katrina Lobley, Sydney Morning Herald, 24 September 2004, 15
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Katrina Lobley, The Australian, 16 January 2004, 14
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Katrina Lobley, The Whinny Takes it All, Sydney Morning Herald, 12 September 2008, 11
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Katrina Lobley, Tres sheik, Metro, 17 August 2007, 17
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Katrina Lobley, Vanity Flair, Sydney Morning Herald, 29 August 2008, 13
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Katrina Lobley, What Happened To Mathinna?, Sydney Morning Herald, 11 July 2008, 13
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Katrina Lobley, Wily Coyotes, Metro, 18 July 2008, 13
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Katrina Lobley, Winter of His Content, Sydney Morning Herald, 15 August 2008, 11
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Katrina Strickland, Alert: you've got males, The Australian, Weekend Australian Review, 16 October 1999
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Katrina Strickland, Another Country, Weekend Australian, 1 March 2003, 0
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Katrina Strickland, Queen of the dance, The Australian, Theatre and Dance Platform, 26 September 2003, 17
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Katrina Strickland, Review, 19 July 2003, 14
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Katrina Strickland, Review, 9 July 2005, 3
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Katrina Strickland, The dancer who's one step ahead of the Big Apple, The Australian, Theatre and Dance Platform, 23 June 1999
-
Kay Keavney, A most improbable playwright arrives, The National Times, The University of Adelaide, Library Special Collections, 26 April 1981
-
Kean Wong, The Chronicle, 3 October 1989, 11
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Keiji Sawada, The Japanese version of The Floating World: a cross-cultural event between Japan and Australia, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 28, April 1996, 4 - 19
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Keiryn Babcock, Power and performance: Aboriginality and the Academy, Australasian Drama Studies, 37, October 2000, 46-58
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Keith Austin, Metro, 16 November 2001, 3
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Keith Austin, The Lieutenant of Inishmore, Metropolitan, 6 September 2003, 1
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Keith Chesson, Ritual Cleansing - The first Aboriginal 'Soap', New Theatre Australia, December, 2, December 1987, 18-20
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Keith Corcoran, In Step with Sousa, On Stage, 12, 2, 2011, 6-7
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Keith Gallasch, Powering up the house, RealTime Arts, 41, February 2001, 4-5
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Keith Gallasch, Vision and remembrance, RealTime Arts, 52, December 2002, 10
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Keith Gallasch, A festival of possibilities: the faraway nearby, RealTime Arts, Theatre and Dance Platform, August 2006
-
Keith Gallasch, A music theatre life: Lyndon Terracini interviewed by Keith Gallasch, Australasian Drama Studies, 45, October 2004, 97-118
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Keith Gallasch, A Turkish-Australian dilemma, RealTime Arts, 45, October 2001, 38
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Keith Gallasch, Adelaide Fringe: the necessity of re-invention, 44, August 2001, 27
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Keith Gallasch, Adventures in collaboration, RealTime Arts, 124, December 2014, 26-27
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Keith Gallasch, Aqua Profunda: art in the deep end, RealTime Arts, 43, June 2001, 6-7
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Keith Gallasch, Art & empathy: music & murder, RealTime Arts, 73, June 2006, 34
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Keith Gallasch, Australian stages on the page, Theatre and Dance Platform, 100, December 2010
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Keith Gallasch, Bitter sweet Turkish delights, RealTime Arts, 46, December 2001
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Keith Gallasch, Composing miniatures, places, festivals, RealTime Arts, 44, August 2001, 4-5
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Keith Gallasch, Dark Matter between Australia and Norway, RealTime Arts, 45, October 2001, 10
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Keith Gallasch, Degrees of pathos: Sydney performance, RealTime Arts, 41, February 2001, 23
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Keith Gallasch, Dynamic dance theatre: dancing binaries, RealTime Arts, 74, August 2006, 32
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Keith Gallasch, Expanding the Cultural Universe, RealTime Arts, 55, June 2003, 25
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Keith Gallasch, Growing performance: networks & niches, RealTime Arts, 72, April 2006, 38
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Keith Gallasch, Growing up with PACT, RealTime Arts, 124, December 2014, 37-38
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Keith Gallasch, Indeterminate realities, comic truths , RealTime Arts, 119, February 2014, 42
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Keith Gallasch, Kristy Edmunds, A festival of possibilities: the faraway nearby, RealTime Arts, 74, August 2006, 38
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Keith Gallasch, Local government: low farce & high drama, RealTime Arts, 104, August 2011, 14
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Keith Gallasch, Melbourne Festival: local heroes, RealTime Arts, 51, October 2002, 40
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Keith Gallasch, Nikki Heywood, Body regimes, RealTime Arts, 44, August 2001, 12
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Keith Gallasch, Off to the Biennale de la Danse 2006 Lyon, RealTime Arts, 74, August 2006, 31
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Keith Gallasch, On the go: Australians performing internationally, RealTime Arts, 53, March 2003, 4-7
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Keith Gallasch, Promiscuous diversity, RealTime Arts, 46, December 2001, 12
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Keith Gallasch, Realtime news and advance word, RealTime Arts, Theatre and Dance Platform, 97, 26 July 2010
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Keith Gallasch, Snuff Puppets rule!, RealTime Arts, 50, August 2002, 38
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Keith Gallasch, Strange worlds, alarmingly familiar, RealTime Arts, 74, 1 August 2006, 41
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Keith Gallasch, Sydney & Wollongong: atoms and fuel, RealTime Arts, 44, August 2001, 32
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Keith Gallasch, The dance of living and dying, RealTime Arts, 71, February 2006, 32
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Keith Gallasch, The light at the end of a long tunnel, RealTime Arts, 73, June 2006, 16
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Keith Gallasch, The Luminous Nightmare of Marius von Mayenberg, RealTime Arts, 73, June 2006, 15
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Keith Gallasch, The Music That Dances, RealTime Arts, 73, June 2006, 38
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Keith Gallasch, The Opera Project: decadence and survival, RealTime Arts, 48, April 2002, 36
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Keith Gallasch, The Performing Arts Market, RealTime Arts, 24, April 1998, 15
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Keith Gallasch, The rich yield of the law of the minimum, RealTime Arts, 73, June 2006, 35
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Keith Gallasch, The soldier inside , RealTime Arts, 119, February 2014
-
Keith Gallasch, Vale: Margaret Cameron, 1955-2014, RealTime Arts, December 2014, 38
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Keith Gallasch, Virginia Baxter, The death of a dancer: Russell Page, RealTime Arts, 50, August 2002, 3
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Keith Gallasch, Weather patterns & word dances, RealTime Arts, Theatre and Dance Platform, 110, 1 August 2012, 31
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Keith Gallasch, Working the globe, RealTime Arts, 42, April 2001, 4-5
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Keith Gallasch, Written: body, culture, history, RealTime Arts, 72, April 2006, 34
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Keith Gallasch, You dance, the festival dances, RealTime Arts, Theatre and Dance Platform, 57, October 2003, 46
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Keith Gallasch, [Customs], RealTime Arts, 27, October 1998, 36
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Keith Groom, Fredricksen, Carl Theodore (Charles) (1873–1966), Australian Dictionary of Biography Online, 1996
-
Keith Hepper, The News, 16 March 1988
-
Keith Hepper, The News, 17 August 1988
-
Keith Hepper, The News, 18 March 1988
-
Keith Macartney, Louis Esson and Australian Drama, Meanjin Quarterly, 6, 2, 1947, 93-96, 104.
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Keith Macartney, Patrick White's 'A Cheery Soul', Meanjin Quarterly, Melbourne, 23, 1, 1964, 93-95
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Keith Macartney, Patrick White's four plays, Meanjin Quarterly, December, 1965
-
Keith Macartney, Patrick White's Four Plays, Meanjin Quarterly, Melbourne, 24, 4, 1965, 528-530
-
Keith Macartney, The 'Old Vic' Season, Meanjin Quarterly, Melbourne, 7, 2, 1948, 122-123
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Keith Macartney, The Elizabethan Theatre Trust, Meanjin Quarterly, 14, 1955, 126-127
-
Keith Macartney, The Plays, Meanjin Quarterly, Melbourne, 18, 2, 1959, 182-192
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Keith Macartney, The Shifting Heart, Adult Education, Adult Education, December, 1959, 4
-
Kelly and Leon's New Opera House, The Daily Telegraph, 20 December 1879, 5
-
Kelly and Leon, Evening News, 3 June 1880, 2
-
Kelly Apter, HOT brings Australian dance to Glasgow Tramway, The Scotsman, Theatre and Dance Platform, 9 June 2014
-
Kelly Basin, The Mount Lyell Standard and Strahan Gazette, Queenstown, Tas., 6 November 1900, 4
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Kelly Burke, Misto's final tribute, Sydney Morning Herald, 19 January 1996, 13
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Kelly Farrell, Body-speak, Inpress, Theatre and Dance Platform, 16 March 2005
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Kelly Rowett, Approaches to Aboriginal drama, Antipodes, 7, 1 (June), 1993, 27-32
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Kelly Women - a new folk opera, The Word, December 2007, 27
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Kelsey Munro, Spectrum, 30 June 2007, 19
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Kelsey Munro, Spectrum, 5 May 2007, 18
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Kelsey Munro, Sydney Morning Herald, 3 September 2004, 15
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Kelsie Iorio, The Right Move, Townsville Bulletin, 22 September 2018
-
Ken Harper, The useful theatre: the New Theatre movement in Sydney and Melbourne, 1935-1983, Meanjin, 43, 1 (Autumn), 1984, 56-71
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Ken Hawkins, Serious Money, Australian Listener, 6 August 1988
-
Ken Healey, ABC Radio, 30 March 1987
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Ken Healey, Big step for Theatre ACT my lead to new direction, The Canberra Times, 24 August 1984
-
Ken Healey, Intriguing visit by a smash hit, The Canberra Times, 4 June 1982, 11
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Ken Healey, Opera-Opera, December 2005, 12
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Ken Healey, Opera-Opera, February 2004, 12
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Ken Healey, Opera-Opera, February 2006, 10
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Ken Healey, Opera-Opera, February 2007, 10
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Ken Healey, Opera-Opera, January 2006, 10
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Ken Healey, Shakespearean surf-rock musical unlike anything seen in Canberra, The Canberra Times, 23 September 1984, 10
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Ken Healey, Sydney Morning Herald, 12 May 1987
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Ken Healey, Sydney Morning Herald, 12 May 1988
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Ken Healey, Sydney Morning Herald, 21 March 1987
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Ken Healey, Sydney Morning Herald, 27 July 1988
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Ken Healey, Sydney Morning Herald, 29 March 1988
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Ken Healey, Sydney Morning Herald, 3 May 1988
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Ken Healey, Sydney Morning Herald, 7 June 1988
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Ken Healey, Sydney Morning Herald, 8 April 1988
-
Ken Healey, Taking the measure of a team experiment, The Canberra Times, 30 November 1980, 8
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Ken Healey, The Canberra Times, 6 January 1987
-
Ken Longworth, 'The Goose' to stretch the imagination and play the recluse, Newcastle Herald, 13 March 1992
-
Ken Longworth, A cast from strange lands, Newcastle Herald, 14 September 1984
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Ken Longworth, A fairytale beginning, Newcastle Herald, 21 September 1984
-
Ken Longworth, A far from absurd end to HVTC's season, Newcastle Herald, 12 October 1987, 9
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Ken Longworth, A look at power play in the Public Service, Newcastle Herald, 30 March 1987, 6
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Ken Longworth, A man for this season, Newcastle Herald, 16 June 1983
-
Ken Longworth, A return to old haunts, Newcastle Herald, 20 October 1994, 7
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Ken Longworth, Actors removed from characters, Newcastle Herald, 30 March 1984
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Ken Longworth, Actors revive dated coastal washout, Newcastle Herald, 22 June 1992
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Ken Longworth, Actress at home with character, Newcastle Herald, 14 February 1991, 7
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Ken Longworth, Actress back to the fray for a meaty role, personal challenge in Williamson play, Newcastle Herald, 15 April 1993, 7
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Ken Longworth, Actress returns to stage, Newcastle Herald, 16 August 1985
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Ken Longworth, Actress, singer and citizen of concern, Newcastle Herald, 4 April 1989
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Ken Longworth, Actresses find life not always a scream, Newcastle Herald, 1 May 1989, 10
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Ken Longworth, African odyssey staged with risks, Newcastle Herald, 16 February 1995, 7
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Ken Longworth, All the world a stage as McGregor to part company with Hunter, Newcastle Herald, 27 November 1991
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Ken Longworth, Andrew the pirate is now 'Andrew' the writer, Newcastle Herald, 4 July 1986
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Ken Longworth, Another unsmiling role in furious farce, Newcastle Herald, 12 October 1984
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Ken Longworth, Appreciation of city's theatre a great start for HVTC's new head, Newcastle Herald, 29 June 1992, 4
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Ken Longworth, Brimming with confidence, Newcastle Herald, 7 September 1983
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Ken Longworth, Capital city flagship groups 'overspend', Newcastle Herald, 15 December 1986
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Ken Longworth, Celia Ireland is no 'dag' in first professional acting role, Newcastle Herald, 16 February 1987, 12
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Ken Longworth, Chalk Hill revisited goes for all-out farce, Newcastle Herald, 27 February 1992
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Ken Longworth, Critic's Response, Newcastle Herald, 18 September 1987
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Ken Longworth, Curtain down on HVTC money drama, Newcastle Herald, 8 February 1984
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Ken Longworth, Director returns 11 years after past drama, Newcastle Herald, 13 May 1993
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Ken Longworth, Don't Pay Don't Pay, Newcastle Herald, 15 August 1986
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Ken Longworth, Flood of bookings but star plays down her part, Newcastle Herald, 25 June 1985
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Ken Longworth, Freewheels big winner in arts grants, Newcastle Herald, 20 November 1990, 5
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Ken Longworth, From the Ark to acting maturity, Newcastle Herald, 16 May 1991
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Ken Longworth, Fun-filled ride on the Milky Way has a lesson, Newcastle Herald, 1 January 990, 9
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Ken Longworth, Garfield still seen as a man with many faces, Newcastle Herald, 20 February 1992
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Ken Longworth, GO Supplement, 11 June 1998, 0
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Ken Longworth, GO Supplement, 6 September 1990, 0
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Ken Longworth, Grant for theatre company, Newcastle Herald, 10 August 1983
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Ken Longworth, Have a tilt at Fort fun with fantastic Don Quixote, Newcastle Herald, 9 January 1987, 1
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Ken Longworth, HOT, 23 November 2000, 0
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Ken Longworth, HOT, 29 June 2000, 0
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Ken Longworth, HOT, 3 May 2001, 27
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Ken Longworth, Hunter playwrights persevere, Newcastle Herald, 6 June 1992
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Ken Longworth, Hunter theatre companies get windfall grants, Newcastle Herald, 6 August 1990
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Ken Longworth, Hunter's theatre companies take cut in funding, Newcastle Herald, 20 November 1984
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Ken Longworth, HVTC artistic director quits, Newcastle Herald, 12 November 1994
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Ken Longworth, HVTC back in favour, Newcastle Herald, 26 September 1983
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Ken Longworth, HVTC chairman denies play claim, Newcastle Herald, 14 November 1994, 4
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Ken Longworth, HVTC grants stay at 1983 level, Newcastle Herald, 22 November 1983
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Ken Longworth, HVTC has $20,000 mid-year surplus, Newcastle Herald, 7 August 1984
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Ken Longworth, HVTC may appoint temporary director, Newcastle Herald, 19 November 1994, 6
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Ken Longworth, HVTC subsidy more than ticket price, Newcastle Herald, 25 February 1985
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Ken Longworth, HVTC's return: the big theatrical event of 1985, Newcastle Herald, 3 January 1986
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Ken Longworth, International honours for Essington Lewis designs, Newcastle Herald, 20 May 1983
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Ken Longworth, Knights tackle the stage in a dramatic set play, Newcastle Herald, 17 May 1990
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Ken Longworth, Lawler's fine play gets top production, Newcastle Herald, 4 March 1988
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Ken Longworth, McGregor: exit stage right, Newcastle Herald, 10 July 1992
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Ken Longworth, Mixed fortunes for Hunter groups as funds announced, Newcastle Herald, 5 October 1992, 2
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Ken Longworth, Neil Simon comedy has writing and acting very much from heart, Newcastle Herald, 3 October 1988, 10
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Ken Longworth, New artistic director spotlights busy 1993, Newcastle Herald, 26 November 1992
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Ken Longworth, New HVTC comedy a breeze for actor, Newcastle Herald, 4 June 1992, 7
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Ken Longworth, Newcastle Herald, 10 November 1986, 0
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Ken Longworth, Newcastle Herald, 11 August 2005, 36
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Ken Longworth, Newcastle Herald, 11 March 1992, 9
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Ken Longworth, Newcastle Herald, 12 November 1992, 0
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Ken Longworth, Newcastle Herald, 12 November 1999, 0
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Ken Longworth, Newcastle Herald, 12 September 1988, 0
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Ken Longworth, Newcastle Herald, 13 July 2000, 0
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Ken Longworth, Newcastle Herald, 14 April 1986, 0
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Ken Longworth, Newcastle Herald, 14 August 1989, 0
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Ken Longworth, Newcastle Herald, 14 December 2000, 0
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Ken Longworth, Newcastle Herald, 15 August 1996, 0
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Ken Longworth, Newcastle Herald, 15 July 2002, 0
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Ken Longworth, Newcastle Herald, 15 November 2001, 0
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Ken Longworth, Newcastle Herald, 15 October 1992, 0
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Ken Longworth, Newcastle Herald, 16 July 1998, 0
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Ken Longworth, Newcastle Herald, 17 August 2000, 0
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Ken Longworth, Newcastle Herald, 17 October 2002, 0
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Ken Longworth, Newcastle Herald, 18 May 1984, 0
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Ken Longworth, Newcastle Herald, 19 September 1987
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Ken Longworth, Newcastle Herald, 2 November 1988, 0
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Ken Longworth, Newcastle Herald, 2 October 1986, 0
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Ken Longworth, Newcastle Herald, 21 December 1984, 0
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Ken Longworth, Newcastle Herald, 21 November 2002, 0
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Ken Longworth, Newcastle Herald, 22 April 1993, 0
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Ken Longworth, Newcastle Herald, 22 November 1990, 0
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Ken Longworth, Newcastle Herald, 23 February 1987, 0
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Ken Longworth, Newcastle Herald, 24 July 1987
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Ken Longworth, Newcastle Herald, 24 May 1985, 0
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Ken Longworth, Newcastle Herald, 26 April 2001, 0
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Ken Longworth, Newcastle Herald, 26 August 2003, 0
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Ken Longworth, Newcastle Herald, 26 June 1991, 0
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Ken Longworth, Newcastle Herald, 27 August 1992, 0
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Ken Longworth, Newcastle Herald, 27 July 1984, 0
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Ken Longworth, Newcastle Herald, 27 June 1991, 0
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Ken Longworth, Newcastle Herald, 27 March 1989, 0
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Ken Longworth, Newcastle Herald, 28 June 1990, 0
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Ken Longworth, Newcastle Herald, 29 June 1984, 0
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Ken Longworth, Newcastle Herald, 3 August 1984, 0
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Ken Longworth, Newcastle Herald, 3 August 1996, 0
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Ken Longworth, Newcastle Herald, 3 January 1991, 7
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Ken Longworth, Newcastle Herald, 30 November 2000, 0
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Ken Longworth, Newcastle Herald, 31 May 1990, 0
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Ken Longworth, Newcastle Herald, 31 October 2002, 0
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Ken Longworth, Newcastle Herald, 4 May 2000, 0
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Ken Longworth, Newcastle Herald, 6 June 1983, 0
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Ken Longworth, Newcastle Herald, 7 December 2000, 0
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Ken Longworth, Newcastle Herald, 7 October 1993, 0
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Ken Longworth, Newcastle Herald, 8 April 1999, 0
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Ken Longworth, Newcastle Herald, 8 August 2002, 0
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Ken Longworth, Newcastle Herald, 8 June 1984, 0
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Ken Longworth, Newcastle Herald, 9 August 1990, 0
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Ken Longworth, Newcastle Herald, 9 March 1992, 4
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Ken Longworth, Newcastle Herald, Real women, real roles, Fairfax publications, 28-30 Bolton Street PO Box 510 Newcastle NSW 2300, 7 January 2010, 30
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Ken Longworth, Newcastle Post, 5 June 1987
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Ken Longworth, Newcastle's funny history on show, Newcastle Herald, 27 December 1990
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Ken Longworth, No punches spared as comedy charts sexual politics of 1990s love, Newcastle Herald, 8 July 1993
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Ken Longworth, No rest for barmaids in pub battle of wills, Newcastle Herald, 26 August 1993, 7
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Ken Longworth, Overseas travel award for home-grown director, Newcastle Herald, 10 October 1991
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Ken Longworth, Play gets an early extension, Newcastle Herald, 11 July 1985
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Ken Longworth, Professional groups combine to look for talent, Newcastle Herald, 10 October 1992, 5
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Ken Longworth, Queen of Mars, Newcastle Herald, 20 February 2017
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Ken Longworth, Rescue plan sets scene for theatre company's revival, Newcastle Herald, 16 February 1995, 3
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Ken Longworth, Risky business of acting needs a safe backup career, Newcastle Herald, 2 October 1989, 7
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Ken Longworth, Roving actor solves his living problems with a home on wheels, Newcastle Herald, 22 August 1991
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Ken Longworth, Ruling by court hits city theatre companies, Newcastle Herald, 20 November 1990, 4
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Ken Longworth, Second time for lead man in HVTC's Doll, Newcastle Herald, 22 February 1988
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Ken Longworth, Shakespeare veteran at 33, Newcastle Herald, 25 February 1993
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Ken Longworth, Student of Cervantes stars in fun version of Don Quixote, Newcastle Herald, 29 December 1986, 11
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Ken Longworth, Students enthralled on voyage of discovery, Newcastle Herald, 10 May 1993, 4
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Ken Longworth, Take a bow, TAFE, Newcastle Herald, Fairfax publications, 28-30 Bolton Street PO Box 510 Newcastle NSW 2300, 7 December 2006, 32
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Ken Longworth, Television star in HVTC play, Newcastle Herald, 13 February 1986
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Ken Longworth, The Australian, 22 November 1985, 0
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Ken Longworth, The Australian, 27 December 1985, 0
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Ken Longworth, The Australian, 29 August 1986, 0
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Ken Longworth, The Australian, 4 July 1983, 0
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Ken Longworth, The Australian, August 1989, 0
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Ken Longworth, The doubts of a career woman, Newcastle Herald, 22 August 1988
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Ken Longworth, The girls just gotta perform, Newcastle Herald, 11 November 1993, 7
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Ken Longworth, Theatre groups' grants restricted, Newcastle Herald, 1 November 1990, 4
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Ken Longworth, Theatre may have to 'buy Australian', Newcastle Herald, 30 November 1991, 7
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Ken Longworth, Three Hunter theatre groups get increased federal funds in 1990, Newcastle Herald, 28 October 1989, 3
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Ken Longworth, Tommy set to rock the Workers', Newcastle Herald, 4 December 1985
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Ken Longworth, Traditional bush fun, Newcastle Herald, 23 December 1983
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Ken Longworth, Tragi-comedy explores cultural clash, Newcastle Herald, 11 July 1988, 6
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Ken Longworth, Two Hunter companies receive increased funding, Newcastle Herald, 22 November 1984
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Ken Longworth, Variety in HVTC line-up for 1985 season, Newcastle Herald, 16 March 1985
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Ken Longworth, [A Little Fear], Newcastle Herald, 21 March 2000, 0
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Ken Longworth, [A Property of the Clan], Newcastle Herald, 30 July 1992, 0
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Ken Longworth, [A Property of the Clan], Newcastle Herald, 6 August 1992
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Ken Longworth, [A Rare Jewel], Newcastle Herald, 1 November 1993
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Ken Longworth, [Chess], Newcastle Herald, 27 April 1995
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Ken Longworth, [Dancers In The Minefield], Newcastle Herald, 15 June 1984
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Ken Longworth, [Hansel and Gretel], GO Supplement, 2 January 1992
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Ken Longworth, [Here Is the Beehive], Newcastle Herald, 3 March 1994
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Ken Longworth, [Ned Kelly 2860], Newcastle Herald, 20 May 1993
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Ken Longworth, [Puppy Love], Newcastle Herald, 25 April 1986
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Ken Longworth, [Sycorax has Cobwebs], Newcastle Herald, 3 May 1985
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Ken Longworth, [The City Without Love], Newcastle Herald, 22 September 1994
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Ken Longworth, [The Popular Mechanicals / Waiting for Lefty], GO Supplement, 25 April 1991
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Ken Longworth, [We All Bleed Red], Newcastle Herald, 26 April 1986
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Ken Longworth, [Wiped], Newcastle Herald, 12 August 1993
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Ken Reis, Opera-Opera, April 2006, 12
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Ken Reis, Opera-Opera, August 2005, 12
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Ken Reis, Opera-Opera, November 2004, 10
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Kenneth Hince, The Age, 12 May 1990
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Kenny Weir, The Sunday Herald Sun, 7 January 2001
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Keri Glastonbury, Hip hop accents, hip hop theatre, RealTime Arts, 54, April 2003, 38
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Kerrie Schaefer, Laura Ginters, 'The more things change the more they stay the same...'? feminisms and Performance Studies, Australasian Drama Studies, 39, October 2001, 104-124
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Kerry Davies, The Canberra Times, 17 May 1988
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Kerry McGovern, Time Off, 11 March 1988
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Kerry McGovern, Time Off, 15 April 1988
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Kerry McGovern, Time Off, 15 July 1988
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Kerry McGovern, Time Off, 2 September 1988
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Kerry McGovern, Time Off, 2 September 1988
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Kerry McGovern, Time Off, 22 December 1987
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Kerry McGovern, Time Off, 22 July 1988
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Kerry McGovern, Time Off, 22 July 1988
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Kerry McGovern, Time Off, 24 July 1987
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Kerry McGovern, Time Off, 26 June 1987
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Kerry McGovern, Time Off, 27 February 1987
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Kerry McGovern, Time Off, 3 June 1988
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Kerry McGovern, Time Off, 5 February 1988
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Kerry McGovern, Time Off, 5 June 1987
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Kerry McGovern, Time Off, 6 May 1988
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Kerry Williams, The cure for women in comedy: history as TV talk show therapy, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 22, April 1993, 3 - 19
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Kerryn Goldsworthy, Is that a boy or a girl? Gendering the Seventeenth Doll, Southerly, 55, 1, March 1995, 89-105
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Kevin Luscombe, 'It's all happening', On Stage, 13, 4, December 2012, 4
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Kevin Sadlier, Zoo Story is Uplifting for Ken, Flinders University, Academic Commons, 2 April 2010
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Kevon Kemp, Nimrod Street a new path in our theatre, Elizabethan Trust News, The Australian Elizabethan Theatre Trust, Autumn, 1972, 2, 1972, 10-13
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Kevon Kemp, The Australian Elizabethan Theatre Trust: Too many amateurs, Meanjin Quarterly, 23, September, 1964, 287-293
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Kevon Kemp, What's wrong with the theatre: the writer's fault, The Bulletin, 83/4275, 20 January, 1962, 20-21
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Khalid Omer Javed, What's On, 17 May 1989, 39
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Khalil Hegarty, Lost in the Aether, The Age, Theatre and Dance Platform, March 2005, 20 (Melbourne Magazine)
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Kilmore, Kilmore Free Press, 15 April 1897, 3
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Kim Baston, 'If I had something to see, would it be theatre?' - Musicians performing the 'musician' , Australasian Drama Studies, 52, April 2008, 24-37
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Kim Baston, Jacques Brel and circus performance: the compiled score as discourse in The Space Between by Circa, Australasian Drama Studies, 56, April 2010, 154-169
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Kim Baston, Meredith Rogers, Editorial Note: Music and Sound in Theatre, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 67, October 2015, 3 - 4
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Kim Baston, Not Just ʻEvocativeʻ: The Function of Music in Theatre, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 67, October 2015, 5 - 27
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Kim Dunphy, The Age, 23 May 1998
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Kim Durban, 'I love the quality of playing, I': directing adventures in Ballarat, Australasian Drama Studies, 57, October 2010, 115-128
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THE WALLS of La Mama Theatre are about to get a pounding. Local playwright Tom Wright has created three disgustingly self-absorbed male siblings, thrown them in a room together and turned on the Bunsen burner.
The oldest brother is a tyrannical genius novelist, returning to make the lives of his siblings hell. Wright, who also directs his play Hideous Portraits, describes this character as a cross between a mad little crab and Patrick White. "White had that ability to write postcards to people saying, 'You are vile, vile, vile,' " says Wright.
In Hideous Portraits, Melba and Moncrieff, both actors, have been rattling around their ancestral home ever since the death of their parents, watched over by a wall of family photographs. They are the privately educated younger sons of a hardworking quarrymaster but, unlike their pioneering pop, have settled for a lifestyle that will preserve their patrician views of the world.
Wright sees the brothers as remnants of a fading Anglo culture, the sort he saw too much of during his brief student days at Melbourne University. "You can hardly recognise the Australian accent with some people. They have this Hamlet-like hopelessness and are not doing much with their lives other than exist in their heads."
Wright draws parallels between this intellectual impotence and the stilted, "neck up" syndrome of much Australian theatre. "A lot of theatre in Australia is conceived, directed and performed from the neck up," he says. "Everything else is cut off, including our sexuality."
Within the pressure cooker context of a family gathering, Hideous Portraits investigates the repression of masculine sexuality in our culture and the decline of a once-celebrated mind. Inspired by the Thomas Bernhard play Ritter, Dene, Voss, Wright's language is energetic and the performing style non-naturalistic. Although the characters are reprehensible, it is hoped that the audience will find them entertaining.
Hideous Portraits runs from 11 to 29 June at La Mama. Bookings: 9347 6948.
Kim Trengove, Brothers in Harm, The Age, 6 June 1997, 11
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Kim Trengove, The Age, 13 March 1998
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Kim Trengove, The Age, 20 March 1998
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Kim Trengove, The Age, 26 December 1997
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Kim Trengove, The Age, 5 December 1997
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Kimberley Goldfields, Inquirer and Commercial News, 9 November 1887, 2
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King Billy, Melbourne, Geelong Advertiser, 3 January 1856, 2
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King George and Australia., The Brisbane Courier, 5 April 1927, 32, 33
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King George V, Sydney Morning Herald, 10 May 1910, 11
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King Mariana of Melville, The Advertiser, National Library of Australia, 5 April 1935, 24
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King of the Road. An Australian picture play., Evening News, 23 February 1911, 2
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King's Theatre, Fremantle, The Mail, (Fremantle, WA : 1904 - 1905), 28 October 1904, 3
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KIN_Article, Macquarie University, Library, 17 July 1987
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Kirsten Blanch, Organised Niceness, Theatre Australia, The University of Adelaide, Library Special Collections, June 1978, 16
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Kirsten Sunderland, Stage Whispers, September 1999, 96
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Kirsty Gillespie, Muse, 1 September 2001, 4
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Kirsty Wallett, bma (bands music action) , 11 March 2004, 10
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Kiwis to show here, Barrier Miner, 27 September 1951, 12
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Knox Sherbrooke News, Leader Newspaper Group, Boronia, Victoria, 1969
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Kookynie, The Kalgoorlie Miner, WA, 17 January 1905, 6
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Kooringa and Redruth, South Australian Advertiser, 3 February 1866, 3
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Kooringa and Redruth, South Australian Weekly Chronicle, 3 February 1866, 2
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Kooringa, South Australian Advertiser, 8 January 1861, 3
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Kooringa, South Australian Weekly Chronicle, 12 January 1861, 7
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Krista Wilson, Dreaming of a Greek myth, The Daily Telegraph, 15 April 2005, 63
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Kristin Williamson, Unrepentant spirit, The National Times, The University of Adelaide, Library Special Collections, 8 February 1981, 40
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Kristy Edmunds, Notes from Kristy: Weathering Storms and the Art of Performance, Center for the Art of Performance, UCLA, Theatre and Dance Platform, 2 October 2013
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Kristy Pope, The Canberra Times, 15 April 2004, 6
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KURING-GAI THEATRE GUILD Thousand Members Wanted, Sydney Morning Herald, 25 September 1944, 5
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Kylie Davis, Going full-time was dramatic breakthrough, Weekend Australian, 7 October, 1989, 11
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Kylie Fleming, Cultural Ties, Adelaide Matters, 10 August 2008, 12
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Kylie Northover, Recognition for a life less ordinary, Sydney Morning Herald, 15 September 2017
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Kym Bird, Leaping into the breeches: liberal feminism and cross-dressing in Sarah Ann Curzon's The Sweet Girl Graduate, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 29, October 1996, 168 - 179
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Kyogle, Wednesday, Northern Star, 26 April 1909, 2
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L J Blake, Asche, Thomas Stange Heiss Oscar (1871–1936), Australian Dictionary of Biography Online, 1979
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L Smith, Pushing the pram, Theatre Australia, 1, 1, 1976, 38-40
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L'Orfeo, The University of Adelaide, Library Special Collections, 26 July 1979
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L.N.Q.W. Moonlight Carnival, The Northern Miner, 26 November 1901, 2
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Labours of Love, Elizabethan Trust News, The Australian Elizabethan Theatre Trust, Number One, December 1971, 6-7
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Lady Precious Stream, The Wireless Weekly, 22 March 1939, 45
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Lake Macquarie News, 22 May 2002, 0
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Lake Town, 21 February 1871, 4
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Lalita McHenry, High beam: Beyond the performance/therapy axis, RealTime Arts, 49, June 2002
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Lambton woman gives actor historic photo signed by Coward, Newcastle Herald, 29 October 1990, 7
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Lance Campbell, Directing it yourself, The Advertiser, 1 September 1990, 13
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Lance Campbell, Found in Translation, SA Life, 1 August 2008, 86
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Lance Campbell, Musical on a Gutsy Note, The Advertiser, 31 August 1991, 10
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Landsborough's Expedition (continued), North Australian and Queensland General Advertiser, 23 September 1962, 4
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Landscape in ballet, Gold Coast Sun, 5 June 2002, 60
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Lara Stevens, Alienation in the Information Age: Wafaa Bilalʻs Domestic Tension, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 65, October 2014, 77 - 98
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Larissa Dubecki, The Age, 2 August 2007, 18
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Larry Galbraith, The Advertiser, 5 September 1987
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Larry Galbraith, [On Parliament Hill], Sydney Star Observer, 20 February 1987
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Larry Murray, Australian Contemporary Dance from Lucy Guerin at Jacob’s Pillow, Berkshire on Stage, Theatre and Dance Platform, 16 August 2010
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Larry Ruffell, The Australian, 23 December 2003, 15
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Larry Sitsky, Letter to the Editor, The Sydney Review, 1 April 1994
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Last Curtain for Ace Showman, The Sun (NSW), 22 April 1941, 4
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Last Night's Amusements, Sunday Times, 18 November 1900, 2
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Last Night's Amusements, Sunday Times, 25 March 1900, 2
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Last of the space eaters, Subiaco Post, Theatre and Dance Platform, 8 November 2003, 53
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Last Tango in Paradise, The West Australian, 24 September 1982, 11
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Last week Tivoli revue, The Argus, 4 March 1946, 7
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Late bloomer on centre stage, Sydney Morning Herald, 12 January 2013
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Late Gilbert James Smith, The Sydney Mail and New South Wales Advertiser, 9 June 1900, 1348
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Late Narrandera News, The Albury Banner and Wodonga Express, NSW, 31 July 1903, 37
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Latest Intelligence, Clarence and Richmond Examiner, 3 March 1868, 3
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Latest Local and General News, The Gundagai Times and Tumut, Adelong and Murrumbidgee Dist, NSW, 24 February 1899, 2
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Latest Melbourne Topics, Daily Telegraph, 6 March 1885, 3
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Latest Telegraphic, Clarence and Richmond Examiner, Grafton, NSW, 26 July 1898, 5
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Launceston Players retain Catherine Duncan Cup at Drama Festival, The Mercury (Hobart, Tas. : 1860 - 1954), National Library of Australia, 15 June 1953, 7
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Launceston Players, The Mercury (Hobart, Tas. : 1860 - 1954), National Library of Australia, 10 June 1940, 10
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Launceston Supreme Court, The Mercury (Hobart, Tas. : 1860 - 1954), National Library of Australia, 29 April 1915, 3
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Launceston Wins Major Drama Festival Award, The Examiner, State Library of Tasmania, Launceston Reference Library, 11 April 1960, 3
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Laura Ginters, Lindy Davies: A Path to a Process, Part 1. Interview by Laura Ginters., Australasian Drama Studies, 50, April 2007, 78-90
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Laura Ginters, Lindy Davies: A Path to a Process, Part 2. Interview by Laura Ginters., Australasian Drama Studies, 52, April 2008, 85-96
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Laura Scrivano, Currents, February 2005, 0
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Laura Scrivano, Currents, June 2007, 0
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Laura Scrivano, Currents, June 2007, 0
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Laura Scrivano, Currents, May 2005, 0
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Laura Scrivano, Currents, November 2004, 0
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Laura Scrivano, Currents, November 2004, 0
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Laura Scrivano, Currents, October 2006, 0
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Laura Scrivano, It's only rock 'n roll but I like it, Currents, September 2007, 0
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Laurelle Pacey, Panorama, 5 June 2004, 17
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Laurelle Pacey, The Canberra Times, 11 July 2001, 12
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Laurelle Pacey, The Canberra Times, 11 July 2001, 12
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Laurelle Pacey, The Canberra Times, 26 March 2001, 10
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Laurelle Pacey, The Canberra Times, 5 February 2001, 10
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Laurence Olivier's Visit to Australia delayed, The Advertiser, 29 April 1947, 3
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Laurie Landray, A new wave?, The Herald, The University of Adelaide, Library Special Collections, 27 July 1983
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Laurie Landray, A night of first nights, The Herald, The University of Adelaide, Library Special Collections, 13 September 1978
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Laurie Landray, Fantasy with a twist, The Herald, The University of Adelaide, Library Special Collections, 2 June 1983
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Law and Police Courts, Adelaide Times, National Library of Australia, 4 February 1850, 3
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Lawrence School of Arts, Clarence and Richmond Examiner, Grafton, NSW, 28 January 1899, 5
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Lawrence Senelick, Place Settings: Real Estate or Imagined Estates in Chekhov and Kantor, Australasian Drama Studies, 54, April 2009, 6-18
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Lawrie Zion, The Australian, 11 July 2005, 10
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Laying of Foundation Stone at Town Hall, The Daily Telegraph, 14 November 1883, 3
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Laying of the foundation stone of the new town hall, Sydney Morning Herald, 6 April 1868, 5
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Lazar v. Stephens, The South Australian Register, National Library of Australia, 4 March 1850, 2
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Lea Logie, Developing a physical vocabulary for the contemporary actor, New Theatre Quarterly, 11, 43, 1995, 230-240
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League of the Cross, The West Australian, (Perth, WA : 1879 - 1954), 3 March 1897, 5
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Leah Mercer, Brisbane ladies: explosive icons, RealTime Arts, 71, February 2006, 33
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Leanne Bear, Muse, 1 April 2001
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Lecture by Mr Galloway, The Maitland Mercury, National Library of Australia, 18 April 1846, 2
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Lecture by Mr Galloway, The Maitland Mercury, National Library of Australia, 4 April 1846, 2
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Lecture by Mr Geddes, National Library of Australia, 2 May 1846, 2
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Lecture by Mr Geddes, The Maitland Mercury, National Library of Australia, 7 February 1846, 4
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Lecture by Mr Russell, National Library of Australia, 4 July 1846, 2
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Lecture by Mr Russell, The Maitland Mercury, National Library of Australia, 16 May 1846, 1
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Lecture by Mr Russell, The Maitland Mercury, National Library of Australia, 20 September 1845, 2
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Lecture by Mr Russell, The Maitland Mercury, National Library of Australia, 21 February 1846, 4
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Lecture by Mr Russell, The Maitland Mercury, National Library of Australia, 6 December 1845, 2
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Lecture by Rev. Dr. Lang, M.C, The Maitland Mercury, National Library of Australia, 6 November 1850, 2
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Lecture by the Rev. Mr. McIntyre, National Library of Australia, 13 June 1846, 4
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Lecture by the Rev. R. Blain, The Maitland Mercury, National Library of Australia, 28 May 1851, 2
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Lecture on Agriculture, The Maitland Mercury, National Library of Australia, 8 November 1845, 2
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Lecture on Astronomy, The Maitland Mercury, National Library of Australia, 31 October 1846, 2
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Lecture on Colonial Agriculture , The Maitland Mercury, National Library of Australia, 3 October 1846, 4
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Lecture on New Zealand, The Maitland Mercury, 12 August 1846, 2
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Lecture, The Maitland Mercury, National Library of Australia, 11 October 1845, 2
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Lee Christofis, Artistic vibrancy among Australia's five major dance companies, Australasian Drama Studies, 60, April 2012, 120-137
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Lee Christofis, Artistic vibrancy in the dance sector, Artery, Theatre and Dance Platform, 14, 2010
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Lee Christofis, Present Tense, Weekend Australian, Theatre and Dance Platform, 8 April 2006, 16
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Lee Christofis, The Australian, 1 June 1998
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Lee Christofis, The Australian, 1 May 1998
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Lee Christofis, The Australian, 1 May 1998
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Lee Christofis, The Australian, 14 May 1998
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Lee Christofis, The Australian, 15 April 1998
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Lee Christofis, The Australian, 17 October 2005, 16
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Lee Christofis, The Australian, 22 April 1998
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Lee Christofis, The Australian, 26 February 2001
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Lee Christofis, The Australian, 27 October 2005, 14
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Lee Christofis, The Australian, 29 April 1998
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Lee Christofis, The Australian, 29 May 1998
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Lee Christofis, The Australian, 29 May 1998
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Lee Christofis, The Australian, 5 January 2001
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Lee Christofis, The Australian, 6 May 1998
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Lee Christofis, The Australian, 8 May 1998
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Leesha McKenny, Go Ahead, Monk, Make My Day, Sydney Morning Herald, 13 June 2008, 3
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Leesha McKenny, Just Go Nuts, Sydney Morning Herald, 27 June 2008, 13
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Leesha McKenny, Wilde About The Toy, Sydney Morning Herald, 13 June 2008, 11
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Legislators on Tour, The Advertiser, National Library of Australia, 5 September 1910, 10
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Leigh Bottrell, Mary has plenty to celebrate, Sunday Telegraph, 9 October 1988
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Leigh Reinhold, The Daily Telegraph, 1 August 1987
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Leigh Sutton, Culture within a culture, New Theatre Australia, 12, September 1989, 5-8
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Lekkie Hopkins, Language, culture and landscape in The Man from Mukinupin, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 10, October 1986, 91 - 106
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Lenny Ann Low, Bendy's Back, Sydney Morning Herald, 6 June 2008, 4
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Lenny Ann Low, Cheesy Encounters, Sydney Morning Herald, 30 May 2008, 15
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Lenny Ann Low, Metro, 1 November 2002, 15
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Lenny Ann Low, Metro, 22 September 2006, 13
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Lenny Ann Low, Metro, 25 May 2007, 11
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Lenny Ann Low, Metro, 27 May 2005, 15
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Lenny Ann Low, Metro, 4 April 2003, 4
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Lenny Ann Low, Metro, 6 December 2003, 21
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Lenny Ann Low, Metro, 9 December 2005, 13
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Lenny Ann Low, New opera is a space oddity, Sydney Morning Herald, 27 July 2001, 15
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Lenny Ann Low, Spectrum, 17 March 2006, 13
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Lenny Ann Low, Sydney Morning Herald, 19 July 2004, 12
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Lenny Ann Low, Sydney Morning Herald, 23 April 2004, 4
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Lenny Ann Low, Sydney Morning Herald, 26 March 2007, 17
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Lenny Ann Low, Sydney Morning Herald, 28 April 2005, 9
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Lenny Ann Low, Sydney Morning Herald, 28 May 2007, 11
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Lenny Ann Low, Sydney Morning Herald, 8 January 2004, 22
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Lenny Ann Low, The Australian, 23 January 2004, 14
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Lenny Ann Low, The Australian, 6 March 2004, 2
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Lenny Ann Low, The Twee Sisters, Sydney Morning Herald, 5 September 2008, 13
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Lenore Nicklin, New theatre a winner? It's from a good stable, Sydney Morning Herald, 25 November 1970, 6
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Leo Kelly, Sceneshifters and The Shifting Heart, The Sun (NSW), 4 October 1957, 22
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Leon Gettler, Joking Cole has a merrier soul, The Age, 7 October 1996
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Leonard Radic, $27m in grants to music, drama, The Age, 9 November 1987, 14
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Leonard Radic, A mixture of myth and melodrama, The Age, 1 August 1988, 14
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Leonard Radic, A night of non-stop decadence - again, The Age, 3 July 1987, 14
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Leonard Radic, A pleasing mix of drama and dance, The Age, 13 February 1987, 12
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Leonard Radic, A war of words out in the wings, The Age, 14 May 1981, 10
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Leonard Radic, Australian Performing Group, Companion To Theatre In Australia, 1995, 74-75
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Leonard Radic, By Popular Demand. New season at Russell Street, The Age, 4 July 1967, 4
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Leonard Radic, Chekhov played for comedy, not for pathos, The Age, 1 May 1987, 14
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Leonard Radic, Dreamtime in the suburbs, The Age, 25 February 1982, 10
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Leonard Radic, Eerie fade-out for failed funnyman, The Age, 14 November 1977, 2
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Theatre in former shirt factory in Carlton, Melbourne, opened by Betty Burstall, 30 July 1967.
The new Australian drama of the late 1960s and the 1970s was first nurtured and developed in a pocket playhouse in Melbourne. La Mama Theatre, like its namesake in New York City, was essentially a resource centre, open to groups that could persuade the management they had a worthwhile project. Poets, film-makers, folk singers and other rnusicians were also encouraged to read, show or perform their works there. It was the first home of the influential Australian Performing Group before its members turned professional and moved to the larger Pram Factory. La Mama was the brainchild of Betty Burstall, a former high school teacher. She was living in New York in the mid-1960s, when the coffee-house theatres in Greenwich Village were staging the works of the new generation of American playwrights, including Sam Shepard, Megan Terry and Jean-Claude Van Itallie. She was impressed by the new and informal audience-actor relationship made possible by these venues, which also allowed new ideas and new modes of expression to be tried out. On return to Melbourne, Burstall leased a shabby two-storey brick building in inner-city Carlton and officially opened it as La Mama Theatre with a production of Jack Hibberd's brief three-hander Three Old Friends. This was followed by Barry Oakley’s Witzenhausen, Where Are You? and by another Hibberd double bill.
Creative vitality and energy distinguished the early years at La Mama. It brimmed with talent. The main occupants were the La Mama Company, which later became the Australian Performing Group; Tribe, an experimental and improvisational group run by Doug Anders; and a group under the leadership of Syd Clayton which specialised in 'happenings' involving music and drama. Since the Australian Performing Group moved out in 1970 La Mama Theatre has never had its own resident company.
In the first two years some 25 plays by Australian writers were presented there, as well as seven events or 'happenings' and eight plays from abroad. Seven of the 25 local plays were by Hibberd, five by the English-born poet Kris Hemensley, four by Frank Bren and two by John Romeril. Plays in the early years included Hibberd's Dimboola and White with Wire Wheels; David Williamson's The Coming of Stork and The Removalists; Romeril' s Chicago, Chicago and I Don't Know Who to Feel Sorry For; and Alex Buzo's Norm and Ahmed and The Front Room Boys. The playwrights most frequently represented at La Mama have been Buzo, Hibberd, Romeril and, in more recent times, Barry Dickins, Lloyd Jones, Peter Mathers, Phil Motherwell, Roger Pulvers, Max Richards and Colin Ryan.
In a tenth anniversary season in 1977 La Mama repeated some of the best plays and productions from the early years, including The Removalists with its original cast. In 1986 it won a Sidney Myer Performing Arts award for sustained achievement. By its 25th anniversary in 1992 it had played host to 675 productions, as much as three-quarters of them Australian in origin. La Mama's importance lies chiefly in its nurturing of writers and other creative people and its provision of a sympathetic environment in which their work can be staged free from box-office pressures. In its early years La Mama used to stage 15-20 productions a year, but in recent times its annual output has risen to 40 or more. On many nights there are two shows. Audiences have increased too, reflecting the vitality of Melbourne theatre and the keen interest in new and experimental works.
Leonard Radic, La Mama Theatre, Companion To Theatre In Australia, 1995, 320-321
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Leonard Radic, Mediaeval Players promise a moden look at the past, The Age, 8 March 1985, 14
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Leonard Radic, Neil Armfield on the way up, The Age, 10 March 1981, 10
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Leonard Radic, Neil Simon in a darker mood, The Age, 8 June 1987, 14
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Leonard Radic, New worlds occupy the utopian's stage, The Age, 19 February 1982, 10
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Leonard Radic, Of love and witches, The Age, 3 February 1975, 24
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Leonard Radic, Our cup of tea?, The Age, 13 September 1966, 15
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Leonard Radic, Perth throws down the gauntlet over its unsung festival, The Age, 28 November 1984, 14
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Leonard Radic, Quixotic hero, The Age, 26 September 1967, 4
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Leonard Radic, Search for a new director, The Age, 23 April 1981, 10
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Leonard Radic, Shop window for the arts of youth, The Age, 14 April 1987, 14
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Leonard Radic, Staging the black experience, The Age, 23 February 1988, 14
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Leonard Radic, State of play in Australia, The Age, 21 July, 1979
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Leonard Radic, Streetcar Named Desire, The Age, 12 May 1987
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Leonard Radic, The 'Butterfly' story hauntingly recreated, The Age, 12 February 1987, 14
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Leonard Radic, The Age, 10 August 1987
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Leonard Radic, The Age, 10 March 1988
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Leonard Radic, The Age, 12 September 1987
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Leonard Radic, The Age, 13 March 1987
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Leonard Radic, The Age, 13 May 1988
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Leonard Radic, The Age, 13 November 1987
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Leonard Radic, The Age, 14 March 1988
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Leonard Radic, The Age, 16 February 1987
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Leonard Radic, The Age, 16 February 1988
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Leonard Radic, The Age, 16 March 1988
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Leonard Radic, The Age, 18 February 1988
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Leonard Radic, The Age, 19 June 1987
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Leonard Radic, The Age, 19 March 1987
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Leonard Radic, The Age, 19 March 1987
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Leonard Radic, The Age, 19 May 1987
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Leonard Radic, The Age, 20 June 1988
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Leonard Radic, The Age, 21 August 1987
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Leonard Radic, The Age, 23 August 1988
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Leonard Radic, The Age, 23 July 1988
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Leonard Radic, The Age, 24 July 1987
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Leonard Radic, The Age, 25 August 1987
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Leonard Radic, The Age, 25 February 1987
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Leonard Radic, The Age, 25 February 1988
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Leonard Radic, The Age, 25 March 1987
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Leonard Radic, The Age, 25 May 1988
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Leonard Radic, The Age, 26 April 1988
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Leonard Radic, The Age, 26 July 1988
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Leonard Radic, The Age, 26 July 1988
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Leonard Radic, The Age, 26 June 1987
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Leonard Radic, The Age, 28 June 1988
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Leonard Radic, The Age, 28 March 1988
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Leonard Radic, The Age, 28 September 1987
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Leonard Radic, The Age, 29 April 1987
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Leonard Radic, The Age, 29 January 1993
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Leonard Radic, The Age, 29 May 1987
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Leonard Radic, The Age, 3 August 1987
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Leonard Radic, The Age, 3 June 1988
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Leonard Radic, The Age, 30 April 1987
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Leonard Radic, The Age, 30 January 1987
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Leonard Radic, The Age, 30 June 1988
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Leonard Radic, The Age, 30 November 1987
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Leonard Radic, The Age, 30 October 1987
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Leonard Radic, The Age, 4 August 1987
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Leonard Radic, The Age, 4 August 1988
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Leonard Radic, The Age, 4 February 1992
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Leonard Radic, The Age, 4 January 1988
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Leonard Radic, The Age, 4 June 1987
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Leonard Radic, The Age, 4 March 1988
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Leonard Radic, The Age, 5 January 1987
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Leonard Radic, The Age, 5 June 1987
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Leonard Radic, The Age, 5 September 1988
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Leonard Radic, The Age, 6 May 1988
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Leonard Radic, The Age, 6 October 1987
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Leonard Radic, The Age, 8 April 1987
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Leonard Radic, The Age, 8 April 1987
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Leonard Radic, The Age, 8 August 1988
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Leonard Radic, The Age, 9 August 1988
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Leonard Radic, The Age, 9 October 1987
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Leonard Radic, The First Born, The Age, 10 May 1988
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Leonard Radic, The Herald, 19 May 1988
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Leonard Radic, The Herald, 19 May 1988
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Leonard Radic, The Herald, 24 May 1988
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Leonard Radic, The MTC back in full swing, The Age, 14 January 1978, 22
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Leonard Radic, The Sunday Herald Sun, 7 January 2001
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Leonard Radic, The Sunday Herald Sun, 7 January 2001
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Leonard Radic, The vice squad went..., The Age, 18 November 1976, 2
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Leonard Radic, Theatres come and theatres go, Meanjin, 53, 3 (Spring), 1994, 473-478
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Leonard Radic, Third director for company, The Age, 15 April 1969, 6
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Leonard Radic, Thoughts on the Australian theatre, Prospect, 1, 2, 1958, 27-28
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Leonard Radic, Thoughts on the Australian theatre, Prospect, 3, 3, 1960, 17-19
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Leonard Radic, Towards a national theatre, Prospect, 1, 2, 1958, 27-28
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Leonard Radic, Vaudeville lives again, The Age, 2 February 1987, 12
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Leonard Radic, [Doctor in Love], The Age, 16 June 1977, 2
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Leonard Radic, [Isn't it Pathetic at His Age], The Age, 8 July 1978
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Leonard Radic, [Macbeth], The Age, 24 March 1979, 2
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Leonie Biddle, The Northern Territory News, 5 June 1987
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Leonie Kramer, What lies ahead for Australian drama?, Australian Theatregoer, 1, 1, 1960
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Leraning how to capture audiences, The Sunday Mail, The University of Adelaide, Library Special Collections, 22 March 1981
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Leroy, Talma and Bosco, Sydney Morning Herald, 1 August 1914, 25
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Lesley Delmenico, Historiography and rewriting: performing on/as East Timorese bodies in Death at Balibo and Diabolo!, Australasian Drama Studies, 40, April 2002, 8-25
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Lesley Delmenico, Official amnesias and embodiments of memory in Australia's Top End, Australasian Drama Studies, 46, April 2005, 117-123
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Leslie Anderson, Sunday Times, 1 February 1987
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Leslie Anderson, Sunday Times, 1 February 1987
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Leslie Anderson, Sunday Times, 10 May 1987
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Leslie Anderson, Sunday Times, 11 October 1987
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Leslie Anderson, Sunday Times, 12 July 1987
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Leslie Anderson, Sunday Times, 12 June 1988
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Leslie Anderson, Sunday Times, 13 March 1988
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Leslie Anderson, Sunday Times, 13 September 1987
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Leslie Anderson, Sunday Times, 14 February 1988
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Leslie Anderson, Sunday Times, 14 February 1988
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Leslie Anderson, Sunday Times, 14 February 1988
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Leslie Anderson, Sunday Times, 14 June 1987
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Leslie Anderson, Sunday Times, 15 February 1987
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Leslie Anderson, Sunday Times, 15 March 1987
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Leslie Anderson, Sunday Times, 15 May 1988
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Leslie Anderson, Sunday Times, 15 November 1987
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Leslie Anderson, Sunday Times, 19 July 1987
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Leslie Anderson, Sunday Times, 21 February 1988
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Leslie Anderson, Sunday Times, 21 February 1988
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Leslie Anderson, Sunday Times, 21 February 1988
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Leslie Anderson, Sunday Times, 21 February 1988
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Leslie Anderson, Sunday Times, 22 March 1987
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Leslie Anderson, Sunday Times, 22 November 1987
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Leslie Anderson, Sunday Times, 26 April 1987
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Leslie Anderson, Sunday Times, 26 July 1987
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Leslie Anderson, Sunday Times, 26 July 1987
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Leslie Anderson, Sunday Times, 26 June 1988
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Leslie Anderson, Sunday Times, 27 March 1988
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Leslie Anderson, Sunday Times, 27 September 1987
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Leslie Anderson, Sunday Times, 28 February 1988
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Leslie Anderson, Sunday Times, 28 February 1988
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Leslie Anderson, Sunday Times, 3 January 1988
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Leslie Anderson, Sunday Times, 30 August 1987
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Leslie Anderson, Sunday Times, 30 August 1987
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Leslie Anderson, Sunday Times, 31 May 1987
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Leslie Anderson, Sunday Times, 4 January 1987
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Leslie Anderson, Sunday Times, 4 October 1987
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Leslie Anderson, Sunday Times, 5 June 1988
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Leslie Anderson, Sunday Times, 6 December 1987
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Leslie Anderson, Sunday Times, 6 March 1988
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Leslie Anderson, Sunday Times, 6 March 1988
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Leslie Anderson, Sunday Times, 7 February 1988
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Leslie Anderson, Sunday Times, 7 February 1988
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Leslie Anderson, Sunday Times, 7 February 1988
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Leslie Anderson, Sunday Times, 8 February 1987
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Leslie Anderson, Sunday Times, 8 May 1988
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Leslie Falkiner, Buzo intrigue set in tropics, The Age, 16 March 1978, 26
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Leslie Falkiner, Cynical look at man's value, The Age, 4 May 1978, 22
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Leslie Rees, Australian Drama: the outlook in 1967, Overland, 37, 1967, 39-44
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Leslie Rees, New hope for Australian drama, Overland, 7, (Autumn-Winter), 1956, 21-23
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Leslie Rees, Prize novel reshaped for stage, Sydney Morning Herald, 27 February 1949, 10
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Leslie Rees, Radio and television drama, Meanjin Quarterly, 23, 1964, 257-265
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Leslie Rees, Theatre Australia: drama export, Masque, 1, 3, 1968, 32-34
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Leslie Rees, Thelma Afford, Companion To Theatre In Australia, 1995, 33-34
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Let's Get Criminal, Melbourne Times, 23 June 1982, 8
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Let's show the world!, On Stage, 13, 1, 2012, 1-3
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Let's talk about Weather, Dance Australia, Theatre and Dance Platform, 1 October 2012
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Leta Keens, Review, 12 August 2006, 16
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Letters From The Forces, Pinnaroo and Border Times (SA : 1911 - 1954), National Library of Australia, 8 February 1945, 3
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Letters to the Editor, The Canberra Times, 16 October 1961, 2
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Levey At Home, The Currency Lad, 13 October 1832, 4
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Lewis Glasscastle, Melbourne Report, 1 December 1987
-
Lewis Glasscastle, Melbourne Report, 1 June 1988
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Lewis Glasscastle, Melbourne Report, 1 March 1988
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Lewis Glasscastle, Melbourne Report, 1 May 1988
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Li Ning, Tradition and its recreation, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 27, October 1995, 48 - 52
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Libby Moffat, Ron rates Wogs a great hit, Daily Telegraph-Mirror, 15 November 1988, 19
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Lido sold for $1/2m, The Age, 26 February 1970, 1
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Life beings again at 40, Weekend Australian, 14 August, 1993
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Life in "Sarsaparilla", The Australian Women's Weekly, 19 September 1962, 4
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Life Members of Launceston Players Elected, The Examiner, National Library of Australia, 8 August 1951, 4
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Life of Melbourne: They Came to a City, The Argus, 4 April 1944, 6
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Life on line, On Stage, 13, 1, 2012, 52
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Lifetime Achievement Award for Maggie Dence, On Stage, 12, 4, 2011, 13
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Lights… Camera… Action, Western Mail, 19 May 1949, 9 S
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Lilac Time, The Advertiser, The University of Adelaide, Library Special Collections, 31 May 1928
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Lily Bragge, A new set of scales, A2, 24 November 2007, 18-19
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Lily Bragge, Dance, The Age, Theatre and Dance Platform, 1 December 2007
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Lily Bragge, Love Me, The Age, Theatre and Dance Platform, 27 July 2007
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Lily Bragge, The Age, 27 October 2007, 8
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Limelight, July 2007, 16
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Limestone Review, 20 September 1984, 0
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Linda Barnier, Weekender, 16 February 2002, 0
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Linda Jacoby, London Report, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 15
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Linda Marie Walker, No reluctance to speak, RealTime Arts, 72, April 2006, 33
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Linden Wilkinson, Michael Anderson, A resurgence of Verbatim Theatre: authenticity, empathy and transformation, 50, April 2007, 153-169
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Lindsey Browne, Music and Drama Boom Month for Australiana, Sydney Morning Herald, 26 May 1945, 7
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Lindsey Browne, "Little" Theatres Have Their Troubles But They Do A Job, Sydney Morning Herald, 12 March 1946, 10
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Lindsey Browne, Music and Drama. Star Groups Of 1951 Were The Metropolitan And John Alden's, Sydney Morning Herald, 6 January 1952, 8
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Lindsey Browne, Music and Drama. Was Othello a Negro?, Sydney Morning Herald, 23 March 1946, 7
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Lindsey Browne, Nothing "swampy" about Seymour, The Bulletin, 26 April 1961, 14
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Lindsey Browne, Nothing 'swampy' about Seymour, The Bulletin, 26 April, 1961, 14-15
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Lindy Percival, The Age, 23 June 2007, 11
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Liner Visitors for Darwin, National Library of Australia, 12 April 1939, 4
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Link dancer hits the main stage, Inside WAAPA, Theatre and Dance Platform, 24, September 2010
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Lintons (From our own Correspondent.), The Star, 31 March 1860, 4
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Liquid Amber, Sydney Morning Herald, 10 November 1983, 10
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Liquidations, Sunday Times, 20 April 1919, 9
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Lisa Brill, The Canberra Times, 24 April 2002, 5
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Lisa Brill, The Canberra Times, 25 April 2002, 5
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Lisa Jacobson, The ocker in Australian drama, Meanjin, 49, 1 (Autumn), 1990, 137-147
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Lisa Warrington, Landscape, body, memory and belonging in the plays of Gary Henderson, Australasian Drama Studies, 55, October 2009, 75-87
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Lisa Warrington, 'A life long affair': Renee's writing for the theatre commentary/interview, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 18, April 1991, 70 - 90
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Lisa Warrington, A Bit of Water and Elbow Grease: Cleaning as a Motif in New Zealand Drama, Australasian Drama Studies, 58, April 2011, 163-177
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Lisa Warrington, Allan Wilkie Shakesperean Company, Companion To Theatre In Australia, 1995, 36-37
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Lisa Warrington, Archiving New Zealand Theatre: TADB, The Theatre Aotearoa Database, Australasian Drama Studies, 60, April 2012, 223-228
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Lisa Warrington, Brave 'new world': Asian voices in the theatre of Aotearoa, Australasian Drama Studies, 46, April 2005, 98-116
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Lisa Warrington, Review: Roger Hall, Best Play-writing Book Ever, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 70, April 2017, 221 - 225
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Lisa Warrington, Shalakazap! - empowerment in young people's theatre, Aotearoa/New Zealand: an interview with Jenny Wake of Calico Theatre, Australasian Drama Studies, 47, October 2005, 89-104
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Lisa Warrington, We are amused: Theatre comes to Dunedin, December 1861 - April 1862, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 62, October 1995, 41 - 54
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Lisa Yallamas, True performance art, Arts and Entertainment, 13 August 2001, 8
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Lisa Yallamas, [Away], Bundaberg Sunday Mail, 13 November 1987
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Lisa Yallamas, [Mondays], The Australian, 14 December 1995
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Lismore, Clarence and Richmond Examiner, 23 July 1910, 12
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Lismore, Friday, Sydney Morning Herald, 9 January 1897, 10
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Lissa Brennan, Aether Oar, Pittsburgh City Paper, Theatre and Dance Platform, 31 October 2007
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Listener In , 10 August 1957, 0
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Listener In , 15 June 1963, 0
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Listener In , 22 September 1962, 0
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Little Theatre, Sydney Morning Herald, 6 May 1939, 11
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Little Theatres, Sydney Morning Herald, 25 November 1933, 20
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Little Theatres. Cast Changes For "Candida", The Sun (NSW), 4 May 1946, 4
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Little Theatres. Classics get a Chance., The Sun (NSW), 23 November 1946, 4
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Little Theatres. New Interest In The Drama, The Sun (NSW), 29 June 1946, 4
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Live Shows Banned at Tatler Theatre, The Sunday Herald, 11 December 1949, 4
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Liverpool, Wednesday., Sydney Morning Herald, 12 April 1894, 6
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Liz Dezfouli, Bridge Building, Inpress, Theatre and Dance Platform, 25 November 2009
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Liz Johns, The Canberra Times, 12 July 2005, 5
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Liz Ryder, On Stage, April 1983, 5
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Liz Van Den Nieuwenhof, Road to the theatre was saying yes, Sunday Telegraph, 26 December 1995, 124-126
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Liz Van Den Nieuwenhof, Sunday Telegraph, 27 August 2000, 131
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Liza Power, Exorcising the banality of evil, The Age, 19 February 2010, 15
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Liza-Mare Syron, 'The Bennelong Complex': critical perspectives on contemporary Indigenous theatre and performance practice and the cross-cultural experience in Australia, Australasian Drama Studies, 53, October 2008, 74-83
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Lloyd Davis, Queer Criticism on Shakespeare, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 31, October 1997, 5 - 21
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Lloyd Davis, Reviewing the Renaissance, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 33, October 1998, 161 - 170
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Lloyd Davis, Why speak to the dead?!! Teaching and researching Renaissance drama, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 33, October 1998, 9 - 20
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Loan fund to put on a local play, Sun Herald, 26 October 1969, 113
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Local & General News, The Capricornian, 16 July 1892, 19
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Local 'dancers' strut their stuff on stage, Port Lincoln Times, Theatre and Dance Platform, 17 March 2011, 03
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Local and General News, Warwick Argus, Qld, 2 August 1898, 2
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Local and General. Kate Howarde Coy., The Narrandera Argus and Riverina Advertiser, NSW, 25 April 1902, 2
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Local and District News, The Wyalong Star and Temora and Barmedman Advertiser, West Wyalong, 26 September 1899, 2
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Local and District News, The Wyalong Star and Temora and Barmedman Advertiser, West Wyalong, NSW, 13 October 1903, 2
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Local and Geneneral, The Evening Telegraph, Charters Towers, Qld, 11 February 1903, 2
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Local and Geneneral, The Evening Telegraph, Charters Towers, Qld, 17 February 1903, 2
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Local and General Items, Kate Howarde Co., The Tumut and Adelong Times, Tumut, NSW, 1 September 1905, 2
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Local and General News, Cowra Guardian and Lachlan Agricultural Recorder, NSW, 1 October 1898, 6
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Local And General News, Inquirer and Commercial News, 16 October 1867, 3
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Local and General News, The Armidale Chronicle, 24 June 1896, 2
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Local and General News, The Bundaberg Mail and Burnett Advertiser, Qld, 16 August 1899, 2
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Local and General News, The Bundaberg Mail and Burnett Advertiser, Qld, 6 February 1903, 2
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Local and General News, The Cowra Guardian and Lachlan Agricultural Labourer, NSW, 15 September 1900, 6
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Local and General News, The Cowra Guardian and Lachlan Agricultural Recorder, NSW, 13 September 1902, 2
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Local and General News, The Poor Blacks, Northern Star, 10 February 1877, 2
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Local and General News, The Star, 21 March 1859, 3
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Local and General News, The Temora Star, NSW, 10 February 1904, 2
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Local and General News, The Temora Star, NSW, 20 September 1902, 2
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Local and General News, The Wagga Wagga Express, NSW, 24 April 1902, 2
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Local and General News, Toowoomba Chronicle and Darling Downs General Advertiser, Qld, 9 August 1898, 2
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Local and General News, Wagga Wagga Express, NSW, 14 November 1896, 2
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Local And General News, Warwick Argus, 2 March 1895, 2
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Local and General News, Warwick Argus, Qld, 19 March 1898, 2
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Local and General News. Criterion Burlesque Company., Warwick Argus, Qld., 13 June 1896, 2
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Local and General News. Kate Howarde Co., The Temora Star, NSW, 10 September 1904, 2
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Local and General News. Kate Howarde Company., The Cowra Guardian, NSW, 17 September 1904, 2
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Local and General News. Kate Howarde Dramatic Company., The Wagga Wagga Express, NSW, 26 April 1902, 2
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Local and General News. Kate Howarde Opera Co., The Manning River Times and Advocate for the North Coast Di, Taree, NSW, 17 September 1898, 4
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Local and General News., Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 24 July 1867, 2
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Local and General News., Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 26 July 1867, 2
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Local and General News., Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 7 August 1867, 3
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Local and General, Bathurst Free Press and Mining Journal, 6 August 1896, 2
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LOCAL AND GENERAL. The concerts to be given by the inmates of the South Australian Blind Asylum on Wednesday evening and following nights promiseto afford a great treat to local lovers of good music. The blind string band will play several selections during each evening, and Messrs. George Ide, D. Sterne. S. C. Kent, Richards, and E. W. Elphick will render songs, duets, and quartettes, while Herr Hans Bertram, R.A.B., will play pianoforte solos, and as he comes here with a splendid reputation he should be a host in himself. During each entertainment Mr. J. M'Greevy will read by means of the raised type, so that a very pleasant evening should be spent. At the meeting of ladies convened by the Mayor (Mr. A. W. Macdonald) to consider the best methods for helping these artists, Mesdames Edwards and Kennedy offered to board and lodge the performers during their stay at this town, and Mrs. Finnerty, together with the Rev. E. M. Collick and Mr. W. Hansen, undertook to forward their interests in every possible manner. Tickets may be obtained from the above-mentioned ladies and gentlemen.
Local and General, Coolgardie Miner, 14 April 1896, 2
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Local and General, Maryborough and Dunolly Advertiser, 1 March 1861, 3
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Local And General, Singleton Argus, 23 June 1887, 2
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Local and General, The Campbelltown Herald, NSW, 8 March 1899, 2
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Local and General, The Kookynie Press, WA, 14 January 1905, 6
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Local and General, The Narrandera Argus and Riverina Advertiser, NSW, 12 April 1901, 2
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Local and General, The Shoalhaven Telegraph, NSW, 7 October 1896, 2
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Local and General, The Wingham Chronicle and Manning River Observer, NSW, 8 February 1899, 2
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Local and General, West Australian Catholic Record, (Perth, WA : 1888 - 1922), 17 January 1895, 7
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Local and General, West Australian Catholic Record, (Perth, WA : 1888 - 1922), 18 September 1890, 7
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Local and General, West Australian Catholic Record, (Perth, WA : 1888 - 1922), 2 August 1894, 8
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Local and General, West Australian Catholic Record, (Perth, WA : 1888 - 1922), 25 July 1896, 12
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Local and General. 'Dr Bill'., Coolgardie Miner, WA, 26 February 1900, 4
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Local and General. 'Les Cloches de Corneville', Coolgardie Miner, WA, 12 December 1899, 4
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Local and General. 'Maritana'., Coolgardie Miner, WA, 13 December 1899, 4
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Local and General. Kate Howarde Co, Coolgardie Miner, WA, 23 February 1900, 4
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Local and General. Kate Howarde Co., Coolgardie Miner, WA, 21 February 1900, 4
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Local and General. Kate Howarde Co., The Cobar Herald, NSW, 21 April 1900, 2
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Local and General. Kate Howarde Co., The Grafton Argus and Clarence River General Advertiser, NSW, 21 March 1904, 2
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Local and General. Maritana., Coolgardie Miner, WA, 13 December 1899, 4
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Local and General. Miss Kate Howarde's Company., The Clarence River Advocate, NSW, 11 March 1904, 4
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Local and General. The Kate Howarde Company., The Narrandera Argus and Riverina Advertiser, NSW, 2 May 1902, 2
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A numerous assemblage of the Aborigines of this district took place a few days since, on the Park Land, at which a large deputation was appointed from among their number, for the purpose of inviting into Town a distant tribe which has not (it is said) been regularly inducted into the Metropolis. It is a singular fact that one of the Adelaide fribe made it his business to communicate the circumstance at our Printing Office, as matter of news, and seemed to he very anxious that it should appear in the ensuing publication
Local and Provicial News, Adelaide Observer, National Library of Australia, 9 March 1844, 6
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Local and Provincial Intelligence, Adelaide Observer, 25 May 1844, 5
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Local and Provincial News, Bell's Life in Sydney and Sporting Reviewer, 1 July 1854, 2
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Local director centre of SA controversy, The Canberra Times, 14 June 1990, 4
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Local Intelligence, North Australian and Queensland General Advertiser, 25 May 1860, 3
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Local Intelligence, The Colonial Times, 7 April 1853
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Local Intelligence, The Moreton Bay Courier, 3 January 1860, 2
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Mr Black and the Theatre Royal – It will have been observed by an announcement yesterday in our impression of yesterday, that Mr John Black, the projector and father of the Theatre Royal, has sequestrated his estate; and that he has been obliged to go into the Insolvent Court. We understand the immediate cause of this result was an enormous claim from the ground landlord, or the person claiming to be the ground landlord. We have no wish to intrude into the private affairs of individuals, and though theatres and theatrical managers belong rather to the public things and public men of the time, we only allude to the topic in its relation to the gossip of the day. On dit that the formidable demand made by the representative or holder of the fee is mere moonshine; but that the only remedies for the case were an action of replevin, which would have been necessitated finding bail for nearly £5000, or the sequestration of whatever estate Mr Black might have in the property. The latter alternative was the more facile remedy and hence its adoption. We understand that this act will not interfere with the management of the theatre, nor with the proprietor of the establishment, Mr Bayne. Still less has it any connexion with the affairs of Messers Spiers and Hennelle, the respectable parties who are the lessees of the licensed hotel facing Bourke street, and who are secured against all interference by the hands and seals of all persons interested in the property. We may add that he means adopted by the claimants of the property is in point of fact only an intrusive, but very energetic mode of asserting their rights, real or supposed; but which however just, well-laid and legal, are at any rate at the present time the subject of undecided litigation. R. E. Jacomb, Esq., is appointed the assignee of Mr Black’s estate.
LOCAL INTELLIGENCE. (1855, October 9)., The Age, 9 October 1855, 5
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Local Items, The Port Macquarie News and Hastings River Advocate, NSW, 10 September 1898, 2
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Local Items, The Port Macquarie News and Hastings River Advocate, NSW, 4 February 1899, 2
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Local Jottings, The Wellington Times, NSW, 28 January 1904, 4
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THE BLACKS.—We would really entreat the attention of the police to the proceedings of the natives on the Park Land, in North Adelaide. Not only is the destruction of the trees proceeding by wholesale, but the inhabitants are nightly disturbed by the horrible howlirg in their beastly corrobories. Morning and evening both sides of the river are crowded with the savages, armed, too, with spears, and accompanied with troops of half-starve
Local News of the Week, outh Australian Gazette and Colonial Register (Adelaide, SA, National Library of Australia, 11 April 1846, 2
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HE NATIVES.—The' inhabitants of North Adelaide have much room to complain of the disturbances which the natives now nightly make by their hideous corrobories. About three hundred of these savages howl and bellow at the top of their voices, for five or six hours at a stretch, every evening, so as effectually to preclude rest or quiet in the neighbourhood.
Local News of the Week, South Australian Gazette and Colonial Register (Adelaide, S, National Library of Australia, 6 December 1845, 2
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Local News, 9 August 1902, 2
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Local News, The Maitland Mercury, 21 April 1855, 1 S (supplement
-
Local News, The Mildura Cultivator, Mildura, Victoria, 6 March 1909, 7
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Local News., The Mildura Cultivator, Mildura, Victoria, 10 March 1909, 10
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Local Notes and News, Glen Innes Examiner and General Advertiser, 12 June 1896, 2
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Local Repertory Society, Barrier Miner, 5 May 1947, 2
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Local women's band for Johnson's Theatre, Barrier Miner, 3 October 1940, 4
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Local, The Courier, 25 February 1842, 2
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Logan and Albert, Tambourine, March 8, The Brisbane Courier, 15 March 1879, 6
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London Day by Day, The Lorgnette, 20 September 1890, 6
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London Hails Summer of 17th Doll, The Age, 2 May 1957, 1
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London Week by Week, Sydney Morning Herald, 30 July 1936, 20
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Longreach Items., The Western Champion and General Advertiser for the Central, Barcaldine, QLD, 1 January 1910, 6
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Longreach, The Capricornian, Rockhampton, Qld, 9 September 1899, 11
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Longreach., Morning Bulletin, Rockhampton, QLD, 30 December 1909, 8
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Looking at the Audience, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 22
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Looking back at White's mad, muddy mess of eels, Sydney Morning Herald, 29 October 1988, 93
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Lord Belmore's Despatch On The Attempted Assassination Of The Duke Of Edinburgh, The Argus, 8 August 1868, 7
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Lord Carrington in the Clarence District, Sydney Morning Herald, 12 May 1886, 11
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Lord Carrington in the Clarence District, Sydney Morning Herald, 13 May 1886, 11
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Lord Jersey At Palmerston, The Advertiser, 15 March 1893, 5
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Lord Onslow at Port Darwin, The South Australian Chronicle and Weekly Mail., 19 March 1892
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Lord Tennyson To The Natives, Barrier Miner, 29 July 1899, 2
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Lorelai Vashti, Lucy Guerin is a Choreographer', Dumbo Feather, Theatre and Dance Platform, 29, 2011
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Lorena Param, Muse, February 1997, 10
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Loretta Hall, A-DORA-BLE!, The Herald Sun, 25 February 2010, 37
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Lost in Spaces, Sydney Morning Herald, 10 September 1983, 39
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Lou Pardi, Structure and Sadness, Beat, Theatre and Dance Platform, 18 November 2009
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Louis Esson Study Guide, Theatre Australia, The University of Adelaide, Library Special Collections, November 1977, 10-11
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Louis Esson, Literary Australians, Table Talk, 30 November 1911, 23
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Louis Nowra, At the crossroads, Australasian Drama Studies, Australasian Drama Studies
c/- Department of English
Uni, 2, 2, April 1984, 101 - 112
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Louis Nowra, The Griffin Guardian, October 2005, 2
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Louis Nowra, The shrinking vision, Island Magazine, 39, Winter, 1989, 11-13
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Louis Paul, The Criterion. A Stage Landmark Disappears, The Sydney Mail, 3 July 1935, 11
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Louis Paul, When Bland Holt wanted to be a Pantomime Clown, Everyoneʻs, 12, 616, 16 December 1931, 64
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Louis Van Eyssen, Australian arts festivals - are they worth it?, Issue, 5, February, 1970, 3-5
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Louisa's Room, Theatre Australia, August 1980, 63
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Louise Bellamy, A time to dream, The Age, First, 2 October 2004, 3
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Louise Bellamy, Festival aims to kill the 'quaint' image forever, The Age, 18 August 1987, 14
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Louise Bellamy, The spirit of the west, The Age, The University of Adelaide, Library Special Collections, 14 September 1996, 11
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Louise Bettison, Bridge of Tears, Western Suburbs Weekly, Theatre and Dance Platform, 5 February 2008
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Louise Carbines, Delighted Grenville takes top prize for fiction, The Age, The University of Adelaide, Library Special Collections, 21 October 1995
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Louise Carbines, Putting the writer in the picture, The Age, The University of Adelaide, Library Special Collections, 3 October 1992, Extra 7
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Louise Fraser, Newcastle Herald, 17 January 1990, 0
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Louise Maral, University of Sydney Gazette, 27 February 2004, 0
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TWO trained and two untrained dancers will be pitted against one another at the Adelaide Festival in acclaimed South Australian choreographer Lucy Guerin's first work here for 10 years.
Guerin's Untrained has been programmed alongside major works by Australian and overseas companies in artistic director Paul Grabowksy's contemporary dance program.
While Guerin works extensively in Australia and overseas with her company, Lucy Guerin Inc, her work has not been seen in Adelaide since Robyn Archer included it in her program for the 2000 Festival.
Untrained last year premiered in Melbourne, where Guerin now lives.
``I really planned it as a development or experimental exercise and wasn't thinking it would necessarily become a performance,'' Guerin said.
``It's a very stripped-back work, not the sort of thing you normally expect to see when you go to dance, and I thought audiences might find it a bit dry.
``But they loved it. It turned out to be one of the most accessible and funny pieces I've done.
``As well as finding it quite humorous, people imagine what it would be like if it were them up on stage. There's a real sympathy and admiration for the untrained performers.''
The untrained dancers are visual artists. Simon Obarzanek, is the brother of Gideon Obarzanek, a well-known Melbourne choreographer and Guerin's partner of 11 years.
The other is photographer Ross Coulter, who joins professional dancers Anthony Hamilton and Byron Perry in the work.
``The beauty of the untrained dancers is their special untrained ability,'' Guerin said.
Guerin graduated from the Centre for the Performing Arts, now Adelaide College of the Arts, in 1982. She moved to New York in 1989 and spent seven years dancing with companies there.
``I'm very excited about showing something of what I've been doing in my home town, although it's very different to the works I usually make,'' she said.
Her plans for Untrained include a regional tour in 2010 and 2011, possibly extending to SA and recruiting local people to appear in the show.
``We might end up with plumbers or farmers or sportspeople taking the roles of the untrained dancers,'' she said.
Untrained will be performed at Adelaide Centre for the Arts from February 24 to 28. Bookings through BASS.
Louise Nunn, Guerin steps out with show of good humour, The Advertiser, Theatre and Dance Platform, 30 January 2010, 39
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Louise Nunn, Invitation to the trance, The Advertiser, 8 November 2016, 21
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Louise Nunn, Looking at the working class, The Advertiser, 14 August 1999, 74
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Louise Nunn, Men's business, The Advertiser, 27 January 2003, 70
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Louise Nunn, One for the team, The Advertiser, 16 February 2008, 11
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Louise Nunn, Oz adelaide picks up the Latin beat to welcome The Boy's musical , The Advertiser, 7 January 2000, 7
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Louise Nunn, Sellouts salute one of our great success stories, The Advertiser, Theatre and Dance Platform, 13 March 2000
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Louise Nunn, The Advertiser, 12 June 2004, 85
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Louise Nunn, The Advertiser, 15 August 2005, 85
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Louise Nunn, The Advertiser, 5 January 2000, 5
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Louise Nunn, The girl from South Oz's big moment, The Advertiser, 6 January 2000, 7
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Louise Nunn, The party's not over for Coleman, The Advertiser, The University of Adelaide, Library Special Collections, 11 July 1995, 16
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Louise Nunn, Twist the Night Away, The Advertiser, 3 February 2008, 0
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Louise Robson, Inside the world of Ronald Ryan, The West Australian, 3 May 1994, 4
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Louise Schofield, Western Farmer, 1 February 1988
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Louise Schwartzkoff, Flamenco queen wants to stamp out the old ideas, Sydney Morning Herald, 29 October 2007, 14
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Louise Schwartzkoff, Love is … setting rather than following in footsteps, Sydney Morning Herald, Theatre and Dance Platform, 3 August 2007
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Louise Schwartzkoff, Mateship up against tribal metality, Sydney Morning Herald, 29 May 2008, 5
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Louise Schwartzkoff, Mirror images a challenge for opera, Sydney Morning Herald, 31 August 2007, 18
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Louise Schwartzkoff, Sydney Morning Herald, 19 July 2007, 14
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Louise Schwartzkoff, Twist and Shout, Sydney Morning Herald, 4 July 2008, 11
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Louise Schwartzkoff, Why this kookaburra is having the last laugh, Sydney Morning Herald, 17 August 2007, 8
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Love for Love - 28/10/1892
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Love for Love by University Dramatic Society, The Sun (NSW), 28 August 1932, 27
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Love Me Sailor in Big Top, The Sun (NSW), 10 October 1948, 3
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Love On The Dole. Drama Of Economic Depression., Sydney Morning Herald, 2 February 1940, 11
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Lovers Leap Gay Comedy: Novel climax for Theatre Royal play, The Advertiser, 9 April 1937, 30
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Loving that certain STAGE of life, Whats on, 3 May 2001, 4
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Lower Clarence, Clarence and Richmond Examiner, 16 September 1890, 2
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Lower Clarence, Clarence and Richmond Examiner, 23 November 1895, 4
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Luciana Achugar, Lucy Guerin in conversation with Luciana Achugar, Critical Correspondence, Theatre and Dance Platform, 17 December 2009
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Lucy Chesser, More playful than anxious: cross-dressing, sex-impersonation and the colonial stage, Australasian Drama Studies, 52, April 2008, 148-164
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Lucy Guerin, Can you translate Shakespeare into dance?, The Stage, Theatre and Dance Platform, 14 April 2006
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Lucy Guerin, Dance Australia, Theatre and Dance Platform, October 2010, 16
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Lucy Guerin, Small wonder, The Age, Theatre and Dance Platform, 15 June 2001, D17
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Lucy Guerin, Ten Things I Don't Put on My CV, The Age, Theatre and Dance Platform, 28 July 2007, 3 (My Career)
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Lucy Guerin: Quicksteps, Arts 21, Theatre and Dance Platform, November 1998, 5
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Lucy Potter, Hamlet and the scene of pedagogy, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 33, October 1998, 95 - 116
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Lucy Wagner, Clarity of vision, Theatre Australia, 5, 1, August 1980, 50
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Lucy Wagner, Freddy Gibson - and the Theatre Royal, Theatre Australia, 5, 1, August 1980, 11-12
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Lucy Wagner, Lightweight diversion for the middle brow, Theatre Australia, The University of Adelaide, Library Special Collections, October 1978
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Lucy Wagner, Theatre Australia, November 1979, 11
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Luisillo and his Spanish Cance Theatre, The University of Adelaide, Library Special Collections
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Luisillo and his Spanish Dance Theatre, The University of Adelaide, Library Special Collections
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Luisillo and his Spanish Dance Theatre, The University of Adelaide, Library Special Collections
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Luisillo and his Spanish Dancer Theatre, The University of Adelaide, Library Special Collections
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Luke Benedictus, Preview, 23 October 2005, 22
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Luke Royes, Encore for production, North-West News, 5 December 2007, 58
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LUNATIC ASYLUM, FBEMANTLE. - The
twenty-fifth monthly concert organised for the entertainment of the inmates of the Fremantle Lunatic Asylum was held yesterday afternoon in the asylum. Mr. R. Fairbairn, R.M., presided. The programme comprised songa by Misses Webber (2), J. Thorpe, Harken (3), and Messrs. F. Bateman, and J. A. Turner ; dancing by Miss Olive Cole and Miss Cole's pupils; club swinging exhibition by Misses A, and B. Willis and M. Garrick ; and pianoforte solo by Miss T. Garrick. Miss Howson played the accompaniments. The entertainment was thoroughly enjoyed by the inmates, and before the company dispersed the chairman thanked those who had taken part in the concert; for their kindly efforts to alleviate in some measure the afflictions of the poor unfortunates detained in the institution.
Lunatic Asylum, Fremantle, The West Australian, (Perth, WA : 1879 - 1954) , 18 January 1900, 4
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Lutheran Synod, The Register, National Library of Australia, 25 March 1914, 14
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Lyall Johnson, A3, 14 April 2003, 12
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Lyceum Theatre, Sydney Morning Herald, 31 May 1902, 7
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Lyceum Theatre, Truth, 22 June 1902, 2
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Lyn Gardner, Hare's unsecret rapture, The Bulletin with Newsweek, The University of Adelaide, Library Special Collections, 20 February 1990, 84-86
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Lyn McDonald, Melbourne Times, 13 July 1988
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Lyn Mills, Aladdin, The Canberra Times, 18 January 2010, 14
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Lyn Mills, Flying high with Pink Floyd again, Times2, 14 May 2008, 7
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Lyn Mills, High jinks with Tom and Huck, The Canberra Times, 16 January 2008, 7
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Lyn Mills, Philo flppers set to frolic, Times2, 25 January 2008, 9
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Lyn Mills, Rollicking along in weird ways, Times2, 13 May 2008, 7
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Lyn Mills, The Canberra Times, 30 December 2003, 13
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Lyn Mills, Wouldn't it be bloomin' loverly, Times2, 16 April 2008, 7
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Lynda Cairns, Melbourne Yarra Leader, 22 November 2002, 0
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Lynda Schulz, Theatre for the seven hundred: William Takaku's dream for the National Theatre Company of Papua New Guinea, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 24, April 1994, 47 - 55
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Lyndall Crisp, The Bell curve, The Australian, 20 February 2010, 6
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Lyndon Briese, Spencer Gulf Pictorial, 3 June 1987
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Lyndon Terracini, The Culture of Place: Making Australian Theatre, Australasian Drama Studies, 48, April 2006, 18-29
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Lyndsey Winship, Carrie Cracknell: my Medea needed some killer moves, The Guardian (London), Theatre and Dance Platform, 15 July 2014, 18
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Lyndsey Winship, Stark and naked: the striking duet where one dancer is nude, The Guardian (London), 23 September 2019, online
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Lynette Russell, Borrowed dances: appropriation, authenticity and performing 'identity' in Prescott, Arizone, 1921-1990, Australasian Drama Studies, 59, October 2011, 39-52
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Lynn Everett, Jacques Lecoq's bouffons in Australia, Australasian Drama Studies, 53, October 2008, 168-185
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Lynne Bradley, Black Chicks Talking: an interview with Leah Purcell, Australasian Drama Studies, 42, April 2003, 138-145
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Lynne Bradley, Choosing good ground: A forum interview with Kooemba Jdarra artistic directors Lafe Charleton, Wesley Enoch and Nadine McDonald, Australasian Drama Studies, 37, October 2000, 59-67
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Lynne Minion, Variety in spicy bites, Times2, 27 March 2008, 1, 4-5
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Lynne Minion, When art gets political (or not), Panorama, 12 April 2008, 8-9
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Lynne Murphy, Hollinworth, May (1895–1968), Australian Dictionary of Biography Online, 1996
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Lynne Murphy, Alexander Archdale, Companion To Theatre In Australia, 1995, 56
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M B Masran, Muse, 1 September 1988
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M B Masran, Muse, 1 September 1988
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M F Page, 'Festivals helped change Adelaide, Going Places, 1, February, 1968, 46-51
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M Hosking, 'The coffee afterwards, Island Magazine, 60/61, Spring/Summer, 1994, 38-43
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M'Arthur and Co.'s New Premises, Evening News, 30 July 1900, 3
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Madeleine O'Dea, 24 hours, June 2003, 18
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Madeline Paiva, Split at the National Arts Centre, Apt613, 21 October 2019
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Magical end to strong season, Encore, 18 November 2001, 66
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Maher Mughrabi, Reprise: Know No Cure, Theatre Notes, July 2007
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Maia Bouteillet, Danse Climatique, Le Journal du Théâtre de la Ville , Theatre and Dance Platform, 1 January 2015
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Maid paid same as Helpmann, The Age, 12 February 1970, 2
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Maitland Hospital, The Maitland Mercury, National Library of Australia, 24 January 1846, 2
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Maitland Union Benefit Society, The Maitland Mercury, 28 January 1846, 2
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Major award for Melbourne designer, On Stage, 13, 2, 2012, 39
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Making a Thriller. Three thousand feet of 'Moonlite', The Sun (NSW), 5 January 1911, 8
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Making Crying Baby, RealTime Arts, 41, February 2001, 8-9
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Making modern theatre. Remodelling old Crystal, Barrier Miner, 20 June 1940, 4
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Malcolm Brown, Sydney Morning Herald, 26 October 2002, 2
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Malcolm Miller, Muse, 1 March 2001
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Malcolm Robertson, John Alden, Companion To Theatre In Australia
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Man plays man who should have been played by woman, The Advertiser, 14 July 1983
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Mandy Lynch, Good Times, 30 July 1987, 2
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Mandy Oakham, Newcastle Herald, 1976, 0
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Mandy Smith, Sunday Examiner, 1 October 2000, 7
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Manning's Opera Company, Southern Times, Southern Times (Bunbury, WA : 1888 - 1916), 10 May 1894, 3
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Manon van der Laaken, Rose van der Zwaard, Yoni Prior, Artspeak: articulating artistic process across cultural boundaries through digital theatre, The international journal of the arts in society, 4, 3, 2009, 433-446
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Many New Shows, The Argus, 23 December 1933
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Many Roles - In Her Dreams, Sydney Morning Herald, 27 January 1950, 2
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Mara Pattison-Sowden, The Canberra Times, 1 November 2006, 6
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Marc Mowbray-d'Arbela, Muse, 1 August 1989
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Marc Mowbray-d'Arbela, Muse, February 1996, 4
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Marcella Bidinost, Guerin Up, State of the Arts, Theatre and Dance Platform, October 2003, 7-8
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Marcella Bidinost, Questions for...Lucy Guerin Choreographer, The Age, Theatre and Dance Platform, 16 September 2003, 3
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March at Rich Mix, Rich Mix Blog, Theatre and Dance Platform, 2011
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Marcus O'Donnell, Sydney Star Observer, 24 July 2003, 15
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Marcus O'Donnell, Sydney Star Observer, 3 July 2003, 13
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Marcus O'Donnell, Sydney Star Observer, 5 August 2004, 12
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Marcus O'Donnell, Sydney Star Observer, 6 October 2005, 12
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Mardy Amos, Entertaining Mister Sloane, Sunday Times, 24 July 1988
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Mardy Amos, Entertaining Mister Sloane, The Australian, 18 July 1988
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Mardy Amos, Explosive tension in a savage country, The Australian, 5 February 1987, 7
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Mardy Amos, Sunday Times, 10 April 1988
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Mardy Amos, Sunday Times, 14 August 1988
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Mardy Amos, Sunday Times, 21 August 1988
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Mardy Amos, Sunday Times, 24 April 1988
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Mardy Amos, Sunday Times, 26 June 1988
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Mardy Amos, Sunday Times, 31 July 1988
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Mardy Amos, The Australian, 1 January 1988
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Mardy Amos, The Australian, 10 April 1987
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Mardy Amos, The Australian, 10 June 1988
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Mardy Amos, The Australian, 11 February 1988
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Mardy Amos, The Australian, 11 September 1987
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Mardy Amos, The Australian, 12 August 1988
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Mardy Amos, The Australian, 12 February 1988
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Mardy Amos, The Australian, 13 February 1987
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Mardy Amos, The Australian, 13 February 1988
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Mardy Amos, The Australian, 15 February 1988
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Mardy Amos, The Australian, 15 March 1988
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Mardy Amos, The Australian, 16 February 1987
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Mardy Amos, The Australian, 16 February 1988
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Mardy Amos, The Australian, 17 March 1987
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Mardy Amos, The Australian, 18 August 1988
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Mardy Amos, The Australian, 18 February 1987
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Mardy Amos, The Australian, 18 February 1988
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Mardy Amos, The Australian, 19 April 1988
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Mardy Amos, The Australian, 19 February 1988
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Mardy Amos, The Australian, 19 November 1987
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Mardy Amos, The Australian, 19 October 1987
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Mardy Amos, The Australian, 2 February 1987
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Mardy Amos, The Australian, 2 March 1988
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Mardy Amos, The Australian, 2 October 1987
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Mardy Amos, The Australian, 20 July 1987
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Mardy Amos, The Australian, 23 February 1988
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Mardy Amos, The Australian, 24 April 1987
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Mardy Amos, The Australian, 25 February 1988
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Mardy Amos, The Australian, 25 May 1987
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Mardy Amos, The Australian, 26 July 1988
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Mardy Amos, The Australian, 28 August 1987
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Mardy Amos, The Australian, 29 September 1987
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Mardy Amos, The Australian, 3 December 1987
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Mardy Amos, The Australian, 3 May 1988
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Mardy Amos, The Australian, 30 January 1987
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Mardy Amos, The Australian, 31 August 1987
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Mardy Amos, The Australian, 5 October 1987
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Mardy Amos, The Australian, 6 July 1987
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Mardy Amos, The Australian, 9 March 1988
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Mardy Amos, The Australian, 9 November 1987
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Marea Donnelly, Wogs laugh at the dole queue, Sunday Telegraph, 16 October 1988
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Margaret Brenton, Playwright's life has been all work and some play, Sunday Mail, The University of Adelaide, Library Special Collections, 3 May 1981
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Margaret Cameron, Art & care: where life and death connect, RealTime Arts, 117, October 2013, 10
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Margaret Geddes, A terrorist puts his creative life on the line, The Age, 31 May 1978, 2
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Margaret Geddes, Hancock dies again, The Age, 8 November 1977, 2
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Margaret Geddes, Have Musical....Will Travel, The Age, 27 July 1979, 2
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Margaret Geddes, Still shipshape after 25 years, The Age, 30 August 1978, 2
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Margaret Geddes, [Moscow Circus on Ice], The Age, 28 January 1978, 2
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Margaret Geddes, [Waiter, There's a Circus in my Soup], The Age, 24 June 1977, 2
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Margaret Hamilton, Open City: a field of linguistic possibilities, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 30, April 1997, 43 - 56
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Margaret Hamilton, Postdramatic Theatre and Australia: a 'new' theatre discourse, Australasian Drama Studies, 52, April 2008, 3-23
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Margaret Leask, Acknowledging the past: youth performing arts in the 1970s, Australasian Drama Studies, 47, October 2005, 14-25
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Margaret Legge-Wilkinson, The Canberra Times, 13 November 1996
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Margaret Marshall, Wartime at J.C. Williamson Ltd, On Stage, 11, 3, 2010, 26-27
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Margaret Roberts, All-purpose ethnic at ABC, Encore, The University of Adelaide, Library Special Collections, 19 July 1984, 11
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Margaret Rogerson, Australian 'Everymans': Post-Medieval Spiritual Adventures, Medievalism and the Gothic in Australian Culture, Melbourne University Press, Carlton, VIC, 81-97
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Margaret Simons, A ray of hope in the gloom, The Age, 27 May 1983, 14
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Margaret Swann, The First Australian Actress: Eliza Winstanley, The Sydney Mail, 6 May 1931, 25
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Margaret Tonkin, Dance Australia, July 2006, 0
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Margaret Williams, 'The Barnum of Australia': William Anderson, Australasian Drama Studies, Australasian Drama Studies
c/- Department of English
Uni, 2, 2, April 1984, 43 - 64
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Margaret Williams, Aspects of puppet theatre / the language of the puppet, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 19, October 1991, 67 - 75
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Margaret Williams, Australian Dictionary of Biography, Anderson, William (1868–1940), Australian Dictionary of Biography Online, 1979
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Margaret Williams, Australian drama - a postscript: some comments on recent criticism, Meanjin Quarterly, 31/4, Summer, 1972, 444-448
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Margaret Williams, Including the audience: the idea of 'the puppet' and the real spectator, Australasian Drama Studies, 51, October 2007, 119-132
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Margaret Williams, Mask and cage: stereotype in recent drama, Meanjin Quarterly, 31/3, Spring, 1972, 308-313
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Margaret Williams, Snakes and ladders: new Australian drama, Meanjin Quarterly, 31/2, Winter, 1972, 178-182
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Margaret Wycherley in The 13th Chair, The Register, 9 August 1918, 8
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Margaretta Pos, Former POW gives inside story to cast of wartime play, The Mercury (Hobart, Tas. : 1860 - 1954), 11 September 1992, 3
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Margot Anderson, Behind the scenes of Camelot, On Stage, 12, 2, 2011, 32-33
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Marguerite Wells, Australian Drama Festival. Me Jack, You Jill. The 700,000, Theatre Australia, 5, 1, August 1980, 48
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Marguerite Wells, Catering for the audience or for Canberra's Thespians?, Theatre Australia, The University of Adelaide, Library Special Collections, August 1977, 50
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Marguerite Wells, Extremely strong and unusually well-matched, Theatre Australia, April 1979, 32
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Marguerite Wells, The Jigsaw Theatre Company, Theatre Australia, 5, 1, August 1980, 13
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Maria Armstrong, Gay play's message shot under water, Sunday Mail, 29 April 1990, 5
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Maria Armstrong, Sunday Mail, 1 November 1987
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Maria Armstrong, Sunday Mail, 15 May 1988
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Maria Armstrong, Sunday Mail, 17 April 1988
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Maria Armstrong, Sunday Mail, 3 July 1988
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Maria Armstrong, Sunday Mail, 5 June 1988
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Maria Armstrong, Sunday Mail, 6 March 1988
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Maria Armstrong, What makes the affair end in a table for one?, Sydney Morning Herald, 20 January 1994, 11
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Maria Bervanakis, Chaotic messages unfold, Melbourne Yarra Leader, Theatre and Dance Platform, 14 March 2005, 14
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Maria Brigida de Miranda, The NYID Workshop: physical performance in space, Australasian Drama Studies, 53, October 2008, 203-216
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Maria Brigida de Miranda, Training actions to convey theatrical emotions: an interview with Brazilian director Maria Thais, Australasian Drama Studies, 49, October 2006, 101-109
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Maria Ceresa, Laughing through the tears, Sydney Morning Herald, 16 July 1992, 11
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Maria Ceresa, Mourning for the vanished, Sydney Morning Herald, 20 April 1993, 23
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Maria Prerauer, Away in a manger, the Gift has a riotous coming, The University of Adelaide, Library Special Collections, 11 June 1976, 10
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Maria Prerauer, Rehearsing gentility in the stock-broker belt, The Australian, The University of Adelaide, Library Special Collections, 14 May 1981
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Maria Prerauer, The Australian, 5 January 1987
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Maria Shevtsova, Audience for Filef Theatre Group's L'Albero delle rose / The Tree of Roses and Storie in cantiere / Stories in Construction, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 20, April 1992, 93 - 118
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Maria Shevtsova, Outside in: theatre, networks and interdisciplinary perspectives, Australasian Drama Studies, 44, April 2004, 3-16
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Marian Quartly, Mary Louise Lightfoot, Lightfoot, Louisa Mary (1902–1979), Australian Dictionary of Biography Online, 2005
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Marianne Leitch, The Australian, 8 July 1982, 0
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Marie Skelton, The Canberra Times, 31 March 2004, 6
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Marien Dreyer, The Australian playwright in his own land, Australian Theatregoer, 2/2-3, Dec 1961-Jan 1962, 1962, 40-42
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Marien Dreyer, What's wrong with writers: never ask a theatre, The Bulletin, 83/4277, 3 February, 1962, 19-20
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Marika Dobbin, The Canberra Times, 21 March 2007, 3
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Marina Warner, Berkoff!, Vogue Australia, The University of Adelaide, Library Special Collections, May 1983, 135-136
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Marion Consandine, Barclay, Edmund Piers (Teddy) (1898–1961), Australian Dictionary of Biography Online
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Marion Potts, Cultural Stock-Taking: An Account of the Future, Australasian Drama Studies, 58, April 2011, 6-21
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Marionettes find home in old sailors' refuge, Sydney Morning Herald, 23 July 1983, 14
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Marionettes: "The Tintookies", Australian Elizabethan Trust, Sydney, 1956, 31
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Maritana, Toowoomba Chronicle and Darling Downs General Advertiser, Qld, 6 August 1898, 3
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Marjorie Quinn, Women Who Will Play a Part In Australian Drama Month, The Sun (NSW), 2 May 1940, 29
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Marjory Bennett, Wog in plenty of work, Sun Herald, 22 January 1995, 127
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Mark Dapin, Metro, 14 November 2003, 4
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Mark Dapin, Tales of Hoffman, Spectrum, 6 October 2007, 22-27
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Mark Gauntlett, 'When I count to three': stage hypnotism and the nature of performance, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 24, April 1994, 3 - 12
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Mark Gauntlett, Theatre going, theatre programmes, tourism, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 22, April 1993, 113 - 127
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Mark Henderson, Arky's a busy kid, Daily Mirror, 23 July 1987
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Mark Henderson, Shears are clicking at the Q, Daily Mirror, 21 November 1985
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Mark Hopkins, Sydney Morning Herald, 21 July 2008, 0
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Mark Hopkins, What wicked fun this way comes, Sydney Morning Herald, 13 October 2008, 0
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Mark Juddery, Panorama, 24 January 2004, 21
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Mark Kenny, Lucy Guerin piece puts communication on trial, Pittsburgh Tribune-Review, Theatre and Dance Platform, 1 November 2007
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Mark Kilmurry, Sydney Morning Herald, 28 March 2006, 13
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Mark Lester, Anchorage Daily News, 7 April 2005, 0
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Mark Minchinton, The right and only direction: Rex Cramphorn, Shakespeare, and the Actors' Development Stream, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 33, October 1998, 128 - 144
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Mark Mordue, Metropolitan, 19 July 2003, 5
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Mark Phelan, The fantasy of post-nationalism in Northern theatre: Caught Red Handed transplanting the planter, Australasian Drama Studies, 43, October 2003, 164-173
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Mark Radvan, The Australian, 13 April 1988
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Mark Radvan, The Australian, 18 April 1988
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Mark Radvan, The Australian, 24 April 1987
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Mark Radvan, The Australian, 27 April 1987
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Mark Radvan, The Australian, 4 May 1988
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Mark Radvan, The Australian, 6 May 1988
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Mark Rothfield, The Australian, 30 September 1985, 0
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Mark Schiebs, The Canberra Times, 20 May 2005, 8
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Mark Seton, Recognising and misrecognising the 'X' factor: the audition selection process in actor-training institutions revisited, Australasian Drama Studies, 50, April 2007, 170-182
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Mark Seton, Tom Burvill, Access to digitized performance documentation and the AusStage database, Studies in Theatre and Performance, Intellect, Bristol, UK, 30, 3, November 2010, 305-321
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Mark St Leon, Ashton's Circus, Companion To Theatre In Australia, 1995, 62-63
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Mark St Leon, Colleano, Con (Cornelius) (1899–1973), Australian Dictionary of Biography Online, 1993
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Mark St Leon, James Henry Ashton, Companion To Theatre In Australia, 1995, 62
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Mark St Leon, Robert Avis Radford: "The Tasmanian Astley", Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 24, April 1994, 155 - 181
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Mark Uhlmann, Good Times, 10 November 1988, 9
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Mark Uhlmann, Good Times, 13 October 1988
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Mark Wakely, The Hunter Theatre, one last time, Newcastle Herald, 12 February 1983
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Marko Pavlyshyn, Culture and the émigré consciousness: Ukrainian theatre in Australia 1948 - 89, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 20, April 1992, 54 - 69
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Marko Pavlyshyn, Culture and the emigre consciousness: Ukrainian theatre in Australia 1948-1989, Australasian Drama Studies, 20, April, 1992, 54-69
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Marlene Dietrich breaks a leg, Glasgow Herald, 1 October 1975, 2
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Marlene Dietrich coming here, The Age, 28 July 1965, 5
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Martha Rutledge, Barbour, Lyndall Harvey (1916–1986), Australian Dictionary of Biography Online
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Martha Rutledge, Barrett, Walter Franklyn (1873–1964), Australian Dictionary of Biography Online
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Martha Rutledge, Bluett, Frederick George (Fred) (1876–1942), Australian Dictionary of Biography Online, 2005
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Martha Rutledge, Brunton, Christine Dorothy (Dot) (1890–1977), Australian Dictionary of Biography Online, 1993
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Martha Rutledge, Carr-Glyn, Neva Josephine Mary (1908–1975), Australian Dictionary of Biography Online
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Martha Rutledge, Fuller, Sir Benjamin John (Ben) (1875–1952) and Fuller, John (1879–1959), Australian Dictionary of Biography Online, 1981
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Martha Rutledge, Gerald, James (Jim) (1891–1971), Australian Dictionary of Biography Online, 1996
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Martha Rutledge, Kellaway, Cecil Lauriston (1890–1973), Australian Dictionary of Biography Online, 1983
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Martha Rutledge, Sally O'Neill, Kirsova, Hélène (1910–1962), Australian Dictionary of Biography Online, 2000
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Martha Rutledge, Young, Charles Frederick Horace Frisby (1819–1874), Australian Dictionary of Biography Online, 1976
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Martha Staged by "Q" Guild, The Age, 4 May 1963, 8
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Martin Ball, Odyssey, The Australian, The Arts on Friday, 27 March 1998, 17
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Martin Ball, The Age, 1 January 2007, 0
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Martin Ball, The Australian, 15 January 2001
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Martin Ball, The Australian, 16 February 2001
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Martin Ball, The Australian, 19 November 2004, 14
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Martin Ball, The Australian, 2 March 2001
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Martin Ball, The Australian, 23 February 2001
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Martin Ball, The Australian, 26 February 2001
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Martin Ball, The Australian, 29 January 2001
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Martin Buzzacott, Bille fills bill beautifully, Arts & Entertainment, 19 August 2002, 13
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Martin Buzzacott, Boys light up, but the Bard's plot thins, Arts & Entertainment, 26 January 2001, 18
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Martin Buzzacott, Just the place for rhetorical granduer, Arts & Entertainment, 8 October 2001, 15
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Martin Buzzacott, Something with a bit of punch/review, Arts & Entertainment, 14 August 2003, 13
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Martin Buzzacott, Staging trips up scripts, Arts & Entertainment, 19 October 2001, 18
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Martin Buzzacott, Way to earn a crust, Arts and Entertainment, 6 October 2003, 13
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Martin Buzzacott, When the spirit moves, so does the audience, Arts & Entertainment, 14 November 2003, 17
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Martin Esslin, The new Australian theatre: an outsider's view, Theatre Quarterly, 7/26, 1977, 48-49
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Martin Esslin, Why I am Optimistic, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 10-11
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Martin Flanagan, Faith and freedom, The Age, The University of Adelaide, Library Special Collections, 14 October 1995, 9
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Martin Flanagan, Folk rythms, The Age, Saturday Extra, 26 June 1999, 9
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Martin Flanagan, Reservoir by day, The Age, The University of Adelaide, Library Special Collections, 14 May 1985
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Martin Kelly, Sunday Telegraph, 16 February 1988
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Martin Kelly, The Daily Telegraph, 2 March 1988
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Martin Long, Early Sydney Drama For Revival, The Sunday Herald Sun, 6 August 1950, 8
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Martin Portus, Big Apple welcomes a resiliant battler, Sydney Morning Herald, 8 December 1986
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Martin Portus, Sydney Morning Herald, 1 August 1988
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Martin Portus, Sydney Morning Herald, 1 June 1987
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Martin Portus, Sydney Morning Herald, 11 March 1988
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Martin Portus, Sydney Morning Herald, 15 March 1988
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Martin Portus, Sydney Morning Herald, 2 October 1985, 0
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Martin Portus, Sydney Morning Herald, 5 March 1988
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Martin Portus, Sydney Morning Herald, 6 June 1988
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Martin Portus, Sydney Morning Herald, 9 February 1988
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Martin Portus, Sydney Star Observer, 25 August 2005, 12
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Martin Portus, Sydney Star Observer, 28 June 2007, 20
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Martin Portus, The Australian, 26 November 1995, 0
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Martin Thomas, Strictly Ballroom & Angels, New Theatre Australia, 8, January 1989, 28-29
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Martina Lipton, 'Our Madge and Cyril': Ghosted Framings of the Public and Private Partnership of Madge Elliott and Cyril Ritchard, Australasian Drama Studies, 54, April 2009, 87-104
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Martina Lipton, Imbricated Identity and the Theatre Star in Early Twentieth Australia, Australasian Drama Studies, 58, April 2011, 126-147
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Martina Lipton, Unearthing The Bunyip: clues to the representation of Australian Identity, Australasian Drama Studies, 60, April 2012, 102-119
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Marvin Gilman, Fennario and Ryga: Canadian political playwrights, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 29, October 1996, 180 - 187
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Mary Ann Hunter, Anxious futures: Magpie2 and 'new generationalism' in Australian youth-specific theatre, Theatre Research International, 26, 1 (March), 2001, 71-81
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Mary Ann Hunter, Casebook: Stephen Sewell's Miranda, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 14, April 1989, 47 - 63
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Mary Ann Hunter, Interview: Stephen Sewell talks to Mary Ann Hunter, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 14, April 1989, 33 - 45
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Mary Ann Hunter, Of peacebuilding and performance: Contact Inc's 'third space' of intercultural collaboration, Australasian Drama Studies, 47, October 2005, 140-158
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Mary Ann Hunter, Unpacking South Pacific fantasies, RealTime Arts, 72, April 2006, 35
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Mary Ann Hunter, Utopia, maps and ecstacy: configuring space in Barrie Kosky's 1996 Adelaide Festival, Australasian Drama Studies, 44, April 2004, 36-51
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Mary Boland, Sydney Morning Herald, 4 January 2007, 22
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Mary Boson, Play confronts the last taboos: death and homosexuality, Northern Herald, 10 October 1990, 12
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Mary Brennan, Giving flight to an idea, The Herald, Theatre and Dance Platform, 15 March 2000
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Mary Coles, "Noble" Magic, The Australian Women's Weekly, 29 January 1958, 3
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Mary Elizabeth Anderson, Planned obsolescence?: Technologies of performance training in Detroit, Michigan, Australasian Drama Studies, 57, October 2010, 200-213
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Mary Emery, The Australian, 24 July 1987
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Mary Emery, The Australian, 27 July 1987
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Mary Emery, The Australian, 27 March 1987
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Mary Lord, Times on Sunday, 15 November 1987
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Mary Luckhurst, Nicole Kidman: Transformation and the business of acting, Australasian Drama Studies, 75, December 2019, 72-100
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Mary Machen, Launceston Players: Still going strong after 85 years, The Examiner, 29 October 2011, 35-37
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Mary Nemeth, Financial Review, 13 November 1987
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Mary Nemeth, Financial Review, 15 November 1997
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Mary Nemeth, Financial Review, 20 March 1987
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Mary Nemeth, Financial Review, 27 February 1987
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Mary Nemeth, Financial Review, 27 February 1987
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Mary Nemeth, Financial Review, 28 August 1987
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Mary Nemeth, Financial Review, 3 July 1987
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Mary O'Brien, Sydney Morning Herald, 31 July 2006, 11
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Mary-Ann Robinson, Black and white in full colour, 48, April 2002, 34
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Mary-Ann Robinson, Funny things can happen, RealTime Arts, 42, April 2001, 26
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Mary-Ann Robinson, More than one Dolores, RealTime Arts, 43, June 2001
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Mary-Ann Robinson, Still Angela: a slice of the girl, RealTime Arts, 48, April 2002, 32
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Maryborough, The Brisbane Courier, 28 June 1902, 6
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Maryborough, The Moreton Bay Courier, 15 November 1860, 3
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Maryrose Casey, From the wings to centre stage: A production chronology of theatre and drama texts by Indigenous Australia writers, Australasian Drama Studies, 37, October 2000, 85- 98
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Maryrose Casey, Nindethana and the National Black Theatre: Interrogating the mythology of the New Wave criticism, Australasian Drama Studies, 36, April 2000, 19-33
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Maryrose Casey, Performing for Aboriginal life and culture: Aboriginal theatre and Ngurrumilmarrmiriyu, Australasian Drama Studies, 59, October 2011, 53-68
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Maryrose Casey, Review: Caroline Heim, Audience as Performer: The changing role of theatre audiences in the Twenty-First Century, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 70, April 2017, 213 - 217
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Masque, January 1971, 22
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Massive Chats: Lucy Guerin, Conversation Piece, Dance Massive, Theatre and Dance Platform, 19 March 2013
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Master and Man, The Herald, 5 July 1890, 2
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Master and Man, The Lorgnette, 5 July 1890, 5 - 6
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Matt Buchanan, Metro, 5 April 2002, 3
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An old venue gets a little black magic for the Fringe, writes MATT BYRNE
BLACK Lung Theatre is skating on thin ice for the Adelaide Fringe, and loving every minute of it.
The innovative Melbourne arts collective has revived the old skating rink in Hindley St to create The Black Lung Theatre for the Fringe.
Co-director Thomas Wright said the rink had been out of commission for many years.
"It's been an interesting experience as we have encountered everything you could imagine," Wright said.
"It's been a hard slog but it's been worth it. We have completely turned the place inside out and put in a bar for good measure."
Wright said the aim was to create a venue where people could come and spend the whole evening.
"We are bringing four shows and we have also been joined by Adelaide group The Pants," he said.
"There will be an array of shows for people to sample every night, and plenty of great conversation and drinks in between."
Wright said Black Lung came together as a concept a year ago in Melbourne. At the 2006 Melbourne Fringe the awards came thick and fast.
"We were given a venue above a bar so we could do a couple of shows," he said.
"From that we decided to approach people we thought were of a like mind and create shows with a purpose.
"We gathered people whose talents complemented each other, who wanted to do shows based on raw energy and creativity, and it has worked."
"Thomas Henning - who has written three of the shows we are bringing - and I are artistic directors who are also responsible for the marketing and administration. The buck stops with us," he said.
Wright said the four Black Lung shows varied widely in content and presentation.
"Rubeville is a film about a play about a film about a play about a con about death," he said.
"It's different, it's challenging, it's raw and exciting and it gets you involved.
"Avast is like at a gig; it's different every night and is our personal favourite.
"We wanted to create our own audience for people outside the arts industry and Avast brings those people in. It's about sending up bad theatre, attacking it.
"Sugar is an ensemble piece about a young man who is dying on a boat in the middle of the ocean and he's living out his life through his memory.
"But he is losing his mind and he is conscious that he is dying.
"The Ghost of Ricketts Hill has been devised by three amazing actors called The Suitcase Royale and played to international acclaim.
"It's very funny and spontaneous as three men stranded on a desert island of eternal twilight - it's clever and it's insane."
Wright said he was delighted The Pants had come on board.
"They are a terrific group whose ethos matches ours and their show The Kissy Kissy Sideshow is an exercise in perpetually self- interrupting romance," he said.
Coming to the Adelaide Fringe is a huge step forward for Black Lung.
"But we love stepping out into the unknown because that's where our audience is waiting," Wright said.
"Theatre has to be innovative, spontaneous, intriguing and demanding. We are out to offer something different to the big subsidised companies. We're not relying on government funds, we are relying on ourselves.
"That makes you hungry and you go that extra yard and now were going to Adelaide."
Matt Byrne, Breathing new life into the rink, Sunday Mail, 11 February 2007, 96
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Matt Byrne, [Devolution], Sunday Mail, 19 March 2006, 96
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Matt Cameron, City Weekly Courier, 25 September 2003, 8
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Matt Crook, Once Upon a Midnight, Update, 1 August 2008, 6
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Matt Hayes, Newcastle Sun, 24 May 1972, 0
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Matthew Arnold, Currents, March 2006, 0
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Matthew Clayfield, Words Shine in a Timeless Tapestry, The Australian, 7 July 2008, 0
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Matthew Drummond, Portrait: Lucy Guerin, choreographer and dance company founder, Australian Financial Review, 23 April 2018
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Matthew Ricketson, A dark look at life, The Age, 11 March 1982, 24
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Matthew Ricketson, High hopes for the festival from the fringe, The Age, 25 February 1983, 14
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Matthew Ricketson, Philippa Hawker, Fun in the Geelong 'Trees', The Age, 30 August 1982, 12
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Matthew Ricketson, Philippa Hawker, Skill, wit and more, The Age, 17 January 1983, 10
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Matthew Ricketson, Work of collaboration, The Age, 25 November 1982, 25
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Matthew Westwood, A Very Silly Musical, Review, 17 November 2007, 16
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Matthew Westwood, Dance turns gaze back on news, The Australian, Theatre and Dance Platform, 17 July 2010
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Matthew Westwood, Friends and influence, The Australian, 28 April 2008, 7
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Matthew Westwood, Lucy Guerin attempts to bring dance and news together, The Australian, 17 July 2010
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Matthew Westwood, No more nips and tucks for Sondheim, The Australian, 24 July 2007, 17
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Matthew Westwood, Review, 10 February 2007, 16
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Matthew Westwood, Review, 24 March 2007, 16
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Matthew Westwood, Review, 3 December 2005, 16
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Matthew Westwood, Review, 3 September 2005, 16
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Matthew Westwood, Review, 9 April 2005, 16
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Matthew Westwood, The Australian, 12 March 2007, 7
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Matthew Westwood, The Australian, 14 June 2007, 12
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Matthew Westwood, The Australian, 2 December 2005, 18
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Matthew Westwood, The Australian, 26 November 2004, 17
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Matthew Westwood, The Australian, 28 July 2007, 7
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Matthew Westwood, The Australian, 29 December 2005, 12
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Matthew Westwood, The Australian, 29 November 2005, 14
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Matthew Westwood, The Australian, 3 July 2007, 9
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Matthew Westwood, The Australian, 30 September 2005, 17
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Matthew Westwood, The Australian, 6 March 2006, 7
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Matthew Westwood, The Australian, 7 April 2005, 14
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Matthew Westwood, Weekend Australian, 17 April 2004, 16
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Matthew Westwood, Winners share the honours, The Australian, 25 July 2017, 14
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Mattiwilda Dobbs , The Bulletin, 24 August 1955, 19
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Mattiwilda Dobbs , The Bulletin, 7 September 1955, 19
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Maud Jeffries' Future Home, Evening News, 19 July 1905, 5
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The name of the Octagon Theatre describes its form within and without. Five blocks of seating fan around a thrust stage-the first in Australia-which has a proscenium arch behind it. Part or all of the stage can be removed to uncover an orchestra pit. One of Perth's most frequently used venues, the theatre succeeds for a wide range of drama, opera, dance, chamber and orchestral music because of its versatile performing space, its excellent sightlines and acoustics, and its sound and lighting equipment. The theatre is also a large and acoustically fine lecture hall. This was a primary purpose, because of requirements for federal government funding, when the University of Western Australia decided to build a multi-use theatre. Allen Edwards, professor of English, had promoted the New Fortune Theatre at the university and he pressed for the new theatre. Philip Parsons a member of his department, and Katharine Brisbane, theatre critic of the West Australian, advocated Peter Parkinson of Perth as architect. The university announced his appointment on 25 March 1965. The theatre committee was divided over his brief, so a consultant was sought. At Parsons's suggestion, the English director Tyrone Guthrie came to Perth in July 1965 for consultation with Parkinson and the university's own architect. As a result, Parkinson developed the Octagon. It opened with the Melbourne Theatre Company’s production of Henry IV - part 1.
In 1969 Aarne Neeme was appointed director of a loosely formed company with three professional actors – Arthur Dignam, John Gaden and Michael Rolfe - and various experienced amateurs. Its first productions were Mandragola by Niccolo Machiavelli, Rosencrantz and Guildenstern are Dead by Tom Stoppard and The Man of Mode by George Etherege. Later offerings included Neeme's production of Othello in repertoire with Twelfth Night directed by Jeana Bradley.
The Festival of Perth has been a frequent client of the Octagon ever since its opening. Successes at the Octagon include Robyn Archer in her A Star is Torn, Steve Berkoff in his adaptation of Edgar Allan Poe's Fall of the House of Usher, and Roy Dotrice in John Evelyn's Brief Lives. The Old Tote Theatre Company from Sydney appeared in Tyrone Guthrie's productions of All's Well that Ends Well and Sophocles's Oedipus Rex in 1973.
Perth's National Theatre Company gave the world premiere of Elizabeth Backhouse's Mirage under Raymond Omodei's direction at the Octagon in 1972. Omodei also directed Oscar Wilde's The Importance of Being Earnest in 1980 and King Lear and As You Like It in 1981 for the Mason-Miller Theatre Company. Andrew Ross presented Jack Davis's The Dreamers for the National Theatre Company in 1983, the musical Bran Nue Dae for the Western Australian Theatre Company in 1990 and Twelfth Night for the Black Swan Theatre Company in 1991.
Maurice Jones, Octagon Theatre, Companion To Theatre In Australia, 1995, 412
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Maurice Schmaier, Theodore Simms, "The Doll" in New York, The Bulletin, 2 April 1958, 26
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Maurie Scott, The new Aboriginal drama and its audience, Span, 30, April, 1990, 127-140
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Maurine Rogers, Muse, November 1988, 3
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Mavis returns with her eye on Chloe, The Age, 10 September 1970, 25
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Max Fatchen, Florence mimics in her bath, The Mail, 8 May 1954, 10
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Max Harris, Adelaide's two festivals, Nation, 24 March, 1962, 17-18
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Max Harris, Mr Hutchison's late conversion, Nation, 2 December 1961, 19
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Max Harris, One Day of the Year! An account of the play's history and of the production at the Adelaide Arts Festival 1960, Australian Theatregoer, 1, 2 (Spring), 1960, 10-11
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Max Harris, Sharman's risks pay off in Dream, The Bulletin, 1982
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Max Lamshed, An Arts Festival for Canberra?, The Canberra Times, 3 June 1965, 23
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Max Oldaker, They come, they go, they cancel, The Examiner, State Library of Tasmania, Launceston Reference Library, 11 November 1970, 28
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Max Ozburn, $2 million worth of pleasure, Campaign, April 1986
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Max Sparber, All that rises must fall, Theatre and Dance Platform, 6 October 2011
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Maxine Brown, Sunday Times, 21 February 1988
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May build a new theatre. Sir en Fuller and new play., The Labor Daily, 4 February 1937, 6
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May Hollinworth’s Metropolitans , Pix, Vol. 19, No. 26, 28 June 1947, pp 21-24
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May-Brit Akerholt, A Sense of Otherness? The Balancing Act of Translation, Australasian Drama Studies, 54, April 2009, 18-34
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May-Brit Akerholt, Interview: Michael Gow talks to May-Brit Akerholt, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 12/13, 1988, 73 - 84
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May-Brit Akerholt, Neil Armfield, Companion To Theatre In Australia, 1995, 57-58
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May-Brit Akerholt, Translations and the Australian Theatre, Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 8, April 1986, 5 - 16
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McAlpine's Picture Co, The Tenterfield Intercolonial Courier and Fairfield and Wallangarra Advocate, 26 October 1909, 2
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McKenna praises patron saints of the world, Elizabethan Trust News, The Australian Elizabethan Theatre Trust, Number One, December 1971, 12-13
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Me Jack You Jill, Theatre Australia, August 1980, 14, 48
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Mechanics Institute building to become restaurant , The Northern Daily Leader
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Mechanics Institute, The Daily Telegraph, Launceston, Tas., 7 June 1904, 3
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Medea, Australian Elizabethan Trust, Sydney, 1956, 18-20
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Meeting Of The Rejoicings Committee, Geelong Advertiser, 16 November 1850, 2
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Meetings, Sydney Morning Herald, 15 November 1895, 6
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Meewon Lee, Shamanism and Korean theatre, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 27, October 1995, 19 - 22
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Megan Byrne, Back Then, The Age, Theatre and Dance Platform, 11 July 2009, MC6
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Megan Dawes, A truly daunting life, The Age, 16 November 1978, 2
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Megan Dawes, [Light Shining in Buckinghamshire], The Age, 1 November 1978, 2
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Megan Doherty, Canberra Sunday Times, 16 April 2006, 15
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Megan Doherty, Canberra Sunday Times, 27 October 2002, 32
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Megan Doherty, Life after George, Canberra Sunday Times, 12 August 2001, 8
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Megan Doherty, Relax, 20 August 2006, 4
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Megan Doherty, The Canberra Times, 1 July 2001, 36
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Megan Doherty, The Canberra Times, 11 March 2006, 12
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Megan Doherty, The Canberra Times, 15 November 2005, 8
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Megan Doherty, The Canberra Times, 22 July 2004, 8
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Megan Doherty, The Canberra Times, 30 September 2003, 4
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Megan Doherty, Times2, 26 September 2005, 8
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Megan Ellul, Mx, 13 November 2003, 0
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Megan Evans, Cross-gender playing techniques: Actresses and innovation in the portrayal of female 'Jingju' (Beijing / Peking opera) roles, Australasian Drama Studies, 75, December 2019, 233-258
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Megan Gressor, An enthusiastic John Bell considers the possibilities, Woman's Day, The University of Adelaide, Library Special Collections, 23 September 1985, 51
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Megan Hoffmann, Is a Fashion Show the Place for Social Commentary? Investigating the Spectacle Dressed Up in Ideas in Hussein Chalayan's After Words, Australasian Drama Studies, 54, April 2009, 35-49
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Megan Stoyles, Melbourne Times, 1 June 1988
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Megan Stoyles, Melbourne Times, 10 August 1988
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Megan Stoyles, Melbourne Times, 15 July 1987
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Megan Stoyles, The First Born, Melbourne Times, 17 May 1988
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Mei-Lin Te-Puea Hansen, Stuart Young, A dramatic hijacking: Arthur Millerising Hararu Mai at the Auckland Theatre Company, Australasian Drama Studies, 55, October 2009, 30-43
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Melanie Coram, Ritual State, The West Australian, 12 December 2017, 6
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Melanie Coram, Sign up for stage, The West Australian, 22 November 2017, 11
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Melba's Tour. The Adelaide Dates., The Register, 26 September 1902, 5
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Melbourne acclaims Joan Sutherland, The Canberra Times, 12 July 1965, 1
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Melbourne and Eastern Finland find a common language, Tanssin Tiedotuskeskus, Theatre and Dance Platform, 20 August 2015
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Melbourne Athenaeum. Opening the New Building, The Age, 8 July 1886, 6
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Melbourne dancer win Green Room gongs, Melbourne Times, Theatre and Dance Platform, 4 April 2001, 10
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Melbourne Little Theatre, Table Talk, 22 February 1934, 44
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Melbourne Little Theatre, The Age, 2 March 1933, 11
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Melbourne Little Theatre, The Age, 26 August 1932, 11
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Melbourne Man in Ballet Co., The News, 22 May 1947, 7
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Melbourne Society Comedy too Naughty, The Arrow, 6 November 1931, 2
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Melbourne Stage. Comedies Take Well, Sunday Times, 2 December 1928, 8S
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Melbourne Star Observer, 13 November 2003, 0
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Melbourne Theatre-goers Also Like to Pick and Choose, The Times, 11 March 1964, 8
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Melbourne Theatres, South Bourke and Mornington Journal (Richmond, Vic. : 1877 , 30 June 1880, 4
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Melinda Houston, The Sunday Age, 24 July 2005, 26
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Melinda Marshall, Moves in online lane, Preston Leader, Theatre and Dance Platform, 20 November 2007
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Melissa Bellanta, The Larrikin's Hop: larrikinism and late colonial popular theatre, Australasian Drama Studies, 52, April 2008, 131-147
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Melissa Blanco Borelli, Becomings and Belongings: Lucy Guerin's The Ends Of Things, Brolga, Theatre and Dance Platform, December 2009
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Melissa King, Baker 'appalled' by AIDS education play, The News, 15 May 1990, 3
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Melissa King, Criticism of play 'stirs up hatred', The Advertiser, 16 May 1990, 0
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Melissa Phillips, Rock and scares in the midnight hour, Guardian Messenger, 17 September 2008, 48
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Melissa Sihra, Renegotiating landscapes of the female: voices, topographies and corporealities of alterity in Marina Carr's Portia Coughlan, Australasian Drama Studies, 43, October 2003, 16-31
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QUEEN'S THEATRE.— Mr Lazar's Benefit takes place on Monday next, and need we say how much this gentleman deserves a bumper. His industry and perseverance merit the greatest praise, and we only regret that so much talent should have received no more patronage than has been extended towards his efforts since his connection with theatricals in this colony. We however trust his benefit on Monday next will show that the public are not unmindful of him, and will give him what he so richly deserves — a crowded house. The entertainments are well selected, and will, we are certain, give universal satisfaction
Meloncholy Accident, The South Australian Register, National Library of Australia, 15 January 1842, 3
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Melrose, March 10, The South Australian Chronicle and Weekly Mail., 19 March 1870
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Melrose. March 27, The South Australian Register, 9 April 1895, 6
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Members of Aboriginal Corroboree at William Creek, Port Augusta and Stirling Illustrated News (SA : 1901), National Library of Australia, 7 March 1901, 10
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Memorable Production by Opera Company, The Canberra Times, 9 May 1959, 4
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Memoranda. To-night., Inquirer and Commercial News, 10 April 1889, 4
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Memorial Award for Composer, The Age, 1 August 1963, 5
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Memories of 1858, The Register, 15 December 1926, 9
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Memories Of Amity, The Brisbane Courier, 23 July 1921, 17
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Memories of Old Sydney Theatres
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Men are essential, says Fay Weldon, The Age, 3 March 1983, 14
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Men banished to wings, The Age, 5 January 1972, 8
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Men in tights, The Southside Chronicle, 9 October 2007, 23
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Meningie, April 27., The Advertiser, 30 April 1914, 18
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Meningie, January 13., South Australian Advertiser, 17 January 1870, 3
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Meningie, March 30, The South Australian Chronicle and Weekly Mail., 6 April 1872, 7
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Menzies, The Kalgoorlie Miner, WA, 20 January 1905, 6
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Meredith Rogers, 14 Thoughts about The Ghan, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 69, October 2016, 142 - 144
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Meredith Rogers, Actors and chairs: towards the genealogy of a rehearsal room exercise, Australasian Drama Studies, 53, October 2008, 128-140
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Meredith Rogers, An adaptable aesthetic: performing the Happy Accident and the Everyday in Tertiary Performance-Making, Australasian Drama Studies, 57, October 2010, 163-172
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Meredith Rogers, At Home with the Mill: Democratic Theatre-Making in Geelong, 1978 - 1984, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 71 - 96
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Meredith Rogers, Dramaturgy as political desire: making a democratic space - the Orestes Trilogy, Australasian Drama Studies, 50, April 2007, 66-77
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Merlinda Bobis, Ms Serena Serenata and Beaut, Luv, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 27, October 1995, 87 - 122
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Merrilee Moss, The Sacrifice of Oriel Gray (1920 - 2003): Australian Playwright, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 68, April 2016, 75 - 96
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Merrymakers at Crystal Theatre, Barrier Miner, 21 October 1943, 4
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Merrymakers open tonight, Barrier Miner, 30 November 1943, 2
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Merrymakers please audience, Barrier Miner, 1 December 1943, 2
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Mervyn Thompson, Passing Through, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 18, April 1991, 47 - 56
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Metro
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Metro, 1 June 2001, 15
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Metro, 1 June 2001, 15
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Metro, 10 August 2001, 15
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Metro, 11 May 2001, 3
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Metro, 13 February 2004, 17
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Metro, 13 February 2004, 17
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Metro, 13 July 2001, 15
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Metro, 13 June 1997, 1
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Metro, 15 June 2001, 15
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Metro, 17 August 2001, 15
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Metro, 18 May 2001, 15
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Metro, 20 February 2004, 4
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Metro, 22 April 1997
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Metro, 22 June 2001, 15
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Metro, 23 February 2001, 3
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Metro, 23 March 2001, 15
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Metro, 25 May 2001, -1
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Metro, 25 May 2001, 15
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Metro, 26 August 1994, 3
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Metro, 27 February 2004, 15
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Metro, 27 July 2001, 15
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Metro, 29 June 2001, 15
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Metro, 29 June 2001, 19
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Metro, 29 June 2001, 3
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Metro, 6 April 2001, 15
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Metro, 6 July 2001, -1
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Metro, 6 July 2001, 15
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Metro, 7 September 2001, -1
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Metro, 7 September 2001, 15
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Metro, 8 June 2001, 15
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Metro, 8 June 2001, 3
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Metro, 8 June 2001, 3
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Metro, 9 May 1997, 5
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Metropolitan Memoranda, Illawarra Mercury, 27 October 1892, 2
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Mew innovative opera three years in making, Maryborough - Hervey Bay Chronicle, 25 August 2001, 4
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MIAF, We"ll Miss You, Beat, Theatre and Dance Platform, 1 November 2006, p.28
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Michael Ackland, Plot and counter-plot in Charles Harpur's The Bushrangers, Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 8, April 1986, 49 - 61
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Michael Balfour, Developing the capacities of Applied Theatre students to be critically reflective learner-practitioners, Australasian Drama Studies, 57, October 2010, 54-67
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Michael Blakemore, Music and Drama. Peter Finch Success Story. He Wants To Work For Australia, The Sunday Herald, 24 September 1950, 8
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Michael Bodey, Ray of sunshine, The Australian, 12 September 2009
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Michael Bodey, The Age, 14 April 1998
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Michael Bodey, The Age, 15 April 1998
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Michael Bodey, The Age, 15 April 1998
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Michael Bodey, The Age, 24 April 1998
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Michael Bodey, The Age, 24 April 1998
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Michael Bodey, The Age, 3 April 1998
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Michael Bodey, The Age, 7 April 1998
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Michael Bodey, The Age, 7 April 1998
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Michael Bodey, The Age, 9 April 1998
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Michael Booth, What is popular theatre?, Australasian Drama Studies, Australasian Drama Studies c/- Department of English, Unive, St. Lucia, Queensland, 1, 2, April 1983, 3 - 18
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Michael Broe, Sydney fresher knocked dramsoc heavy, Tharunka, March 1979
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Michael Bruning, Henri touches bass again, The Manly Daily, 26 February 1993, 11
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Michael Bushell, The Canberra Times, 8 February 2003, 12
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Michael Cohen, Spectacle effects and performers of the Sydney Olympics Opening Ceremony, Australasian Drama Studies, 41, October 2002, 50-62
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Michael Connor, Theatre is Dead, Not, Quadrant, 54, 9, September 2010, 106-108
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Michael Dwyer, Finding Sympathy for the Killer, The Age, 10 November 2010, 210
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Michael Dwyer, Metro, 25 May 2001, -1
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Michael Dwyer, Metro, 8 October 2004, 15
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Michael Dwyer, Metro, 8 October 2004, 15
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Michael Dwyer, The Age, 18 October 2005, 14
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Michael Easton, The Herald Sun, 24 January 2001
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Michael Edgar, Serious Money, New Theatre Australia, 12, September 1989, 39
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Michael Edgar, Who is Tasmanian Theatre?, New Theatre Australia, July/August, 6, July 1988, 26-27, 31
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Michael Fitzgerald, Moving on the Edge, Time Australia, Theatre and Dance Platform, 27 October 2003, 62
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Michael Foster, Good Times, 22 October 1987, 3
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Michael Foster, The Canberra Times, 12 May 1999, 10
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Michael Foster, The Canberra Times, 6 April 2001
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Michael Gadd, The Canberra Times, 22 February 2007, 3
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Michael Gordon, Tickling the campus funny bone, The Age, 6 June 1974, 2
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Michael Gurr, Adelaide Gay Times, The University of Adelaide, Library Special Collections, 24 September 1993
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Michael Gurr, Believing two things at once: [Keynote Address given at the annual conference of the Australasian Drama Studies Association at the University of Tasmania, Launceston, 4 July 2002.], Australasian Drama Studies, 42, April 2003, 3-13
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Michael Halliwell, 'A comfortable society': the 1950s and opera in Australia, Australasian Drama Studies, 45, October 2004, 10-29
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Michael Halliwell, 'The space between': post colonial opera? - the Meale/Malouf adaption of Voss, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 28, April 1996, 87 - 98
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Michael Hannan, Alchemical pianism, RealTime Arts, 73, June 2006
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Michael Harrison, The Australian, 10 April 1988
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Michael Joseph Gross, Arts and Leisure, 5 October 2003, 5
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Michael Kessler, Panorama, 31 January 2004, 6
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Michael Kessler, The Australian, 8 January 2007, 14
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Michael Kessler, Times2, 11 May 2005, 8
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Michael le Moignan, Tales of victims, The National Times, 15 March 1981
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Michael Magnusson, Melbourne Community Voice, 31 October 2003, 0
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Michael Morley, Financial Review, 1 July 1987
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Michael Morley, Financial Review, 11 March 1988
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Michael Morley, Financial Review, 15 May 1987
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Michael Morley, Financial Review, 19 August 1988
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Michael Morley, Financial Review, 22 July 1988
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Michael Morley, Financial Review, 24 April 1987
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Michael Morley, Financial Review, 24 July 1987
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Michael Morley, Financial Review, 4 November 1987
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Michael Morley, Financial Review, 7 March 1998
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Michael Morley, Financial Review, 8 May 1987
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Michael Morley, Theatre Australia, April 1981, 12
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Michael Morton-Evans, The Australian, 10 February 1988
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Michael Morton-Evans, The Australian, 11 January 1988
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Michael Morton-Evans, The Australian, 11 June 1987
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Michael Morton-Evans, The Australian, 12 February 1988
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Michael Morton-Evans, The Australian, 12 January 1987
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Michael Morton-Evans, The Australian, 12 May 1988
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Michael Morton-Evans, The Australian, 14 April 1988
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Michael Morton-Evans, The Australian, 18 April 1988
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Michael Morton-Evans, The Australian, 18 January 1988
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Michael Morton-Evans, The Australian, 19 August 1988
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Michael Morton-Evans, The Australian, 19 May 1988
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Michael Morton-Evans, The Australian, 20 June 1988
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Michael Morton-Evans, The Australian, 20 May 1987
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Michael Morton-Evans, The Australian, 20 May 1988
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Michael Morton-Evans, The Australian, 20 November 1987
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Michael Morton-Evans, The Australian, 22 May 1987
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Michael Morton-Evans, The Australian, 23 January 1987
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Michael Morton-Evans, The Australian, 23 May 1988
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Michael Morton-Evans, The Australian, 24 November 1987
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Michael Morton-Evans, The Australian, 25 January 1988
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Michael Morton-Evans, The Australian, 27 December 1989
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Michael Morton-Evans, The Australian, 3 December 1987
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Michael Morton-Evans, The Australian, 3 June 1988
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Michael Morton-Evans, The Australian, 30 May 1988
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Michael Morton-Evans, The Australian, 4 June 1987
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Michael Morton-Evans, The Australian, 4 May 1987
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Michael Morton-Evans, The Australian, 5 June 1987
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Michael Morton-Evans, The Australian, 6 June 1988
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Michael Morton-Evans, The Australian, 6 May 1987
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Michael Morton-Evans, The Australian, 6 May 1988
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Michael Morton-Evans, The Australian, 7 May 1987
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Michael Morton-Evans, The Australian, 8 January 1988
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Michael Morton-Evans, The Australian, 9 January 1987
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Michael Parsons, The Tourist Corroboree in South Australia to 1911, Aboriginal History, 21, 1997, 46-69
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Michael Parsons, ‘Ah that I could convey a proper idea of this interesting wild play of the natives’: corroborees and the rise of Indigenous Australian cultural tourism, Australian Aboriginal Studies, 2, 2002, 14-26
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Michael Roe, Alexander, Frederick Matthias (1869–1955), Australian Dictionary of Biography Online, 1979
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Michael Seaver, Dancing from Down Under to Dublin, The Irish Times, Theatre and Dance Platform, 10 May 2012
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Michael Shmith, Agenda, 17 August 2003, 5
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Michael Shmith, Curtain speeches and assembly-line theatre, The Age, 28 August, 1993
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Michael Shmith, Fashioning a great icon, The Age, 14 April 1986, 14
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Michael Shmith, Mad about the boy, The Age, Extra/Arts, 15 May 1999, 6-7
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Michael Shmith, Quirky individuals combine for feast of drama, The Age, 8 February 1990, 14
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Michael Shmith, The Age, 1 September 1994, 19
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Michael Shmith, The sheer force of personality, The Age, The University of Adelaide, Library Special Collections, 26 October 1991, 9
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Michael Shmith, Today, 28 February 2001, 3
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Michael Shmith, Today, 28 February 2001, 3
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Michael Sturma, Gordon, Lee Lazer (1923-1963), Australian Dictionary of Biography Online, 1996
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Michael Tolley, Afford, Malcolm (Max) (1906–1954), Australian Dictionary of Biography Online, 1993
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Michael Veitch, The Herald Sun, 6 April 1998
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Michael Veitch, The Herald Sun, 9 April 1998
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Michael Visontay, De-sexing the male, Sydney Morning Herald, Arts and Entertainment , 9 January 1992, 11
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Michael Visontay, I say, there's a greyhound in my soup, Sydney Morning Herald, 2 April 1992, 13
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Michael Visontay, Just one of the beastly boys, The Eastern Herald, 14 March 1991, 10
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Michael Ward, Inpress, 6 May 1998
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Michael Ward, Inpress, 6 May 1998
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Michaela Boland, Family firm in profile, The Australian, 24 March 2012, 8
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Michaela Boland, Ralph Myers puts stamp on Belvoir St, The Australian, Theatre and Dance Platform, 3 September 2010
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Michelangelo Rucci, Broadway blast for local play, Courier Mail, 25 April 1992, 3
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Michelangelo would love Oh! Calcutta, The Age, 13 January 1970, 2
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Michele Field, Malouf's musical monster, The Bulletin with Newsweek, The University of Adelaide, Library Special Collections, 8 October 1991
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Michele LaRue, 'Our country's good': Three approaches to a play about theatre and Australian history, Theatre Crafts, 25, 3, 1991, 40
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Michelle Arrow, Written out of history? The disappearance of Australia's women playwrights, Overland, 155 , Winter, 1999, 46-50
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Michelle Core, Prescription for success, Sydney Morning Herald, Metro, 12 October 1990, 3
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Michelle Daw, Whyalla News, 11 June 1987
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Michelle Daw, Whyalla News, 7 August 1987
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Michelle Potter, A great Australian life, The Canberra Times, Panorama, 30 October 1999, 14
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Michelle Potter, Canberra Sunday Times, 16 June 2002, 53
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Michelle Potter, Panorama, 1 November 2003, 17
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Michelle Potter, Panorama, 10 July 2004, 20
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Michelle Potter, Panorama, 10 May 2003, 4
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Michelle Potter, Panorama, 15 May 2004, 17
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Michelle Potter, Panorama, 18 September 2004, 23
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Michelle Potter, Panorama, 2 July 2005, 19
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Michelle Potter, Panorama, 24 February 2001, 11
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Michelle Potter, Panorama, 24 May 2003, 20
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Michelle Potter, Panorama, 27 March 2004, 17
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Michelle Potter, Panorama, 7 July 2001, 11
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Michelle Potter, Relax, 21 September 2003, 24
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Michelle Potter, Robyn Archer, Companion To Theatre In Australia, 1995, 56-57
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Michelle Potter, The Canberra Times, 11 April 2001
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Michelle Potter, The Canberra Times, 17 September 2003, 18
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Michelle Potter, The Canberra Times, 27 March 2001
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Michelle Potter, Times out, 15 May 2003, 4
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Michelle Potter, Times out, 21 August 2003, 4
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Michelle Potter, Times out, 8 April 2004, 6
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Michelle Potter, Times2, 13 May 2005, 2
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Michelle Potter, Times2, 15 May 2006, 8
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Michelle Potter, Times2, 21 July 2006, 4
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Michelle Read, Rip It Up, 14
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Michelle Tydd, The Advertiser, 9 September 1987
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Mick Barnes, A pleasant surprise at the Q, Sun Herald, 24 November 1985
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Mick Barnes, Serious Money, Sun Herald, 14 August 1988
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Mick Barnes, Sun Herald, 1 March 1987
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Mick Barnes, Sun Herald, 1 March 1987
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Mick Barnes, Sun Herald, 1 March 1987
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Mick Barnes, Sun Herald, 1 May 1988
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Mick Barnes, Sun Herald, 1 May 1988
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Mick Barnes, Sun Herald, 1 May 1988
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Mick Barnes, Sun Herald, 1 November 1987
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Mick Barnes, Sun Herald, 1 November 1987
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Mick Barnes, Sun Herald, 10 April 1988
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Mick Barnes, Sun Herald, 10 April 1988
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Mick Barnes, Sun Herald, 10 January 1988
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Mick Barnes, Sun Herald, 10 January 1988
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Mick Barnes, Sun Herald, 10 July 1988
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Mick Barnes, Sun Herald, 10 May 1987
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Mick Barnes, Sun Herald, 10 May 1987
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Mick Barnes, Sun Herald, 11 January 1987
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Mick Barnes, Sun Herald, 12 June 1988
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Mick Barnes, Sun Herald, 12 June 1988
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Mick Barnes, Sun Herald, 13 December 1987
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Mick Barnes, Sun Herald, 13 March 1988
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Mick Barnes, Sun Herald, 14 June 1987
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Mick Barnes, Sun Herald, 14 June 1987
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Mick Barnes, Sun Herald, 15 February 1987
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Mick Barnes, Sun Herald, 15 May 1988
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Mick Barnes, Sun Herald, 15 November 1987
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Mick Barnes, Sun Herald, 15 November 1987
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Mick Barnes, Sun Herald, 17 April 1988
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Mick Barnes, Sun Herald, 17 April 1988
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Mick Barnes, Sun Herald, 17 January 1988
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Mick Barnes, Sun Herald, 17 January 1988
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Mick Barnes, Sun Herald, 17 January 1988
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Mick Barnes, Sun Herald, 17 July 1988
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Mick Barnes, Sun Herald, 18 January 1987
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Mick Barnes, Sun Herald, 18 October 1987
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Mick Barnes, Sun Herald, 19 June 1988
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Mick Barnes, Sun Herald, 19 June 1988
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Mick Barnes, Sun Herald, 2 August 1987
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Mick Barnes, Sun Herald, 2 August 1987
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Mick Barnes, Sun Herald, 20 March 1988
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Mick Barnes, Sun Herald, 20 March 1988
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Mick Barnes, Sun Herald, 21 August 1988
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Mick Barnes, Sun Herald, 21 February 1988
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Mick Barnes, Sun Herald, 22 March 1987
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Mick Barnes, Sun Herald, 22 May 1988
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Mick Barnes, Sun Herald, 22 May 1988
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Mick Barnes, Sun Herald, 22 November 1987
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Mick Barnes, Sun Herald, 22 November 1987
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Mick Barnes, Sun Herald, 24 April 1988
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Mick Barnes, Sun Herald, 24 April 1988
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Mick Barnes, Sun Herald, 24 January 1987
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Mick Barnes, Sun Herald, 24 January 1988
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Mick Barnes, Sun Herald, 24 January 1988
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Mick Barnes, Sun Herald, 24 July 1988
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Mick Barnes, Sun Herald, 24 July 1988
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Mick Barnes, Sun Herald, 24 July 1988
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Mick Barnes, Sun Herald, 24 May 1987
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Mick Barnes, Sun Herald, 26 April 1987
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Mick Barnes, Sun Herald, 26 April 1987
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Mick Barnes, Sun Herald, 26 July 1987
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Mick Barnes, Sun Herald, 26 July 1987
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Mick Barnes, Sun Herald, 26 July 1987
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Mick Barnes, Sun Herald, 27 September 1987
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Mick Barnes, Sun Herald, 27 September 1987
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Mick Barnes, Sun Herald, 28 June 1987
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Mick Barnes, Sun Herald, 28 June 1987
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Mick Barnes, Sun Herald, 29 March 1987
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Mick Barnes, Sun Herald, 29 March 1987
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Mick Barnes, Sun Herald, 29 May 1988
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Mick Barnes, Sun Herald, 29 November 1987
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Mick Barnes, Sun Herald, 29 November 1987
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Mick Barnes, Sun Herald, 3 July 1988
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Mick Barnes, Sun Herald, 3 May 1987
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Mick Barnes, Sun Herald, 3 May 1987
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Mick Barnes, Sun Herald, 31 January 1988
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Mick Barnes, Sun Herald, 31 January 1988
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Mick Barnes, Sun Herald, 31 January 1988
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Mick Barnes, Sun Herald, 31 July 1988
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Mick Barnes, Sun Herald, 31 July 1988
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Mick Barnes, Sun Herald, 31 May 1987
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Mick Barnes, Sun Herald, 31 May 1987
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Mick Barnes, Sun Herald, 4 October 1987
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Mick Barnes, Sun Herald, 4 September 1988
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Mick Barnes, Sun Herald, 4 September 1988
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Mick Barnes, Sun Herald, 5 April 1987
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Mick Barnes, Sun Herald, 5 July 1987
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Mick Barnes, Sun Herald, 5 July 1987
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Mick Barnes, Sun Herald, 5 June 1988
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Mick Barnes, Sun Herald, 5 June 1988
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Mick Barnes, Sun Herald, 5 June 1988
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Mick Barnes, Sun Herald, 5 June 1988
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Mick Barnes, Sun Herald, 6 December 1987
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Mick Barnes, Sun Herald, 6 March 1988
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Mick Barnes, Sun Herald, 6 March 1988
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Mick Barnes, Sun Herald, 7 August 1988
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Mick Barnes, Sun Herald, 7 August 1988
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Mick Barnes, Sun Herald, 7 June 1987
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Mick Barnes, Sun Herald, 7 June 1987
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Mick Barnes, Sun Herald, 8 February 1987
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Mick Barnes, Sun Herald, 8 February 1987
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Mick Barnes, Sun Herald, 8 May 1988
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Mick Barnes, Sun Herald, 8 May 1988
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Mick Barnes, Sun Herald, 8 May 1988
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Mick Barnes, Sun Herald, 8 November 1987
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Mick Barnes, Woyzeck, Sun Herald, 21 June 1987
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Mick Barnes, [Lillian], Sun Herald, 4 October 1987
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Mick Douglas, Performing Mobilities, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 69, October 2016, 3 - 6
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Midsummer Show, The Daily Examiner, 16 November 1927, 4
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Midsummer Show, The Daily Examiner, 3 December 1927, 6
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Mike Canavan, Katherine Times, 19 March 1987
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Mike Daly, 'Sex Diary' of Asia's underbelly, The Age, 26 June 1992, 14
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Mike Daly, Writer likes to 'rattle' the audience, The Canberra Times, 20 October 1993, 27
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Mike Foster, Community/communitas: renegotiating community theatre today. An interview with Graham Pitts, Australasian Drama Studies, 36, April 2000, 57-72
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Mike Gee, bma (bands music action) , 19 April 2001, 11
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Mike Mullins, Pinder Misinformed, Melbourne Times, 1976
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Mike Rann, [Devolution], Artstate
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Mike van Niekerk, Entertaining Mister Sloane, The West Australian, 19 July 1988
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Mike van Niekerk, The West Australian, 22 July 1988
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Mike van Niekerk, The West Australian, 28 January 1987
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Mike Webster, On Stage, June 1985, 17
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Mikhail love Lucy's moves, Daily Telegraph (London), Theatre and Dance Platform, 6 June 1999
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Milang, June 17, South Australian Weekly Chronicle, 18 June 1881, 21
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Milang, May 18, South Australian Weekly Chronicle, 23 May 1885, 11
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Milang, May 18, The South Australian Register, 19 May 1885, 5
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Milang, May 20, South Australian Weekly Chronicle, 23 May 1885, 11
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Miles O'Neil, Performing technical innovation: The pioneering audio work of Tamara Saulwick, Australasian Drama Studies, 75, December 2019, 182-206
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Miller wins over that burning 'Hair' candle, The Age, 26 January 1972, 3
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Mimi Colligan, Hanna, George Patrick (Pat) (1888–1973), Australian Dictionary of Biography Online, 1983
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Mimi Colligan, Lewis, George Benjamin William (1818–1906), Australian Dictionary of Biography Online, 2005
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Mimi Colligan, Waxworks shows and some of their proprietors in Australia, 1850s-1910s, Australasian Drama Studies, 34, April 1999, 87-107
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Minerva Theatre. New Productions., Sydney Morning Herald, 19 June 1939, 8
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Minerva Theatre. Tony Draws A Horse., Sydney Morning Herald, 16 February 1940, 11
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Minerva to Run Under New Management, Daily News, 18 May 1940, 9
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Mining Intelligence, Bendigo Advertiser, 25 February 1858, 2
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Mining landmarks going fast, actor says, Newcastle Herald, 7 August 1989
-
Minister issues writ to stop play, The Age, 18 February 1970, 2
-
Minister to see 'topless', The Age, 24 January 1967, 1
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Ministerial Visit To The Northern Territory, The South Australian Register, 2 March 1882, 5
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Minnie Everett, My Dancing Days. Chapter 1, Table Talk, 19 May 1932, 25
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Minnie Everett, My Dancing Days. Chapter 10, Table Talk, 21 July 1932, 10
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Minnie Everett, My Dancing Days. Chapter 11, Table Talk, 28 July 1932, 23
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Minnie Everett, My Dancing Days. Chapter 2, Table Talk, 26 May 1932, 8
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Minnie Everett, My Dancing Days. Chapter 3, Table Talk, 2 June 1932, 9
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Minnie Everett, My Dancing Days. Chapter 4, Table Talk, 9 June 1932
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Minnie Everett, My Dancing Days. Chapter 5, Table Talk, 16 June 1932, 22
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Minnie Everett, My Dancing Days. Chapter 6, Table Talk, 23 June 1932, 24
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Minnie Everett, My Dancing Days. Chapter 7, Table Talk, 30 June 1932, 26
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Minnie Everett, My Dancing Days. Chapter 8, Table Talk, 14 July 1932, 22
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Minnie Everett, My Dancing Days. Chapter 9, Table Talk, 7 July 1932, 24
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Miranda Heckenberg, 'Uncertain work': designing through collective processes in the devision of version 1.0's The Table of Knowledge, Australasian Drama Studies, 61, October 2012, 112-130
-
Miranda Heckenberg, Continuing Threads of Modernist Minimalism in the Contemporary Practice and Discourse of Australian Scenographers, Australasian Drama Studies, 58, April 2011, 88-106
-
Miranda Heckenberg, Suspension, introspection and contradiction: the songs of The Threepenny Opera in rehearsal, Australasian Drama Studies, 45, October 2004, 137-156
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Miranda Tetlow, Artlook, June 2005, 6
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Miranda Tetlow, Life after George, bma (bands music action) , 1 August 2001, 37
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Miranda Tetlow, Woroni, 1 May 2001, 13
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Miranda Wood, Man overboard, Sun Herald, Time Out, 20 February 2000, 21
-
Mirboo North, Morwell Advertiser, 10 July 1908, 2
-
Miriam Cosic, Magazine, 19 October 2002, 16
-
Miriam Cosic, Magazine, 9 November 2002, 31
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Miriam Cosic, Review, 1 October 2005, 16
-
Miriam Cosic, Review, 1 October 2005, 17
-
Miriam Cosic, Review, 15 September 2001, 18
-
Miriam Cosic, Review, 22 January 2005, 16
-
Miriam Cosic, Review, 23 June 2007, 16
-
Miriam Cosic, Review, 3 February 2007, 0
-
Miriam Cosic, The Australian, 11 April 2005, 16
-
Miriam Cosic, The Australian, 13 April 2007, 16
-
Miriam Cosic, The Australian, 13 May 2003, 15
-
Miriam Cosic, The Australian, 14 October 2005, 16
-
Miriam Cosic, The Australian, 21 July 2005, 14
-
Miriam Cosic, The Prize Fighter, Sydney Morning Herald, 9 March 1996
-
Miriam Hampson, The Australian, 19 September 1967
-
Miriam Siers, Dacners take to the air for new performances, The Canberra Times, 10 October 2007, 8
-
Miriam Siers, Dancers wander across continents for poetry in motion, The Canberra Times, 12 October 2007, 6
-
Miscellaneous Items, The Argus, 16 November 1857, 6
-
Miscellaneous Items, The Maitland Mercury, 16 February 1888, 6
-
Miscellaneous News [Parramatta Theatricals], The Australian, 9 August 1833, 1
-
Miscellaneous, Bell's Life in Victoria and Sporting Chronicle, 12 February 1859, 2
-
Miscellaneous, Clarence and Richmond Examiner, 10 January 1860, 3
-
Miscellaneous, The Sydney Mail, 26 September 1885
-
Miscellaneous, Warwick Argus, 19 March 1867, 2
-
Miscellany, The Queanbeyan Age, 21 April 1888, 3
-
Misha Schubert, Career feeds on kitchen lies, The Australian, Theatre and Dance Platform, 31 October 1998, 8
-
Misha Schubert, Trauma antidote, The Australian, 28 September 2001, 29
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Miss Ada Delroy's Company, The Daily News, (Perth, WA : 1882 - 1950) , 25 September 1896, 3
-
Miss Hook of Holland, The Examiner, National Library of Australia, 11 August 1920, 6
-
Miss Howarde's Dramatic Co., The Wagga Wagga Advertiser, NSW, 26 April 1902, 2
-
Miss Janet Achurch, Albury Banner and Wodonga Express, NSW, 3 July 1891, 23
-
Miss Janet Achurch, Sydney Morning Herald, NSW, 10 September 1889, 5
-
Miss Janet Achurch, The Daily News, Perth, WA, 27 October 1891, 3
-
Miss Janet Achurch, The Hamilton spectator., Victoria, 16 July 1891, 2
-
Miss Janet Achurch, The South Australian Register, Adelaide, SA, 7 November 1889, 6
-
Miss Kate Howarde and Coy. A Successful Production., The National Advocate, Bathurst, NSW, 27 December 1902, 5
-
Miss Kate Howarde Co, The Leader, Orange, NSW, 4 January 1904, 2
-
Miss Kate Howarde's Benefit, National Advocate, Bathurst, NSW, 15 October 1897, 2
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Miss Kate Howarde's Co., The Leader, Orange, NSW, 2 January 1904, 2
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Miss Kate Howarde's Co., The Wyalong Star and Temora and Barmedman Advertiser, West Wyalong, NSW, 9 February 1904, 2
-
Miss Kate Howarde's Combine, The Richmond River Express and Tweed Advertiser, NSW, 11 March 1904, 4
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Miss Kate Howarde's Company, The Evening Star, Boulder, WA, 20 January 1905, 3
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Miss Kate Howarde's Company, The Evening Star, Boulder, WA, 28 December 1904, 3
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Miss Kate Howarde's Company, The Evening Star, Boulder, WA, 30 December 1904, 3
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Miss Kate Howarde's Company, The Evening Star, Boulder, WA, 5 January 1905, 3
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Miss Kate Howarde's Company, The Grafton Argus and Clarence River General Advertiser, NSW, 14 March 1904, 2
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Miss Kate Howarde's Company, The Leader, Orange, NSW, 31 December 1902, 2
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Miss Kate Howarde's Company, The Macleay Chronicle, The Macleay Chronicle, Kemps, 16 March 1905, 3
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Miss Kate Howarde's Company, The Morning Bulletin, Rockhampton, Qld, 9 March 1903, 5
-
Miss Kate Howarde's Company, The Narrandera Argus and Riverina Advertiser, NSW, 9 August 1901, 3
-
Miss Kate Howarde's Company, The Wagga Wagga Express, NSW, 24 August 1901, 2
-
Miss Kate Howarde's Company. "For the Term of His Natural Life"., The Evening Star, Boulder, WA, 29 December 1904, 3
-
Miss Kate Howarde's Company. "Sins of a City"., The Evening Star, Boulder, WA, 27 December 1904, 4
-
Miss Kate Howarde's Company. "When the Tide Rises", The Evening Star, Boulder, WA, 31 December 1904, 2
-
Miss Kate Howarde's Company. Boulder Season Opens., The Evening Star, Boulder, WA, 19 January 1905, 2
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Miss Kate Howarde's Dramatic Company, Clarence and Richmond Examiner, 31 March 1900, 5
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Miss Kate Howarde's Dramatic Company, The Northern Star, Lismore, NSW, 10 July 1901, 5
-
Miss Kate Howarde's Dramatic Company, The Singleton Argus, NSW, 9 December 1896, 2
-
Miss Kate Howarde's Musical Combine, The Dubbo Dispatch and Wellington Independent, NSW, 30 January 1904, 4
-
Miss Kate Howarde's Musical Combine, the Wagga Wagga Express, NSW, 16 February 1904, 2
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Miss Kate Howarde's Opera Company, The Wagga Wagga Advertiser, Wagga Wagga, NSW, 15 October 1898, 2
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Miss Kate Howarde's Opera Company, The Wagga Wagga Advertiser, Wagga Wagga, NSW, 18 October 1898, 2
-
Miss Kate Howarde's Opera Company, Toowoomba Chronicle and Darling Downs General Advertiser, Qld, 1 August 1899, 3
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Miss Kate Howarde's Visit, The Coolamon Echo, NSW, 12 February 1904, 2
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Miss Kate Howarde's Visit, The Cootamundra Herald, NSW, 6 February 1904, 2
-
Miss Kate Howarde, National Advocate, Bathurst, NSW, 1 May 1897, 2
-
Miss Kate Howarde, The Goulburn Evening Penny Post, NSW, 22 March 1902, 2
-
Miss Kate Howarde. An English Lass., The National Advocate, Bathurst, NSW, 22 April 1903, 2
-
Miss Kate Howarde. Performance of "Sins of a City"., The National Advocate, Bathurst, NSW, 27 December 1900, 2
-
Miss Kathleen Robinson Entertained, The Advertiser, National Library of Australia, 28 September 1948, 5
-
Miss Lily Stanford's Benefit, The Sydney Morning Herald, NSW, 6 May 1898, 8
-
Miss Maud Jeffries, Australasian Post, 15 January 1898, 26
-
Miss Maud Jeffries, Melbourne Punch, 13 January 1898, 15
-
Miss Maud Jeffries, Melbourne Punch, 26 May 1898, 11
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Miss Maud Jeffries, Melbourne Punch, 30 December 1897, 7
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Miss Maud Jeffries, Melbourne Punch, 6 January 1898, 7
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Miss Maud Jeffries, Quiz and the Lantern, 2 June 1898, 7
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Miss Maud Jeffries, Quiz, 6 April 1906, 5
-
Miss Maud Jeffries, Table Talk, 10 December 1903, 1
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Miss Maud Jeffries, Table Talk, 29 December 1904, 84
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Miss Maud Jeffries, The Brisbane Courier, 6 May 1905, 14
-
Miss Maud Jeffries, The Kalgoorlie Miner, 18 July 1898, 5
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Miss Nellie Stewart's Benefit, The Argus, 2 February 1887, 8
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Miss Preston Stanley's Play, Sydney Morning Herald, 12 November 1932, 8
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Miss Sheargold's Chance in 'Our Miss Gibbs', Newcastle Morning Herald and Miners' Advocate, 22 April 1950, 3
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Miss Woodhill's Entertainment, Sydney Morning Herald, 4 July 1908, 14
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Mission Exhibition, Launceston Examiner, 17 October 1917, 6
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Missionary Pageant, suburban churches to participate, Sunday Times, 20 November 1927, 20
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Mixed Fare at First Drama Evening, The Examiner, National Library of Australia, 10 March 1950, 5
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Mixed reactions to a 'crazy' act, The Age, 8 November 1979, 27
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Mixed Reception. Australian Play in London, Sydney Morning Herald, 9 January 1936, 10
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Modern ballet school, The Australian Women's Weekly, 25 May 1955, 15
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Modern Dance Ensemble, The Age, 13 July 1972, 17
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Modest Mr. Nimmo enters oh so quietly, The Age, 15 September 1971, 2
-
Mohebat Ahmadi, Andrew Bovellʻs When the Rain Stops Falling: Theatre in the Age of ʻHyperobjectsʻ, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 66, April 2015, 40 - 62
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Moira Fortin, Takona: body painting in Rapa Nui performing arts, Australasian Drama Studies, 55, October 2009, 150-163
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Mona Brand, New Theatre Movement: Part 1, 1932-48, Theatre Australia, 3, 3, 1978, 13-15
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Mona Brand, New Theatre Movement: Part II, Cold War and after, Theatre Australia, 3, 4, 1978, 19-20
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Mona Brand, The writer in the theatre, The Australian Author, 1, 4, 1969, 15-19
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Monday, April 16, 1888., Sydney Morning Herald, 16 April 1888, 6, 7
-
Monday, March 26, 1886, The Argus, 26 March 1886, 5
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Monday, November 12, 1866, The Argus, 12 November 1866, 4, 5
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Monica Bradbury, [Held], Press, 7 March 2005, 16
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Monna Dithmer, På Jagt efter det anderledes, Politiken, Theatre and Dance Platform, 22 August 2014, I-11
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Moon goddess dances in new Helpmann ballet, The Age, 19 February 1965, 5
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Moorabbin Group Play Opening, The Age, 7 May 1963, 20
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More Amusement, The Western Champion and General Advertiser for the Central, Barcaldine, Qld., 26 November 1895, 9
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More praise for Journey's End, Barrier Miner, 26 October 1942, 3
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More praise for Zoe, The Age, 3 April 1968, 7
-
More rotten buildings condemned. Some curious sights witnessed., The Daily Telegraph, 7 November 1883, 3
-
More than 50 in the cast, Barrier Miner, 29 October 1964, 14
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Moree, NSW, 26 January 1888, The Maitland Mercury & Hunter River general Advertiser, 30 June 1887, 5
-
Moree-Narrabri Railway, Australian Town and Country Journal, 17 April 1897, 40
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Morpeth - Lecture on Self Education, The Maitland Mercury, National Library of Australia, 10 March 1855, 2
-
Morpeth, The Maitland Mercury, National Library of Australia, 6 June 1855, 2
-
Mosman Daily, 6 October 1971
-
Mosman Pirates In Play For Children, Sydney Morning Herald, 28 December 1949, 2
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Mosquito Plains, Border Watch, 20 February 1863, 3
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Motel...and no vice squad, The Age, 20 August 1968, 6
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Mother, My Daughter, Melbourne Times, 8 December 1982, 19
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Mothers' Rights. Minister Promises Reform. Announcement from Theatre Stage, Sydney Morning Herald, 28 November 1932, 10
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Mount Burr Races, Border Watch, 6 January 1866, 2
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Mount Garnet Carnival, Cairns Post, 24 March 1923, 7
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Mount Morgan, The Capricornian, Rockhampton, Qld, 26 August 1899, 44
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Mouth Wash for "Rusty Bugles", Sydney Morning Herald, 28 October 1948, 1
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Movements of the Princes, The Argus, 23 June 1881, 6
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Moving On Moving On, Theatre Australia, December 1981, 34
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Moya Costello, Tribune, 1 November 1987
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Moya Dodd, On Dit, 1 March 1988
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MP praises tv's "Caine", The Sun (NSW), 21 February 1959
-
Mr Allison's New Theatre, The Daily Telegraph, 2 September 1882, 6
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Mr Bindley drops Repertory work, Barrier Miner, 4 December 1948, 6
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Mr Bland Holtʻs Season, The Daily Telegraph, 2 June 1900, 11
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Mr Deane's Concert and Oratorio , The Maitland Mercury, National Library of Australia, 22 March 1845, 2
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Mr Dion Boucicault: An Interview, The South Australian Register, 29 August 1895, 6
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Mr george Marlow's Companies, Sydney Morning Herald, 3 September 1910, 14
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Mr Harry Craig's Australian Players, Ovens and Murray Advertiser, Beechworth, Victoria, 19 June 1909, 4
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Mr Hutton's Journal of the Governor's Expedition to the Darling, Adelaide Observer, 2 November 1850, 4
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Mr Hutton's Journal of the Governor's Expedition to the Darling, The South Australian Register, 28 October 1850, 3
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Mr J. A. Crain's Benefit, The Sydney Morning Herald, NSW, 14 December 1901, 7
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Mr Jack Needham's Death, Sydney Morning Herald, 24 July 1946, 5
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News has just been received by wire from San Francisco of the sudden death of Mr. James Allison, the well-known Australian manager. At the time of his death he was about 62 years of age, and would be on the eve of his return to Australia. Mr. James Allison was a tailor by trade, and worked for about 12 years in that capacity in Sydney. His first public appearance was with Mr. F. E. Hiscocks, who some years ago published a number of atlases of the Australasian colonies, and Mr. Allison was one of his travellers. They afterwards joined together with the late Mr. Samuel Lazar, and ran the Queen's Theatre, Sydney, where Mr. and Mrs. J. C. Williamson appeared under their management. Some time afterwards Messrs. Allison and Lazar had the Theatre Royal, Adelaide, and after they separated Mr. Allison alone controlled that theatre for several years. In the meantime he was associated with the first visit of Mr. Harry Rickards in 1871, and other attractions. Mr. Allison has managed opera, drama, circus, minstrel and variety companies throughout the Australasian colonies. During Mr. Allison's first visit to America in 1876, he arranged with Mr. George Rignold to visit the colonies with his grand production of "Henry V.," and introduced to Australia the popular comedian, Mr. Fred. Thorne, who was a member of the company, and whose performance of Fluellen will long be remembered. "Henry V." was only produced in Sydney on that occasion. After giving up the Adelaide theatre Mr. Allison and Mr. George Rignold became partners, and carried on the Opera House, Melbourne, for a lengthened season, commencing with "In the Ranks," October 25th, 1884, which was followed by several new and first-class productions. During their season in Melbourne Mr. Allison secured a lengthened lease of a block of ground in Pitt Street, Sydney, and formed a company for the erection of Her Majesty's Theatre, which Messrs. Rignold and Allison opened. Shortly before Mr. Allison's departure for America he separated from Mr. Rignold, in order to enter into other speculations, including the introduction of a Wild West Show in conjunction with Messrs. J. Solomon and J. B. Gaylord. Mr. Allison left for America some three months ago to see after the shipping of the Wild West Show, and to secure other attractions for Australia. Immediately after his arrival in America he was apprised of the sudden death of his wife in Sydney. Mr. Allison again visited America early in 1884, and amongst other attractions he introduced to Australia Miss Jeffreys-Lewis, who made her first appearance in Melbourne at the Theatre Royal, as Fedora, May 17th, 1884. He also secured the rights of the comic operas of "Falka," "Nell Gwynne," "Merry War,".&c. — the two first named were produced at the Opera House under the management of Messrs. Rignold and Allison. When recently in Chicago Mr. Allison was arrested by a representative of a printing firm for an alleged debt for paper supplied for Miss Jeffreys-Lewis' Australian tour, the particulars of which appear in another column. Mr. Allison was also associated with Messrs. F. E. Hiscocks and Wm. Marshall in the erection of the Victoria Hall, Melbourne, but retired from the partnership just prior to his visit to America in 1884. Mr. Allison was twice married, his first wife died at Emerald Hill (South Melbourne). By his death two orphans (boy and girl) are left, we are sorry to learn, very ill-provided for. From what we personally know of Mr. Allison we have every reason to suppose that the cause of his death was hemorrhage, as he had previously suffered from the same complaint. Not- withstanding his many adversities during the last few years. Mr. Allison had a very large circle of friends.
Mr James Allison [obituary], The Lorgnette, 18 January 1890, 5
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Mr James Brennan. An interesting personality. Moree bore baths - fine!, The North West Champion, 26 June 1930, 2
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Mr John C Leete - An Interview, Inquirer and Commercial News, 19 August 1898, 4
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Mr John C Leete's Benefit, Sydney Morning Herald, 24 August 1894, 6
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Mr John C Leete, Referee, 12 November 1913, 15
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Mr Landsborough's Diary, The Courier, 13 October 1862, 4
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Mr Laughton's Second Lecture, The Maitland Mercury, National Library of Australia, 10 January 1846, 2
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Mr Lazar "At Home", Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 14 July 1841, 2
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Mr Levey and the Theatre, The Sydney Monitor, 27 March 1833, 2
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Mr Russell's Lecture, The Maitland Mercury, National Library of Australia, 30 August 1845, 2
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Mr Scott Alexander. Death Announced, Sydney Morning Herald, 3 November 1938, 17
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Mr W. J. Wilson. A Sixty Year's experience, Old Times, April 1903
-
Mr Walter Baker. Death of Old Time Actor, Sydney Morning Herald, 17 July 1933, 10
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MR WALTER MONTGOMERY., The Age, 18 July 1867, 5
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Mr White's Lecture, The Maitland Mercury, National Library of Australia, 1 August 1846, 2
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Mr. Allan Wilkie. Departure for England. Melbourne, July 27, The Brisbane Courier, National Library of Australia, 28 July 1926, 8
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Mr. Arthur Lawrence, Table Talk, National Library of Australia, 22 August 1890, 5
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Mr. Bert Johns to leave for WA; big loss to Repertory, Barrier Miner, 6 September 1949, 3
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Mr. Bland Holt's Farewell (1907, November 1)., The Herald, 1 November 1907, 5
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Mr. Bland Holt, Sunday Times, 17 April 1898, 2
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Mr. Clarence Black Wins Music Scholarship, The Advertiser, 6 December 1934, 10
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Mr. E. C Rolls Resigns Owing To Ill-Health, The Advertiser, 28 April 1939, 7
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Mr. E.J. Gravestock Dead, Sydney Morning Herald, 12 March 1947, 4
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Mr. Forrest's Recent Exploring Trip, The Queenslander, 30 October 1880, 556, 557
-
Mr. G. D. Chaplin, Australian Town and Country Journal, 27 May 1876, 28
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MR. G. L. GOODMAN. DEATH LAST NIGHT. WELL-KNOWN THEATRICAL MANAGER., Sydney Morning Herald, 9 June 1925, 8
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Mr. Graham's frustrating goldmine, The Truth, 20 June 1964
-
Mr. Harry Leston, Sunday Sun, 2 September 1906, 5
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MR. LEVEY AND THE THEATRE. (1833, March 30)., The Sydney Gazette and New South Wales Advertiser, 30 March 1833, 2
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MR. MONTGOMERY'S HAMLET., The Argus, 1 August 1867, 5
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MR. MONTGOMERY'S HAMLET., The Argus, 5 August 1867, 6
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MR PADDY ROACHOCK. Residents of West Australia arc probably not aware that there is at present residing in their midst one of the best athletes that Australia can boast of [...] He can be seen [...] at Farmer & Imray's hostelry at Fremantle, and going by appearances one would imagine that he was not the Hercules that he has proved himself to be. Possessed of a genial disposition he makes friends with everyone, and [...] his quiet, unobtrusive manner gains him many admirers. It is Paddy's intention to settle in West Australia if inducements sufficient are offered [...] Such a man as Paddy we want in this colony, who will interest himself in football, rowing, cricket, or any other athletic sport, and if by chance he settles on our shores we may before long see established a successful athletic hall and a complete gymnasium. Paddy was born at Little River, Victoria, August 6th 1861, and being possessed of a vigorous disposition he was sent to Seners Hill College, South Australia, the intention being [...] to educate him for holy orders or perhaps for the Newspaper profession. However [...] his ambition was to shine as a superior constellation in the athletic horizon, and [...] he made his public debut in 1878 when he astonished everybody at running all distances laid down in the usual athletic programme. He was victorious in many races that year and capped all his previous performances by completing ten miles under an hour. [...] In 1880 he defeated P. Higgins, the champion pole leaper of South Australia clearing 11 feet 2 and 1/2 inches, and at hurdle racing this year he had no equals [...] On Monday 7 evening the public will have an opportunity of witnessing some of his physical feats with the Indian clubs, dumb bells and wrestling, and we are sure that a [...] novel entertainment [will be] given by this popular athlete in the Fremantle Town Hall. We want to know if Mr. Mason holds the championship [of something or other] of the colony and if anybody who can make more than nineteen in a break [...] If so we will produce our high pressure office-boy who is only an amateur and back him for a quart of Cheshire's best prawns.
Mr. Paddy Roachock, The W.A. Bulletin, 7 December 1889, 13
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MR. WALTER MONTGOMERY, The Argus, 20 July 1867, 5
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Mrs F A Baverstock, Stage Celebrities: Miss Maud Jeffries, The Red Funnel, 1, December 1905, 454-456
-
Mrs F A Baverstock, Stage Celebrities: Mr Julius Knight, The Red Funnel, 1, 1, August 1905, 86
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Mrs F A Baverstock, Stage Celebrities: [The Brough-Flemming Comedy Company], The Red Funnel, 1, 3, October 1905, 225-227
-
Mrs Robert Brough. Death in Sydney. Popular and Gifted Actress., The Argus, National Library of Australia, 8 January 1932, 6
-
Mrs. Bland Holt, The Sunday Sun and Guardian, 19 January 1908, 1
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Mrs. Warren's Profession, Sunday Times, 15 December 1918, 2
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Ms Clifton goes solo with style, The Age, 24 December 1984, 10
-
MSB grants, for HVTC, orchestra, Newcastle Herald, 31 October 1986, 12
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Mt Gambier, SA. 19 November 1881., Border Watch, 16 February 1881, 2
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Mt Isa Notes, Townsville Daily Bulletin, 25 April 1936, 11
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Mt Morgan/Rocky man’s tale told on stage in Central QLD, The Morning Bulletin, 16 April 2016
-
Mulit-coloured balderdash, The Age, 31 January 1958, 2
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Mullewa, Western Mail, 21 January 1916, 17
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Multum in Parvo, Maryborough and Dunolly Advertiser, 8 April 1859, 2
-
Mungo B MacCallum, The Background of 'As You Like It', Sydney Morning Herald, 20 July 1935, 11
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Municipal Matters, The Gundagai Independent and Pastoral, Agricultural and Min, NSW, 27 February 1901, 7
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Murder at Ministry, Barrier Miner, 7 April 1948, 3
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Murder in Antarctic, Pix, 21 August 1954, 29-31
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Murgon Show, The Queenslander, 22 May 1926, 39
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Muriel Starr dies in U.S., Sydney Morning Herald, 21 May 1950, 3
-
Set up to manage the Adelaide Festival Centre and to encourage the arts in South Australia, the Adelaide Festival Centre Trust has promoted all art forms and offered popular and artistically adventurous programs. The South Australian Parliament legislated in 1971 to establish the trust, which was initially concerned with managing the theatres in the centre. It also oversaw the running of Her Majesty’s Theatre. In 1980 it began co-production, staging the musical Evita with Robert Stigwood. Since then it has co-produced musicals with Cameron Mackintosh. The sets for all his major Australian productions have been built at the trust's workshops near Adelaide. The success of commercial ventures such as the musicals Cats, The King and I, My Fair Lady and The Phantom of the Opera has increasingly subsidised more specialised productions, the trust's education program and other arts developments. The general managers of the trust have been, successively, Anthony Steel, Kevin Earle and Tim Macfarlane.
Murray Bramwell, Adelaide Festival Centre Trust, Companion To Theatre In Australia, 1995, 30
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Murray Bramwell, Australian Listener, 30 July 1988
-
Murray Bramwell, Coffee with the King, 1 October 2009
-
Murray Bramwell, Happy Days is here again, The Advertiser, 18 May 1991, 10
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Murray Bramwell, Many Lives As A Cat: The University of Adelaide Theatre Guild 1938-1998 (Review), Australasian Drama Studies, April 2002, 146-151
-
Murray Bramwell, More Weight, The Adelaide Review, 235, April 2003, 19-20
-
Murray Bramwell, Reviewing the reviewers: thoughts on the place of criticism in the theatre, Island Magazine, 41, Summer, 1989, 44-47
-
Murray Bramwell, The Adelaide Review, 1 March 1988
-
Murray Bramwell, The Adelaide Review, 1 March 1988
-
Murray Bramwell, The Adelaide Review, 1 March 1988
-
Murray Bramwell, The Adelaide Review, 1 November 1987
-
Murray Bramwell, The Adelaide Review, 1 September 1988
-
Murray Bramwell, The Adelaide Review, 9 October 2006, 0
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Murray Bramwell, The Advertiser, 1 December 1987
-
Murray Bramwell, The Advertiser, 21 March 1988
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Murray Bramwell, The Advertiser, 29 February 1988
-
Murray Bramwell, The Advertiser, 5 March 1988
-
Murray Bramwell, The Pram Factory: The Australian Performing Group Recollected (Review), Australasian Drama Studies, April 2002, 146-151
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Murray Bramwell, [Troupe], Centrestage Australia, 1, 5, March 1987, 15-16
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Murray Edmond, 'I want you boys to cook a pig': the two no. 2s, Australasian Drama Studies, 55, October 2009, 117-131
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Murray Edmond, How gothic is s/he?: three New Zealand dramas, Australasian Drama Studies, 44, April 2004, 113-129
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Murray Edmond, Lighting out for paradise: New Zealand theatre and the 'other' tradition, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 18, April 1991, 183 - 206
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Murray Edmond, Te Kaainga/Where the Fire Burns - Hone Kouka's Trilogy: Waiora, Homefires and The Prophet, Australasian Drama Studies, 50, April 2007, 91-110
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Murray Edmond, The 'original' Downstage and the theatre of its history, Australasian Drama Studies, 36, April 2000, 35-56
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Murray Goot, Lumsdaine, John Sinclair (Jack) (1895–1948), Australian Dictionary of Biography Online, 1986
-
Muse
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Muse, 1 April 2001, 3
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Muse, May 1993, 23
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Muse, November 1999
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Musgrave's Dance, On Dit, The University of Adelaide, Library Special Collections, 36, 8, 5 July 1968, 13
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Music and Drama, Day Must Break, The Sydney Mail, 10 November 1937, 41
-
Music and Drama, Sydney Morning Herald, 10 July 1937, 12
-
Music and Drama, Sydney Morning Herald, 10 June 1916, 8
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Music and Drama, Sydney Morning Herald, 10 March 1934, 10
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Music and Drama, Sydney Morning Herald, 17 October 1914, 8
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Music and Drama, Sydney Morning Herald, 2 March 1935, 10
-
Music and Drama, Sydney Morning Herald, 2 September 1906, 1
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Music and Drama, Sydney Morning Herald, 20 August 1921, 8
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Music and Drama, Sydney Morning Herald, 23 August 1921, 8
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Music and Drama, Sydney Morning Herald, 27 July 1935, 10
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Music and Drama, Sydney Morning Herald, 28 September 1935, 12
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Music and Drama, Sydney Morning Herald, National Library of Australia, 23 March 1882, 7
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Music and Drama, The Sunday Sun, 31 October 1909, 7
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Music and Drama, The Sydney Mail and New South Wales Advertiser, 3 May 1884, 846
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Music and Drama, The Sydney Mail, 10 June 1931, 24
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Music and Drama. "The Barretts of Wimpole-Street", The Sydney Mail, 20 April 1932, 11
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Music and Drama. 'Dear Doctor'., Sydney Morning Herald, 20 December 1930, 10
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Music and Drama. Arthur Bodanzky's Visit. Eminent Orchestral Conductor., Sydney Morning Herald, 25 February 1939, 20
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Music and Drama. Australian Plays, Sydney Morning Herald, 17 April 1937, 12
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Music and Drama. Founders of the "T.O.Y.", Sydney Morning Herald, 10 October 1931, 6
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Music and Drama. Her Majestys - Oh! Oh! Delphine!, The Argus, 9 September 1918, 6
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Music and Drama. Miss May Hollinworth, The Telegraph (Brisbane), 11 June 1938, 24
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Music and Drama. More About Daybreak, Sydney Morning Herald, 30 October 1937, 12
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Music and Drama. New Australian Play., Sydney Morning Herald, 18 August 1934, 10
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Music and Drama. New Play In Melbourne., Sydney Morning Herald, 4 April 1934
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Music and Drama. Obituary of Joseph Wyatt, The Sydney Mail and New South Wales Advertiser, 28 July 1860, 5
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Music and Drama. Pickwick Theatre Disbanding, Sydney Morning Herald, 31 December 1932, 6
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Music And Drama. Poet, Playwright & Martyr , Sydney Morning Herald, 13 October 1951, 7
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Music and Drama. Rostand's "Aiglon, Sydney Morning Herald, 5 August 1933, 8
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Music and Drama. Royal - The Girl in the Taxi, The Argus, National Library of Australia, 23 August 1920, 9
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Music and Drama. Royal - Yes Uncle, The Argus, National Library of Australia, 14 June 1920, 3
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Music and Drama. The Independent Theatre, Sydney Morning Herald, 17 October 1936, 12
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Music and Drama. The Russian Ballet - Returning in November., Sydney Morning Herald, 8 April 1939, 10
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Music and Drama. The Sydney Eisteddfod, 15 April 1933, 6
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Music and Drama.Shakespeare Matinees - Gilbert and Sullivan Season, Sydney Morning Herald, National Library of Australia, 23 March 1940, 08
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Music and Drama: Phoenix Group's Aims - Pro-Australian Policy, Sydney Morning Herald, 7 December 1940, 10
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Music and the Drama, Australian Town and Country Journal, 10 March 1883, 13
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Music and the Drama, The Tasmanian, 28 December 1895, 22
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Music and the Drama. The Theatre's Ups and Downs. , Sydney Morning Herald, 13 August 1938, 20
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Music and the Drama. 'Cherry Acres'., The Brisbane Courier, 20 August 1932, 19
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Long after there was a known and obvious demand for such buildings, Sydney lagged far behind smaller cities in other parts of the world in the size and number of its play-houses and concert rooms. How much this was the case may be realised by the fact that four or five years ago the Opera House was second in importance only to the Theatre Royal, whilst amateurs of music regarded the Old Masonic-hall as a place of fashionable resort. The opening of the Criterion Theatre, Christmas 1886, and of Her Majesty's the following September, put a different face upon affairs, whilst the erection of the Y.M.C.A.-hall was another important step in the right direction. Still it was felt that Sydney was woefully behind in providing accommodation for the leading choral societies. The completion of the New Masonic-hall did little to improve the situation, not only from its out-of-the-way position, but because its proportions were too nearly the same as the Protestant and other existing halls. For gatherings of 2000 people and upwards the Exhibition Building came into vogue, its glaring inconveniences serving as a standing protest against wearisome delay in the completion of the Town-hall. Quite lately the Halle concerts have opened the eyes of those most interested to the fact that for two years past they have had lying idle a fine property in the Wesleyan Centenary-hall, which supplies the need of a chamber for extraordinary concert purposes as it is larger than its rivals and yet not so vast as the hall to be opened this afternoon. To-day's ceremony will give a great stimulus to musical enterprise, and will place Sydney in its proper relative position in the matter of concert-room accommodation. What has been done for musical amateurs will shortly be done for playgoers. Mr. J. F. Scholer, the proprietor, and Mr. F E. Hiscocks, the lessee, announce that they will open their new house in Castlereagh-street at the end of the year. At first rumor had it that they had named their house " The Princess's," but better counsels prevailed and everyone will approve of " The Imperial Theatre." It will be opened about the same time as the Imperial Arcade, and both places will act and re-act upon each other in locating in the public mind these additions to the city. In the meantime Messrs. Backhouse and Laidley are preparing plans for a theatre in Pitt-street to be called the " Bijou." The choice of title, if indeed it be chosen, shows a strange lack of originality and independence of thought. Surely, with a score of time-honored names available, the mistake of slavishly following Melbourne, and of borrowing a French word in order to do so, may be avoided. The title should be one that will be peculiar to Sydney as against the other Australian capitals. Suppose that instead of reduplicating the names of Melbourne theatres âÃÂàTheatre Royal, Opera House, Princess's and Bijou TheatresâÃÂàthe new play-house be named the Globe, the Shakespeare, the Garrick, the Nugget, the Folly or the Carrington? The names are legion which would be preferable to the appellation at present suggested.
Music and the Drama. At home and abroad., The Daily Telegraph, 9 August 1890, 9
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Music and the Drama. Play by Mrs Tobin., Sydney Morning Herald, 10 September 1932, 8
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Music and the Movies, Sydney Morning Herald, 26 January 1924, 8
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Music and the Theatre, The West Australian, 13 December 1930, 5
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Music and the Theatre, The West Australian, 22 August 1936, 23.
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Music and the Theatre, The West Australian, 27 February 1932, 5
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Music and Theatre, The West Australian, 2 March 1935, 21.
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Music and Theatre: Rusty Bugles Ran in Two Cities, The Sunday Herald, 24 April 1949, 10
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To the editor of the Argus
Sir, - it must be indeed pleasing to all lovers of really good music to watch the rapid advance which the art is making among all classes of our community. The fact was never more apparent than at the Theatre Royal last night. The musical Union and Mr Lyster’s opera company have reason to congratulate themselves upon the successful experiment of introducing instrumental compositions of the very first water to an Australian audience. It has been long urged that the symphonies of Beethoven, Mozart, and others were of too classical a nature and too tediously long, to be listened to with patience and pleasure by a Melbourne audience; but the breathless attention during the performance of Beethoven’s No 2, an the symphonies of Mendelssohn, and the outburst of genuine applause at the termination of each movement, must clearly prove the promulgation of such objection to be in error.
It is to be hoped, now that the experiment has been tried, with result so successful, that our musical societies will often introduce such competitions into their programmes, and that we shall have periodical performances after the same model as those which at the present time command so much public attention in the metropolis and provincial cities of the mother country.
Yours &c.
Allegretto
MUSIC IN VICTORIA. (1862, May 17, The Argus, National Library of Australia, 17 May 1862, 7
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Music. Song, and Story An entertainment will be given in Queen's Hall on Monday (Proclamation Day) night by Sister Elinor, of Melbourne. assisted by leading artistes, entitled, "Music, Song, and Story." Sister Elinor will give a series of character sketches. illustrative of the humour and pathos of life as seen in the highways. the byways. and on the railways. A musical programme will be rendered by Miss Jule Layton, Miss Page Smith. Mrs. Kerferd. Miss Marrie, Mr. H. McCormick, and Mr. E. A. Polglase. Tickets may be obtained at Nicholson's and the Methodist Book Depot.
Music. Song, and Story, The West Australian, (Perth, WA : 1879 - 1954) , 19 October 1900, 4
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With the newly-opened Palace Theatre there are now nine playhouses in Sydney, of which number only two will remain closed this evening. The curious feature in the local record is that all the chief theatres have been erected during the past 10 years. The exceptions are the Gaiety Theatre, which is also known as the Guild Hall, and the Opera House, which, unfortunately for its prospenty, stands in the quarter now entirely devoted to the wholesale warehouses. The Opera House was vastly improved under Messrs Majeroni and Wilson's management in the middle of 1884, when the flat ceiling was replaced by a cupola, and the theatre was then reopened with considerable éclat (30th June) with a revival of "Marie Antoinette," by Signor and Signora Majeroni. The present Theatre Royal occupies the oldest theatrical site in the city. The Prince of Wales Theatre stood there in 1854, was utterly destroyed by fire in 1860, was again demolished in 1872, and being rebuilt as the Theatre Royal was burnt a third time on 17th June, 1892. Mrs Bernard Beere had been playing " London Assurance" only a few hours previously. Only a portion of the outer walls were left standing, and the present building has only been in existence since Miss Clara Merivale's appearance in "Falka" at Christmas, 1892. The Criterion Theatre was opened with Miss Emilie Melville in " Falka," which was not played again for six years, at Christmas, I886. However, in anticipation of the Brough-Boucicault revival of "Much Ado About Nothing" (Christmas, 1892), a new face was put upon the interior, and at a cost of £8000 the present lofty dome was raised, the size of the stage was nearly doubled, and other structural improvements were made. The next new theatre was Her Majesty's, opened by Mr George Rignold with "Henry V" in September, 1887. This splendid theatre has suffered less damage than any other in the city. Early in 1890 the little Academy of Music was pulled down, and at Christmas of that year the Garrick Theatre was completed on the same site, and was opened by Miss Olga Nethersole and Mr Charles Cartwright with "Moths". Mr Harry Rickards acquired this property, and re-named it the Tivoli on 18th February, 1893.
The opening of the Lyceum Theatre, With Miss Alice Leamar and Mr Robert Courtneidge in "Little Red Riding Hood," took place at Christmas, 1892 â a somewhat memorable date in local theatrical records. The Royal Standard Theatre was almost new when Mr Alfred Dampier was lessee in 1886 ; but no other actor-manager has flourished there, and of late years the house, like its neighbour the Gaiety, has become popular chiefly for amateur entertainments. If we glance at the history of musical enterprise in the city, we find that during much the same period the old concert halls have been displaced in favour of more central buildings. The last important occasion on which the once popular Old Masonic Hall (York-street) was used, was at the Victor Hugo Celebration Concert in 1885. The New Masonic Hall, opened in Castlereagh-street the following year, was placed a little too far away from the city, and, after the Metropolitan Liedertafel ceased to give concerts there, now some years ago, the hall fell into comparative disuse. But the eclipse of these halls and of the Protestant Hall, a once fashionable salon, where Mme Melba gave her farewell concert, was due to the erection of the elegant and central building of the Y.M.C.A. â now recognised as the favourite hall for all but the great musical functions. The inconvenient Exhibition Building almost faded out of existence when the completed Town Hall was opened on the 27th November, 1889. Mr Charles Santley was the first solo singer to appear there â the occasion being his farewell concert on the 30th November of that year. Just a year earlier, the completion of the York-street Centenary Hall furnished concert-goers with another rendezvous, which has continued to be frequently used up to the present time. In June, 1892, the Oddfellows' Temple was opened, and just two years ago the list of concert rooms was increased by the erection of the Manchester Unity Hall. Thus we see that not only all the present theatres of the city, but also all the concert halls have been erected during the past 10 or 12 years, which fact, all things considered, forms a decidedly curious feature in the theatrical and musical history of Sydney.
Musical and Dramatic Notes, Sydney Morning Herald, 26 December 1896, 5
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Musical and Dramatic Notes, The West Australian, (Perth, WA : 1879 - 1954), 29 March 1913, 9
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MUSICAL AND DRAMATIC NOTES. (1901, February 2)., Sydney Morning Herald, 2 February 1901, 4
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Musical Comedy "Sally" for Cessnock, The Cessnock Eagle and South Maitland Recorder, 23 July 1954, 1
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Musical Comedy by Ether. Radio Broadcasting Service Begins., The Daily Telegraph, 10 January 1924, 3
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Musical Comedy Season. Going Up., The West Australian, 30 April 1920, 8
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Musical Entertainment, The Maitland Mercury, National Library of Australia, 18 August 1847, 2
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Musical Entertainment, The Maitland Mercury, National Library of Australia, 19 August 1848, 2
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Musical Entertainment, The Maitland Mercury, National Library of Australia, 21 March 1849, 2
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Musical Entertainment, The Maitland Mercury, National Library of Australia, 3 January 1849, 2
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Musical Festivity, The Maitland Mercury, National Library of Australia, 17 July 1856, 2
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Musical Play. By Sydney Residents. Acclaimed in Melbourne., Sydney Morning Herald, 26 December 1933, 7
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Muswell Brook - Lecture, The Maitland Mercury, National Library of Australia, 7 October 1848, 2
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Mutiny repeat on 7, The Herald Sun, 17 February 1959
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Mutoscope Biotint Tour, Clarence and Richmond Examiner, 6 September 1904, 5
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Mutoscope Biotint Tour, The Richmond River Express and Tweed Advertiser, 13 September 1904, 2
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Mutoscope Biotint Tour, The Richmond River Express and Tweed Advertiser, 9 September 1904, 4
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MUTOSCOPE-BIOTINT COMPANY, The Morning Bulletin, 4 August 1904, 6
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My daughter was not a 'druggie', Woman's Day, The University of Adelaide, Library Special Collections, 5 July 1988, 10-12
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My Fair Lady's Final Bow, The Age, 27 August 1962, 3
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My Name is Pablo Picasso, The National Times, 10 May 1981, 43
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Myfanwy Warhurst, Inpress, 6 May 1998
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Myke Bartlett, Watch This Face, The Weekly Review, Theatre and Dance Platform, 5 June 2016
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Myles Wearring, Sydney Star Observer, 12 January 2006, 18
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Myles Wearring, Sydney Star Observer, 16 November 2006, 9
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N.Z. Playwright also Accountant, The Age, 13 January 1965, 15
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Nadia Fletcher, Humour in The Doll Trilogy, Australasian Drama Studies, Australasian Drama Studies, C/- Department of English, Univ, 7, October 1985, 53 - 68
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Nadia Fletcher, Reg Livermore: a laugh in the wilderness, Australasian Drama Studies, 26, April 1995, 4-6
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Nadia Fletcher, Review: Jennifer Clare, The Butterflies of Kalimantan and Michael Gow, The Kid, Australasian Drama Studies, Australasian Drama Studies
c/- Department of English
Uni, 2, 2, April 1984, 115 - 118
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Nadine Williams, Second thoughts on sexism, The Advertiser, 14 March 1996, 23
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Nan Musgrove, [The Caine Mutiny Court Martial], The Australian Women's Weekly, 21 January 1959
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Nan Webber, Parramatta Advertiser, 16 March 1988
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Nancye loves her pussy cats, The Age, 13 January 1972, 14
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Nanja Mitchell, Beat, 27 May 1987
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Naomi Guss, Funding dance: who gets it and why, artsHub, Theatre and Dance Platform, 31 October 2005
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Naomi Milthorpe, bma (bands music action) , 10 April 2003, 27
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Naomi Milthorpe, bma (bands music action) , 12 July 2007, 24
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Naomi Milthorpe, bma (bands music action) , 14 July 2005, 22
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Naomi Milthorpe, bma (bands music action) , 21 November 2002, 25
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Naomi Milthorpe, bma (bands music action) , 27 March 2003, 27
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Naomi Milthorpe, bma (bands music action) , 29 June 2006, 24
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Naomi Milthorpe, bma (bands music action) , 31 May 2007, 25
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Naomi Milthorpe, bma (bands music action) , 6 March 2008, 27
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Naomi Mulholland, Too Good to Refuse, Dance Australia, Theatre and Dance Platform, February/March, 1999
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Narrow Escapes, The Brisbane Courier, 21 May 1924, 10
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Narrow Feint, Weekender, 14 May 1982, 13
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Natalee Ward, The Sunday Herald Sun, 10 May 1998
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Natalee Ward, The Sunday Herald Sun, 31 May 1998
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Natalie Gregg, Raw talent on tap, Arts and Entertainment, 15 August 2003, 43
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Natalie Lazaroo, Circus in the Cemetery: Transforming Space and Unearthing Memory in Vulcana Women's Circus Performance, Grave Effect of Notable Women, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 62, October 1995, 194 - 205
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Natalie Lazaroo, Weʻre off to see the wizard of Auslan: Translating deaf experience through community performance, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 243 - 256
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Natalie Rewa, Astrid Janson's designs for performance, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 29, October 1996, 85 - 98
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Natalie Rewa, The Prague Quadrennial: Repositioning design for performance, Australasian Drama Studies, 61, October 2012, 131-155
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Natalie Robertson, Firm feet for dancer, Moreland Leader, Theatre and Dance Platform, 7 March 2005
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Natasha Robinson, Review, 22 July 2006, 3
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Natasha Rudra, All the way with Figaro, Times2, 1 August 2007, 8
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Natasha Rudra, The Canberra Times, 14 July 2007, 7
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Natasha Rudra, The Canberra Times, 6 July 2007, 6
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Natasha Rudra, The Canberra Times, 6 June 2007, 7
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Natasha Rudra, The colour and the glory, Panorama, 6 October 2007, 6-7
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Nathan Garvey, Reviewing Australia's first performance: The Recruiting Officer in Sydney 1789, Australasian Drama Studies, 40, April 2002, 26-57
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National Sporting Club of Australia Limited, Sydney Sportsman, 30 July 1902, 8
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National theatre finds hall, The Age, 24 September 1968, 6
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National Theatre Opera on LO, The Age, 18 March 1954, 1
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National Theatre, The Examiner, National Library of Australia, 26 March 1934, 6
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National To Continue As City Theatre, The Examiner, National Library of Australia, 10 July 1948, 3
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Native Corroboree at Perth, The West Australian, 20 April 1889, 3
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Native Corroboree at Perth, Western Mail, 17 April 1889, 16
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Native Corroboree, The Advertiser, 31 January 1898, 6
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Native Corroboree, The Brisbane Courier, 19 November 1923, 12
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Native Corroborees, The Register, 18 May 1907, 8
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Native Exhibition, Inquirer and Commercial News, 23 December 1898, 8
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Native Shepherding, Western Mail, 12 February 1910, 44, 45
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Native Singers' Entertainment, The South Australian Register, 14 August 1900, 6
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Native Singers' Entertainment, The South Australian Register, 20 August 1900, 3
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Native Talent, The Colonial Times, 8 January 1856, 2
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Native Volunteer Cavalry, Melbourne Punch, 4 October 1860, 7
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Natives., Northern Argus, 10 July 1888, 2
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Nativity Play. Production in Sydney, The Sun (NSW), 6 December 1929, 19
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Nature Kind to the Fishes, The Ballarat Star, Vic., 14 January 1902, 5
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Naughty Lola in Canberra, On Stage, 12, 3, 2011, 9
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Neal Harvey, The time being, RealTime Arts, 73, June 2006, 31
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Near and Far, Sydney Morning Herald, 28 October 1931, 5
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Ned Manning, Sydney Morning Herald, 13 June 2001, 20
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Negro dancing time jives into Melbourne, The Argus, 26 January 1955
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Neil Jillett, A matching partnership, The Age, 11 August 1980, 10
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Neil Jillett, A modest step forward, The Age, Theatre and Dance Platform, 18 April 1988
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Neil Jillett, A twittering king sings anew, The Age, 12 March 1980, 10
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Neil Jillett, Dance and Dancers, June 1982, 14
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Neil Jillett, His music enhances the words, The Age, 30 August 1978, 2
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Neil Jillett, Killing a king could bring a writing career to life, The Age, 11 May 1978, 1
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Neil Jillett, Laurels for Hardy?, The Age, The University of Adelaide, Library Special Collections, 20 September 1978
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Neil Jillett, Mangin to sing a strai-laced devil, The Age, 9 October 1981, 10
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Neil Jillett, New Play, The Age, Theatre and Dance Platform, 20 August 1963, 2
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Neil Jillett, The Age, 27 March 1980, 10
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Neil Jillett, Unsticking a stigma, The Age, 2 December 1980, 10
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Neil Johnston, A serious message behind the laughter, Belfast Telegraph, Theatre and Dance Platform, 1 November 2005, 12 (morning edition)
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Neil Johnston, A walk on the wild side, Belfast Telegraph, Theatre and Dance Platform, 2 November 2005, 10
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Neil Johnston, Enjoy a taste of the wild life, Belfast Telegraph, Theatre and Dance Platform, 2 November 2005, 18 (morning edition)
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Neil Johnston, The tears behind the laughter of the clowns, Belfast Telegraph, Theatre and Dance Platform, 1 November 2005, 9
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Neil Lade, Times out, 19 April 2001, -1
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Neil Litchfield, Stage Whispers, 2003, 3
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Neil Melloy, Late City, 21 February 1997, 13
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Neil Mitchell, Wendy Milsom, A Conductor Out of Tune with Auhtority, The Age, 5 May 1979, 2
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Neil Strauss, Spectrum, 21 June 2003, 10
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Neil Wiseman, It's why the lady is a vamp, Sunday Extra, 24 August 2003, 55
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Nelle Scanlan, Music and Drama. Theatrical Affairs, Sydney Morning Herald, 8 February 1936, 12
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Nelson Burns, This 'hand' takes some beating, Courier Mail, 8 June 1950, 3
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Nerida Dickinson, What’s big about being small?, RealTime Arts, 123, October 2014
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Neville Teede, Theatre out west, Meanjin, 43, 1, 1984, [no pages]
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New 1940 North China Troupe to Open At Crystal Theatre Tuesday, Barrier Miner, 13 February 1940, 2
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New Adelaide Company..., Theatre Australia, 5, 1, August 1980, 7
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New Adelaide Theatre, The Argus, 12 October 1912, 17
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New American Comedy at Minerva, Sydney Morning Herald, 3 December 1949, 12
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New Australian Play, Sydney Morning Herald, 5 December 1934, 9
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New Australian Play, The Herald, 8 September 1934, 37
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New Blood: Press Release, March 1980
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New collides with old in telling of class, Courier Mail, 17 January 2002, 6
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New Comedy At Minerva. French Without Tears., Sydney Morning Herald, 24 May 1940, 7
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New Companies Registered. The Princess Theatre Company Limited., Table Talk, 6 February 1891, 8
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New crime play, The Argus, 6 May 1940, 5
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NEW DRAMATIC COMPANY. (1909, December 6)., 6 December 1909
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New era for TV drama, TV Week, 8 January 1959, 70
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New executive director for Elizabethan Trust, Australian Theatregoer, 2/12, December, 1962, 9
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New Farm Park Celebration, The Brisbane Courier, 15 August 1924, 19
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New G.O.C.'s wife used to entertaining, Sydney Morning Herald, 8 March 1951, 15
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New Gerald Show at Tivoli To-morrow, The Labor Daily, 16 February 1933, 10
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New Masonic Hall, Sydney Morning Herald, 7 January 1884, 8
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New Minerva Comedy Has Old Pattern, Sydney Morning Herald, 24 February 1948, 4
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New Minerva Play. See Naples and Die., Sydney Morning Herald, 2 November 1942, 3
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New Music, Sydney Morning Herald, 14 July 1934, 7
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New Mystery Play at Minerva, Sydney Morning Herald, 5 September 1944, 4
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New name, now for a subsidy, The Age, 29 July 1976, 2
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New Olympia Theatre, Sydney Morning Herald, 7 November 1910, 9
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New Opera House, Sydney Morning Herald, 26 September 1885, 11
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New Play at the Minerva, Sydney Morning Herald, 17 September 1946, 6
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New play for Repertory, Barrier Miner, 24 September 1954, 7
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New Play in Newcastle, Newcastle Morning Herald and Miners' Advocate, 6 March 1952, 4
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New Play Wins Award, The Examiner, State Library of Tasmania, Launceston Reference Library, 29 June 1964, 9
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New Player for Phil. Lead, The Canberra Times, 6 July 1956, 2
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New Plays, Sydney Morning Herald, 4 March 1931, 8
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New praise for play, The Age, 9 February 1966, 4
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New Princess Theatre, The Examiner, National Library of Australia, 26 October 1939, 11
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New Repertory Club Plays, Barrier Miner, 3 November 1950, 5
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New Repertory Play a Success, Barrier Miner, 23 April 1952, 9
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New Revue at St. Martin's, The Age, 1 June 1963, 8
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New Section in Drama Festival, The Examiner, National Library of Australia, 5 April 1951, 4
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New show at Tivoli, The Argus, 20 March 1945, 4
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New show's strong girl, Courier Mail, 19 April 1949, 5
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New Sky, Newcastle Herald, 10 October 1983, 3
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New Slant on Theatrical Pay, The Sun (NSW), 27 June 1947, 8
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New South Wales Intelligence. (1832, October 5), The Tasmanian, 5 October 1832, 7
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New South Wales, South Australian Advertiser, 12 March 1868, 2
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New South Wales, The Southern Argus, 29 February 1868, 3
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New star for Nanette named soon, The Age, 26 September 1972, 2
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New Studio. 2KY Radiotorium On The Air, Daily News, 6 June 1939, 5
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New Supper Revue, The Age, 1 October 1960, 7
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New Swan Lodge I.O.O.F., The Daily News, (Perth, WA : 1882 - 1950) , 23 August 1895, 5
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New Sydney Repertory Theatre, Sydney Morning Herald, 2 April 1932, 8
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New Theatre Activities, Sydney Morning Herald, 12 June 1937, 10
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New theatre gives two plays, Sydney Morning Herald, 15 June 1946, 13
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New Theatre League, Sydney Morning Herald, 16 September 1939, 9
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New Theatre League, Sydney Morning Herald, 2 September 1939, 9
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New Theatre League, Sydney Morning Herald, 23 September 1939, 9
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New Theatre League, Sydney Morning Herald, 30 September 1939, 9
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New Theatre move — can you assist?, Tribune, 24 March 1954, 5
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The managing directors of General Theatres Corporation of Australasia Ltd. announce that a lease has been signed with Interstate Properties Ltd. for the erection of the Prince of Wales Theatre on the old Tivoli Theatre site In Castlereagh-street. Already the demolishers are at work and, according to present plans, this theatre will be open at Easter. The new Prince of Wales Theatre will be erected following General Theatres Corporation's plan to develop moderate-sized intimate theatres for the purpose of presenting British pictures of special merit for extended seasons. MODERN DESIGN Last week the corporation opened the Mayfair Theatre in Bourke-street, Melbourne, for the same purpose, and the construction of the Prince of Wales Theatre will link with the Mayfair Theatre, Melbourne, in the general releasing plans. The design of the Prince of Wales will be of the most modern nature, and modernistic decoration will be introduced. Special attention is being given to the seating, which will be ample. A large number of semi-lounges will be supplied. The method of projection will be of the very latest form and will include the new wide-range devices for the reproduction of sound.
New Theatre On Site of Old Tivoli, The Sun (NSW), 15 December 1933, 9
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New Theatre Royal Big Remodelling Scheme. TO COST £50,000, Evening News, 15 November 1920, 3
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New Theatre, Campbell-Street, The Hobart Town Courier, 10 March 1837, 2
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New Theatre, Weekly Courier, State Library of Tasmania, Launceston Reference Library, 23 February 1911, 2
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NEW THEATRE. (1827, July 25)., The Australian, 25 July 1827, 3
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New Theatrical Artists. Arrival of "Love Lies" Company, Sydney Morning Herald, 24 May 1930, 17
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New Theatrical Company, The Mail, 19 January 1946, 5
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New Tivoli revue Monday, The Argus, 31 January 1946, 7
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New Tivoli revue, The Argus, 29 July 1946, 4
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New Tivoli show, Sydney Morning Herald, 22 May 1945, 8
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New Tivoli show, The Argus, 6 May 1946, 4
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New Tivoli Theatre, Sydney Morning Herald, 27 February 1933, 5
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New Tivoli Theatre, Sydney Morning Herald, 27 March 1933, 5
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New Tivoli Theatre, Sydney Morning Herald, 3 April 1933, 5
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New Varieties at Crystal, Barrier Miner, 15 July 1942, 3
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New venture. Hugh J. Ward Theatres Ltd., The Daily Telegraph, 9 March 1922, 5
-
New Version of Top of the Bill, Sydney Morning Herald, 10 June 1954, 4
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New Year Celebrations with a Difference, Chronicle (Adelaide, SA : 1895 - 1954), National Library of Australia, 7 February 1935, 51
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-
New Year's Eve, The Millthorpe Post, NSW, 5 January 1901, 4
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New Zealand, The Lorgnette, Melbourne, Victoria, 22 November 1890, 6
-
New Zealand, The Lorgnette, Melbourne, Victoria, 8 November 1890, 6
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New, spicy Nanette, The Age, 13 November 1972, 2
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New-look Daly still the same, The Age, 23 July 1973, 2
-
New-look Lido will reopen in a few weeks, The Age, 3 January 1969, 2
-
New-look Lynn not on show, The Age, 3 June 1969, 10
-
Newcastle Herald, 1 June 1972, 0
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Newcastle Herald, 7 June 1972, 0
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Newcastle Herald, 9 October 1982, 0
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Newcastle Man to the Rescue, Newcastle Sun, 13 June 1963
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Newcastle Morning Herald and Miners' Advocate, 25 February 1971, 0
-
Newcastle Singers for Recital, The Cessnock Eagle and South Maitland Recorder, 2 October 1953
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Newcastle Sun, 24 May 1979, 0
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Newcomers to Tivoli, 4 February 1946, 6
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News - AIDS Council of South Australia, National AIDS Bulletin, May 1990, 42
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News and Notes of 2GB. A Court Room Drama, The Cumberland Argus and Fruitgrowers' Advocate, 7 January 1942, 8
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News and Notes, Northern Territory Times and Gazette, 15 February 1901, 2
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News and Notes, The Ballarat Star, 1 April 1867, 2
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News and Notes, The Ballarat Star, 14 May 1868, 2
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News and Notes, The Ballarat Star, 2 April 1867, 2
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News and Notes, The Ballarat Star, 20 December 1866, 2
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News and Notes, The Ballarat Star, 21 October 1865, 2
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News and Notes, The Ballarat Star, 27 December 1866
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News and Notes, The Ballarat Star, 3 December 1869, 2
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News and Notes, The Berrigan Advocate, Cobram, NSW, 5 August 1904, 2
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News and Notes, The Daily News, 18 July 1911, 5
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News and Notes, The Daily Telegraph, 15 May 1894, 6
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News and Notes, The Star, 12 March 1861, 2
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News and Notes, The Star, 2 February 1864, 2
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News and Notes, The Star, 3 September 1862, 2
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News and Notes, The Star, 9 July 1859, 2
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News and Notes, The Sun, Kalgoorlie, WA, 4 March 1900, 8
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The usual monthly concert will be given this
afternoon at the Fremantle Lunatic Asylum. The following ladies and gentlemen have promised to assist in the entertainment:—Misses Isabel Reid, Hatchett, Thorpe, Olive Cole, and Messrs. W. O. Mason, R. Flanders, Lea Holt, McKnight, and Murray.
News and Notes, The West Australian, (Perth, WA : 1879 - 1954) , 13 September 1899, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954) , 14 January 1899, 5
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FREMANTLE LUNATIC ASYLUM. - The
usual monthly concert organised by Mr. W. O. Mason for the entertainment of the patients at the Lunatic Asylum, Fremantle, was given yesterday afternoon. Mr. G. Y. Hubble, M.L.A., presided, and Mr. F. Wallace, M.L.A., was also among the visitors. An interesting programme was submitted, and every item appeared to be a source of enjoyment to the unfortunate inmates. The following ladies and gentlemen kindly volunteered their services at the concert::-Mesdames E. W. Davis, Patek, Cummins, and J. A. Turner. Misses L. Webster, J. Thorpe, N. Harten, Cole- and pupils, and Cornish (3), and Messrs. B. Flanders, McKnighl, J. A. Turner, Murray, and W. O. Mason. At the conclusion of the entertainment the chairman, on behalf of Dr. Hope, the Medical Superintendent of the institution, thanked the ladies and gentlemen who took part in it for their generous assistance in relieving the monotony of the poor unfortunates confined in the asylum.
BENEFIT CONCERT AT FREMANTLE In
the Fremantle Town Hall last night a concert was given in aid of the widow and orphans of the late foreman, Harry Sheeran, who was recently killed at the Perth railway station. The audience was not a very large one, but a considerable number of tickets was sold, and, financially as well as musically, the concert was a great success. The items on the programme were well selected, and the vocalists included Miss Edith Legge, Miss Fletcher, Miss Viotti Pearse, Mr. F. Ferguson, and Mr. H. Neumann. The recently-formed Railway Musical Society was responsible for two very enjoyable choruses-"The Soldiers' Chorus" ("Faust ") and "Comrades in Arms " (Adams) - and a double quartette, " Good Night, Good Night, Beloved." All the numbers on the programme were well received, and most of the soloists were encored. The accompaniments were played by Miss Viotti Pearse and Mr. F. Barnes. The entertainment was organised by a committee consisting of railway employees, to whom, and the secretary (Mr. J. W. Eastwood}, much credit is due for the successful manner in which the concert was carried out. The members of the Locomotive Brass Band also gave assistance by playing a number of selections outside the hall before the commencement of the entertainment. The floral decorations in the hall were supplied by Mr. Robinson, of Fremantle.
News and Notes, The West Australian, (Perth, WA : 1879 - 1954) , 17 August 1899, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954) , 17 May 1901, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 1 March 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 11 February 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 11 February 1896, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 11 May 1897, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 12 April 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 12 December 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 13 July 1896, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 13 March 1894, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 14 August 1897, 5
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 14 December 1897, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 14 May 1891, 3
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 15 December 1894, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 15 July 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 15 May 1891, 3
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 16 October 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 17 June 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 17 March 1894, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 17 September 1891, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 18 March 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 19 January 1897, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 19 October 1894, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 2 March 1895, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 2 March 1895, 5
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 20 February 1894, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 20 February 1895, 5
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 21 October 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 23 February 1897, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 23 January 1896, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 23 January 1896, 5
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 23 May 1891, 3
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 23 October 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 24 April 1894, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 25 December 1897, 5
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 25 February 1896, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 26 January 1897, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 26 January 1897, 5
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 26 September 1894, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 27 March 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 28 April 1897, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 28 August 1897, 5
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 28 January 1899, 5
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 29 August 1894, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 3 February 1891, 3
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 3 May 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 30 January 1894, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 30 May 1891, 3
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 30 November 1891, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 31 October 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 4 November 1893, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 6 August 1895, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 6 June 1894, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 6 March 1894, 5
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 6 March 1897, 5
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 8 January 1894, 4
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News and Notes, The West Australian, (Perth, WA : 1879 - 1954), 8 September 1896, 5
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NEWS AND NOTES. Entertainment at the Lunatic Asylum. Another of those pleasing entertainments which are truly charitable in intention was held at the Lunatic Asylum yesterday. Dr. Barnett, the medical superintendent of the institution was present, as also was Mrs. Barnett. The patients mustered in strong force, and evidently appreciated the break afforded in the monotony of their everyday existence. The concert was held in the new wing of the Asylum. The additions include a handsomely appointed concert or lecture room, which has been decorated by an artist who happens to be undergoing penal servitude. Within the hall a temporary stage has been fixed. Mr W O. Mason organist of St. Patrick's Church, Fremantle, arranged the programme: Overture; "Lassie" Miss Feltham; song, " Marguerite," Miss Pierce; song, Mr. Kerwick; ‘Mona’, Miss Simmons; Laughing song, Mr. Stanley Evans; duet, " Life's Dream is o'er,"; Misses Mckenna (encore 1); song Miss Feltham, ‘Patience’; Mr. Kerwick, ‘Minstrel Boy,’ Mr. Stanley Evans, ‘Where Did You Get That Hat?’; [...] jig, Miss Cole; Sailors' Hornpipe, Miss Waugh. Other enjoyable numbers
were contributed by Miss Feltham and Mr. Glasson, and the entertainment ended with evident regret to the patients.
News and Notes, The West Australian, 10 December 1896, 4
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News and Notes, The West Australian, 11 December 1909, 11
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News and Notes, The West Australian, 11 January 1895, 4
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News and Notes, The West Australian, 11 January 1895, 5
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NEWS AND NOTES. A pleasant afternoon was enjoyed by the inmates of the Fremantle Lunatic Asylum yesterday when Miss Clare Robinson conducted an excellent programme of musical and elocutionary numbers kindly contributed by about twenty of her pupils. Over 100 of the inmates of the institution formed the audience, which proved a warmly appreciative one, and evidently felt pleasurably the break in the monotony of their clouded existences.
News and Notes, The West Australian, 12 December 1894, 4
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NEWS AND NOTES. Concert at the Lunatic Asylum.
The inmates of the Fremantle Lunatic Asylum were provided with a treat yesterday afternoon, when an entertainment organised by Mr. W. O. Mason was given expressly for their delectation by a number of ladies and gentlemen at the port. The programme comprised songs, dances, musical numbers, club swinging and so forth, and every item was enthusiastically applauded. Among those who contributed to the entertainment were Misses Hatchett (2), O'Hara, Mills, Henderson, Hawkins, Richards, Mrs. Turner; Messrs. W. O. Mason, Wakelin, Dick Davis, A. Lea Holt, E. Flanders, Turner, McKnight, and Masters Stewart and Henderson.
News and Notes, The West Australian, 13 April 1899, 4
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News and Notes, The West Australian, 13 December 1909, 11
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MR. WENTWORTH, of the disbanded Opera Company has offered, on behalf of the members of the company, to give a concert to the inmates of the Fremantle Lunatic Asylum, on Wednesday afternoon [16 May], at three o'clock. The offer has been gratefully accepted by the Surgeon Superintendent, Dr. Barnett.
News and Notes, The West Australian, 15 May 1894, 4
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NOTES AND NEWS. Yesterday afternoon Mr. Syd. Ready's band performed a number of selections at the Fremantle Lunatic Asylum. The acting superintendent, Dr. Hope, desires to gratefully acknowledge the kindness of Mr. Ready and the members of the band in thus so pleasantly breaking the monotony of the indoor life of the patients.
News and Notes, The West Australian, 16 February 1892, 4
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News and Notes, The West Australian, 17 May 1894, 4
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CONCERT AT THE LUNATIC ASYLUM. Yesterday a concert was given byseveral Perth and Fremantle artistes to the inmates of the Lunatic Asylum, Fremantle. Mrs. J. W. Hope and Mr. J. Bassett, who were conjointly responsible for the details of the proceedings, had made every necessary arrangement for the comfort and amusement of the inmates, and success crowned their efforts. The Misses Marmion and Russell opened the programme with a pianoforte duet [...] Miss Isabel Reid gave admirable renderings of two songs, while the singing of Mrs. Goodall was very good. Of Mr. J. Bassett it can only be said that his singing fully sustained his well-earned reputation as a vocalist, while Mr. Ferguson proved that he can sing as well in a small concert-room as in the gardens of Cremorne. The Rev. Basil Arundell and Dr Hope both sang well. Master Gordon Clifton played two cornet solos capitally. The pianoforte solosand the accompaniments, for which Mr. D'Arcy Irvine, who has only recently arrived in the colony, was responsible, were really well played. The concert was apparently enjoyed by the audience.
News and Notes, The West Australian, 23 December 1897, 4
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NOTES AND NEWS. On Wednesday afternoon the Western Liedertafel gave a concert at the Fremantle Lunatic Asylum for the amusement of the patients. There were 13 members of the Liedertafel present, and the following programme was gone through [...] At the conclusion of the entertainment, Dr Hope, acting-surgeon superintendent of the Asylum, [...] thanked the members of the Liedertafel for [...] providing the inmates with an enjoyable entertainment. Mr Dixson, on behalf of the Liedertafel, said that it was extremely gratifying to note the appreciative behaviour of the patients, and that the Leidertafel would at some future time be glad to repeat the entertainment
News and Notes, The West Australian, 24 September 1891, 4
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NOTES AND NEWS. A pleasant treat was afforded to the inmates of the Fremantle Lunatic Asylum on Saturday afternoon last [23 Jan] in the form of a musical entertainment. Mr. Ready, who has recently organised a [Fremantle town] band of performers, was the conductor, and the selections rendered were much enjoyed by the patients. Though Mr. Ready has had his band in hand only a few weeks, they exhibit a very creditable degree of efficiency.
News and Notes, The West Australian, 26 January 1892, 4
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NEWS AND NOTES. Yesterday afternoon [29 Nov] a concert was held at the Lunatic Asylum, Fremantle, before a large audience of the inmates and a number of visitors. The entertainment was given in the fine new hall in the new wing just completed, this being the first occasion on which the new building has been used for such a purpose. The programme [...] was kindly contributed by the members of the Fremantle Orchestral Society, under the baton of Mr. C. L.
Clifton, and Miss Clare Robinson and a dozen of her talented pupils in the Fremantle music and [?] classes. Dr Barnett, superintendent of the Asylum [...] remarked that there was no section in the community to whom music was more helpful than those who were the audience at this concert.
News and Notes, The West Australian, 30 November 1895, 5
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News And Notes, The West Australian, 4 April 1907, 4
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News and Notes, The West Australian, 5 April 1894, 4
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News And Notes, The West Australian, 7 January 1899, 4, 5
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News and Notes. Chances for Dramatists., The West Australian, 19 August 1938, 22
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News Behind the Names, The Sun (NSW), 30 June 1944, 4
-
News In Brief, Albury Banner and Wodonga Express, 28 January 1898, 31
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News In Brief, Camperdown Chronicle, 16 March 1897, 3
-
Several ladies and gentlemen at Fremantle gave a concert at the Lunatic Asylum yetserday.
News In Brief, The Daily News, (Perth, WA : 1882 - 1950) , 13 July 1899, 2
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News In Brief, The Daily News, (Perth, WA : 1882 - 1950) , 16 June 1898, 2
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A.number of residents of Fremantle
gave a concert at the LunaUo Asylum yesterday.
News In Brief, The Daily News, 13 April 1899, 2
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News In Brief, The Daily News, 19 December 1898, 2
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News In Brief, The Daily News, 23 July 1896, 3
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News In Brief, The Daily News, 26 June 1896, 2
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News In Brief, The Daily News, 4 June 1897, 2
-
News Of The Day, Sydney Morning Herald, 12 May 1886, 9, 10
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News Of The Day, Sydney Morning Herald, 25 June 1881, 5
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News Of The Day, Sydney Morning Herald, 27 June 1885, 11
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News Of The Day, Sydney Morning Herald, 8 February 1884, 7, 8
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News of the Day, The Age, 24 March 1886, 5
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News Of The Day, The Daily News, 19 November 1889, 3
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News Of The Day, The Daily News, 20 May 1886, 3
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News Of The Day, The Register, 3 September 1910, 12
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News Of The Day, The South Australian Register, 25 July 1899, 4
-
News of the Day. Criterion Burlesque Company, The Armidale Express and New England General Advertiser, 23 April 1896, 4
-
News of the Day. The Foreign Gymnastic Company, The Sydney Monitor and Commercial Advertiser, 27 December 1841, 2
-
News Of The Week, Australian Town and Country Journal, 1 July 1893, 15
-
MESSES. Farmer & Iraray's Minstrel Troupe
gave an entertainment at the Lunatic Asylum, Fremantle, on Wednesday evening, to the inmates. The programme was composed of songs, nigger jokes, and other pleasantries pertaining to Christy Minstrel performances, and was evidently keenly relished by the inmates. At the conclusion of the programme, Dr. Barnett thanked the performers for their entertainment, and said be hoped it would not be the last time he would have the pleasure of witnessing their successful efforts to amuse the inmates of the Asylum.
News of the Week, Western Mail, 24 September 1887, 25
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Newton Riddiford gets show post, Barrier Miner, 4 June 1948, 3
-
Newton Riddiford in Adelaide show, Barrier Miner, 19 February 1949, 3
-
Next crop of plays are out-of-rut, The Herald, 11 October 1961
-
Niamh Dowling, Moving into performance: using the principles of the Alexander technique to underpin and enhance an actor's training, Australasian Drama Studies, 53, October 2008, 160-167
-
Nic Hopkins, 30 years in a festival state, The Advertiser, Adelaide, 17 February 1990
-
Nic Hopkins, The passing parades: 30 years in a festival state, The Advertiser, Adelaide, 19 February 1990
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Nic Velissaris, Hotel Obsino, Australian Stage Online, 21 September 2007
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Nicholas Adams, Copycats dance to the tune of the pros, The Canberra Times, Theatre and Dance Platform, 30 June 2011
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Nicholas Johnson, bma (bands music action) , 1 July 2001, 39
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Nicholas Johnson, bma (bands music action) , 13 February 2003, 27
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Nicholas Johnson, bma (bands music action) , 17 July 2003, 12
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Nicholas Johnson, bma (bands music action) , 18 July 2002, 23
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Nick Dent, Theatre Australasia, 1 August 1994
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Nick Enright, Collaboration and community, Australasian Drama Studies, 42, April 2003, 14-25
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Nick Leys, Sydney Morning Herald, 23 April 2004, 15
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Nicola Hyland, 'Kind of Like an Evil Version of Our Accent': Imagining National Identity in Performances of Trans-Tasman Rivalry, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 62, October 1995, 55 - 67
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Nicola Schaffer, Playing father, RealTime Arts, 71, February 2006, 30
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Nicola season, Barrier Miner, 18 July 1939, 2
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Nicole Anae, 'Belly-speakers', machines and dummies: puppetry in the Australian colonies, 1830s-1850s, Australasian Drama Studies, 51, October 2007, 36-56
-
Nicole Anae, 'Celebrated Executioner[s]': Shakespearean oratory and space in mid-nineteenth-century colonial Australia, Australasian Drama Studies, 60, April 2012, 83-101
-
Nicole Anae, 'Very Scanty Covering fro the Chocolate Body': The Art of Burlesque and the Fijian Cricket Team in Australia, 1907 - 1908, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 63, October 2013, 33 - 51
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Nicole Anae, Adventures in Nineteenth-Century Gender-Bending: Lady Emilia Don in Tasmania, 1862 and 1865, Australasian Drama Studies, 48, April 2006, 30-48
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Nicole Anae, Poses plastiques: the art and style of 'statuary' in Victorian Visual Theatre, Australasian Drama Studies, 52, April 2008, 112-130
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Nicole Hayes, Muse, February 1999, 6
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Nicole Leedham, Good Times, 10 November 1993
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Nicole Leedham, Good Times, 24 February 1994
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Nicole Leedham, The Canberra Times, 19 October 1993, 1
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Nicole Precel, Structure to their Sadness, Star, Theatre and Dance Platform, 10 November 2009, 9
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Nigel Jamieson, Make It Relative, Australasian Drama Studies, 54, April 2009, 105-124
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Nigel Kellaway, Give me space, and I'll give you the show!, RealTime Arts, 47, February 2002
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Night in Harlem at Tivoli, Barrier Miner, 21 April 1942, 2
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Night in Ireland, Barrier Miner, 22 May 1942, 1
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Night in the Navy, Barrier Miner, 29 May 1942, 1
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Night in Tropics, Barrier Miner, 25 July 1942, 7
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Night in Uncle Tom's Cabin, Barrier Miner, 16 July 1942, 4
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Night Must Fall Play, Barrier Miner, 2 June 1953, 9
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Night Must Fall Play, Barrier Miner, 3 June 1953, 10
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Night with the Troops, Barrier Miner, 4 June 1942, 1
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Nikki Gaertner, Adelaide Theatre Guide, 1 February 2006, 0
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Nimrod: an old stable at the top of the Cross, Tharunka, 7 March 1972, 14
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Nina Levy, Festival Double Feature, Dance West, Theatre and Dance Platform, December 2010
-
Nina Levy, Where the magic happens, Dance Australia, Theatre and Dance Platform, 25 September 2016, online
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Nine "Cheery Souls", The Age, Theatre and Dance Platform, 15 November 1963, 3
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Nix zu sehen, Frankfurter Rundschau, Theatre and Dance Platform, 15 June 2009
-
No buyers for city properties, Barrier Miner, 4 September 1952, 7
-
No glamour for Glenda Jackson, Sydney Morning Herald, 21 February 1975, 2
-
No Names...No Pack Drill, Metro, 15 October 1982, 8
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No one afraid of 'Virginia Woolf', The Age, 5 January 1965, 2
-
No power to demand preview of play, The Age, 3 February 1969, 2
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No protection for The Palace, On Stage, 11, 3, 2010, 24
-
No Room for Dreamers, Sydney Morning Herald, 10 August 1980, 88
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No Room for Dreamers, Theatre Australia, August 1980, 61
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No sex please, we're British, The Age, 26 July 1973, 22
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No Time to Waste, The Age, 15 June 1963, 8
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No Title (1832, May 19), The Independent, 19 May 1832, 3
-
No Title, Avoca Mail, 13 November 1869, 2
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No title, Cootamundra Herald, Cootamundra, 7 August 1895, 7
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No Title, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 9 March 1892, 2
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No Title, Macleay Argus, Kempsey, NSW, 22 April 1899
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No Title, Maryborough Chronicle, Wide Bay and Burnett Advertiser, Qld., 2 June 1896, 2
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No Title, Morning Bulletin, Rockhampton, 24 April 1896, 5
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No Title, Morning Bulletin, Rockhampton, 30 March 1896, 4
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No Title, The Daily News, (Perth, WA : 1882 - 1950) , 25 August 1894, 6
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No Title, The Daily News, (Perth, WA : 1882 - 1950) , 3 March 1896, 3
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No Title, The Daily Telegraph, Launceston, Tas., 2 June 1904, 2
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No Title, The Grafton Argus and Clarence River General Advertiser, NSW, 22 March 1901, 2
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No Title, The Herald, 13 June 1867, 2
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No Title, The Herald, 15 April 1864, 2
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No Title, The Jerilderie Herald and Orana Advertiser, NSW, 26 July 1901, 2
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No Title, The Lorgnette, 2 June 1896, 3
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No Title, The Mackay Mercury, Qld, 28 February 1903, 2
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No Title, The Maryborough Chronicle, Wide Bay and Burnett Advertiser, Qld, 4 February 1903, 2
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No Title, The Morning Bulletin, Rockhampton, Qld., 28 February 1898, 5
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No Title, The Riverina Times, Hay, NSW, 11 April 1901, 2
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No Title, The Riverine Grazier, Hay, NSW, 1 October 1897, 2
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This fine building, finished by Mr E. Solomon at an expense of nearly £10,000, was opened on Monday last, by an effective and well-organised company under the experienced management of Mr Lazar—well known and much respected as the conductor of the theatrical amusements of Sydney. the theatre is neatly fitted up, and admirably arranged for seeing and hearing. The decoartions are designed and executed by Mr Opie, and reflect much credit on his skill as an artist. We did not reach the theatre until nearly the close of the tragedy (Othello), and can therefore venture to express no opinion on the particular merits of the actors—although we presume it would be in accordance with that of the audience, which was most favorable. Miss Lazar's dance was exceedingly graceful, and met a deserved and [?] encore. This young lady would be an acquisition to any theatre, as, in adiditon to her talent in the ballet, her acting in the after piece, Mary Anne, a farce of Buckstone's, was excellent. She was well-supported by Mr Buckingham, and by the other actors. The house was crowded in every part.
No Title, The South Australian Register, National Library of Australia, 16 January 1841, 2
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No Title, The Temora Star, NSW, 23 February 1901, 2
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No Title, The Zeehan and Dundas Herald, Tas., 11 May 1904, 2
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No Title, Toowoomba Chronicle and Darling Downs Advertiser, Qld., 9 May 1896, 2
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No Title, Wagga Wagga Express, NSW, 12 November 1896, 2
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No Title, Western Star and Roma Advertiser, Qld., 20 May 1896, 2
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No Title., The Clarence and Richmond Examiner, Grafton, NSW, 14 July 1900, 4
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Noel Coward Here on Monday, The Advertiser, 7 December 1940, 16
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Noel Coward Play At Minerva, Sydney Morning Herald, 28 March 1942, 11
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Noel Macainsh, Australian theatre and the ghost of classicism, Overland, 89, October, 1982, [no pages]
-
Noel Maloney, Direct Address as Action and Effect in Bare Witness and Beyond the Neck, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 62, October 1995, 163 - 178
-
Noel Pelly, Kellaway, Harold Lionel (Leon) (1897–1990), Australian Dictionary of Biography Online, 2007
-
Noel Purdon, The Adelaide Review, 1 April 1988
-
Noel Purdon, The Adelaide Review, 1 April 1990
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Noel Purdon, The Adelaide Review, 1 March 1988
-
Noelle Janaczewska, 'They're dancing the Lambada in Hanoi', Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 25, October 1994, 152 - 165
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Noise Of Aldermen Interrupted Play, Newcastle Sun, 28 June 1951, 2
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Nom de plume "E C", The Stage - Oscar Asche and Lily Brayton, The Red Funnel, October 1909, 169-176
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Nom de plume "En Passant", Stage Celebrities: Edward Lauri, The Red Funnel, February 1906
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Nom de plume "Sartor", A New Musical Comedy Company, The Red Funnel, August 1907, 81-90
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Nom de plume "Sartor", Stage Celebrities: Mr Charles Waldron, The Red Funnel, October 1906, 283-288
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Nom de plume "Sartor", The Australasian Stage in 1907, The Red Funnel, March 1907, 185-194
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Nom de plume "Sartor", The Broughs, The Red Funnel, August 1906, 73-77
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Nom de plume "Sartor", The Dramatic Year in Australasia, The Red Funnel, January 1907, 600-611
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Nom de plume "Sartor", The Stage - A Brilliant Constellation of Artists, The Red Funnel, January 1909, 620-629
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Nom de plume "Sartor", The Stage - A Repertory Theatre, The Red Funnel, July 1909, 540-546
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Nom de plume "Sartor", The Stage - George S. Titheradge, The Red Funnel, September 1908, 181-191
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Nom de plume "Sartor", The Stage - Henry Kolker, The Red Funnel, December 1908, 535-545
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Nom de plume "Sartor", The Stage - Madame Clara Butt, The Red Funnel, October 1907, 313-321
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Nom de plume "Sartor", The Stage - Margaret Anglin, The Red Funnel, November 1908, 436-444
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Nom de plume "Sartor", The Stage - Melba, The Red Funnel, May 1909, 353-362
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Nom de plume "Sartor", The Stage - Miss Carrie Moore, The Red Funnel, August 1908, 47-55
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Nom de plume "Sartor", The Stage - Miss Fanny Dango, The Red Funnel, November 1907, 381-386
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Nom de plume "Sartor", The Stage - Mr Herbert Flemming's New English Comedy Company, The Red Funnel, February 1908, 89-100
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Nom de plume "Sartor", The Stage - Nellie Stewart, The Red Funnel, August 1909, 54-61
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Nom de plume "Sartor", The Stage - The Dramatic Year, The Red Funnel, December 1907, 586-591
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Nom de plume "Sartor", The Stage - The J. C. Williamson Attractions, The Red Funnel, May 1908, 433-441
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Nom de plume "Sartor", The Stage - The London Stage in 1908, The Red Funnel, March 1909, 153-161
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Nom de plume "Sartor", The Stage - The Man Behind, The Red Funnel, February 1909, 80-87
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Nom de plume "Sartor", The Stage - The Royal Comic Opera Company, The Red Funnel, April 1909, 281-292
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Nom de plume "Sartor", The Stage - Thomas Kingston, The Red Funnel, June 1909, 467-477
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Norm and Ahmed, Sydney Morning Herald, 19 April 1980, 21
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Norma Allen, The Canberra Times, 11 July 1994, 21
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Norma Allen, The Canberra Times, 11 September 1995, 15
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Norma Allen, The Canberra Times, 21 September 1992
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Norma Allen, The Canberra Times, 23 January 1995
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Norma Allen, The Canberra Times, 25 August 1997
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Norma Allen, The Canberra Times, 4 October 1993, 25
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Norma Allen, The Canberra Times, 5 October 1992, 21
-
Norma Allen, The Canberra Times, 8 February 1993
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Norma goes to gaol to play, every night, The Age, 29 October 1971, 12
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Norman Kessell, Could this really be US?, The Sun (NSW), 15 May 1963
-
Norman Kessell, Eve with an expert touch, The Daily Telegraph, 3 August 1973
-
Norman Kessell, Jumpers is acrobatic writing feat, Sunday Telegraph, The University of Adelaide, Library Special Collections, 10 December 1978
-
Norman Kessell, New group saves Old Tote offerings, The Daily Telegraph, 27 March 1978, 23
-
Norman Kessell, Sunday Telegraph, 13 January 1974, 0
-
Norman Kessell, Trilogy loose but satisfying, Sunday Telegraph, The University of Adelaide, Library Special Collections, 9 April 1978, 130
-
Norman Kessell, Whispers, Rumours and Facts, Theatre Australia, 5, 1, August 1980, 9
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Norman McVicker (Obituary), The Stage, 29 June 2012
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Normie Rowe, Australasian Post, 2 November 1991, 12
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North China Troupe at Crystal Theatre, Barrier Miner, 16 February 1940, 3
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North China Troupe at Crystal Theatre, Barrier Miner, 24 February 1940, 7
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North Shore Times, 21 November 1984
-
North Shore Times, 24 August 1983, 0
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North With Stefansson, The Mercury (Hobart, Tas. : 1860 - 1954), 30 July 1924, 7
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North-West Tour, The West Australian, 21 May 1920, 6
-
Northern Territory, The Mercury (Hobart, Tas. : 1860 - 1954), 24 June 1907, 3
-
Not eye to eye on Oh!, The Age, 24 December 1969, 9
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Not Yet It's Difficult (NYID), Arts Centre Melbourne, Australian Performing Arts Collection
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Notes and News, Gympie Times and Mary River Mining Gazette, Qld, 12 February 1898, 2
-
Notes and News, Gympie Times and Mary River Mining Gazette, Qld., 9 June 1896, 3
-
Notes And Notions, Singleton Argus, 6 September 1902, 7
-
Notes From The Far North, Burra Record, 9 November 1898, 2, 3
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Notes Of A Bush Life - No 1., The South Australian Register, Adelaide, 22 March 1843, 4
-
Notes Of The Week, Northern Territory Times and Gazette, 10 March 1893, 3
-
Notes Of The Week, Northern Territory Times and Gazette, 14 April 1899, 3
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Notes Of The Week, Northern Territory Times and Gazette, 21 July 1893, 2
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Notes Of The Week, Northern Territory Times and Gazette, 23 March 1894, 3
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Notes Of The Week, Northern Territory Times and Gazette, 24 March 1893, 2, 3
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Notes Of The Week, Northern Territory Times and Gazette, 28 April 1893, 3
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Notes Of The Week, Northern Territory Times and Gazette, 30 March 1894, 2, 3
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Notes on Current Events. Kate Howarde Co., The Albury Banner and Wodonga Express, NSW, 4 September 1903, 23
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Notes On Doings In Amateur Theatre, The News, 23 April 1938, 4
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Notes On The Nor-West Natives, Western Mail, 20 January 1906, 43
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Nothing But The Truth, The Examiner, National Library of Australia, 22 March 1927, 6
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Nothing But The Truth, The Examiner, National Library of Australia, 23 March 1927, 5
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Nothing's that's Nothing, Sydney Morning Herald, 7 October 1982, 10
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Novelty in Arts Council Ballet, The Canberra Times, 31 July 1958, 11
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Now for Hair, says producer, The Age, 29 July 1969, 2
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NSW may say "no, Calcutta", The Age, 11 September 1969, 2
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Nth. Lismore School Operetta, Northern Star, 11 November 1946, 2
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NTH. SYDNEY OPEN AIR THEATRE, Townsville Daily Bulletin, 31 October 1945, 2
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Nude isn't rude, say those Hair actors, The Age, 24 April 1969, 3
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Nudity in Newtown, Sydney Star Observer, 29 November 2007, 7
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Nyanda Smith, Move Mistress, Cause celebre: celebrating Australian culture and style, Theatre and Dance Platform, 4, October 2004
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Obituary & Archive: Margaret Cameron, RealTime Arts, 52, December 2002, 5-6
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Obituary of Charles Burford, The Australian Star, 10 October 1899, 4
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Obituary of Charles Burford, Sydney Morning Herald, 10 October 1899, 6
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Obituary of Charles Burford, The Sydney Mail and New South Wales Advertiser, 14 October 1899, 916
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Obituary, Burra Record, National Library of Australia, 29 August 1944, 3
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OBITUARY. JOSEPH NAPOLEON RAYNER., Truth (Qld Edition), 23 December 1900, 6
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Odd Fellows Anniversary, The Maitland Mercury, 25 June 1851, 2
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Oddfellows' Hall. Criterion Burlesque Company, Wagga Wagga Express, NSW, 10 November 1896, 2
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Odds and Ends from Far and Near, Bendigo Advertiser, 17 August 1858, 3
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Odds and Ends from Far and Near, Bendigo Advertiser, 25 August 1858, 3
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Odds and Ends, Bendigo Advertiser, 6 January 1859, 3
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Odds and Ends, Bendigo Advertiser, 7 December 1858, 3
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Odds and Ends, Northern Star, 15 April 1896, 2
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Odds and Ends, Northern Star, 6 March 1901, 5
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Odds and Ends, The Northern Star, Lismore, NSW, 21 July 1900, 5
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Odds and Ends, The Southern Argus, 21 May 1885, 3
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Of Interest to Women Big Entry in Drama Festival, The Examiner, National Library of Australia, 16 May 1952, 11
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Of Mice and Men. A Grim, Moving Play., Sydney Morning Herald, 19 April 1940, 11
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Offbeat Improvilicious, Western Suburbs Weekly, 2 October 2007, 37
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Official Trip To Oodnadatta, The Advertiser, 21 May 1892, 4
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Oh Boy! at Her Majesty's, Sydney Morning Herald, 8 July 1918, 9
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Oh Boy, The Age, 11 August 1919, 8
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Oh Boy, The Argus, 11 August 1919, 10
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Oh Calcutta - oh no, not for Adelaide, The Age, 8 July 1969, 2
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Oh Oh Delphine, The Age, 9 September 1918, 6
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Oh What a Lovely War, Mate, Theatre Australia, June 1980, 45
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Oh! Calcutta 'dirty and boring', The Age, 3 February 1970, 8
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Oh! Calcutta ban eased by Minister, The Age, 22 December 1969, 1
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Oh! Calcutta hits Sydney, The Age, 5 January 1970, 2
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Oh! Calcutta may be a one-nighter, The Age, 8 January 1970, 2
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Oh! Calcutta! production stayed - 'filth', The Age, 24 February 1970, 3
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Oh! Calcutta! set to go: seat for Minister, The Age, 17 September 1971, 13
-
Oh, that's the Spirit, The Redland Times, 7 December 2007, 11
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Okay for Sound Enjoyable, News (Adelaide, SA : 1923 - 1954), National Library of Australia, 28 February 1938, 5
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Old Actor Dead. Mr. George Darrell's End, The Sun (NSW), 29 January 1921, 6
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Old Clock Removed, The Examiner, National Library of Australia, 20 October 1939, 7
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Old Echunga Memories, The Mount Barker Courier and Onkaparinga and Gumeracha Advertiser, National Library of Australia, 11 September 1941, 1
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Old hand behind the glamour, The Age, 16 October 1965, 6
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Old Memories, The Mount Barker Courier and Onkaparinga and Gumeracha Adve, National Library of Australia, 8 June 1900, 3
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Olde Englishe Fayre, Fremantle, The West Australian, (Perth, WA : 1879 - 1954), 28 March 1898, 6
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OLDE ENGLISHE FAYRE, The West Australian, (Perth, WA : 1879 - 1954), 31 December 1897, 5
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Oliver Twist, The Telegraph (Brisbane), 25 July 1936, 13
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Olivia Stewart, Arts and Entertainment, 20 February 2004, 47
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Olivia Stewart, Audience Takes the Bait, Arts and Entertainment, 3 September 2001, 17
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Olivia Stewart, Circle of life, Arts and Entertainment, 23 May 2003, 21
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Olivia Stewart, marvellous talents of ordinary superhero, Courier Mail, 21 July 1999, 43
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Olivia Stewart, Mates and misogyny, Courier Mail, 11 April 1997, 19
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Olivia Stewart, Mixed message in cross-cultural exchange, Arts and Entertainment, 27 August 2001, 10
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Olivia Stewart, Suffering Swans, BAM, 3 November 2001, 3
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Oliviers Eager To Play At Royal, The Mercury (Hobart, Tas. : 1860 - 1954), 14 June 1948, 2
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Olympia Theatre, The Queensland Times, 17 January 1930, 3
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Olympic Theatre, Maitland, The Maitland Mercury, 3 July 1869, 3
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On and Off Duty, The Australian Women's Weekly, 5 February 1944, 16
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On Stage and Off, The Sun (NSW), 12 March 1939, 24
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On Stage and Off, The Sun (NSW), 14 December 1935, 8
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On the record: an account of regional non-theatregoers' responses to a selection of plays toured to Northern Australia in 2004-2005, Australasian Drama Studies, 50, April 2007, 183-201
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On the Wallaby, The Canberra Times, 25 August 1983, 27
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On-the-ice Shows For The Holiday, Sydney Morning Herald, 28 December 1954, 5
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One Act Plays, Sydney Morning Herald, 2 December 1933, 10
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One Act Plays, Sydney Morning Herald, 29 May 1934, 3
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One Personal Journey, Melbourne Times, 6 July 1983, 11, 12
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One-Act Play By Brisbane Writer, Courier Mail, National Library of Australia, 22 January 1940, 6
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One-Act Plays Competition, The West Australian, 14 September 1931, 14
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One-Act Plays. Repertory Club Prizes, The West Australian, 9 February 1935, 20.
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Oodnadatta, August 6, Chronicle, 19 August 1899, 27, 28
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Oodnadatta, The United Aborigines messenger, National Library of Australia, 1 September 1941, 9
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Ooldea, The Mysterious, News (Adelaide, SA : 1923 - 1954), National Library of Australia, 8 September 1934, 2
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Open air Festival of Dance at Phillip Park, The Sun (NSW), 15 November 1949, 20
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Opening Of The Legislative Council, The Herald, (Fremantle, WA : 1867 - 1886), 21 July 1883, 3
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OPENING OF THE NEW VICTORIA THEATRE. Monday night commenced a new era for theatricals in South Australia, by the opening of the new Vic toria Theatre, a full and faithful description of which appears in another column. The approach to the theatre has been rendered additionally imposing by the placing of two lamps of large di mensions, gilded and ornamented, on either side of the gate fronting the principal entrance. The in terior of the theatre, lavishly lit up as it was that evening, was a magnificent coup d'eail, and the house being crowded in every part left nothing to be desired in the ensemble, either as a spectacle not to be surpassed in these colonies, or in that less imaginative but more substantial gratification represented by a well filled house. The act drop is hardly so effective as we should have expected from | Opie, the festoons of drapery not being at all in accordance with the rest of the painting, which is a landscape, but of what country or clime we fairly confess our ignorance. The entertainments com- menced with the band, led by Mr Moore, playing the national anthem, which was received with loud plaudits, the whole audience startling. The fol lowing was the ADDRESS. Delivered by Messrs Lazar and Coppin. Mr Lazar—Although I prematurely perhaps appear, Time honored custom 'tis which brings me here, And as I mean to mate but a short speech, I hope you'll not deem't better in the breach Than the observance; so, if you're agreed, Without a further prelude I'll proceed. Permit me shortly to remind you now, That on this selfsame stage, T made my bow Eleven years since, nor ever wished to range Till forced by adverse circumstance to change. When I with grief the Drama's temple saw, Alas ! perverted to the woes of Law; Ungentle service, from whose pond'rous yoke Thalia flies and leaves the field to Coke." Here then, where oft we drew the gushing tear, And raised the laugh thro' many a circling year, Far harsher themes have been— Mr Coppin—Ob, come Lazar, You push the sentimental much too far, The audience know full well this wa3 the Court, For few are here but what have seen the si>ort, And in broad farce colonial actors are Inferior to their bretli'ren of the bar. L.—I wish you wouldn't be quite so abrupt, And come in thus my speech to interrupt, Upon my word it's really not polite— C.—Oh, cut it it short, you'll keep 'em here all night | And sooner than remain to hear your prose I'll ring the bell, and up the curtain goes. L.—Do as you please, but I no part shall play Until I've finished what I had to say. C.—Well then out with it, and as here I've stood So long in waiting, give us something good. L.—Ladies and gents, then here long since I bore Dramatic sway— C.— You told us that before, L.—Here was the tragic Muss's chosen seat, C.—And actors but short commons had to eat. L.—There great O. G., established his arcade, C.—Did he ? I wonder in what year t'was made, L.—But when blind Justice here had fixed her seat, | Forced to withdraw though with unwilling feet, We in a smaller circle had to claim Your kind support, and found it still the same. For which, with zeal and gratitude inspired, We 've here resumed— C.—Oh, fudge! they're getting tired, And don't want such long rigmarole orations To make 'em notice the fresh decorations. L.—We'll, then, I'll merely just express my hope That, you kind patrons,— C.—Now for the soft soap— L.—In our New Constitution will, with ease. Assume your seats, although no nominees. .Since our desire is to amuse all classes, And though no Chartists, lecture to the masses, With cant and humbug ceaseless war to wage, And prove., while illustrating Shakespeare's page; Or the productions of the modern mind, That mirth and morals may be well combin'd. I could say more— C.—No don't, I beg. say less. —But, as time presses, I'll be off C.—To dress; and, for the self same reason, I . Must also, for the present, say, Good bye. Meanwhile, believe L.—That each succeeding night C.—Your presence here L.—Will yield us C.—Fresh delight. For naught so well the Actor's mettle rouses, As the dear spectacle of crowded houses, L.—Cramned with enlightened citizens and spouses. [Prompter's bell rings.] C-—But let's decamp, for, hark, the prompter rings, So exeunt omnes at the several wings. The address was well received, and the hits told well with the audience. The band having played the beautiful overture to Don Giovanni, the act drop rose upon the first scene of Stirling Coyne's popular extravaganza of "This house to let, enquire within."...
Opening of the New Victoria Theatre, Adelaide Times, National Library of Australia, 28 December 1850, 2
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Opening of the Oddfellows Hall, The Empire, 26 October 1859, 5
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Opening of the Temperance Hall, Sydney Morning Herald, 20 April 1859, 4
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Opening of the Victoria Theatre. INTERVIEW WITH MR. JAMES MACMAHON. The new Victoria Theatre is to be opened on Saturday evening, and public interest is being aroused on the event. A representative of this journal yesterday had a chat with Mr. James MacMahon, the senior partner of the enterprising firm of MacMahon Brothers, of the Opera House, Melbourne, who arrived in this city on Sunday, and obtained from him some interesting particulars of the future of the theatre. Over a cosy fire in the Terminus Hotel he said, in answer to questions: "For the first time in its history Newcastle has a theatre which must place it on a level with the capital cities of Australasia, and our firm having acquired a lease of it, we intend to run it on the best metropolitan lines. Having found Newcastle in the past, even with its very old and inferior theatre, to be an excellent town for the support of good theatrical companies, we are convinced that by bringing the very best productions here, and staging them with such care and elaboration as our enterprise will allow, we cannot fail to succeed. To this end we determined that the opening production should be the very finest obtainable in Australia, and as soon as we had secured the theatre for a term we arranged our plans so that the "Evangeline Company" should arrive in this city on the completion of the building. On Saturday evening next, therefore, the whole of our company, numbering 72 people, will appear before the Newcastle public in the production of "Evangeline," the most popular operatic extravaganza of the day. The piece will be produced exactly as it was in the Opera House in Melbourne and the Criterion Theatre in Sydney, where it attained a very high standard in the estimation of the people. We have with us all the original scenery by Messrs. Hennings and Edmunds, and the gorgeous costumes which are such a notable feature in Evangeline. The company will arrive by the steamer Fitzroy, specially chartered for the occasion, from Brisbane, tomorrow, and everything will be in readiness for the opening production on Saturday evening. All the Americans in the company who were specially engaged in New York by me during my recent visit to that country will appear for the first time in this city. The composer, Mr. Edward Rice, who was induced by us to visit Australia, will personally watch the performance and conduct the band, chorus and ballet. Mr. Fortescue, the leading burlesque actor of the company, and indeed of the American stage, will appear in his original and marvellous creation of Catherine, while Mr. Joseph Harris, the world-renowned "Lone Fisherman," who never speaks a word, is of course also in the cast. Four of the ladies-Misses Eileen Karl, Virginia Earl, Agnes Paul, and Edith Cole-were also specially engaged in America, and Miss Fanny Liddiard, your old favourite, will, I am sure, be cordially welcomed in her charming performance of the name part. Mr. George Walton, Mr. Henry Hodson, and Mr. Harry Leston are also with us, so you see it is a very powerful combination. I think that I can safely say that our chorus and ballet of forty people will hold their own for beauty and grace with any similar body in the world. Their costumes will prove a revelation I am certain, for you can form some idea of the piece when I tell you that the first production in this country cost us £3000. I am specially pleased that we have been able to devote such an unquestionably good production to the auspicious occasion as the opening of such an unquestionably fine theatre as you now have in this city. It compares very favourably with the largest houses in Australasia, and I have no doubt that such a temple of the drama must cultivate a taste for the best class of work. We are determined to leave no stone unturned in our endeavour to keep on continually supplying you with the best productions, and I have no fear of the result. In answer to our representative, Mr. M'Mahon added: "When the run of 'Evangeline,' which must from necessity be limited to six nights, is over, our opera bouffe season will be devoted to the production for the first time in New South Wales of Mr. Rice's original opera bouffe 'The Corsair.' After being produced here, we will take it on to Sydney and Melbourne; and, if I am any judge, it will prove a great success. I shall have more to say about this opera in a few days, but it shall first be produced here, and laid open to the judgment of the Newcastle public. The idea of selling the seats for the first night by public auction has been suggested to, and considered by, us, with the result that the management will not countenance it, being content to give every one of our patrons an equal chance of being present, on equal terms. One innovation, and I am sure that you will think it a most desirable one, that we intend to make, will be the establishment of the box office during the day in the vestibule of the theatre, where it will be presided over by our own box-keeper. Ladies will be enabled without any inconvenience to call at the theatre during the day to book their seats as they do in Europe and America. The box office for the opening and successive nights will be thrown open to the public on Thursday morning next at 10 o'clock. I understand that the Railway Department have promised in view of the completion of the new theatre to lay on a special train for Maitland visitors, leaving Newcastle at an hour suitable to the completion of the performance. The Tramway Department have promptly offered similar concessions, and suburban trams will start after the fall of the curtain. It is a great satisfaction for me to see that all classes of the community are taking a truly and even personal interest in the initiation of the first grand theatre in Newcastle and all it promises, and I hope it will be the success we anticipate."
Opening of the Victoria Theatre. , Newcastle Morning Herald and Miners' Advocate, 8 September 1891, 8
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Opera Australia, November 1988, 3
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Opera Australia, October 1981, 3
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Opera defends its policy, The Age, 2 June 1983, 14
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Opera for Sydney, The Argus, 22 April 1952, 3
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Opera House, Sydney Morning Herald, 25 August 1884, 8
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Opera House, The Daily Telegraph, Brisbane, Qld., 25 May 1896, 7
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Opera Rocks Schools, Factor X, 5 August 2001, 27
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Opera-Opera, 0
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Opera-Opera, February 2006, 3
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Opera-Opera, July 2005, 10
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Opera-Opera, March 2005, 10
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Opera-Opera, May 2005, 10
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Operetta for Newcastle, Newcastle Morning Herald and Miners' Advocate, 2 March 1951, 06
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Operetta sung in Hungarian, The Age, 12 August 1968, 6
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Opinions on Australian TV play differ, 30 January 1957
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Oppose Plan For Flat-Floor Theatre, The Examiner, National Library of Australia, 15 December 1949, 4
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Options for the HVTC, Newcastle Herald, 9 May 1983
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Orford Party Fashion Parade, Sydney Morning Herald, 7 December 1935, 11.
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Organised mayhem, but class emerges, Sun Herald, 22 September 1991
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Original and Fantastic Frocks in Joanna, The Argus, 1 October 1936, 3
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Original Sin, Muse, 14 May 1982, 21
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Oscars for Acting at Club Dinner, Newcastle Morning Herald and Miners' Advocate, 19 December 1950, 6
-
Other Subjects. Kate Howarde Dramatic Company., The Gundagai Times and Tumut, Adelong and Murrumbidgee Dist, 22 February 1901, 2
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Our Artists No. 45: Cliff Neate, Barrier Miner, 15 March 1938, 4
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Our Boys, The National Advocate, Bathurst, NSW, 30 December 1902, 2
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Our Chinese Population, Mount Alexander Mail, 31 May 1861, 4
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Our Debt to Greece, Sydney Morning Herald, 12 August 1922, 12
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Our Fremantle Letter, West Australian Catholic Record, (Perth, WA : 1888 - 1922), 18 July 1896, 12
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Our Lyceum, Bell’s Life in Sydney and Sporting Chronicle, 31 January 1857, 2
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Some Salvation Army natives held a corroborree at Mount Barker last. Saturday night. In their wild state they would not have charged for admission.
Our Own District, The Mount Barker Courier and Onkaparinga and Gumeracha Advertiser, National Library of Australia, 18 June 1886, 3
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Our Portrait Gallery. Miss Nina Osborne, Coolgardie Pioneer, 2 July 1898, 18
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Our Trip To Japan, The Mercury (Hobart, Tas. : 1860 - 1954), 7 September 1903, 6
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Out among the people, Chronicle (Adelaide, SA : 1895 - 1954) , National Library of Australia, 9 May 1940, 62
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Out and About, 27 August 1986, 0
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Out Of It, Preston Leader, 8 August 1914, 4
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Out of the Box, Barrier Miner, 1 July 1942, 2
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Outward Bound. Play with Remarkable Qualities. Presentation in Hobart, The Mercury (Hobart, Tas. : 1860 - 1954), 29 January 1926, 8
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Outward Bound. Savoy Theatre Revival, Sydney Morning Herald, 15 July 1929, 6
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Ovens District Hospital, Ovens and Murray Advertiser, 13 March 1862, 2
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Over 3400 Residents Saw "High Jinks", Goulburn Evening Post, 29 November 1949, 1
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Overruled, Tharunka, 6 July 1964, 3
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Owen Richardson, Playing with the Lessons of a Hidden History, The Sunday Age, 7 June 2009, 1
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P Coles, A comparison of the Australian productions with the English production 61/62, Australian Theatregoer, 2, 2 (Dec/Jan), 1963, 9
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P H Davison, Modern Drama, Judgment, and the Academy, The Pluralist, 3, Summer, 1965, 15-24
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P H Davison, Three Australian plays: national myths under criticism, Southerly, 1963, 2
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P J Nolan, 'Governor Bligh'. A New Australian Play. Stormy Period of History, Sydney Morning Herald, Sydney, 26 July 1930, 11
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P Keckenberg, Women of the Australian theatre, Australasian Drama Studies, no.12-13 [Double Issue], 1988 periodical issue, 1988, 125-145
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P Rolfe, Adelaide - the third time up - or is the Festival too much of a good thing?, The Bulletin, 86, 21 March, 1964, 38-39
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P Ruskin, Lifting the lid, Walkabout, 36, March, 1970, 17-20
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Packed programme of events still to come, Strabane Chronicle, Theatre and Dance Platform, 3 November 2005
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Packed theatre applauds Going Up players, Barrier Miner, 19 March 1942, 2
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Paid Repertory Companies for Sydney, Sydney Morning Herald, 10 April 1939, 8
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Palace Theatre, Sydney Morning Herald, 29 April 1912, 3
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Palace Theatre. Hullo, Healo., Sydney Morning Herald, 12 February 1927, 10
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Palace update, On Stage, 12, 2, 2011, 45
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Palace- "Turn to the Right", Sydney Morning Herald, 12 January 1918, 15
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Palais Ready in April, Barrier Miner, 26 March 1956, 7
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Palais receives restoration funds, On Stage, 11, 4, 2010, 1
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Palais to be remodelled, Barrier Miner, 18 October 1955, 8
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Paleological Sketch Of Tasmania, Sealers v. Blacks: A Straitman's Story, The Mercury (Hobart, Tas. : 1860 - 1954), 6 July 1874
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Palm Island, Cairns Post, 22 June 1926, 11
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Palmerston: Friday, March 17th., Northern Territory Times and Gazette, 17 March 1893, 3
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Palmerston: Friday, May 2nd, Northern Territory Times and Gazette, 2 May 1890, 2
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Paloma Fresno Calleja, Monodramas for a multiculture: performing New Zealand Chinese identities in Lynda Chanwai-Earle's Ka Shue/Letters Home, Australasian Drama Studies, 55, October 2009, 101-116
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Pam Hyland, [Away], The Mercury (Hobart, Tas. : 1860 - 1954), 9 May 1987
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Pamela Carsaniga, DanceWorks: inspiring and inspired at Dance Umbrella Festival, Melbourne Report, Theatre and Dance Platform, 1989, 30
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Pamela Carsaniga, Melbourne Report, 1 April 1988
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Pamela Carsaniga, Melbourne Report, 1 May 1988
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Pamela Carsaniga, Melbourne Report, 1 May 1990
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Pamela Heckenberg, Review: Women and Theatre: Calling the Shots, Australasian Drama Studies, 3, 2, April 1985, 153 - 155
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Pamela Kelt, Western Mail, 25 April 1987
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Pamela Lesmond, Running around America 'like a headless chook', Woman's Day, The University of Adelaide, Library Special Collections, 1 July 1985, 33
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Pamela Payne, In a word: pain, Sydney Morning Herald, Metro, 5 October 1990, 3S
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Pamela Payne, Life with and expiry date, Sydney Morning Herald, Metro, 6 July 1990, 2S
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Pamela Payne, Stories for survival, Sun Herald, 15 September 1996, 20
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Pamela Payne, Sydney Morning Herald, 14 September 1992
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Pamela Payne-Heckenberg, Tony Mitchell, Interview: Renee, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 10, October 1986, 20 - 28
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Pamela Payne-Heckenberg, Unhinging the madman: Diary of a great fool, Sydney Morning Herald, 19 July 1989, 16
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Pamela Payne-Heckenberg, Women of the Australian Theatre, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 12/13, 1988, 125 - 145
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Pamela Zeplin, 'Three shillings for a bolt of hessian': Stage design in Melbourne 1919 -1953, Australasian Drama Studies, Australasian Drama Studies c/- Department of English, Unive, St. Lucia, Queensland, 2, 1, October 1983, 42 - 69
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Panic among Chinese. A startled opera party. False cry of "fire", Evening News, 23 February 1903, 6
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Panorama, 10 February 2007, 1
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Panorama, 11 August 2001, 11
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Panorama, 12 May 2001, -1
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Paperchase at Fremantle, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 7 September 1894, 6
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Paris Pompor, Curiosity Show, Sydney Morning Herald, 8 August 2008, 11
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Paris Pompor, Falling in Love Again, Sydney Morning Herald, 20 June 2008, 11
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Paris Pompor, Metro, 1 September 2006, 13
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Paris Pompor, Metro, 15 December 2006, 13
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Paris Pompor, Metro, 2 June 2006, 15
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Paris Pompor, Metro, 23 June 2006, 15
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Paris Pompor, Metro, 3 November 2006, 13
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Parkes Champion Post, 13 February 1950, 3
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Parkes Champion Post, 2 February 1950, 4
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Parkes Champion Post, 6 February 1950, 2
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Parkes Champion Post, 9 February 1950, 6
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Parliament. Legislative Council, The Argus, National Library of Australia, 27 October 1886, 4
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Parliament. Legislative Council., The West Australian, (Perth, WA : 1879 - 1954), 3 December 1897, 5
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Parliamentary Inspection Of Great Northern Railway Works, South Australian Advertiser, 22 October 1889, 5
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Parliamentary Notes. Academy of Music., The Daily Telegraph, Launceston, Tas., 4 October 1900, 2
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Parliamentary Notes. Academy of Music., The Daily Telegraph, Launceston, Tas., 6 October 1900, 4
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Parliamentary Trip To Angle Pole, The South Australian Register, 21 October 1889, 5
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Parting time for Hair, The Age, 21 February 1972, 2
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Passing by, News (Adelaide, SA : 1923 - 1954), National Library of Australia, 15 October 1934, 4
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Pat Bishop, Sun Herald, 16 August 1987
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Pat Bishop, Sun Herald, 16 August 1987
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Pat Bishop, Sun Herald, 20 September 1987
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Pat Bishop, Sun Herald, 8 March 1987
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Pat Bishop, [Les Liaisons Dangereuses], Sun Herald, 20 September 1987
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Pat Griffiths, Porter Play Disappoints, The Advertiser, The University of Adelaide, Library Special Collections, 25 February 1965
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Pat Parker, Playwright Worked in a Factory, The Australian Women's Weekly, 14 February 1968, 14
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Pat Wilson, The Advertiser, 8 January 1992
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Patch Players in Comedy, The West Australian, 9 February 1950, 8
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Paterson. Lecture, The Maitland Mercury, National Library of Australia, 17 June 1846, 2
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Patience, The News, The University of Adelaide, Library Special Collections
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Patience, The University of Adelaide, Library Special Collections
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Patricia Angly, Myth and Melba, The Australian, The University of Adelaide, Library Special Collections, 19 March 1976, 8
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Patricia Cornelius, The Australian, 15 November 2005, 16
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Patricia Kelly, Go with the flow, Supplements, 23 August 2002, 17
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Patricia Kent, "I dips me lid" – The Sentimental Bloke – a new Australian musical, The Australian Women's Weekly, 8 March 1961, 4
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Patricia Maunder, Cabaret is Booming But is Big Better?, The Age, 4 June 2007, 15
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Patrick Baggoley, The Canberra Times, 23 June 2005, 1
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Patrick Macdonald, Magic chicken has chef's goose cooked, The Advertiser, 22 April 2014, 7
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Patrick McDonald, Advertiser Weekend Magazine, 7 February 2004, 1
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Patrick McDonald, Elephant in the Room, Advertiser Weekend Magazine, 18 July 2009
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Patrick McDonald, Enigma wrapped in a mystery and locked in a bag, The Advertiser, Arts, 17 July 2014, 30
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Patrick McDonald, Separation Anxieties, The Advertiser, 28 October 2017, 18
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Patrick McDonald, The Advertiser, 1 August 2006, 10
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Patrick McDonald, The Advertiser, 16 November 2004, 3
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Patrick McDonald, The Advertiser, 17 November 2004, 29
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Patrick McDonald, The Advertiser, 2 September 2004, 7
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Patrick McDonald, The Advertiser, 9 September 2006, 21
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Patrick McDonald, [Held], The Advertiser, 4 December 2003, 0
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Patrick Nolan, New Theatre Australia, 1 March 1988
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Patrick White Drama, Nation, 22 April, 1961, 5-6
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Patriotic Entertainments, The Brisbane Courier, 28 October 1914, 8
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Patsy Day, [Magpie's Nest], The Real Estate and Community Times, 1 August 1988
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Patti McLoughlin, Eye music from Dance Exchange, Sydney Morning Herald, Theatre and Dance Platform, 10 May 1985
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Patti McLoughlin, First lady of the non-dance, Sydney Morning Herald, Theatre and Dance Platform, 1 October 1985, 14
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Patti McLoughlin, The Daily Telegraph, 21 May 1987
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Paul Bailey, Newcastle theatre company back with a second chance, Sydney Morning Herald, 27 October 1983
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Paul Bibby, Metro, 22 June 2007, 15
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Paul Bibby, Metro, 27 July 2007, 15
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Paul Bibby, Sydney Morning Herald, 12 May 2007, 25
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Paul Bibby, Sydney Morning Herald, 7 February 2007, 16
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Paul Bibby, Watership frown, Metro, 10 August 2007, 13
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Paul Davies, Dramatic Tales Stir the Suburb: Melbourneʻs Location Theatre Movement, 1979 - 1990, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 38 - 70
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Paul Davies, Like Riding a Bicycle: Achieving Balance through Mobility in Site-Specific Performance, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 69, October 2016, 138 - 172
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Paul Davies, The Sun (NSW), 13 August 1987
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Paul Davies, Transiting through the culures of suburbia: how Theatreworks discovered the community of an audience, Australasian Drama Studies, 60, April 2012, 138-156
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Paul Dowsey-Magog, Demons with mobile phones: evolutionary discourse in Thai shadow puppetry, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 25, October 1994, 130 - 145
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Paul Dwyer, Still rehearsing the revolution?: 'Theatre of the Oppressed', state subsidy and drug war politic, Australasian Drama Studies, 50, April 2007, 138-152
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Paul Dwyer, The inner lining of political discourse: presenting the Version 1.0 remixof the Senate Select Committee on a Certain Maritime Incident, Australasian Drama Studies, 48, April 2006, 130-135
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Paul Edwards, A2, 23 July 2005, 1
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Paul Galloway, BAM, 25 August 2001, 4
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Paul Galloway, Brisbane News, 13 May 1998
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Paul Galloway, Brisbane News, 15 April 1998
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Paul Galloway, Brisbane News, 27 May 1998
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Paul Galloway, Brisbane News, 29 May 1998
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Paul Galloway, Brisbane News, 3 June 1998
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Paul Galloway, Brisbane News, 6 May 1998
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Paul Galloway, Courting trouble, Brisbane News, 17 October 2001, 8
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Paul Galloway, Fringe benefits, Brisbane News, 21 November 2001, 12
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Paul Galloway, Funny Business, Brisbane News, 12 December 2001, 24
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Paul Galloway, Two Brothers, Currents, May 2005
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Paul Galloway, [Honour], The Australian, 17 June 1998
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Paul Galloway, [Quartet], Brisbane News, 12 August 1998
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Paul Galloway, [Urinetown], Currents, March 2006
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Paul Galloway, [X-Stacy], Brisbane News, 5 August 1998, 8
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Paul Heinrichs, 'Doll' author plays it a bit different, The Age, 25 January 1977, 2
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Paul Heinrichs, Enter Jesus, quiet as a church mouse, The Age, 4 April 1972, 2
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Paul Heinrichs, Poetry from the pen of a playwright, The Age, The University of Adelaide, Library Special Collections, 3 December 1977
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Paul Herlinger, A new direction for 'the New.', Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 8, April 1986
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Paul Kelly, Arts Council of Australia, Companion To Theatre In Australia, 1995, 60-61
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Paul LePetit, Face to Face, Sunday Telegraph, 20 March 1988
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Paul LePetit, Serious Money, Sunday Telegraph, 14 August 1988
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Paul LePetit, Sunday Telegraph, 1 February 1987
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Paul LePetit, Sunday Telegraph, 1 March 1987
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Paul LePetit, Sunday Telegraph, 1 March 1987
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Paul LePetit, Sunday Telegraph, 1 March 1987
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Paul LePetit, Sunday Telegraph, 1 May 1988
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Paul LePetit, Sunday Telegraph, 1 May 1988
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Paul LePetit, Sunday Telegraph, 1 November 1987
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Paul LePetit, Sunday Telegraph, 1 November 1987
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Paul LePetit, Sunday Telegraph, 10 January 1988
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Paul LePetit, Sunday Telegraph, 10 January 1988
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Paul LePetit, Sunday Telegraph, 10 January 1988
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Paul LePetit, Sunday Telegraph, 10 January 1988
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Paul LePetit, Sunday Telegraph, 10 May 1987
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Paul LePetit, Sunday Telegraph, 11 January 1987
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Paul LePetit, Sunday Telegraph, 11 January 1987
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Paul LePetit, Sunday Telegraph, 11 October 1987
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Paul LePetit, Sunday Telegraph, 13 March 1988
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Paul LePetit, Sunday Telegraph, 13 March 1988
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Paul LePetit, Sunday Telegraph, 14 February 1987
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Paul LePetit, Sunday Telegraph, 14 February 1988
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Paul LePetit, Sunday Telegraph, 14 June 1987
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Paul LePetit, Sunday Telegraph, 15 May 1988
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Paul LePetit, Sunday Telegraph, 16 August 1987
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Paul LePetit, Sunday Telegraph, 16 August 1987
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Paul LePetit, Sunday Telegraph, 17 January 1988
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Paul LePetit, Sunday Telegraph, 18 January 1987
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Paul LePetit, Sunday Telegraph, 18 January 1987
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Paul LePetit, Sunday Telegraph, 19 June 1988
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Paul LePetit, Sunday Telegraph, 2 August 1987
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Paul LePetit, Sunday Telegraph, 2 August 1987
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Paul LePetit, Sunday Telegraph, 20 March 1988
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Paul LePetit, Sunday Telegraph, 20 September 1987
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Paul LePetit, Sunday Telegraph, 21 February 1988
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Paul LePetit, Sunday Telegraph, 22 March 1987
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Paul LePetit, Sunday Telegraph, 22 May 1988
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Paul LePetit, Sunday Telegraph, 22 November 1987
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Paul LePetit, Sunday Telegraph, 22 November 1987
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Paul LePetit, Sunday Telegraph, 23 August 1987
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Paul LePetit, Sunday Telegraph, 24 January 1988
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Paul LePetit, Sunday Telegraph, 24 January 1988
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Paul LePetit, Sunday Telegraph, 24 July 1988
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Paul LePetit, Sunday Telegraph, 24 May 1987
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Paul LePetit, Sunday Telegraph, 24 May 1987
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Paul LePetit, Sunday Telegraph, 25 January 1987
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Paul LePetit, Sunday Telegraph, 26 April 1987
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Paul LePetit, Sunday Telegraph, 26 July 1987
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Paul LePetit, Sunday Telegraph, 27 December 1987
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Paul LePetit, Sunday Telegraph, 27 March 1988
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Paul LePetit, Sunday Telegraph, 27 September 1987
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Paul LePetit, Sunday Telegraph, 27 September 1987
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Paul LePetit, Sunday Telegraph, 27 September 1987
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Paul LePetit, Sunday Telegraph, 27 September 1987
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Paul LePetit, Sunday Telegraph, 28 August 1988
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Paul LePetit, Sunday Telegraph, 28 June 1987
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Paul LePetit, Sunday Telegraph, 28 June 1987
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Paul LePetit, Sunday Telegraph, 29 March 1987
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Paul LePetit, Sunday Telegraph, 29 March 1987
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Paul LePetit, Sunday Telegraph, 29 May 1988
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Paul LePetit, Sunday Telegraph, 29 November 1987
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Paul LePetit, Sunday Telegraph, 29 November 1987
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Paul LePetit, Sunday Telegraph, 29 November 1987
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Paul LePetit, Sunday Telegraph, 3 April 1988
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Paul LePetit, Sunday Telegraph, 3 January 1987
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Paul LePetit, Sunday Telegraph, 3 January 1988
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Paul LePetit, Sunday Telegraph, 3 July 1988
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Paul LePetit, Sunday Telegraph, 3 July 1988
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Paul LePetit, Sunday Telegraph, 3 May 1987
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Paul LePetit, Sunday Telegraph, 3 May 1987
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Paul LePetit, Sunday Telegraph, 31 January 1988
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Paul LePetit, Sunday Telegraph, 31 July 1988
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Paul LePetit, Sunday Telegraph, 31 July 1988
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Paul LePetit, Sunday Telegraph, 4 October 1987
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Paul LePetit, Sunday Telegraph, 4 September 1988
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Paul LePetit, Sunday Telegraph, 5 April 1987
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Paul LePetit, Sunday Telegraph, 5 July 1987
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Paul LePetit, Sunday Telegraph, 5 June 1988
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Paul LePetit, Sunday Telegraph, 6 March 1988
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Paul LePetit, Sunday Telegraph, 6 March 1988
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Paul LePetit, Sunday Telegraph, 7 February 1988
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Paul LePetit, Sunday Telegraph, 7 February 1988
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Paul LePetit, Sunday Telegraph, 7 June 1987
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Paul LePetit, Sunday Telegraph, 8 February 1987
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Paul LePetit, Sunday Telegraph, 8 May 1988
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Paul LePetit, Sunday Telegraph, 8 November 1987
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Paul LePetit, Sunday Telegraph, 9 August 1987
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Paul Makeham, 'The city's surrounded by fire': Michael Gow's The Kid, Australasian Drama Studies, 36, April 2000, 73-88
-
Paul Makeham, Singing the landscape: Bran Nue Dae, Australasian Drama Studies, 28, 1996, 117-132
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Paul Makeham, Singing the landscape: Bran Nue Dae, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 28, April 1996, 117 - 132
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Paul McGillick, A conversation with Jack Hibberd, ICA Magazine, The University of Adelaide, Library Special Collections, 5, January 1977, 4-16
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Paul McGillick, Australian langauge and Australia theatre: Paul McGillick, Meanjin, 43, 1 (Autumn), 1984, 173-178
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Paul McGillick, Critics vs crowds, New Theatre Australia, 9, March 1989, 26-28
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Paul McGillick, Financial Review, 1 July 1988
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Paul McGillick, Financial Review, 13 February 1987
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Paul McGillick, Financial Review, 13 May 1988
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Paul McGillick, Financial Review, 15 April 1988
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Paul McGillick, Financial Review, 16 April 1987
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Paul McGillick, Financial Review, 16 October 1987
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Paul McGillick, Financial Review, 19 February 1988
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Paul McGillick, Financial Review, 19 June 1987
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Paul McGillick, Financial Review, 2 October 1987
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Paul McGillick, Financial Review, 20 February 1987
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Paul McGillick, Financial Review, 20 March 1987
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Paul McGillick, Financial Review, 21 August 1987
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Paul McGillick, Financial Review, 23 October 1987
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Paul McGillick, Financial Review, 25 March 1988
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Paul McGillick, Financial Review, 26 February 1988
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Paul McGillick, Financial Review, 26 February 1988
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Paul McGillick, Financial Review, 26 June 1987
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Paul McGillick, Financial Review, 27 February 1987
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Paul McGillick, Financial Review, 27 November 1987
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Paul McGillick, Financial Review, 29 April 1988
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Paul McGillick, Financial Review, 29 July 1988
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Paul McGillick, Financial Review, 29 July 1988
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Paul McGillick, Financial Review, 3 April 1987
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Paul McGillick, Financial Review, 3 July 1987
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Paul McGillick, Financial Review, 3 June 1988
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Paul McGillick, Financial Review, 3 June 1988
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Paul McGillick, Financial Review, 31 July 1987
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Paul McGillick, Financial Review, 4 December 1987
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Paul McGillick, Financial Review, 6 February 1987
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Paul McGillick, Financial Review, 6 May 1988
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Paul McGillick, Financial Review, 6 May 1988
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Paul McGillick, Financial Review, 6 November 1987
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Paul McGillick, Financial Review, 7 August 1987
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Paul McGillick, Financial Review, 8 April 1988
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Paul McGillick, Financial Review, 8 July 1988
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Paul McGillick, Financial Review, 8 May 1987
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Paul McGillick, Jack Hibberd's anti-naturalism, Quadrant, 23/3, March, 1979, 42-47
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Paul McGillick, New Theatre Australia, 1 July 1988
-
Paul McGillick, Some politicians need their heads examined, Australian Financial Review, 3 July 1999
-
Paul McGillick, Sunday Telegraph, 22 November 1987
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Paul Monahan, Metaphysics in the mundane, RealTime Arts, 71, February 2006, 31
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Paul Mortimer, Tribune, 2 December 1953, 5
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Paul Murphy, 'Inside the immigrant mind': nostalgic versus nomadic subjectivities in late twentieth-century Irish drama, Australasian Drama Studies, 43, October 2003, 128-147
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Paul Pottinger, Drunken_Promo, Sydney Morning Herald, Macquarie University, Library, 1 May 1992, 2 (Metro section)
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Paul Pottinger, Metro, 22 December 2000
-
Paul Pottinger, Metro, 5 January 2001, 4
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Paul Ransom, Lucy Guerin’s new work at Asia TOPA: Are friends metallic?, Dance Informa Magazine Australia, January 2020, online
-
Paul Stewart, Sky's the limit for a lady killer, The Sunday Herald Sun, 8 June 2008, 18
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Paul Washington, 'Bardbiz' in colonial Australia: the formation of a cultural institution, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 33, October 1998, 145 - 160
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Paul William Richardson, Garnet Walch's 'Australia Felix': a reconstruction, Australasian Drama Studies, Australasian Drama Studies c/- Department of English, Unive, St. Lucia, Queensland, 1, 2, April 1983, 62 - 81
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Paul William Richardson, Review: Flags, Verandahs and Other Wombats, Two Australian Plays, Australasian Drama Studies, 3, 2, April 1985, 148 - 149
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Paula de Burgh, Melbourne Report, 1 April 1988
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Paula de Burgh, Melbourne Report, 1 August 1988
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Paula de Burgh, Melbourne Report, 1 August 1988
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Paula de Burgh, Melbourne Report, 1 December 1987
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Paula de Burgh, Melbourne Report, 1 January 1988
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Paula de Burgh, Melbourne Report, 1 July 1988
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Paula de Burgh, Melbourne Report, 1 July 1988
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Paula de Burgh, Melbourne Report, 1 June 1988
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Paula de Burgh, Melbourne Report, 1 June 1988
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Paula de Burgh, Melbourne Report, 1 June 1988
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Paula de Burgh, Melbourne Report, 1 March 1988
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Paula de Burgh, Melbourne Report, 1 March 1988
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Paula de Burgh, Melbourne Report, 1 September 1988
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Paula de Burgh, Melbourne Report, 1 September 1988
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Paula de Burgh, Melbourne Report, 1 September 1988
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Paula de Burgh, The First Born, Melbourne Report, 1 June 1988
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Paula de Burgh, The Herald, 10 February 1988
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Paula de Burgh, The Herald, 15 September 1987
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Paula de Burgh, The Herald, 15 September 1987
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Paula de Burgh, The Herald, 2 October 1987
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Paula Carr, Melbourne Report, 1 July 1990
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Paula Carr, Melbourne Report, 1 June 1990
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Paula Carr, Melbourne Report, June 1991
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Paula Citron, Why Ottowa dance fans are the luckiest in the country (again) with the new National Arts Centre season, The Globe and Mail, Theatre and Dance Platform, 31 March 2013
-
Paving the Way, The Mail (Adelaide, SA : 1912 - 1954), National Library of Australia, 1 February 1936, 2
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Pavlova: The Magic Flute, Snowflakes and Divertissements, The Advertiser, The University of Adelaide, Library Special Collections
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Peers show artists, Barrier Miner, 2 June 1955, 6
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Penelope Debelle, Dunstan play put family on defensive, The Age, 6 September 2007, 5
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Penelope Debelle, Metro, 27 April 2001, 15
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Penelope Debelle, Power, sex and the man in those pink shorts, The Age, 6 September 2007, 19
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Penelope Debelle, Spectrum, 13 November 2004, 16
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Penelope Debelle, Sydney Morning Herald, 11 August 2003, 13
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Penelope Debelle, Sydney Morning Herald, 21 July 2003, 14
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Penelope Debelle, Sydney Morning Herald, 24 February 2006, 12
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Penelope Debelle, Sydney Morning Herald, 9 July 2003, 12
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Penelope Debelle, The Age, 6 February 2006, 14
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Penelope Debelle, The view from Willunga; a vision of Miller's tale, Sydney Morning Herald, 14 August 2001, 12
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Penny Hewett, Western Mail, 13 June 1987
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Penny Lye, The Roaring Days!, The Australian Women's Mirror, 4 November 1964, 12-13
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People Prominent - J. S. Montgomery, Referee, 28 October 1896, 7
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People Prominent - Phil Goatcher, Referee, 9 September 1896, 7
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People's Theatre - Dame Sybil Thorndike Speech, Sydney Morning Herald, 24 October 1932, 10
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Performance Of "Julius Caesar", Newcastle Morning Herald and Miners' Advocate, 28 June 1950, 6
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Performing Arts Targeted for Sustainable Partnerships by the Australian Export Strategy for Latin America, Theatre and Dance Platform, 27 January 2011
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Performing Arts Year Book of Australia, 1979, 186
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Performing Arts Year Book of Australia, 1979, 28
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John Allan, of theatrical celebrity, pleaded not guilty to an assault upon John Davis, of the Sydney Hotel. It appeared in evidence, that on the day of the grand meetingl at the theatre, while Mr. Worthy Worthington George Nichols was en- lightening an audience of the British public with the sublime and beautiful, a farce of an equally amusing, though not quite so harmless a description, was taking place in the back- ground. Allan, the defendant, the man what perform the savage'ruffian, and ferocious mur- derer at the Queen's Theatre was giving a lesson in private theatricals to the complaitant, the said John Davis, who was standing in the rear oï the platform. Allan commenced by first informing him, that his rank not being that of a gentleman, he was not entitled to be on the stage. Davis not thoroughly under- standing the argument, seeing so many of the unwashed around him, replied he should not move off. Allan, who, by the bye, has studied the pugilistic art in the polite circles ot Europe, then got hold of Davis round the neck, pin- ning him with his left, and administering divers blows with the right, on the cranium, or frontis, and various other osées of the defendant's person. This was the assault and grievance complained of, and for which com- plainant sought redress of the court. The Magistrates then ordered the defendant to be bound over in his own recognisance to keep the peace for six months, and defray thè costs of the present action.-Communicated.
Performing at the Queen's Theatre, Southern Australian, National Library of Australia, 18 February 1842, 4
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Period Costumes, Barrier Miner, 31 October 1964, 7
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Personal Column, The Stage and Television Today, 24 November 1966, 16
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Personal [Joan and Betty Rayner], Sydney Morning Herald, 10 February 1931, 8
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Personal, Chronicle (Adelaide, SA : 1895 - 1954), National Library of Australia, 11 December 1920, 35
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Personal, Sydney Morning Herald, 14 June 1934, 9
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Personal, The Advertiser, 16 April 1914, 8
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Personal, The Argus, 3 March 1936, 8
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Personal, The Brisbane Courier, 2 April 1924, 6
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Personal, The Brisbane Courier, 5 February 1910, 6
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Personal, Windsor and Richmond Gazette, 12 May 1906, 11
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Personality..., Newcastle Morning Herald and Miners' Advocate, 5 May 1950, 2
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Perth Carnival Fortnight, Sunday Times, 19 December 1909, 5
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Perth Carnival Fortnight, The Daily News, 27 December 1909, 1
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Perth Carnival Fortnight, The West Australian, 25 December 1909, 7
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Perth Carnival Fortnight, The West Australian, 31 December 1909, 5
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Perth Christmas Carnival, The Kalgoorlie Miner, 9 December 1909, 6
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Perth Dramatist. Recognition in Melbourne, The West Australian, 21 March 1934, 5.
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Perth looking forward to Chinese opera, Tribune, 18 December 1956, 12
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Perth will see play uncut, The Age, 29 January 1970, 9
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Peta Koch, Courier Mail, 13 March 1987
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Peta Koch, Courier Mail, 13 October 1987
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Peta Koch, Courier Mail, 15 April 1988
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Peta Koch, Courier Mail, 16 June 1988
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Peta Koch, Courier Mail, 19 August 1988
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Peta Koch, Courier Mail, 2 April 1987
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Peta Koch, Courier Mail, 21 July 1988
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Peta Koch, Courier Mail, 23 April 1987
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Peta Koch, Courier Mail, 23 September 1987
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Peta Koch, Courier Mail, 24 August 1988
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Peta Koch, Courier Mail, 25 August 1988
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Peta Koch, Courier Mail, 26 October 1987
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Peta Koch, Courier Mail, 27 March 1987
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Peta Koch, Courier Mail, 28 July 1988
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Peta Koch, Courier Mail, 30 August 1988
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Peta Koch, Courier Mail, 30 May 1988
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Peta Koch, Courier Mail, 31 May 1988
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Peta Koch, Courier Mail, 4 March 1988
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Peta Koch, Courier Mail, 6 May 1988
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Peta Tait, Bodies perform inner emotions: Stanislavski's legacy, Australasian Drama Studies, 53, October 2008, 84-102
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Peta Tait, Burlesque Costuming and Sensationalist Circus Animal Acts, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 63, October 2013, 84 - 95
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Peta Tait, Contemporary Politics and Empathetic Emotions: Company B's Antigone, New Theatre Quarterly, 26, 4, 2010, 351-360
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Peta Tait, Copy of Burlesque Costuming and Sensationalist Circus Animal Acts, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 63, October 2013, 84 - 95
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Peta Tait, Embodying Love: Mother Meets Daughter in Theatre for Cultural Exchange, Australasian Drama Studies, 49, October 2006, 32-39
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Peta Tait, Human rights, humanness and animalness in Antigone: empathetic emotions and Company B's production, Australasian Drama Studies, 56, April 2010, 71-83
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Peta Tait, Interpreting bodily functions in queer performance, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 31, October 1997, 48 - 56
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Peta Tait, Rosemary Farrell, A great show-family business: Circus and Edgley International, Australasian Drama Studies, 60, April 2012, 157-169
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Peta Tait, Teaching and performance: the missing milieu, RealTime Arts, 43, June 2001
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Peta Tait, The act of forming anew: The Melbourne Women's Theatre Group, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 21, October 1992, 24 - 32
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Peta Tait, Unnatural bodies from violent and queer acts in Australian physical theatre, Australasian Drama Studies, 41, October 2002, 3-14
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Pete Huet, Times out, 19 February 2004, 3
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Peter Bonner, The West Australian, 18 February 1988
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Peter Brook's Epic, The Advertiser, 17 October 1987, 5
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Peter Burch, Everything but a Few Good Songs, The Australian, 14 June 2008, 0
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Peter Burch, The Australian, 7 December 1987
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Peter Burdon, blaze Magazine, 3 March 2006, 13
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Peter Burgis, Starring John Barrymore, Gregory Peck - and Roland Hogue (Part 2), On Stage, 11, 4, 2010, 38-40
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Peter Burgis, Starring John Barrymore, Gregory Peck - and Roland Hogue, On Stage, 11, 3, 2010, 28-30
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Peter Burgis, Welcome Mr. C, On Stage, 13, 2, 2012, 14-15
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Peter Clack, Cashing in on their culture, The Canberra Times, 22 March 1990, 4
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Peter Clack, Good Times, 8 March 1990, 4
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Peter Clarke, [The Ham Funeral], Limelight, May 2005, 38
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Peter Cochrane, A dramatic crossover, Sydney Morning Herald, 24 April 1993, 46
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Peter Cochrane, Dame Joan shows her style, Sydney Morning Herald, 7 December 1989, 2
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Peter Cochrane, Spectrum, 5 October 1996, 7
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Peter Cochrane, Stage teams take out the top writers' awards, Sydney Morning Herald, 26 July 1999, 15
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Peter Cochrane, Sydney Morning Herald, 16 April 1988
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Peter Copeman, Looking closer afield: Carrillo Gantner on Australian theatre and Asia, Australasian Drama Studies, 34, April 1999, 25-46
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Peter Copeman, The Hearts and Minds project: towards an Austral/Asian theatre*, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 25, October 1994, 166 - 176
-
Peter Cotes, The year of the "Day", Australian Theatregoer, 2, 2/3, December 1961, 9
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Peter Craven, Duelling revivals? It's a Top Girls thing, The Australian, 16 August 2012
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Peter Craven, Eternal search for the ideal, The Australian, 6, 30 January 2010
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Peter Craven, Review, 22 July 2006, 6
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Peter Craven, Review, 9 June 2007, 16
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Peter Craven, Sigrid having a , A2, 13 October 2007, 18
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Peter Craven, The Age, 21 July 2007, 17
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Peter Craven, The Australian, 19 July 2007, 10
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Peter Craven, The Australian, 6 September 2005, 14
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Peter Dean, Courier Mail, 22 July 1988
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Peter Downes, Sefton Daly, On Stage, 13, 3, 2012, 8-13
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Peter Eckersall, Discussing theory-practice relationships in performance: a round-table discussion, Australasian Drama Studies, 39, October 2001, 148-161
-
Peter Eckersall, On physical theatre: a roundtable discussion from 'Not Yet It's Difficult' with Peter Eckersall, Paul Jackson, David Pledger, Greg Ulfan, Australasian Drama Studies, 41, October 2002, 15-27
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Peter Eckersall, Yoni Prior, Lineages, training, techniques and tradition: rethinking the place of Rusden in Melbourne's contemporary theatre - a roundtable discussion, Australasian Drama Studies, 53, October 2008, 58-73
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Peter Ellingsen, Dry run in a harsh place, The Age, Saturday Extra, 8 February 2003, 6
-
Peter Farrell, 'It Was an Act of Revenge', The News, The University of Adelaide, Library Special Collections, 16 March 1978
-
Peter Farrell, All play - and a lot of hard work, The News, The University of Adelaide, Library Special Collections, 29 November 1978
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Peter Farrell, Controversy in 'punk' play for our Festival, The News, The University of Adelaide, Library Special Collections, 31 October 1977
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Peter Farrell, Punk play author amazed at controversy, The News, The University of Adelaide, Library Special Collections, 17 November 1977
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Peter Farrell, Stir over Festival punk play, The News, The University of Adelaide, Library Special Collections, 14 November 1977
-
Peter Fitzpatrick, A chronology of Australian theatre 1977-83, New Theatre Quarterly, 2/5, 1986, 68-74
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Peter Fitzpatrick, After the Wave: Australian drama since 1975, New Theatre Quarterly, 2/5, 1986, 54-67
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One of the most frequently revived Australian plays, Away opens with the close of Shakespeare's A Midsummer Night's Dream and closes with the opening of King Lear. These reference points, together with extracts from Felix Mendelssohn’s incidental music for the Dream, contribute importantly to the play's structure and atmosphere. The first act begins like yet another satire on suburban banality as three families at a school play look forward to the summer holidays. Behind it, however, is nostalgia for the innocently booming Australia of the 1960s.
ln the second act the play becomes a different kind of comedy. Couples who are locked into ritual and pretence at home are freed by the experience of being 'away' on the northeast coast to evolve new understandings that may prove to be durable. Harry and Vic, an English couple whose son Tom is dying of leukaemia, are less a target for satire than the others. Gow's major satiric objects are Jim and Gwen, parents of Tom's friend Meg. Gwen is obsessed with keeping up appearances. But all the parents in Away have much to learn.
The transformations are partly atrributable to relocation, to a storm that exposes everyone to the elements on an unknown beach, and to confrontation with Tom's real tragedy. However they also stem from a shift in mode. Away relies less on dialogue as it moves away from familiar places and familiar ways of looking at them. Anti-realist staging of the storm with the fairies from the opening scene, the romantic suggestiveness of the music, a strange play that Tom and Coral stage for the campers, as well as Shakespeare's verse, all gesture toward an order of knowledge that resists common sense. The couples' final reconciliations are all wordless. Away becomes comedy of the Shakespearean kind, in which harmony is established where only discord had seemed possible. Gow seems to achieve that against all odds when Tom at the end begins to read from King Lear. There is cruel irony in the boy, who is about to die, speaking the words of the octogenarian Lear. Gow refuses to be embarrassed about those kinds of emotional claims, and makes them real and memorable. In 1992, when Gow directed the play in Sydney he gave Meg the final reading, making Tom's death tangible. This version has been adopted in subsequent productions.
Peter Fitzpatrick, Away, Companion To Theatre In Australia, 1995, 77
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Peter Fitzpatrick, flowerchildren: The beginnings, On Stage, 12, 2, 2011, 42-44
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Peter Fitzpatrick, History - the Musical: A review and a retrospect, Australian Historical Studies, 23/91, October, 1988, 171-179
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Peter Fitzpatrick, Mythmaking in modern drama, Australian Literary Studies, 13, 4 (October), 1988, 520-534
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Peter Fitzpatrick, Sewell's Dreams at the Adelaide Festival, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 9, October 1986, 35 - 51
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Peter Fitzpatrick, Staging Australia: models of cultural identity in the theatre, Journal of Australian Studies, 13 (April), 1990, 53-62
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Peter Fitzpatrick, Whose turn to shout? The crisis in Australian musical theatre today., Australasian Drama Studies, 38, April 2001, 16-28
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Peter Fitzsimons, Metro, 19 July 2002, 15
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Peter Frankis, Muse, 1 April 2001, 9
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Peter Frankis, Muse, 1 May 2001, 23
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Peter Fray, Sydney Morning Herald, 15 May 2002, 2
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Peter Fray, Sydney Morning Herald, 16 July 2003, 13
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Peter Game, The Herald, 18 February 1987
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Peter Game, The Herald, 23 March 1987
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Peter Goers, Adelaide's grand man of theatre, Sunday Mail, The University of Adelaide, Library Special Collections, November 1991
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Peter Goers, The Advertiser, 14 July 1992
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Peter Goers, The Advertiser, 17 March 1988
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Peter Goers, The Advertiser, 31 May 1988
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Peter Gotting, Sydney Morning Herald, 4 August 2000, 16
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Peter Hackney, SX news, 17 August 2006, 15
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Peter Hackney, SX news, 23 November 2006, 18
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Peter Hackney, SX news, 7 December 2006, 32
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Peter Harcourt, 'There's gold in them that files.': Playscripts deposited for copyright registration, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 18, April 1991, 7 - 21
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Peter Hayes, City News (Canberra), 21 July 2005, 18
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Peter Higgs, Stuart Cunningham, What's Your Other Job? A Census Analysis of Arts Employment in Australia, 2010, 1-31
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Peter Huck, Sydney Morning Herald, 1 March 2004, 14
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Peter J Casey, Times out, 22 April 2004, 3
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Peter J Casey, Times2, 3 June 2005, 4
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Peter J Wilson, Winds of change: seeing Australian puppetry into the new century, Australasian Drama Studies, 51, October 2007, 5-9
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Peter Kemp, Stage Whispers, 1 March 2001
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Peter Lavery, Actor training at Juliard and RADA, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 19, October 1991, 107 - 113
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Peter Mitchell, Boy from Oz the toast of Broadway, The Canberra Times, 8 June 2004
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Peter Munro, Metro, 27 July 2003, 15
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Peter O'Connor, The Advertiser, 1 July 1976, 0
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Peter O'Shaughnessy, Keeping a Brecht of the times, On Stage, 12, 1, 2011, 24-25
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Peter O'Shaughnessy, O'Shaughnessy at Chichester, On Stage, 13, 2, 2012, 40-41
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Peter O'Shaughnessy, The making of Edna and Sandy (Part 2), On Stage, 11, 3, 2010, 6-8
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Peter O'Shaughnessy, The making of Edna and Sandy, On Stage, 11, 2, 2010, 22-24
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Peter Oldham: man with a camera, RealTime Arts, 41, February 2001, 12
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Peter Pan at Minerva well produced, Sydney Morning Herald, 27 December 1946, 4
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Peter Pan at Minerva, Sydney Morning Herald, 28 December 1943, 7
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Peter Pinne, Only Heaven Knows (Part 2), On Stage, 11, 3, 2010, 15-18
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Peter Pinne, Bran Nue Dae (Part 2), On Stage, 13, 1, 2012, 17-19
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Peter Pinne, Bran Nue Dae, On Stage, 12, 4, 2011, 5-7
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Peter Pinne, Everybody had a good time - Part 2, On Stage, 11, 2, 2010, 13-16
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Peter Pinne, Everybody had a good time, On Stage, 11, 1, 2010, 36-37
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Peter Pinne, Following Ned, On Stage, 12, 3, 2011, 14-16
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Peter Pinne, Ned Kelly, On Stage, 12, 2, 2011, 24-28
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Peter Pinne, One day I'll go around the world (Part 2), On Stage, 13, 1, 2012, 37-40
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Peter Pinne, One day I'll go around the world, On Stage, 12, 4, 2011, 32-35
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Peter Pinne, Only Heaven Knows, On Stage, 11, 2, 2010, 36 - 39
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Peter Pinne, Repertory-in-the-round, On Stage, 11, 1, 2010, 3 - 4
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Peter Pinne, Safety in Numbers, On Stage, 13, 3, 2012, 14-17
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Peter Pinne, Safety in Numbers, On Stage, 13, 4, December 2012, 16-22
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Peter Pinne, The Ballad of Angel's Alley (Part 2), On Stage, 12, 1, 2011, 37-41
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Peter Pinne, The Ballad of Angel's Alley, On Stage, 11, 4, 2010, 8-11
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Peter Pinne, The Emerald Hill dream (Part 2), On Stage, 13, 3, 2012, 36-39
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Peter Pinne, The Emerald Hill dream (Part 3), On Stage, 13, 4, 2012, 34-39
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Peter Pinne, The Emerald Hill dream, On Stage, 13, 2, 2012, 6-11
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Peter Pinne, The magic of George Miller's Music Halls (Part 2), On Stage, 11, 4, 2010, 4-7
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Peter Pinne, The magic of George Miller's Music Halls (Part 3), On Stage, 12, 1, 2011, 26-29
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Peter Pinne, The magic of George Miller's Music Halls (Part 4), On Stage, 12, 2, 2011, 30-32
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Peter Pinne, The magic of George Miller's Music Halls (Part 5), On Stage, 12, 3, 2011, 20-23
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Peter Pinne, The magic of George Miller's Music Halls, On Stage, 11, 3, 2010, 39-42
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Peter Robinson, Philo delivers a slice of that Sixties sound, The Canberra Times, 18 January 1995, 16
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Peter Ross, [Wogs out of work], Sun Herald, 27 March 1988
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Peter Sellars, Arts and Leisure, 30 September 2001, 1
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Peter Sellars, Arts and Leisure, 30 September 2001, 1
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Peter Sellars, Australia's Arts Unfettered, Arts and Leisure, 30 September 2001, 1
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Peter Stephenson Jones, The Teachers: Maie Hoban, On Stage, 12, 4, 2011, 20-22
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Peter Sumner, The first theatre in the Australian diggings, On Stage, 12, 2, 2011, 39-41
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Peter Ward, Ballantyne, Colin Sandergrove (1908–1988), Australian Dictionary of Biography Online, 2007
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Peter Ward, Indulgent audiences and naked emperors, The Australian, The University of Adelaide, Library Special Collections, 13 February 1980
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Peter Ward, Morally charged agitprop scorches, The Australian, 25 March 1999, 16
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Peter Ward, The Australian, 11 July 1988
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Peter Ward, The Australian, 11 May 1987
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Peter Ward, The Australian, 15 July 1988
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Peter Ward, The Australian, 16 July 1987
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Peter Ward, The Australian, 17 March 1988
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Peter Ward, The Australian, 17 September 1997
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Peter Ward, The Australian, 18 March 1988
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Peter Ward, The Australian, 2 March 1998
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Peter Ward, The Australian, 21 March 1988
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Peter Ward, The Australian, 21 March 1988
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Peter Ward, The Australian, 21 September 1987
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Peter Ward, The Australian, 22 March 1988
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Peter Ward, The Australian, 23 February 1988
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Peter Ward, The Australian, 23 March 1988
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Peter Ward, The Australian, 24 March 1988
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Peter Ward, The Australian, 24 March 1988
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Peter Ward, The Australian, 25 April 1988
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Peter Ward, The Australian, 26 March 1998
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Peter Ward, The Australian, 27 April 1987
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Peter Ward, The Australian, 27 August 1987
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Peter Ward, The Australian, 27 October 1987
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Peter Ward, The Australian, 28 March 1988
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Peter Ward, The Australian, 3 March 1987
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Peter Ward, The Australian, 3 March 1998
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Peter Ward, The Australian, 30 March 1998
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Peter Ward, The Australian, 31 May 1988
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Peter Ward, The Australian, 5 December 1997
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Peter Ward, The Australian, 5 March 1998
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Peter Ward, The Australian, 7 March 1988
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Peter Ward, The Australian, 9 March 1988
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Peter Ward, Theatre in Adelaide from 1920 to 1960, Australian Letters, 2/4, 1960, 98-102
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Peter Watts, The Australian, 10 September 1987
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Peter Weiniger, Charting the progress of a generation, The Age, 27 May 1983, 14
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Peter Weiniger, Far-sighted bloke, The Age, 18 February 1980, 2
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Peter Weiniger, Personal, yet universal odyssey, The Age, 17 March 1987, 14
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Peter Weiniger, The Age, 10 February 1987
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Peter Weiniger, The Age, 10 February 1987
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Peter Weiniger, The Age, 11 February 1988
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Peter Weiniger, The Age, 12 April 1988
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Peter Weiniger, The Age, 14 March 1987
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Peter Weiniger, The Age, 14 March 1988
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Peter Weiniger, The Age, 16 March 1988
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Peter Weiniger, The Age, 17 August 1988
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Peter Weiniger, The Age, 18 May 1988
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Peter Weiniger, The Age, 19 January 1987
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Peter Weiniger, The Age, 19 November 1987
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Peter Weiniger, The Age, 21 August 1988
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Peter Weiniger, The Age, 21 September 1988
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Peter Weiniger, The Age, 23 May 1988
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Peter Weiniger, The Age, 24 April 1987
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Peter Weiniger, The Age, 24 August 1988
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Peter Weiniger, The Age, 24 November 1987
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Peter Weiniger, The Age, 25 March 1987
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Peter Weiniger, The Age, 25 March 1987
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Peter Weiniger, The Age, 3 May 1988
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Peter Weiniger, The Age, 6 February 1987
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Peter Weiniger, The Age, 6 May 1987
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Peter Weiniger, The Age, 8 June 1988
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Peter Weiniger, The Age, 9 August 1988
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Peter Weiniger, [Medea], The Age, 23 January 1987
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Peter Wilkins, Panorama, 22 May 2004, 17
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Peter Wilkins, Panorama, 23 October 2004, 26
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Peter Wilkins, Panorama, 28 August 2004, 22
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Peter Wilkins, The Canberra Times, 13 April 2004, 15
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Peter Wilkins, The Canberra Times, 28 July 2004, 19
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Peter Wilkins, When love is turned into shame, Times2, 14 August 2007, 9
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Peter Wilkins, Working on the margins, Panorama, 3 November 2007, 20
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Peter Wilson, Hunter-gatherer in the world of words, The Australian, 4 April 2008, 14
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Peter Wyllie Johnston, 'Australian-ness' in musical theatre: a Bran Nue Dae for Australia, Australasian Drama Studies, 45, October 2004, 157-179
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Phil Brown, Brisbane News, 27 August 2005, 12
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Phil Brown, On point but with a twist, Courier Mail, 8 November 2019, 14
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Phil Brown, War time legacy, The Advertiser, SAWeekend, 10 May 2014, 24
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Phil Roberts, Restoration continues at Ballarat's Mechanics' Institute, On Stage, 12, 2, 2011, 38
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Philadelphia Story Lacks Vitality, Sydney Morning Herald, 5 October 1948, 2
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Philharmonic is heading back to the '60s, The Canberra Times, 19 December 1994, 15
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Philharmonic Society Concert, Barrier Miner, 6 May 1940, 4
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Philip O'Brien, Canberra Sunday Times, 13 May 2007, 28
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Philip O'Brien, Canberra Sunday Times, 23 June 2002, 58
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Philip O'Brien, CT Magazine, June 2004, 34
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Philip O'Brien, Good Times, 25 March 2004, 6
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Philip O'Brien, Muse, September 2002, 7
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Philip O'Brien, Panorama, 15 October 2005, 19
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Philip O'Brien, Panorama, 16 April 2005, 19
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Philip O'Brien, Panorama, 16 June 2007, 19
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Philip O'Brien, Panorama, 17 July 2004, 20
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Philip O'Brien, Panorama, 17 September 2005, 9
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Philip O'Brien, Panorama, 19 October 2002, 12
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Philip O'Brien, Panorama, 2 February 2002, 11
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Philip O'Brien, Panorama, 20 January 2007, 22
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Philip O'Brien, Panorama, 20 November 2004, 26
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Philip O'Brien, Panorama, 22 January 2005, 19
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Philip O'Brien, Panorama, 22 July 2006, 19
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Philip O'Brien, Panorama, 24 February 2001, 12
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Philip O'Brien, Panorama, 24 September 2005, 19
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Philip O'Brien, Panorama, 25 June 2005, 22
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Philip O'Brien, Panorama, 26 February 2005, 4
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Philip O'Brien, Panorama, 28 August 2004, 19
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Philip O'Brien, Panorama, 3 March 2001, 11
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Philip O'Brien, Panorama, 30 December 2006, 19
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Philip O'Brien, Panorama, 30 July 2005, 9
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Philip O'Brien, Panorama, 30 June 2007, 19
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Philip O'Brien, Panorama, 4 December 2004, 26
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Philip O'Brien, Panorama, 4 June 2005, 19
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Philip O'Brien, Panorama, 5 February 2005, 19
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Philip O'Brien, Pulse (Canberra, ACT), 16 May 1986, 13
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Philip O'Brien, Relax, 2 February 2002, 4
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Philip O'Brien, Relax, 29 May 2005, 8
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Philip O'Brien, Relax, 4 February 2007, 8
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Philip O'Brien, Searching for love, Times out, 2 May 2002, 7
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Philip O'Brien, Struggle in balance of life, Times2, 2 August 2007, 8
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Philip O'Brien, The Canberra Times, 1 January 2004, 4
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Philip O'Brien, The Canberra Times, 11 March 2004, 6
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Philip O'Brien, The Canberra Times, 11 September 1999, 5
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Philip O'Brien, The Canberra Times, 12 March 2002, 18
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Philip O'Brien, The Canberra Times, 13 November 2002, 11
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Philip O'Brien, The Canberra Times, 16 September 2002, 15
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Philip O'Brien, The Canberra Times, 18 June 2004, 30
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Philip O'Brien, The Canberra Times, 18 March 2004, 6
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Philip O'Brien, The Canberra Times, 2 May 2001, 14
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Philip O'Brien, The Canberra Times, 20 December 2004, 17
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Philip O'Brien, The Canberra Times, 20 November 2002, 18
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Philip O'Brien, The Canberra Times, 24 November 2003, 19
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Philip O'Brien, The Canberra Times, 25 April 2001, 12
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Philip O'Brien, The Canberra Times, 25 September 2002, 21
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Philip O'Brien, The Canberra Times, 26 September 2002, 6
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Philip O'Brien, The Canberra Times, 28 October 2002, 8
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Philip O'Brien, The Canberra Times, 29 July 2002, 9
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Philip O'Brien, The Canberra Times, 3 April 2002, 10
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Philip O'Brien, The Canberra Times, 6 February 2002, 12
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Philip O'Brien, The Canberra Times, 7 November 2001, 14
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Philip O'Brien, The Canberra Times, 8 January 2001, 15
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Philip O'Brien, Times out, 1 April 2004, 6
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Philip O'Brien, Times out, 10 July 2003, 4
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Philip O'Brien, Times out, 10 July 2003, 6
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Philip O'Brien, Times out, 12 December 2002, 6
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Philip O'Brien, Times out, 15 August 2002, 9
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Philip O'Brien, Times out, 15 May 2003, 6
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Philip O'Brien, Times out, 16 August 2001, 7
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Philip O'Brien, Times out, 16 May 2002, 7
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Philip O'Brien, Times out, 16 October 2003, 5
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Philip O'Brien, Times out, 16 October 2003, 6
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Philip O'Brien, Times out, 18 July 2002, 7
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Philip O'Brien, Times out, 18 September 2003, 6
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Philip O'Brien, Times out, 19 August 2004, 6
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Philip O'Brien, Times out, 19 December 2002, 6
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Philip O'Brien, Times out, 19 February 2004, 6
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Philip O'Brien, Times out, 19 July 2001, 11
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Philip O'Brien, Times out, 19 June 2003, 6
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Philip O'Brien, Times out, 19 September 2002, 6
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Philip O'Brien, Times out, 2 August 2001, -1
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Philip O'Brien, Times out, 2 August 2001, 11
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Philip O'Brien, Times out, 2 October 2003, 6
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Philip O'Brien, Times out, 20 December 2001, 7
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Philip O'Brien, Times out, 20 June 2002, 9
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Philip O'Brien, Times out, 20 March 2003, 6
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Philip O'Brien, Times out, 20 May 2004, 6
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Philip O'Brien, Times out, 20 November 2003, 6
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Philip O'Brien, Times out, 20 September 2001, 11
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Philip O'Brien, Times out, 21 August 2003, 6
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Philip O'Brien, Times out, 21 February 2002, 7
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Philip O'Brien, Times out, 21 June 2001, -1
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Philip O'Brien, Times out, 21 June 2001, 11
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Philip O'Brien, Times out, 21 March 2002, 7
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Philip O'Brien, Times out, 21 November 2002, 6
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Philip O'Brien, Times out, 22 April 2004, 6
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Philip O'Brien, Times out, 22 July 2004, 6
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Philip O'Brien, Times out, 22 May 2003, 6
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Philip O'Brien, Times out, 22 November 2001, 7
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Philip O'Brien, Times out, 22 November 2003, 6
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Philip O'Brien, Times out, 23 January 2003, 6
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Philip O'Brien, Times out, 23 May 2002, 7
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Philip O'Brien, Times out, 23 October 2003, 6
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Philip O'Brien, Times out, 24 April 2003, 6
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Philip O'Brien, Times out, 24 July 2003, 6
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Philip O'Brien, Times out, 24 June 2004, 6
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Philip O'Brien, Times out, 24 October 2002, 6
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Philip O'Brien, Times out, 24 October 2002, 6
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Philip O'Brien, Times out, 25 April 2002, 2
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Philip O'Brien, Times out, 25 April 2002, 7
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Philip O'Brien, Times out, 25 July 2002, 7
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Philip O'Brien, Times out, 25 July 2002, 9
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Philip O'Brien, Times out, 25 October 2001, 2
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Philip O'Brien, Times out, 25 October 2001, 7
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Philip O'Brien, Times out, 25 October 2005, 8
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Philip O'Brien, Times out, 25 September 2003, 6
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Philip O'Brien, Times out, 26 April 2001, 11
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Philip O'Brien, Times out, 26 February 2004, 4
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Philip O'Brien, Times out, 26 July 2001, 11
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Philip O'Brien, Times out, 26 June 2003, 6
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Philip O'Brien, Times out, 26 September 2002, 6
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Philip O'Brien, Times out, 27 February 2003, 3
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Philip O'Brien, Times out, 27 February 2003, 6
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Philip O'Brien, Times out, 27 February 2003, 6
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Philip O'Brien, Times out, 27 June 2002, 2
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Philip O'Brien, Times out, 27 March 2003, 3
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Philip O'Brien, Times out, 27 March 2003, 6
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Philip O'Brien, Times out, 27 May 2004, 6
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Philip O'Brien, Times out, 27 November 2003, 6
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Philip O'Brien, Times out, 27 September 2001, 11
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Philip O'Brien, Times out, 28 August 2003, 6
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Philip O'Brien, Times out, 28 August 2003, 6
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Philip O'Brien, Times out, 28 February 2002, 7
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Philip O'Brien, Times out, 28 March 2002, 7
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Philip O'Brien, Times out, 28 November 2002, 6
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Philip O'Brien, Times out, 29 April 2004, 6
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Philip O'Brien, Times out, 29 August 2002, 7
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Philip O'Brien, Times out, 29 May 2003, 6
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Philip O'Brien, Times out, 29 November 2001, 2
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Philip O'Brien, Times out, 3 April 2003, 6
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Philip O'Brien, Times out, 3 July 2003, 6
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Philip O'Brien, Times out, 3 July 2003, 6
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Philip O'Brien, Times out, 3 June 2004, 6
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Philip O'Brien, Times out, 3 October 2002, 6
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Philip O'Brien, Times out, 30 August 2001, 9
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Philip O'Brien, Times out, 31 January 2002, 7
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Philip O'Brien, Times out, 31 July 2003, 6
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Philip O'Brien, Times out, 31 October 2002, 3
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Philip O'Brien, Times out, 31 October 2002, 6
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Philip O'Brien, Times out, 31 October 2002, 6
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Philip O'Brien, Times out, 4 April 2002, 12
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Philip O'Brien, Times out, 4 April 2002, 7
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Philip O'Brien, Times out, 4 March 2004, 6
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Philip O'Brien, Times out, 4 November 2003, 6
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Philip O'Brien, Times out, 4 September 2003, 3
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Philip O'Brien, Times out, 5 August 2004, 6
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Philip O'Brien, Times out, 5 December 2002, 6
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Philip O'Brien, Times out, 5 February 2004, 6
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Philip O'Brien, Times out, 5 July 2001, -1
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Philip O'Brien, Times out, 5 July 2001, 11
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Philip O'Brien, Times out, 5 June 2003, 6
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Philip O'Brien, Times out, 5 September 2002, 7
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Philip O'Brien, Times out, 6 February 2003, 6
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Philip O'Brien, Times out, 6 March 2003, 4
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Philip O'Brien, Times out, 6 March 2003, 6
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Philip O'Brien, Times out, 6 November 2003, 6
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Philip O'Brien, Times out, 6 October 2001, 11
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Philip O'Brien, Times out, 6 September 2001, 11
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Philip O'Brien, Times out, 6 September 2001, 2
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Philip O'Brien, Times out, 7 August 2003, 6
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Philip O'Brien, Times out, 7 February 2002, 7
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Philip O'Brien, Times out, 7 June 2001, -1
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Philip O'Brien, Times out, 8 August 2002, 7
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Philip O'Brien, Times out, 8 January 2004, 6
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Philip O'Brien, Times out, 8 July 2004, 6
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Philip O'Brien, Times out, 8 March 2002, 2
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Philip O'Brien, Times out, 8 May 2003, 6
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Philip O'Brien, Times out, 8 November 2001, 7
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Philip O'Brien, Times out, 9 January 2003, 6
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Philip O'Brien, Times out, 9 May 2002, 9
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Philip O'Brien, Times out, 9 October 2003, 6
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Philip O'Brien, Times2, 1 April 2005, 2
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Philip O'Brien, Times2, 1 February 2005, 8
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Philip O'Brien, Times2, 10 May 2005, 9
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Philip O'Brien, Times2, 11 August 2005, 8
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Philip O'Brien, Times2, 11 June 2007, 8
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Philip O'Brien, Times2, 11 November 2005, 4
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Philip O'Brien, Times2, 12 August 2005, 4
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Philip O'Brien, Times2, 13 July 2005, 8
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Philip O'Brien, Times2, 13 March 2007, 6
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Philip O'Brien, Times2, 15 April 2005, 2
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Philip O'Brien, Times2, 15 July 2005, 5
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Philip O'Brien, Times2, 15 September 2006, 3
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Philip O'Brien, Times2, 16 June 2005, 8
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Philip O'Brien, Times2, 16 March 2005, 8
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Philip O'Brien, Times2, 16 September 2005, 4
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Philip O'Brien, Times2, 17 June 2005, 2
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Philip O'Brien, Times2, 17 May 2005, 14
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Philip O'Brien, Times2, 18 August 2006, 3
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Philip O'Brien, Times2, 18 May 2005, 8
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Philip O'Brien, Times2, 19 December 2004, 8
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Philip O'Brien, Times2, 19 November 2004, 4
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Philip O'Brien, Times2, 2 August 2005, 8
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Philip O'Brien, Times2, 2 March 2007, 3
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Philip O'Brien, Times2, 2 October 2006, 8
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Philip O'Brien, Times2, 20 April 2005, 8
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Philip O'Brien, Times2, 20 June 2007, 8
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Philip O'Brien, Times2, 20 March 2006, 8
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Philip O'Brien, Times2, 21 July 2006, 3
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Philip O'Brien, Times2, 21 June 2005, 8
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Philip O'Brien, Times2, 22 July 2005, 2
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Philip O'Brien, Times2, 23 May 2007, 7
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Philip O'Brien, Times2, 23 October 2006, 8
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Philip O'Brien, Times2, 25 April 2006, 8
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Philip O'Brien, Times2, 25 August 2005, 8
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Philip O'Brien, Times2, 25 May 2005, 8
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Philip O'Brien, Times2, 26 November 2004, 4
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Philip O'Brien, Times2, 26 October 2004, 8
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Philip O'Brien, Times2, 27 April 2005, 8
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Philip O'Brien, Times2, 27 December 2006, 8
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Philip O'Brien, Times2, 27 January 2006, 3
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Philip O'Brien, Times2, 27 June 2007, 8
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Philip O'Brien, Times2, 29 August 2006, 8
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Philip O'Brien, Times2, 29 July 2005, 3
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Philip O'Brien, Times2, 3 April 2006, 8
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Philip O'Brien, Times2, 3 February 2006, 4
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Philip O'Brien, Times2, 3 November 2006, 3
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Philip O'Brien, Times2, 30 June 2006, 3
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Philip O'Brien, Times2, 31 July 2006, 8
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Philip O'Brien, Times2, 31 May 2007, 8
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Philip O'Brien, Times2, 31 October 2006, 8
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Philip O'Brien, Times2, 4 April 2005, 8
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Philip O'Brien, Times2, 5 August 2005, 4
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Philip O'Brien, Times2, 5 June 2006, 8
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Philip O'Brien, Times2, 5 June 2007, 8
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Philip O'Brien, Times2, 6 April 2005, 8
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Philip O'Brien, Times2, 6 July 2005, 8
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Philip O'Brien, Times2, 7 December 2004, 8
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Philip O'Brien, Times2, 7 February 2005, 8
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Philip O'Brien, Times2, 7 November 2006, 6
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Philip O'Brien, Times2, 8 April 2005, 4
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Philip O'Brien, Times2, 8 March 2005, 8
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Philip O'Brien, Times2, 8 October 2004, 4
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Philip O'Brien, Times2, 8 September 2006, 4
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Philip O'Brien, Times2, 9 February 2005, 8
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Philip O'Brien, Times2, 9 February 2007, 3
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Philip O'Brien, Times2, 9 January 2007, 6
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Philip O'Brien, Times2, 9 October 2004, 23
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Philip O'Brien, Times2, 9 September 2005, 3
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Philip O'Brien, You've got male, Times out, 8 May 2003, 4
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Philip Parsons, A New Fortune and Shakespeare Studies, Westerly, 8, 4, 1963, 48-61
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Philip Parsons, Contemporary Australian drama: a publisher's view, LinQ, 7, 1, 1979, 2-16
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Philip Parsons, The New Fortune theatre and dramatic style, Meanjin Quarterly, 23, 1964, 294-298
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Philip Parsons, The New Fortune theatre, Hemisphere, 8, 7, 1964, 3-6
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Philip Parsons, Unique Elizabethan theatre in a university setting, Airways, 32, 1, January 1966
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Philipa Rothfield, Cowboys & crowds, RealTime Arts, 73, June 2006, 2
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Philipa Rothfield, Spaces between, RealTime Arts, 72, April 2006, 35
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Philipa Rothfield, The ambiguities of being, RealTime Arts, 74, August 2006, 34
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Philippa Day Benson, Tennessee Williams: Work is the loveliest four letter word, The Australian Women's Weekly, 11 February 1976, 7
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Philippa Hawker, A fascination with artists, The Age, 30 August 1982, 14
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Philippa Hawker, A horror show goes beyond the screams, The Age, 24 February 1984, 15
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Philippa Hawker, All happening in Lygon Street, The Age, 20 August 1982, 14
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Philippa Hawker, Concentrating the mind wonderfully, The Age, 26 June 1985
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A do-it-yourself Gone with the Wind is deeply camp, writes Philippa Hawker.
ASH Flanders and Declan Greene have been working on their theatrical project Sisters Grimm for six years, building an audience and a reputation, yet somehow managing to set their shows in increasingly smaller spaces.
They started out in theatres, but their latest production is a drag-queen Gone with the Wind in a Thornbury garage. Audiences will experience, says Flanders, "a big performance style in a big genre, two centimetres from your nose".
Summertime in the Garden of Eden, which opens next week, is more than Gone with the Wind; it's Southern Gothic a go-go: the familiar elements, as Flanders puts it, of "grand secrets, treachery, pride, fallen women and strong men, drinking and sex and heat and a bit of love". And Tennessee Williams is an inevitable presence, with, Greene says, his trademark themes of "ageing, self-hating gay secrets, interracial love, culture and travel".
Since their previous project, evil-child-centred Little Mercy, in 2010, Sisters Grimm had been doing short-form work in nightclubs -- locations that suit their lo-fi, DIY aesthetic. They did some things with the Last Tuesday Society, "who have a cult following, doing very popular throw-together nights all over town". This included an event called Pimp My Play, in which a classic Australian theatre piece was divided among a range of artists. Nick Enright's Blackrock was the play, Sisters Grimm were given a party scene, which they ended up presenting as a full-on Southern homecoming with a whiff of Streetcar Named Desire.
They wanted to build on what they'd done working with the same three characters: Agent Cleave, a goth burlesque male pole dancer; Mzzz Erin Tasmania, a nightclub host and cabaret performer who runs a dress-up party in Amsterdam called Club Vegas; and Mummy Complex a young alternative drag queen.
They are all experienced performers, but they don't usually work with scripts. Greene and Flanders produced a script that they say is "actually quite serious".
It is, according to Greene, "an earnest attempt to replicate the speech and rhythms of the genre". It's not over-the-top, because it doesn't need to be, Flanders says.
"You can't have larger-than-life people doing larger-than-life texts." And, he adds, "watching rehearsal, there were some oddly heart-tugging moments".
They imagine, they say, that the show will change from night to night -- after all, says Flanders, the main cast are "solo performing artists who are attention whores and they have a whole bag of tricks to pull out".
How many people will they be able to fit in alongside the hooped skirts? Maybe 40, they reckon. "There will be some standing room, some sitting room, some hanging from the rafters, some sitting on a trannie's lap."
Looking ahead, Sisters Grimm would like to give themselves some new possibilities.
"We love the rough-and-ready aspect of just throwing together a piece of work very fast, with a bunch of friends, with no budget," Greene says.
"But after six years of doing this we're eager to see how our practice could evolve with institutional or financial support, and it's been difficult to find theatre companies or funding bodies who are willing to recognise our work as legitimate artistic expression, because it's so trashy and camp and, on the surface, meaningless."
Last year, they had a breakthrough, however. Greene had done some work with the Sydney Theatre Company, and the STC was interested enough to bring in Sisters Grimm for a week of development, looking at Little Mercy.
It was a wonderful experience, they say, and they hope something will come of it.
The DIY element is still important to them, Greene says. "It's just that it can be frustrating when you're not given the chance to grow. And that's why doing the Sydney Theatre Company development was so meaningful for us."
Summertime In The Garden Of Eden begins on February 22 (preview)
Philippa Hawker, Garage band squeezed in Grimm crinoline crush, The Age, 17 February 2012, 15
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Philippa Hawker, Heavy weather: cloudy with a chance of plastic bags, The Age, Theatre and Dance Platform, 12 October 2012, 19
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Philippa Hawker, Motion Picture: Choreographer Lucy Guerin dances around film, The Age, Theatre and Dance Platform, 17 March 2015
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Philippa Hawker, Nell Dunn lets herself luxuriate, The Age, The University of Adelaide, Library Special Collections, 4 October 1982, 14
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Philippa Hawker, Play looks at a time of poverty, The Age, 14 January 1982
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HOWARD BRENTON'S 'Sore Throats is a curious mixture of the coarse and the poetic. A couple in the throes of divorce carry on a kind of Punch and Judy relationship, where familiarity has bred contempt and cruelty in equal portions. When the husband leaves for Canada with his lover, the wife takes in a female lodger. She shifts the whole balance of power between husband and wife, which is more than evident on his return. Brenton concentrates on the power relationships between men and women. Sometimes it seems that his ruthlessness on the subject is a form of misogyny, and he has decided that the best form of defence is attack. The Masque Ensemble have taken a stylised approach to the piece. It works mostly but it tends to obscure the shifts of tone Brenton uses, and it undervalues the desperate comedy that erupts like acne through the play. Simon Fisher's production takes place in an upstairs room at the old One-C-One folk club in North Carlton. The audience is seated randomly and informally on cushions and chairs. Kate Joyce's set design is intriguing, and suits the style of the interpretation well. It makes an interesting contrast to the more naturalistic and knockabout production that took place at the Pram Factory two years ago.
Philippa Hawker, Punch and two Judys, The Age, 30 March 1982, 10
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Philippa Hawker, Putting the music into design, A2, 1 September 2007, 19
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Philippa Hawker, Regent Theatre's fate in the balance, The Age, 16 January 1986, 14
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Philippa Hawker, Robyn Archer likes a good, tough tour, The Age, 18 February 1982, 10
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Philippa Hawker, Sydney Morning Herald, 14 February 2006, 12
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Philippa Hawker, Sydney Morning Herald, 2 January 2004, 22
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Philippa Kelly, 'Laughing in his face': Australia's Shakespeares, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 33, October 1998, 40 - 53
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Philippa Kelly, Laughing in his Face: Australia's Shakespeares, Australasian Drama Studies, 33, 1998, 40-53
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Philippa Kelly, Teaching Shakespeare in locked facilities, Australasian Drama Studies, 38, April 2001, 29-43
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Philippa Schroder, Border Watch, 10 September 1987
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Phillip Mann, Tragic power in Vincent O'Sullivan's Shuriken, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 18, April 1991, 91 - 94, 147 - 158
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Phillip McCarthy, America's rising tsunami, Sydney Morning Herald, 18 April 1992, 26
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Phillip McCarthy, Australians Offer A Dose Of Artistic Medicine To New Yorkers, Sydney Morning Herald, 3 October 2001, 3
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Phillip McCarthy, Creating a Timeless Dream, Sydney Morning Herald, 28 June 1997, 3
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Phillip McCarthy, Expletive Deleted For Sensitive Southern Ears, Sydney Morning Herald, 30 October 2001, 19
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Phillip McCarthy, Festival Etches Australian Identity In A Tough New York Market, Sydney Morning Herald, 6 November 2001, 18
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Phillip McCarthy, Less Risk-taking Likely After Aussie Invasion, Sydney Morning Herald, 18 October 2001, 18
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Phillip McCarthy, Spectrum, 15 July 2006, 20
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Phillip McCarthy, Spectrum, 25 February 2006, 8
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Phillip Sametz, The Daily Telegraph, 27 June 1987
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Phillip Sametz, The Daily Telegraph, 4 June 1987
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Phillis Coghlan, Are the Stars So Smart?, The Sun (NSW), 16 October 1938, 5
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Phrenology, The Maitland Mercury, 19 September 1846, 3
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Pia Catton, Amateur Hour Never Looked So Professional, Wall Street Journal, Theatre and Dance Platform, 25 November 2012
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THE WEEK. On Tuesday the 4th instant a picnic of an unusual kind was given at Woodman's Point near Fremantle. Ten of the female patients in the Lunatic Asylum accompanied by Dr and Mrs. Barnett, and by the matron and one assistant matron, passed a most agreeable day in the country. Music was provided and the patients danced vigorously and frequently; at times they collected under a tree and sang together; one or two of the voices being very sweet and plaintive. The drive to Woodman's Point and the exercise of dancing on the grass during a strong sea breeze combined to freshen the appetites of the party, and very full justice was done to an ample and comfortable cold dinner provided by Mr. Albert. After tea had been made and partaken of, the dancing recommenced; and ultimately all returned safely and pleasantly to Fremantle. Not a single unpleasant circumstance occurred during day which will be marked by a white stone in the memories of the patients, all of whom expressed warmly the gratitude which they felt for the kindness shown to them, and the enjoyment they had experienced in getting such a pleasant change to the monotony of their usual life. This is the first time that a picnic has been attempted from the Asylum and its complete success ought to serve as an example for similar occasional parties. In other countries it is customary to provide funds for such amusements by public subscription and on future occasions, it is hoped, an appeal to the public will enable the patients to enjoy a little variety. Such an
excursion as that which they have had is not only a harmless pleasure but a potent means of benefit to them physically and mentally.
Picnic to the Asylum Patients, The Herald, 8 March 1873, 2
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Picture and Story. Attractive Christmas Number. The 'Sydney Mail', Sydney Morning Herald, 4 December 1935, 14.
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Picture Firms. Huge Amalgamation, Sydney Morning Herald, 18 March 1920, 6
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Picture Theatre Director, The Hebrew Standard of Australasia, 11 January 1924, 9
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Pictures to be screened at Tivoli Theatre, Barrier Miner, 14 February 1941, 3
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Pieter Aquilia, Wog drama and 'white multiculturalists': the role of non Anglo-Australian film and television drama in shaping a national identity, Journal of Australian Studies, March, 2001, 104
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Pioneering abstract theatre, Sydney Morning Herald, 22 February 1979, 11
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Pip Cummings, Metro, 28 October 2005, 15
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Plastics in stage dressing, The Argus, 25 June 1946, 10
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Play 'could affect jury' in Jackson case, The Daily Telegraph, 7 September 1985
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Play 'Rusty Bugles' is Banned, Sydney Morning Herald, 23 October 1948, 1
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Play Banned In Sydney. Action By Chaffery., The Labor Daily, 11 February 1937, 5
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Play by Local Writer at Stow Hall, The Advertiser, 13 June 1946, 4
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Play by Steele Rudd, Sydney Morning Herald, 13 December 1930, 8
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Play Competition, Sydney Morning Herald, 5 December 1933, 5
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Play Contest, Sydney Morning Herald, 10 December 1930, 14
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Play Contest, Sydney Morning Herald, 14 April 1932, 10
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Play Contest, Sydney Morning Herald, 2 April 1932, 8
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Play Contest, Sydney Morning Herald, 28 April 1932, 7
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Play Contest, Sydney Morning Herald, Sydney, 13 May 1930, 15
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Play Contest. Amateur Dramatic Societies, Sydney Morning Herald, 1 October 1927, 16
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Play Contest. Five Chosen for Final Round, Sydney Morning Herald, 16 December 1930, 16
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Play Contest. Won by University Society., Sydney Morning Herald, 3 October 1927, 6
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PLAY FOR BRITISH CENTRE, Sydney Morning Herald, 20 May 1945, 5
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Play Frocking, The Telegraph (Brisbane), 17 April 1942
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Play Productions for September, The Queenslander, 14 September 1938, 36
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Play Success, The Age, 14 October 1974, 3
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Play to Aid Red Cross, The News, 25 January 1952, 13
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Play to close: critics blamed, The Age, 17 September 1971, 3
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Play Traps Fortune for Grandson, The Age, 26 November 1964, 4
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Play warmly received by capacity audience, Peninsula Post, 9 November 1955
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Playbox Players, Cairns Post, 8 September 1951, 3
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Playbox Society, The Sun (NSW), 13 March 1924, 10
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Playbox Society. Two New Comedies, Sydney Morning Herald, 16 April 1924, 18
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Playbox Theatre. Drama League Formed, The Sun (NSW), 3 July 1923, 15
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Playbox, Theatre Australia, 4, 12, July 1980, 5
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Players Club to Produce "Desert Song", Barrier Miner, 13 February 1943, 7
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Players Show a Success, The Examiner, National Library of Australia, 28 May 1941, 1
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Players to Confer Life Membership, The Examiner, State Library of Tasmania, Launceston Reference Library, 10 August 1965, 15
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Players' Actor Wins Trophy in Sydney, The Examiner, National Library of Australia, 15 August 1947, 1
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Players' Given High Praise, The Examiner, National Library of Australia, 28 August 1947, 3
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Players' Triumph at National, The Examiner, National Library of Australia, 15 September 1947, 5
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Playhouse Comedy on Tour: To be Seen in Beverley, The Beverley Times, 5 November 1965, 7
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Playhouse face numbing problem, Newcastle Herald, 23 December 1993
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Playhouse for the north side, Sydney Morning Herald, 15 May 1966, 93
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Playing in the dark, The Age, 21 May 1968, 13
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Playlovers' Club, The Argus, 11 September 1933, 3
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Plays and Players, Sydney Morning Herald, 1 February 1934, 9S.
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Plays and Players, Sydney Morning Herald, 5 April 1934, 9
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Plays for today from new theatre, Sydney Morning Herald, 18 March 1978
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Plays International, February 1990, 24
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Plays to be Produced Next Month. British Drama League Festival, Sydney Morning Herald, 20 April 1939, 20
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Plays Varied at Drama Festival, The Examiner, National Library of Australia, 7 April 1951, 5
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Plays won't come here if we lose, says QC, The Age, 12 July 1969, 2
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Playwright carries on his writing, Sydney Morning Herald, 25 April 1961, 10
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Playwright explains his purpose, Sydney Morning Herald, 26 April 1961, 2
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Playwright to visit Sydney, Sydney Morning Herald, 16 June 1945, 9
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PLAYWRITING IN AUSTRALIA. 'A CHAT WITH BERNARD ESPINASSE'., Referee, 11 July 1900, 10
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Pocket Playhouse trainee in film, Pix, 1 February 1958, 18
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Point Macleay Natives, The South Australian Register, 10 August 1900, 4
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Point Macleay: To The Editor, The South Australian Register, 11 April 1867, 2
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Point McLeay, The Southern Argus, National Library of Australia, 25 April 1918, 3
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Point of Departure, The Age, 15 June 1963, 8
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Points, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 25 March 1891, 4
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Police again call on Boys in Band, The Age, 23 June 1969, 1
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Police and Law Courts, Adelaide Observer, National Library of Australia, 25 May 1850, 3
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Police As Judges Of New Play, The Daily Telegraph, 10 February 1937, 1
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Police check on 'Rusty Bugles' play, Sydney Morning Herald, 26 April 1949
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Police Incidents, The Australian, 20 December 1833, 3
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Police Incidents, The Sydney Herald, 18 April 1833, 2
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Police report on play, The Age, 24 May 1966, 3
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Police stage critics: baretop show is cleared, The Age, 1 February 1967, 3
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Police threat on stage nudes, Courier Mail, 27 December 1952, 3
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Police visit 'that' show, The Age, 1 July 1969, 2
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Police will let the band play on, The Age, 5 June 1969, 10
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Political Meetings, South Australian Gazette and Mining Journal (Adelaide, SA :, National Library of Australia, 20 March 1851, 3
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Pollyanna Sutton, Exploring misfits in the Deep North, The Herald Sun, 12 November 1987
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Popular Story Dramatised By Local Adelaide Girl, The Advertiser, 29 November 1939, 8
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Port August, March 22, The South Australian Register, 23 March 1882, 6
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Port Augusta Village Fair, Chronicle, 3 December 1898, 16
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Port Darwin News, The South Australian Register, 16 April 1892, 6
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Port Darwin, Friday., Sydney Morning Herald, 24 November 1900, 9
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Port Elliot, South Australian Advertiser, 2 January 1863, 3
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Port Elliot, South Australian Advertiser, National Library of Australia, 2 January 1861, 3
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Port Elliot, South Australian Weekly Chronicle, 5 January 1861, 3
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Port Elliot, The South Australian Register, 2 January 1861, 3
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Port Elliot, The South Australian Register, 5 June 1860, 3
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Port Macquarie [Parramatta Theatricals], The Sydney Gazette and New South Wales Advertiser, 24 August 1833, 2
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Port Phillip, The Star, 4 October 1845, 3
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Port Phillip. Geelong, The Sydney Monitor and Commercial Advertiser, 19 April 1839, 2
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Port Pirie, South Australian Advertiser, 14 May 1879, 7
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Port Stephens Examiner, 14 November 1990, 0
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Port Stephens Examiner, 24 March 1982, 0
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Post Office Roberies, The Gundagai Times and Tumut, Adelong and Murrumbidgee Dist, NSW, 23 February 1904, 2
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Many of our friends at home, who may have been startled by Mr. Horton James's veracious assertion, that a person might lose himself in the bush in the city oi Adelaide, and sleep all niglit under a tree, for want of a better roof, will be a little surprized to see in the advertizing columns of the Adelaide papers, a notice oi the concert to be given on Wednesday, next, by Messrs Platts & Bennett; and will agree with us in thinking, that an eveuiug may be much more agreeably passed under the roof-tree of such really elegant rooms as those of the Messrs. Solomon, in listening to the strains of the masterspirits of harmony of our own land, 'and to the vocal melody of the our emigrant brethren, than in endeavouring to repose under the finest South Australian gum-tree, listening to, and shrinking from, me monotonous howling of the corrobories of our sable brethren. Still more surprized will they be, if they should happen to see the handsome tinted " programmes" of the music selected for the occasion, creditable alike to the taste of our " masters of the tuneful art," and to the neatness of the " printer's hand " in South Australia. We trust Messrs. Platts and Bennett will have liberal encouragement to renew their praiseworthy endeavours to provide elegant and innocent amusement for the evening hours of our lieges.
Post Office, Adelaide Chronicle and South Australian Advertiser, National Library of Australia, 18 February 1840, 3
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Postsripts, The News, 22 May 1951
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Powerful, but is it ethical?, The Herald, 1 November 1961
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Praise and Criticism for New Helpmann Ballet, The Age, 28 March 1963, 4
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Praise for Junior Players, The Mercury (Hobart, Tas. : 1860 - 1954), National Library of Australia, 10 June 1953, 16
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Praise for Miss Vernon, Inverell Times, 10 April 1957, 1
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Prateek , Reinterpreting Passion: A Study of Habib Tanvirʻs Theatre, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 68, April 2016, 168 - 185
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Premiere of "Big multi-coloured umbrella" tomorrow, Inverell Times, 8 April 1957, 2
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Premiere of new play, The Age, 15 August 1968, 6
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PRESENTATION TO INSPECTOR ROWE. Last Saturday afternoon [16 Jul] amusical treat was given to the inmates of the Fremantle Lunatic Asylum by Mr. Clough and some friends. Various selections were given by an orchestra consisting of Miss M. Feltham and Messrs. H. Clough, G. Davies (violins), and Mr. W. O. Mason (piano). Songs were sung by Misses M. and L. Feltbam, Mr. M Clough and several violin solos were played by Mr. Clough. After the close a
few remarks were made by Dr. Hope, and by the kindness of Miss Armstrong, refreshments were provided for the visitors.
Presentation to Inspector Rowe, Inquirer and Commercial News, 20 July 1892, 3
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Press Release, Weekend Australian, 22 February 1997, 12
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Press Release, Weekend Australian, 22 February 1997, 4
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Press Release: "The Resistible Rise of Arturo Ui" at the Athenaeum Theatre, The University of Adelaide, Library Special Collections, 2 October 1978
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Pretoria Abandoned., The Advertiser, 2 June 1900, 7
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Priestley comedy at Little Theatre, The Argus, 28 June 1948, 5
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Priestley play at Repertory, Barrier Miner, 10 September 1949, 3
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Prince Alfred's Trip To The Lakes, The Empire, 22 November 1867, 2
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Prince of Wales Theatre, Sydney Morning Herald, 22 January 1856, 4
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Prince Of Wales Theatre, The Argus, 28 June 1860, 8
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Prince Of Wales' Tour, Kalgoorlie Western Argus, 13 July 1920, 20
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Princess - Official Opening, The Examiner, National Library of Australia, 30 August 1911, 6
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Princess Theatre, Table Talk, Melbourne, Victoria, 6 September 1889, 14
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Princess Theatre, The Argus, 28 June 1860, 8
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Princess Theatre, The Examiner, National Library of Australia, 31 August 1911, 6
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PRINCESS THEATRE, The Herald, 3 May 1894, 2
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Princess's Theatre. The Importance of Being Earnest, The Argus, 12 August 1895, 6
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Princesss Theatre Sold. Realises £38,000, The Argus, 1 December 1911, 11
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Private Lives is top class Rep. show, Barrier Miner, 21 November 1955, 2
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Prize novel as play, Sydney Morning Herald, 8 May 1948, 2
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Prize One-Act Plays. Little Theatre Competition, The West Australian, 22 December 1934, 14
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Pro-Daylight Saving, Daily Mirror, 10 November 1988, 33
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Producer Is Seeking Plays With An 'Australian Style', Sydney Morning Herald, 12 January 1955, 2
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Producer Surveys the Theatre. Fervour, Warmth Needed In Stage Plays For Australians, Sydney Morning Herald, 23 December 954, 2
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Production manager of Mercury play dies, The Eastern Herald, 19 February 1987, 5
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Professor Gregory's Expedition, The Argus, 24 January 1902, 6
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Professor J Le Gay Brereton Sudden Death, Sydney Morning Herald, 3 February 1933, 10
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Professor West's New Dancing Academy, The Daily Telegraph, 8 April 1884, 8
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Profit of £473/19/3 from Silver Lining, Barrier Miner, 22 January 1943, 2
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Progress At Barambah, The Brisbane Courier, 25 November 1924, 9
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Progress of Native Civilization, South Australian Gazette and Colonial Register (Adelaide, S, National Library of Australia, 25 April 1846, 2
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Promises in plenty, On Stage, 13, 2, 2012, 33
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Promises! Promises!, The Age, 17 July 1970, 3
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Protection and Progress, The Grafton Argus and Clarence River General Advertiser, NSW, 18 March 1901, 2
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Protest actors from far and wide, The Age, 7 September 1970, 10
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Protests 'will not affect' dancers, The Age, 24 September 1968, 6
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Provincial News, The South Australian Register, 22 February 1894, 5
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Puberty Daze, The Great Leap Forward, July 1982, 20
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Public Amusements, The Herald, 24 August 1861, 7
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Public Amusements. to the Editor of the Brisbane Courier., The Brisbane Courier, 13 February 1865, 3
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Public Eye, 25 September 1992
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Public Opening and Naming of the Gostwyck Bridge, The Maitland Mercury, 3 August 1878, 12S
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Public Rejoicings, Geelong Advertiser, 10 October 1850, 2
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Pugilist Specialist, Sydney Star Observer, 9 August 2007, 19
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Pulse (Canberra, ACT), 29 July 1987, 13
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Punch's Summary for England, Melbourne Punch, 1 May 1856, 2
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Puppets bounce into 1972, Elizabethan Trust News, The Australian Elizabethan Theatre Trust, Autumn, 1972, 2, 1972, 14
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Puppets find a home at old sailors pleasure, Sydney Morning Herald, 2 June 1981, 8
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Puppets hard life on the Rocks, Sydney Morning Herald, 2 August 1989, 10
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Puppy love - and adults, The Age, 10 February 1972, 18
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Push Pull, The Advertiser, 3 July 1982, 26
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Pushing Shanghai city limits, The Age, 19 November 2002
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Puss in Boots for Tivoli, Barrier Miner, 5 July 1949, 4
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Putting the Theatre Across in Australia, The Times, 15 July 1963, 14
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Pygmalion at the Minerva, Sydney Morning Herald, 9 May 1944, 4
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Python star volunteers for Qld libs, The Northern Daily Leader, 5 December 2007, 7
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Quality Street, The Advertiser, The University of Adelaide, Library Special Collections
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Quartette Club Jubilee: History given of city's oldest musical society, Barrier Miner, 17 November 1955, 15-16
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Quartette Club's Golden Jubilee; History in Brief, Barrier Miner, 1 November 1945, 4
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Queen Rosie's Requiem. Chant Inspired Corroboree In Collits' Inn., Women's Supplement, 21 June 1934, 9
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Queen's Evidence. At the School of Arts., National Advocate, Bathurst, NSW, 28 December 1896, 2
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Queen's Theatre , Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 23 June 1841, 3
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We perceive this Theatre opens on Monday next, and are happy to see His Excellency give his patronage to the Drama of South Australia. Mr Lazar has conducted the Queen's Theatre upon a level with many of the Theatres in London, and the Governor's liberality in supporting the humble [?] of thespis deserves the highest praise. Mr Lazar's perse- verance and talent have made him a universal favourite, and we are certain his efforts to merit the high patronage bestowed upon him will be exerted to the utmost. A theatre is an instruct- tive source of entertainment, for while it cheers a dull and monotonous hour, it frequently conveys a wholesome lesson to youth, by which their future morals might be regulated, and when the drama is conducted upon a respectable system, the most fastidious need not blush to partake of the amuse- ment it affords. As an example, we find Her Majesty widely extending her patronage to the drama, under whose gracious auspices it cannot fail of success. Mr Lazar has selected as an opening piece a pictorial drama entitled The Curse of Mammon, in which Hogarth's celebrated Marriage a-la-mode will be illustrated in living characters. We understand the scenery and dresses are of the most unique description, and the play itself one of the most successful that has been recently produced in London. for our- selves, we wish Mr Lazar all the good forture his spirited undertaking deserves, and we hope the public will not be backward in patronising the new lessee. A Dance by Miss Lazar, and a laughable Farce called The Dancing Barber, con- clude the first night's performance, [Communi- cated.]
Queen's Theatre , The South Australian Register, National Library of Australia, 24 July 1841, 3
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The season of this theatre is now drawing towards a close, and the various artists connected with the establishment seek to repay their exertions by the usual means of benefits. Mr Lazar, the re- spected manager, takes the first on Monday next; and we must say, his indefatigable perseverance in the cause of the drama in Adelaide has been exerted to no common extent. Exclusive of the difficulty of catering for public amusement, we have noticed him in two or three pieces each night, always at his post, and provided with a fund of good humour. As an actor, too much praise cannot be bestowed on him; as a manager, the good taste of his selections and the creditable arrangements of the theatre and the business of the stage proves him to be a clover tactician. The entertainments selected for Monday next, exclusive of Mr L.'s own popularity, would attract a crowded house. Mr Edwards and a gentleman amateur, we observe, are to render their powerful vocal assistance. We trust the public will not be slow in testifying in a substantial manner its approval of the conduct of Mr Lazar. The box list, we hear, already exhibits a promising ap- pearance.
Queen's Theatre - Benefits of Mr Lazar, The South Australian Register, National Library of Australia, 8 May 1841, 3
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By our theatrical advertisement of to-day, we perceive this deserving young lady takes her benefit on Monday next. The gentlemen amateurs who have already appeared twice before the public have very handsomely come forward to lend their valuable services upon this occasion. The bill of fare promises a splendid night's entertainment, and we anticipate a bumper house. Miss Lazar is an industrious and promising actress, and, as a danseuse, she requires no comment from us, as the public generally have testified their approba- tion of her talent, in that department, upon every occasion. Nell Gwynne is an amusing play, and we have no doubt, from the cast, that it will be admirably played. Mr Lazar's Largo at Factotum is a treat at all times. Billy Taylor is a laugh- able affair, and well adapted to Mr Lazar's rich comic humour. Upon the whole, the selection is decidedly one of the best of the season, Com- municated.
Queen's Theatre - Miss Lazar's Benefit, The South Australian Register, National Library of Australia, 5 June 1841
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Queen's Theatre - Mr. G.V. Brooke, The Argus, 28 February 1855, 5
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Queen's Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 13 January 1841, 2
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THE THEATRE was re-opened on Monday for one evening. The house was tolerably well filled, and the acting good. We believe it is the intention of the proprietor to open it again once or twice a week.
Queen's Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 29 September 1841, 3
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QUEENS THEATRE.— We preceive this Theatre has again opened, and in the precertaiuly dull times it is certainly a relief to the monotony of the town. On Monday last three excellent Farces were produced in each of which M. Lazar kept the house in continued laughter ; the Groves of Blar- rney introduced between the peices, is a rich treat, and we trust Mr. L. will often favor us with it. The Company selected is very limited, but quite sufficient for the style of pieces calculated to amuse an Audience. the expenses are now considerably curtailed and we hope, the Theatre will now pay. The house is splendidly lighted and has a very animated appearance, and we trust the Public will appreciate the very spirited zeal of the Proprietors.
Queen's Theatre, Adelaide Independent and Cabinet of Amusement (SA : 1841), National Library of Australia, 7 October 1841, 2
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Queen's Theatre, Sydney Morning Herald, 21 March 1881, 6
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Queen's Theatre, Sydney Morning Herald, 27 July 1875, 5
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We perceive by our ad- vertisement of to-day that this Theatre opens for one night prior to the regular season commen- cing on Thursday next, when Mr Lazar under- takes the arduous task of an At Home after the manner of Matthews. We have every opinion of Mr Lazar's versatility of talent, and therefore an- ticipate a rich treat. This is something new in this part of the world, and we have no doubt of its drawing a crowded house. The programme of the bill is very cleverly concocted and highly amusing. The concluding part appears to be a complete farce in itself, in which Mr Lazar per- sonates all the characters. We wish him every success. We regret to hear that Mrs Cameron does not join the corps dramatique of the Queen's Theatre next season. She is an excellent actress, and we are surprised that, in the present times, she and Mr Cameron should have refused what we take to be a liberal salary of four or five pounds a week. We sincerely trust Mrs Cameron will think better of it, and not deprive the public of the pleasure of seeing her in re- spectible company. It is quite clear that the attempt to re-open what has hitherto been but a den of filth and debauchery, the Victoria Theatre, will neither add to their wealth or their respecta- bility. Mr Lazar, who has taken the Theatre for the ensuing season, is making considerable alterations and improvements both in the stage and audience parts, and we hope that patronage which has been so anxiously sought for will now be extended to this splendid establishment. We understand the whole of the company have very generously consented to take smaller salaries than they received last season, which liberality the Manager will, no doubt, repay, in the event of the speculation turning out advantageous.
Queen's Theatre, The South Australian Register, National Library of Australia, 10 July 1841, 3
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Mr Lazar's Benefit takes place on Monday next, and need we say how much this gentleman deserves a bumper. His industry and perseverance merit the greatest praise, and we only regret that so much talent should have received no more patronage than has been exetended towards his efforts since his connexion with theatricals in this colony. We however trust his benefit on Monday next will show that the public are not unmindful of him, and will give him what he so richly deserves — a crowded house. The entertainments are well selected, and will, we are certain, give universal satisfaction.— [Communicated.]
Queen's Theatre, The South Australian Register, National Library of Australia, 15 January 1842, 3
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On Monday last the Theatre closed for the season, being for the benefit of the proprietor, Mr Solomon; and we are happy to state the house was crowded on the occasion. We have repeatedly spoken of the manner in which this theatre has been conducted, reflecting the highest credit on the proprietor and the management. Mr Lazar has been certainly indefatigable, both as actor and manager, providing for the audience a fund of humour as the former, and of novelty as the latter. On this evening The Exile was reduced in a manner that astonished us— surpassing even the splendour of the Jewess. Could an audience have supposed they were in a colony little more than four years established, and at such a distance from London? The scenery was picturesque, the dresser appropri- ate, and the characters ably supported. The processions were admirably arranged, and the brass hand suddenly bursting on the audience as they were seen proceeding through the arch from a great extent of stage, had a most imposing effect, and drew down immense ap- plause. The Empress, on a beautiful white horse, added to the spectacle, and the whole appeared to give universal satisfaction. Mr Lazar, as Daran, played with much feeling and judgment, giving every sentence with great correctness. Mrs Cameron, as Alexina, was good, as were also Mr and Mrs Arabin and Miss Lazar. The other characters are of little importance to the piece, but, notwithstanding, were well sustained. The Carnival Ball was the concluding piece, and the last scene cer- tainly was magnificent. The blaze of light occasioned by the number of transparent lamps, strongly reminded us of those scenes in Fairy Land described in the Arabian Nights. In fact, every thing that could possibly please the eye appeared to have been studied for this night. Previous to the certain rising for the farce, Mr Lazar stepped forward, and was received with an unanimous burst of applause which continued for some time, and delivered the following neat and appropriate address:— "Ladies and Gentlemen—It has long been the custom previously to the curtain finally closing on the season, to address a few words to the friends who assemble to bid us farewell It is a painful yet pleasing task—painful, from being a leave-taking of kind friends—pleasing, because I am enabled to express gratitude for favors past, and have to hope this separation is
not a final one As the opening of a theatrical season brings with it hope, so the close as na- turally produces regret. We met you only six months ago with buoyant spirits, and we now take our leave with unaffected sorrow. In an infant colony like this, it cannot be sup- posed possible that we can vie in splendour and variety with the London theatres, but I trust, Ladies and Gentlemen, the efforts we have made to merit your approbation have proved our willingness to consult your accom- modation to the very utmost extent of our ability. During our short campaign we have had to thank your indulgence for the complete success of every novelty we have presented. The performers also wish to express their high sense of the kindness you have shown them, and I hope, Ladies and Gentlemen, it may not be deemed intrusive if I take the liberty of thanking each of them who have, by their zeal, alacrity, and talent, carried with effect every intention of the management. The re- sult of the present season has not been so beneficial to the proprietor as his spirited un- dertaking merited, which, in a great measure, may be attributed to the depressed state of the colony, and not to the want of your kind wishes; but we look forward with pleasing anticipations to the next, and, aided by your kind patronage, will be another proof added to the many how little he has to fear the want of success who advances anything like a genuine claim to the liberality of a British public, as every individual is served when the general cause is supported. I feel my own personal thanks are also due; accept them, I beg, and with them my heartfelt prayers for your happiness and my sincere wishes that we may meet again; and I hope when I have the honor of bidding you welcome at the next meeting here, I may give this greeting to as numerous and as elegant as audience as that to which I now bid FAREWELL." This grate- ful acknowledgment was loudly and enthusias- tically applauded, and Mr Lazar retired amid the continued cheering of the audience. Mr L. has taken the theatre for the ensuing sea- son, and we have no doubt he will be strongly supported.
Queen's Theatre, The South Australian Register, National Library of Australia, 3 July 1841, 3
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We are happy to see the houses so rapidly improving at this very elegant and commodious place of amusement, and we have no doubt the proprietors will ultimately reap the harvest they so richly merit. Novelty seems the standing order, and each night the public are treated with some interesting drama, a dance from our Australian Taglioni, and a lively farce. The Tower of Nerle was splendidly got up on Monday last, and attracted a very fashion- able audience; the principal character was ad- mirably sustained by Mr Lazar, who was well supported by Messrs Cameron, Arabin, and Mrs Cameron. One Hour, or the Carnival Ball, has been also produced in a superior style—the ball room scene at once realizing all the splendour of a Venetian carnival, the stage being a complete body of illumination. We understand Captain Sturt, and several other influential families in- tend patronising the Theatre on Monday next, and we have no doubt the entertainments of the evening will be well selected by the indefatigable manager, Mr Lazar. We must not forget, how- ever, to mention the orderly manner in which the Theatre is conducted, reflecting the highest credit on those concerned—we have visited the principal theatres in England, and never witnes- sed a greater degree of order preserved than in the Queen's Theatre.—[Communicated.]
Queen's Theatre, The South Australian Register, National Library of Australia, 30 January 1841, 3
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Quiz show at Tivoli, Barrier Miner, 1 May 1942, 2
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Rachel Funari, bma (bands music action) , 17 July 2003, 26
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Radclyffe Theatre Company History and Collection Holdings, Arts Centre Melbourne, Australian Performing Arts Collection
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Radio Landmark, On Stage, 12, 3, 2011, 35
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Railway Rates For Coal, Australian Town and Country Journal, 13 August 1870, 7
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Ravenswood, The Northern Miner, 19 May 1884, 2
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Raymond Gill, The Age, 1 August 1997
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Raymond the Lord of Milan, Sydney Morning Herald, 10 September 1863, 5
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Reclaiming the heart of walkabout, The Age, 2 July 2002
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Recollections of the Theatre Royal, The Argus, 21 March 1872
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Red Cross benefits from recent show, Barrier Miner, 17 August 1942, 2
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Refreshing and Unconventional, The Advertiser (Adelaide, SA : 1931 - 1954), National Library of Australia, 10 January 1938, 16
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Lloyd Davies, conductor of the Conservatorium student's
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Rehearsing for Tonight's Concert, 10 August 1953
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Renovations at Crystal Theatre well advanced, Barrier Miner, 13 February 1940, 2
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Rep Society in Festival Win, The Examiner, State Library of Tasmania, Launceston Reference Library, 1 July 1963, 3
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Repertory aid for local kindergarten, Barrier Miner, 22 July 1953, 7
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Repertory Club stages Message for Margaret, Barrier Miner, 22 October 1955, 4
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Repertory Drama. Society's New Plays. 700 Subscriptions Needed., The Sun (NSW), 26 January 1924, 6
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Repertory ends year, Barrier Miner, 29 November 1948, 6
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Repertory farewell to Constable J. Grant, Barrier Miner, 5 April 1948, 3
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Repertory Society, Barrier Miner, 11 August 1949, 9
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Repertory to stage comedy, Barrier Miner, 10 October 1955, 4
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Repertory's Production, Sunday Times, 8 April 1951, 23
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Repertory. "Dangerous Corner", The Canberra Times, 16 March 1934, 4
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Repertory. "I'll Leave It To You". Tonight's Production., The Canberra Times, 6 November 1933, 2
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Repertory. Large Audience at Albert Hall., The Canberra Times, 30 May 1934, 2
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Repertory. Production of One Act Plays. By Canberra Society., The Canberra Times, 23 August 1933, 2
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Reports from Rural Centres : Maitland, The Advertiser, National Library of Australia, 18 February 1932, 7
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Resistor Routines, Theatre Australia, July 1980, 43
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Retribution; or Love's Atonement, Sydney Sportsman, 14 February 1912, 8
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Return Season, The Age, 1 June 1963, 8
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Return to the good old days, The Age, 10 February 1972, 17
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Returns Laden with Weapons, News (Adelaide, SA : 1923 - 1954), National Library of Australia, 27 April 1932, 2
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Returns to Stage in New Medium, The Age, 1 June 1963, 8
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Reunion in Vienna. Australian Premiere., Sydney Morning Herald, 18 January 1941, 15
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Rev. Mr. Blain's Lecture, The Maitland Mercury, National Library of Australia, 21 March 1846, 2
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Review the "Boys" case - Crown, The Age, 19 September 1969, 2
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Review, Bendigo Advertiser, 2 July 1858, 2
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Revival At Minerva, Sydney Morning Herald, National Library of Australia, 13 February 1942, 7
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Revival of "No, No, Nanette", The Advertiser (Adelaide, SA : 1931 - 1954), National Library of Australia, 8 July 1938, 9
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Reviving Glory of Crystal Theatre, Barrier Miner, 20 August 1940, 4
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Revue for Tivoli, Barrier Miner, 21 March 1949, 7
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Revue Intime Dull Show At Minerva, Sydney Morning Herald, National Library of Australia, 6 December 1947, 8
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Rex & Jim: A story of our times, Theatre Australia, July 1978, 16-17
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Rex Cramphorne, Graduation time for a "good year" at NIDA, The Bulletin, 21 September 1968, 72
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Ria Mars, Sunday Telegraph, 15 July 1984, 181
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Ricci-Jane Adams, Inheritors of the Dead Heart: Magical Realism in These People and Falling Petals by Ben Ellis, Australasian Drama Studies, 48, April 2006, 189-202
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Ricci-Jane Adams, Welcome to Lallyland: introducing the plays of Lally Katz as magical feminism, Australasian Drama Studies, 47, October 2005, 73-88
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Richard Baker, The Age, 8 January 2001
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Richard Bradshaw, The Merlin of the South, Australasian Drama Studies, Australasian Drama Studies, C/- Department of English, Univ, 7, October 1985, 81 - 130
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Richard Bradshaw, Thiodon's wonders: a mechanical theatre in nineteenth-century Australia, Australasian Drama Studies, 51, October 2007, 18-35
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Richard Bradshaw, Webb's Royal Marionettes (1876 - 1886), Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 19, October 1991, 76 - 93
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All for Gold or, Fifty Millions of Money. Play in three acts by F.R.C. Hopkins from Le Juif errant, novel by Eugène Sue. premiere 10 March 1877, Royal Victoria Theatre, Sydney. Cast: Mr Alexander, Mr Bartlett, Alfred Dampier, Lily Dampier, Rose Dampier, B.N. Jones, Mr Seagrave. Director: Alfred Dampier.
The actor-manager Alfred Dampier launched his reputation as the major supporter of Australian dramatists when he took All for Gold into his repertoire. It was the first of five plays by F.R.C. Hopkins that he staged. Dampier had just set up his own company and was looking for starring roles for himself and his little daughters Lily and Rose. Hopkins obligingly dramatised parts of Eugène Sue’s popular 32-year-old novel about the Wandering Jew – although the Jew himself was rendered irrelevant to the plot.
Dampier played Dagobert, an old soldier entrusted with taking a general’s two young daughters to Paris, where they are due to inherit a fortune if they appear at the reading of a will. Dagobert’s ‘honesty of purpose and indomitable character’ overcome the obstacles of a Mafia-like secret society, a double-dealing lion tamer and a character known only as ‘the Thug’. The play was staged with great care and remarkably fine ensemble acting, said the Sydney Mail on 17 March 1877. The acting of nine-year-old Lily Dampier was central to the initial success of the play. Dampier presented it in Australia, New Zealand and the USA in 1877 and in England in 1878. He was still dusting it off – with new child actors – as late as 1892.
Richard Fotheringham, All for Gold, Companion To Theatre In Australia, 1995, 36
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Dramatist. Born 6 June 1872 at Lawrence (New Zealand). Graduated from University of Otago (Dunedin) 1894. Journalist on Wellington Evening Post. Covered Boxer rebellion for Sydney Morning Herald 1900. Wrote libretti for Alfred Hill, novels and poetry. Edited Red Page of Sydney Bulletin 1906-09. Edited Lone Hand 1909-11. Impoverished by 1930. Granted Commonwealth Literary Fund assistance 1933. Died 4 March 1936 in Sydney.
Arthur H. Adams was the most vigorous supporter of Australian playwrights early in the 20th century and a successful one himself. About 1897 he wrote the libretto of Tapu, an operetta on a Maori subject, for the Wellington composer Alfred Hill. This gained Adams work for two years in Sydney in 1898-1900 as J.C. Williamson's literary secretary, though he was not pleased when Williamson rewrote and staged the operetta during his absence in England. In the Lone Hand and Theatre magazine he described this and other attempts to have his plays performed, attacked the indifference to local writers of the great actor-managers who controlled Australian theatre, and gave aspiring playwrights good advice on learning their craft: 'Get your play produced. Failing the Managers, get it done by amateurs'.
Adams took his own advice, with success. Pierrot in Australia in Sydney in 1910 and in London in 1912, The Tame Cat, The Wasters, Mrs Pretty and the Premier and other plays received amateur production. A professional management in England took up Mrs Pretty and the Premier. Adams noted in an introduction to his Three Plays for the Australian Stage - The Wasters, Mrs Pretty and Galahad Jones - in 1914: 'One of the many drawbacks to their production is that there is no Australian stage'. He described the unperformed Galahad Jones, adapted from his own novel, as 'a comedy with a tragic tang', since the leading female character dies at the end. Insisting that it was a play for production in the professional theatre as well as for amateurs, Adams added a postscript: 'Should the theatrical manager demand his pound of flesh, the author has written, much against his will, an alternative "happy ending” in which Sybil recovers' .
Adams's last play, Gallipoli Bill, is his most original. Set during the last days of the First World War, it concerns two ANZAC soldiers. While recovering from wounds, Bill and Jim spend a few weeks in romantic dalliance at an English country mansion. The English lord and lady, their officer son and a silly chappie from the War Office are conventional, but the two soldiers, a lecherous old dowager aunt, the lord's daughter, who works in a munitions factory, and her Australian girlfriend, who is equal to Bill's love-them-and leave-them flirtations, are vigorous and cleverly written. Bill has a long, hilarious drunk scene which obviously appealed to the actor-manager Tal Ordell, who cast himself in the role for a season in suburban Sydney in 1926. There are reports of other performances in 1928. In February 1929 Adams sold the stage and film rights to Bert Bailey, who revised the script, but the Great Depression prevented further performance.
Richard Fotheringham, Arthur H. Adams, Companion To Theatre In Australia, 1995, 24
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Richard Fotheringham, Janet Achurch, Companion To Theatre In Australia, 1995, 15-16
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Richard Fotheringham, Queensland Provincial Towns, Companion To Theatre In Australia, 473-75
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Richard Fotheringham, Rob Pensalfini, Anti-Colonial Voices? Non-British Accents and the National Authentication of Shakespeare in Australia in the 1970s, Australasian Drama Studies, 50, April 2007, 49-65
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Richard Fotheringham, Roslyn Atkinson, Dramatic copyright in Australia to 1912, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 11, October 1987, 47 - 63
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Richard Fotheringham, Screening Live Performance: Australiaʻs Major Theatre Companies in the age of digital transmission, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 68, April 2016, 3 - 33
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Richard Fotheringham, Sport and nationalism on Australian stage and screen 'Australia Felix' to Gallipoli, Australasian Drama Studies, 1, 1, October 1982, 65-88
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Richard Fotheringham, Steele Rudd, Companion To Theatre In Australia, Currency Press, Sydney, 1995, 512-13
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Richard Fotheringham, William Anderson, Companion To Theatre In Australia, 1995, 54-55
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Richard Jinman, Metro, 2 February 2001, 3
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Richard Jinman, Metro, 23 February 2001, 3
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Richard Jinman, Metro, 8 February 2002, 3
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Richard Jinman, Metro, 8 November 2002, 15
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Richard Jinman, Sydney Morning Herald, 21 March 2006, 12
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Richard Jordan, Digital Alchemy: The Posthuman drama of Adam J. A. Cassʻs I Love You, Bro, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 65, October 2014, 37 - 52
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Richard Knowles, The theatre of form and the production of meaning: contemporary Canadian dramaturgies, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 29, October 1996, 43 - 56
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With this play, originally titled Colonel Light-The Founder, Max Afford won the Adelaide Advertiser newspaper's first prize for a play to celebrate South Australia's centenary in 1936. He rewrote it as Awake My Love, incorporating love interest into a historical drama based on the life of Colonel William Light, the first Surveyor-General of South Australia. The play is set in the years 1837-39 and deals mainly with the conflict between Light and autocratic Governor Hindmarsh over the site of the city of Adelaide. The playwright's wife, Thelma Afford designed the decor and costumes.
Richard Lane, Awake My Love, Companion To Theatre In Australia, 1995, 76
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Richard Lane, Harvey Adams, Companion To Theatre In Australia, 1995, 24
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During the 1940s, when Max Afford was the foremost writer of commercial radio serials in Australia, he diligently wrote stage plays and had commercial successes at a time when it was almost unknown for an Australian management to produce a local play. At the Theatre Royal on Sydney in 1944 J.C. Williamson’s produced his comedy-thriller Lady in Danger and his Mischief in the Air, a comedy set in Sydney commercial radio. Lady in Danger was also presented in New York City in 1944. In 1947 Independent Theatre in Sydney presented Afford’s Awake My Love, a rewriting of his Colonel Light – The Founder, which won the Adelaide Advertiser’s first prize for a play to celebrate the centenary of South Australia in 1936. His last play, Dark Enchantment, was produced at the Minerva Theatre in Sydney in 1949, and in 1950 it began a tour in England.
Richard Lane, Max Afford, Companion To Theatre In Australia, 1995, 33
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Richard Mason, Determined not to sensationalise the issue, Campaign, 122, February 1986, 10
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Richard Mortlock, New era for old theatre, Sunday Telegraph, 21 May 1978
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Richard Murphet, David Pledger: the danger zone, RealTime Arts, 44, August 2001, 28
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Richard Murphet, Melbourne theatre: the witness, RealTime Arts, 43, June 2001, 26
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Richard Murphet, Strategies for a theatre at risk & in decay, RealTime Arts, 45, October 2001, 36
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Richard Murphet, Terror, theatre & The Hairy Ape, RealTime Arts, 47, February 2002, 4
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Richard Ross, When Bland Holt Strode The Boards, The Herald, 1 October 1938, 35
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Richard Sallis, The Great Leap Forward, 1 August 1990
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Richard Synott, Financial Review, 25 March 1988
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Richard Thomas, The magic of voices, Times2, 29 August 2007, 9
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Richard Waterhouse, 'Lola Montez' and high culture: the Elizabethan Theatre Trust in post-war Australia, Journal of Australian Studies, 52, March, 1997, 148-158
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Richard Waterhouse, Blackface and the beginnings of bifurcation: the minstrel show and the emergence of an Australian popular stage, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 14, April 1989, 125 - 147
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Richard Windeyer, The Canberra Times, 11 April 2001
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Richard Windeyer, The Canberra Times, 13 March 2001
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Richard Windeyer, The Canberra Times, 13 March 2001
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Richard Windeyer, The Canberra Times, 2 April 2001
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Richard Windeyer, The Canberra Times, 21 March 2001
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Richard Windeyer, The Canberra Times, 5 March 2001
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Richard Windeyer, The Canberra Times, 9 March 2001
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Richard Zachariah, Gaylea (and her bugle) will tell all about Mame, The Age, 23 April 1968, 7
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Richard Zachariah, Mame at midnight, The Age, 14 May 1968, 4
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Richard Zachariah, Tough teacher, The Age, 31 August 1967, 7
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Richmond River News, Clarence and Richmond Examiner, 12 January 1884, 8
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Rita Erlich, 'Medea' the migrant, The Age, 3 February 1981, 10
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Rita Erlich, Katherine Mansfield: mercurial chameleon, The Age, 21 August 1980, 10
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Rita Erlich, The vocal vocation of Patricia Kennedy, The Age, 15 August 1980, 10
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Rita Mars, Sunday Telegraph, 18 November 1984, 189
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Ritchie York, Encore, 28 March 2004, 65
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River Muarry Aborigines, The Express and Telegraph, National Library of Australia, 29 June 1911, 4
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Riverina Trucking Co. - at the crossroads, Theatre Australia, The University of Adelaide, Library Special Collections, April 1981, 15
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Riverstone, The Windsor and Richmond Gazette, Riverstone, NSW, 10 July 1897, 4
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Roar of Silence, The Canberra Times, 15 June 1982, 15
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Roar of Silence, The Canberra Times, 17 September 1982, 13
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Roar of Silence, The Canberra Times, 20 August 1982, 11
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Rob Pensalfini, Not in Our Own Voices: Accent and Identity in Contemporary Australian Shakespeare Performance, Australasian Drama Studies, 54, April 2009, 142-158
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Robato Lobato, Not afraid to be Heavy, Beat, Theatre and Dance Platform, 4 November 1998, 19
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Robert (Bob) Cousins, Coming of Age, Review, 4 June 2011, 10-11
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Robert Barr, Stage Celebrities: Miss Fitzmaurice Gill, The Red Funnel, 1, 4, November 1905, 331-334
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Robert Barr, Stage Celebrities: Miss Florence Lloyd, The Red Funnel, January 1906, 550-551
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Robert Barr, Stage Celebrities: Miss Minnie Tittell Brune, The Red Funnel, 1, 2, September 1905, 169-171
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Robert Bell, Fifty Years in the Theatre. A Veteran Looks Back. (part 1), Sydney Morning Herald, 7 July 1962, 11
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Robert Caswell, Writing television drama, Australasian Drama Studies, Australasian Drama Studies
c/- Department of English
Uni, 2, 2, April 1984, 3 - 26
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Robert Drewe, A toast to Jack Hibberd, The Bulletin, The University of Adelaide, Library Special Collections, 27 March 1976, 54
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Robert Dunstan, Once Upon a Midnight, Rip It Up, 11 September 2008, 47
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Robert Dunstan, Rip It Up, 11 October 2001
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Robert Jordan, The early Sydney theatre revisited: a recently discovered playbill for 30 July 1796, Australasian Drama Studies, 60, April 2012, 71-82
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Robert Jordan, Visualising the Sydney Theatre, 1796, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 28, April 1996, 30 - 52
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Robert Kenny, Some notes on Australia as part of the world, Meanjin, 34/2, Winter, 1975, 221, 223-224
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Robert Macklin, The Canberra Times, 12 May 1993
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Robert Macklin, The Canberra Times, 6 December 1995
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Robert Maxwell, SX news, 5 June 2003, 9
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Robert Messenger, Panorama, 20 July 2002, 7
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Robert Messenger, The Canberra Times, 19 August 2003, 8
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Robert Messenger, Times out, 18 March 2004, 5
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Robert Messenger, Times2, 14 September 2004, 2
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Robert Milliken, A lament for vaudeville, The National Times, The University of Adelaide, Library Special Collections, 1 October 1978
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Robert Mitchell, Bliss in Edinburgh, On Stage, 12, 1, 2011, 1 - 4
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Robert Morrison, Sir Seymour Hicks remembers Dame Nellie, On Stage, 11, 2, 2010, 8-10
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Robert Nelson, The Age, 6 February 2001
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Robert Page, New Wave Popular Theatre, Theatre Australia, 5, 1, August 1980, 3
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Robert Page, Short of magnificent, Theatre Australia, 5, 1, August 1980, 49
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Robert Reid, A City this Size should have So Many Theatres: The Church Theatre, 1983 - 1989, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 64, April 2014, 23 - 37
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Robert Reid, Making the improbable inevitable: A history of the Malthouse Theatre, Australasian Drama Studies, 60, April 2012, 170-192
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Robert Taylor, Eugene O'Neill: Productions in Australia 1925-2022, On Stage, 1 June 2023
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Robert Taylor, National Theatre: Fact is often stranger than fiction, On Stage, 1 March 2022
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Robert Taylor, NIDA: A Complicated Venue History!, Theatre Heritage Australia Inc, Online, December 2024
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Robert Taylor, The Phantom Figures Project, 1989, On Stage, 1 December 2022
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Robert Walton, Acting up - climate change cause needs performers' help, The Conversation, 8 July 2013
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Robert Walton, Bewildering Behaviour: Practice as Research for Audiences and Other Creators of Immersive Performance, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 65, October 2014, 122 - 144
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Robert Yeo, Theatre and censorship in Singapore, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 25, October 1994, 49 - 60
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Robin Amadio, Going Places, The Australian Women's Weekly, 7 October 1981, 16
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Robin Deacon, White Balance: a History of Video, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 65, October 2014, 145 - 167
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Robin Grove, Borovansky, Edouard (1902–1959), Australian Dictionary of Biography Online, 1993
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Robin Grove, Gorham, Kathleen Ann (Kathy) (1928–1983), Australian Dictionary of Biography Online, 2007
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Robin Grove, The Australian, 24 April 1990
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Robin Grove, The Australian, 24 September 1987
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Robin Grove, The Australian, 26 August 1988
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Robin Hill, Szeps in the right direction, Sydney Morning Herald, Metro, 17 July 1992, 3S
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Robin Ingram, A Bit of Bloke Humour, The Sun (NSW), 15 July 1976, 30-31
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Robin Pogrebin, Section B, 27 October 2003, 1
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Robin Ramsay off to London, The Age, 2 November 1967, 6
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Robin Roberts, Gendered media rivalry: Irish drama and American film, Australasian Drama Studies, 43, October 2003, 108-127
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Robin Usher, A New York play, a London company, an Australian cast; What are the odds?, The Age, 1 April 2008, 22
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Robin Usher, A New York play, a Lpondon company, an Australian cast; What are the odds?, The Age, 1 April 2008, 22
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Robin Usher, A tight squeeze, The Age, Theatre and Dance Platform, 16 October 2008, 26
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Robin Usher, A turn-up for the books, The Age, 6 May 2008, 13
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A new event celebrates Melbourne's reputation as a dance capital, writes Robin Usher.
MELBOURNE is Australia's capital of contemporary dance and our dance companies tour internationally more than other art forms, but until now there has been nothing to celebrate this vibrancy.
Dance Massive is designed to bring companies and dancers together under one banner.
Performances over the 12 days from March 3 will include groups from around the country, as well as Melbourne-based Chunky Move with Gideon Obarzanek's latest international hit, Mortal Engine.
"It has been touring constantly since it premiered at the Sydney Festival last year and went on to the Edinburgh Festival," says Steven Richardson, artistic director of Melbourne's Arts House and the driving force behind Dance Massive.
"Melbourne's contemporary dance infrastructure is the envy of almost every other city in Australia but there is nothing to celebrate it except the annual programming of the Melbourne (International Arts) Festival," he says. "The time is propitious to try to create a platform to showcase the art form nationally."
His plan is to make the event biennial and develop the program further in 2011 and 2013.
"We made a national call for expressions of interest this year and were inundated with responses," he says at his Arts House headquarters in the old North Melbourne town hall.
The organisation also hosts events at the Meat Market in North Melbourne and both venues will be part of Dance Massive.
Other groups - Malthouse Theatre, Ausdance and Dancehouse - joined in to make the event possible. Richardson is especially pleased to see contemporary dance being regularly programmed at the Malthouse, which will host Chunky Move and Brisbane's Splintergroup.
The Queensland company is little known in Melbourne but its two works in the program have both toured internationally. Lawn, which will be seen at the Malthouse's Merlyn Theatre, was conceived in Berlin and developed at Brisbane Powerhouse before going to Singapore and Germany. Roadkill was included in London's Dance Umbrella at the Barbican Centre in 2007 and will be performed at the Meat Market.
Choreographer Lucy Guerin will also appear at the Meat Market with a new work, Untrained, which pairs two specialised dancers with two untrained ones.
"It's terrific to have Lucy and Gideon (Obarzanek) in the program because it lifts the profile to have their work appearing," Richardson says. He has a background in dance and was on the Australia Council's dance board for more than five years, as well as working with Circus Oz. He says Dance Massive will be the first opportunity for companies to present full-length works together since Melbourne's Greenmill Dance Project, which ran for six years until 1998.
Six overseas presenters will be here for Dance Massive thanks to $30,000 from the Australia Council. "It's not about setting up a retail model but rather establishing relationships with local artists and international agents," Richardson says.
Arts Victoria is also providing $50,000 to the project. Richardson believes the potential audience for contemporary dance is huge, and expects the Meat Market's 180 Seconds in (Disco) Heaven or Hell on Sunday March 8 to attract an enthusiastic audience.
It will combine local choreographers working with groups specialising in ballroom, breaking and different sorts of ethnic dances.
"There will be a party atmosphere and many varieties of dance," Richardson says. "I think that leads to a more meaningful experience than passively sitting in a seat in the theatre."
Dance Massive runs from March 3 to 15 at the Malthouse Theatre, Arts House and Dancehouse. Go
to dancemassive.com.au or book on 9685 5111.
Robin Usher, About time dance took centre stage, The Age, Theatre and Dance Platform, 17 February 2009, 18
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Robin Usher, Another Epic Session at the Pub, The Age, 4 May 2007, 15
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Robin Usher, Art & Culture, The Age, Theatre and Dance Platform, 28 November 2007
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Robin Usher, Arts projects get $850,000 grants, The Age, Theatre and Dance Platform, 9 July 2010, online
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Opera is regarded as the most lavish and expensive art form, as shown by the top price of $1500 for tickets to see the four works in Adelaide's $15million production of Wagner's Ring Cycle. But opera-goers in Melbourne have the chance to see a production that relies on a small cast and orchestra, rather than a budget-busting set, to establish direct, emotional contact with the audience.
"It's a very pared-back form," says Patrick Nolan, director of Opera Australia's last show in its spring season, Baroque Masterworks.
The two works in the double bill, by Monteverdi and Purcell, come from soon after the birth of opera at the dawn of the 17th century.
"The baroque style is minimal and direct compared to what came later," he says. "The 21st century couldn't be more different, where we are used to layers of meaning piled on top of each other."
The production is part of a boom in baroque music-making in Melbourne, including critically acclaimed performances by the Australian Chamber Orchestra and Italy's Il Giardino Armonico.
Nolan, known for his elegant and concise direction, says his challenge is to allow the directness of the emotional approach to come through.
"It is very spacious music and it has been a remarkable process working with the singers to peel back the layers," he says.
The production opens with Monteverdi's 30-minute masterpiece, IlCombattimento di Tancredi e Clorinda, followed by Purcell's Dido and Aeneas, which is the first opera to have been sung in English. This ordering allows the evening to conclude with Dido's lament, which Nolan describes as one of opera's most well known songs.
"The chorus follows with a lament that is some of the most sublime music ever written," he says, quoting: "With drooping wings, Cupids come and scatter roses on the tomb".
Nolan says Purcell is speaking through time, reminding people that the pain of love "has always been and will always be".
The opera is adapted from the chapter in The Aenead in which Aeneas (Angus Wood), the mythical founder of Rome, is washed up on the shores of Carthage where he falls in love with Dido (Deborah Humble).
But Nolan says the opera makes Dido the main character. This allows her to sing her own death after her lover departs, contrasting with the starkness of the original, in which Aeneas looks back from his departing ship and sees the smoke of Dido's funeral pyre following her suicide.
The opera was written in 1689, during the flowering of the arts in England in the era following the rule of Cromwell's puritans. Nolan says Purcell was aware of Monteverdi's works from earlier in the century because a copy he made of a score by the Italian has survived.
Monteverdi's Orfeo, written in 1601, is regarded as the first opera. When he came to write Il Combattimento 23 years later, he developed a revolutionary style of music-making that mirrored the drama of the story.
The story is taken from Tasso's long poem on the Crusades and tells of a Christian warrior, Tancredi (Han Lim) who falls in love with a Muslim warrior maiden (Ali McGregor) before later killing her in a duel.
"She knew who he was, but because she wore an armoured visor, he didn't know who he was fighting," Nolan says.
But, he says, because the action is described by a narrator (Wood), he wanted to find a way to dramatise the fight on stage. "Because the battle to the death is so intense, I wanted to see bodies going for it," he says. So he asked Lucy Guerin to choreograph the combat. The opera is over in less than 30 minutes, but Nolan says the two dancers are called on to work hard, and he also employs them in the Purcell work after interval.
He says the beauty of the Monteverdi work is that the key issues are hidden: armour masks beauty, war conceals love and human strife is only the foreground to eternal peace.
But stage direction is just one of Nolan's interests. Having directed the Paul Grabowsky/Joanna Murray-Smith 2002 opera, Love in the Age of Therapy, he is planning to film a documentary on the lives of Aboriginal singers Archie Roach and Ruby Hunter. This follows his direction of the 2004 Melbourne Festival show, Kura Tungar, with the two singers and Grabowsky's Australian Art Orchestra.
A short film that Nolan wrote and directed in 1998, 389, was a finalist in Tropfest and screened in competition at the Venice Film Festival. 389 is about a bus route and a frustrated poet who hijacks a vehicle in order to find an audience for his poems.
Because of his deep regard for him, he gained permission from the former dissident Czech poet, Miroslav Holub, to use one of his works.
Robin Usher, Baroque Revels in pain of love, The Age, Theatre and Dance Platform, 29 November 2004
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Robin Usher, Big year for blockbusters as Helpmann winners take their bows at Sydney Opera House, The Age, Theatre and Dance Platform, 27 July 2009
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Robin Usher, Cash for small arts groups, The Age, Theatre and Dance Platform, 26 October 2010
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Robin Usher, Double bill's headline act dances to breaking news, The Age, Theatre and Dance Platform, 17 July 2010
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CHINA'S economic development and growing middle class make it easy to assume the nation's art forms are able to reflect the country's latest concerns in new shows for their audiences.
But there are few independent theatre companies in China, which makes the contemporary show, Fight the Landlord, which opens at the Arts Centre on Thursday, an unusual experiment.
It is the result of a collaboration between the Beijing Square Moon company and the Irish director, Gavin Quinn, who was in Melbourne last year with the Hamlet adaptation, The Rehearsal, Playing the Dane, produced by his company, Pan Pan Theatre.
He commissioned the writer Sun Yue to write the play after he worked with her on Pan Pan's Beijing production of the Irish classic, Playboy of the Western World, six years ago.
''She is incredibly smart and able to communicate her views about contemporary life,'' he says in a phone call from Dublin. ''She translated Playboy, which was produced with an all-Chinese cast that later toured to Ireland.''
Yue is one of three actors in Fighting the Landlord, named after a popular card game that grew out of the class struggles during the Cultural Revolution.
It premiered at the Irish Pavilion at Shanghai's World Expo in 2010 and later was produced in Beijing and Sichuan's capital, Chengdu.
''The play is telling contemporary stories about such things as the pressures caused by the inflationary property market,'' Quinn says. ''There are not many independent theatre companies in China, although there are very well established acting academies for traditional theatres and musicals.''
He says the play's success demonstrates people are keen for shows reflecting contemporary concerns. This has already been demonstrated by another contemporary show, Rhinoceros in Love, which also travelled to last year's Melbourne Festival.
''China is hurtling forward into extreme capitalism and there is a need for a new language that deals with concerns of today,'' he says. ''We had to send the text to the Ministry of Culture but it did not cause any censorship problems because it is about cultural rather than political issues.''
He says the booming property price has caused suicides among the younger generation locked out of the market by rises of as much as 15 per cent a year. But he describes the play as gentle and humorous, being staged in China with audiences sitting in circles surrounding the performers.
The Fairfax Studio also offers audience members the option of sitting on stage as part of the action, or in the auditorium.
''China is still a mystery to many people and this offers people a chance to get an insight into the country,'' Quinn says. ''Sitting on stage with the performers provides an interesting dynamic that is different and intimate.''
He found it easy to direct the production after the more traumatic experience developing the earlier Playboy production, which took a long time to develop.
''That was a big initial investment but it resulted in several friendships and was a great way to get to know China,'' he says.
He worked with an interpreter in directing Landlord but because he already knew the actors - Yue, Bai Shuo and Wang Jinglei - from the earlier show he quickly forgot the mediator was there.
''We are all from the theatre and we know what's good and what isn't,'' he says. ''We were all concentrating on the common project.''
He is encouraged the show is in Australia, opening at the Darwin Festival before Melbourne. ''It is an interesting experiment because it is not an expensive show but it does provide real insights into the country.''
Fight the Landlord opens at the Fairfax Studio at 7.30pm on Thursday until Saturday.
Robin Usher, Experiment's unique view of China, The Age, 28 August 2012
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Robin Usher, Guerin tops State Grants, The Age, Theatre and Dance Platform, 16 August 2002, 4
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Robin Usher, Hamlet the Prequel Cuts the Babble, The Age, 24 October 2007, 21
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Robin Usher, Handel done Justin's way, The Age, 1 December 2007, 0
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Robin Usher, Have a Real Ball in the City Streets, The Age, 23 October 2007, 16
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Robin Usher, Healer in a foreign land, The Age, News Extra, 7 October 2000, 5
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Robin Usher, Joe Cinque's alteration: remaking a tragic story, The Age, 8 August 2007, 17
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Robin Usher, Love in hostile times, Metro, 26 November 2007
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Robin Usher, Lucy Guerin's festival, The Age, Theatre and Dance Platform, 29 September 2003, 11
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Robin Usher, Melbourne's Gift: the space to create, The Age, Theatre and Dance Platform, 28 November 2007
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Robin Usher, Metro, 24 June 2005, 6
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Robin Usher, Myer prizemoney a buffer and a leg up, The Age, Theatre and Dance Platform, 1 March 2001, T5
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Robin Usher, NY Invite for Guerin, The Age, Theatre and Dance Platform, 30 October 1998, 10
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Robin Usher, Projecting messages with meaning, The Age, Theatre and Dance Platform, 15 March 2005, 4
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Robin Usher, Questions about a scandalous grilling, The Age, 14 April 2008, 15
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Robin Usher, Sacrifice in war and the quest to find the light, The Age, 6 August 2007, 13
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Robin Usher, Scoundrel steps in from Russia's wildside, The Age, 7 May 2008, 19
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Robin Usher, Sex, violence? It must be opera, The Age, 27 July 2007, 13
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Robin Usher, Southbank to Scotland, The Age, 28 May 2009, 20
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Robin Usher, Splitting into bite size chunks, The Age, Theatre and Dance Platform, 11 October 2008
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Robin Usher, Sydney Morning Herald, 17 October 2005, 12
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Robin Usher, Sydney Morning Herald, 19 June 2003, 16
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Robin Usher, Tale leaves no Stone unturned, Arts and Culture, 11 September 2006, 15
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Robin Usher, The Age, 10 November 2007, 23
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Robin Usher, The Age, 12 November 2003, 0
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Robin Usher, The Age, 14 October 2005, 17
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Robin Usher, The Age, 19 June 2007, 13
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Robin Usher, The Age, 20 February 2007, 15
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Robin Usher, The Age, 23 November 2006, 0
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Robin Usher, The Age, 28 July 2007, 9
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Robin Usher, The Age, 4 December 2006, 13
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Robin Usher, The Age, 7 August 2007, 13
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Robin Usher, The Herald Sun, 12 June 1997
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Robin Usher, The Herald Sun, 9 April 1997, 48
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Robin Usher, Tribute challenge daunted choreographer, The Age, 27 August 2007, 13
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Robin Usher, Walking Wounded, The Age, 2 August 2010
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Robin Usher, Yanagai! Yanagai!, The Age, 10 September 2003, 14
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Robin Wood, Music and the Stage. 'Man With the Donkey', The Examiner, 23 April 1938, 25
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Robinson Crusoe, The Mercury (Hobart, Tas. : 1860 - 1954), 25 February 1910, 2
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Robyn Archer, Introduction to Emma, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 24, April 1994, 99 - 111
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Robyn Archer, Robyn Archer's 2003 Whisper #02, Melbourne International Arts Festival News, Theatre and Dance Platform, 11 November 2003
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Robyn Archer, The politics of the musical, Australasian Drama Studies, Australasian Drama Studies c/- Department of English, Unive, St. Lucia, Queensland, 1, 2, April 1983, 33 - 45
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Robyn Howard, Canberra City News, 3 April 2003, 18
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Robyn Howard, Canberra City News, 6 May 2002, 5
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Robyn Rawson, Melbourne Report, 1 May 1988
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Robyn Rawson, Melbourne Report, 1 May 1988
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Theatre in Spring Street, opened as Astley's Amphitheatre 11 September 1854. Redecorated and renamed Royal Amphitheatre February 1856. Renovated and reopened as Princess's Theatre and Opera House 22 April 1857. Further modified 1861. Closed 1863. Reopened after major alterations 2 December 1865. Demolished 1886. Replaced by Princess Theatre, opened 18 December 1886. Architect: William Pitt jnr. Auditorium rebuilt and theatre reopened 26 December 1922. Architect: Henry E. White. Theatre reopened 1990 after stage rebuilt and building restored and refurbished.
This century-old theatre, restored as a lyric theatre for commercial productions of major musicals, stands on a site that has been occupied by a theatre since Thomas Mooney opened Astley's Amphitheatre there in 1854, under the direction of George Lewis. Astley's Amphitheatre, named after a famous circus in London, was designed for both stage and equestrian events. In September 1855 a newspaper complained of the transformation of Richard III into 'a monopolylogue' on horseback. By the next month the competition from two new theatres, the Olympic Theatre and the Theatre Royal, caused loss of patronage in the 2000-seat Astley's, and it was auctioned off. George Coppin leased Astley's in February 1856, lit it with gas, remodelled it slightly and renamed it the Royal Amphitheatre, but after eight weeks it closed for lack of support. John Black took over the building to reconstruct the interior for presentation of lyric drama and reopened it after minor alterations as the Princess's Theatre in April 1857 with Anna Bishop in the title-role of Bellini's opera Norma. After two further leases the Princess's Theatre again fell on bad times. James Simmonds took it over from Achilles King, who then supervised reconstruction for the new lessee, transforming the inelegant and disproportionate auditorium into a 'perfect gem of a house'.
The Illustrated Melbourne Post of 25 November 1865 shows substantial timber posts continuing up to a deep cornice supporting a slightly domed ceiling, painted with nymphs floating in a cloudy sky. The proscenium was 2.4 metres deep and contained doors giving onto an apron of the same depth. The proscenium opening was 9.9 metres wide, the stage being 17.4 metres deep by 23.7 metres wide. The gross dimensions of the auditorium were 23.7 metres wide, 23.1 metres deep by 9.6 metres high. It was lit by gas and decorated in white, blue and gold. The fronting building, which housed a hotel, the theatre entrances and shops, was substantially built in masonry, but the auditorium appears to have been externally clad in weatherboards.
By 1886 the theatre was neglected, and Williamson, Garner and Musgrove commissioned William Pitt Jnr to design a new one for the site. The substantial Princess Theatre was built in less than eight months. It was favourably compared to major European theatres. The three-level auditorium was lit by electricity and there was ventilation through a central sliding section of the ceiling dome, which opened to a 7.2 metre diameter tube (still in existence) rising to a sliding segment of the roof. The exterior is still almost as it was built, in an Italian Renaissance style with French overtones, although the open terraces were enclosed in 1901 to form a coloured glass wintergarden.
After buying the theatre in 1915 Benjamin Fuller and his brother John entered into partnership with Hugh J. Ward in 1922 to rebuild the auditorium to eliminate the forest of cast-iron columns supporting the two tiers above. Henry E. White designed a new auditorium in Adam style which is not out of place with the remainder of the building. It opened on Boxing Day with an American musical comedy, The O'Brien Girl. Ward left the partnership but Fullers' maintained the theatre until 1929, when they leased it to Union Theatres for talkies. The lease then passed to F. W. Thring, who presented musical comedies and Efftee films.
After the Second World War the Princess returned to live theatre under Carroll-Fuller Theatres Pty Ltd. Garnet H. Carroll took over full control of the freehold and entrepreneurial activity in 1951. He leased the theatre for short terms until he died in 1964, when his son John took control through Carroll Freeholds Pty Ltd.
From 1969 to 1985 the Australian Elizabethan Theatre Trust leased the theatre. David and Elaine Marriner bought Carroll Freeholds in 1986 and renamed the company Princess Theatre Holdings Pty Ltd on 3 May 1990. After a conservation study, the company had the stage rebuilt to suit the requirements of the entrepreneur Cameron Mackintosh and the remainder of the theatre restored and refurbished. Leased to the Mackintosh organisation, it reopened with the musical Les Miserables in 1990.
Robyn Riddett, Ross Thorne, Princess Theatre Melbourne, Companion To Theatre In Australia, 1995, 465
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Rock Phillips, Leaves from My Diary. Her Majesty's Theatre from 1887 to 1910., The Sydney stage employees' pictorial annual and official programme of second yearly picnic and sports, 1910, 47-70
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Rockhampton musician and writer is unearthing lost talent, The Morning Bulletin, 16 March 2016
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Rockhampton, January 12, The Queenslander, 23 January 1875, 10
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Rockhampton, The Morning Bulletin, 7 May 1884, 2
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Rod Wissler, Australian Listener, 10 September 1988
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Rodney Boland, Bedford, George Randolph (1868–1941), Australian Dictionary of Biography Online
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Rodney Chester, BAM, 10 April 2004, 1
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Rodney Chester, My view, Arts and Entertainment, 17 September 2002, 12
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Rodney Chester, Nothing works, Courier Mail, 23 November 2002
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Rodney Chester, Twist and Shout, BAM, 27 July 2002, 3
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Rodney Wetherell, Script writer with a gift for dialogue, The Australian, 31 May 1996, 12
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Roger Covell, Patrick White breaks through, Sun Herald, 16 September 1962, 84
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Roger Covell, Patrick White's plays, Quadrant, v. 8, n. 1, 1964
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Roger Covell, Spectrum, 31 December 2004, 29
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Roger Covell, Sydney Morning Herald, 10 June 2002
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Roger Covell, Sydney Morning Herald, 13 August 2003, 15
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Roger Covell, Sydney Morning Herald, 27 October 2004, 14
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Roger Covell, Sydney Morning Herald, 3 January 2006, 21
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Roger Covell, Sydney Morning Herald, 30 June 2004, 15
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Roger Milliss, Theatre in the lucky country, Australian Left Review, 6, 1967, 41-48
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Roger Pulvers, Elephant Stamps - Canberra, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 12-13
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Rohan Story, Just for fun, On Stage, 13, 4, December 2012, 1-3
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Rohan Trollope, Stage - Yanagai! Yanagai!, The Age, 26 August 2006, A2 p.5
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Rohini Sharma, Muse, 1 April 2001
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Rohini Sharma, Muse, 1 April 2001
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Rohini Sharma, Muse, 1 June 2001, 6
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Roland Rocchiccioli, Streetcar Named Desire, Sunday Observer, 17 May 1987
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Roland Rocchiccioli, Sunday Observer, 26 April 1987
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Roma Potiki, A Maori point of view: the journey from anxiety to confidence, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 18, April 1991, 57 - 63
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Roma, The Brisbane Courier, 7 December 1866, 2
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Romola Costantino, The autumn season, Sydney Morning Herald, 28 February 1968, 12
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Ron Banks, 'Sex Diary' exposes desires and decite, The West Australian, 10 September 1993, 4
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Ron Banks, Funny 'Frogs' leaps back, 5 May 1993, 44-
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Ron Banks, Hibberd looks at cultural collision, The West Australian, 24 October 1995, 4
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Ron Banks, Mussolini and Juliet, The West Australian, 2 March 1989
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Ron Banks, The West Australian, 15 May 2003, 8
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Ron Banks, The West Australian, 8 May 2003, 7
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Ron Banks, Today, 21 May 2003, 6
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Ron Banks, Western Mail, 12 October 1987
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Ron Banks, Western Mail, 29 August 1987
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Ron Banks, Western Mail, 3 January 1988
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Ron Banks, Wogs still working for Nick the Greek, The West Australian, 5 October 1994
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Ron Berg, Spectacle at Sydney restaurant, The Australian Women's Weekly, 20 March 1968, 3
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Ron Blair, An Australian theatre at last!...or, at last?, World literature written in English, 21/2, Summer, 1982, 275-282
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Theatre in Jane Street, Randwick, Sydney. Built as chapel of St Jude's mission hall 1887. Opened as theatre seating fewer than 100, 1 October 1966. Closed 1981.
The Jane Street Theatre was intended as a place where the Old Tote Theatre Company could 'have another theatre, no matter how modest, in which new Australian plays can be produced, simply but professionally', according to one of its program notes in 1966. An initiative of Robert Quentin with funding from the University of NSW Drama Foundation and the Calouste Gulbenkian Foundation of Lisbon, it was a joint enterprise of the Old Tote Company, the National Institute of Dramatic Arts and the university's School of Drama. The university leased a former chapel, adjacent to the campus, and converted it into a theatre. The opening night included two new Australian plays - I've Come about the Assassination by Tony Morphett and The Pier by Michael Thomas - and a revival of Edward Geoghegan's 1844 The Currency Lass. Robin Lovejoy directed all three. In 1969 NIDA assumed the management of Jane Street as a part of its advanced course. Under the direction of John Clark a season of two or three plays, often specially commissioned, became an annual event. The outstanding premiere was of the burlesque The Legend of King O'Malley by Michael Boddy and Robert Ellis in 1970. Its success encouraged its director, John Bell, and others to establish the Nimrod Theatre Company. The most successful production at Jane Street was Don’s Party by David Williamson, directed by Clark, in 1972. Between 1966 and 1981, some 28 Australian plays were produced, including early works by Alex Buzo, George Hutchinson, Thomas Keneally and Rodney Milgate. George Whaley's popular adaptation of Steele Rudd's On Our Selection was produced in 1979 and Louis Esson's The Bride of Gospel Place was revived in 1980.
In 1978 the policy changed and classics relating to the school syllabus were performed at Jane Street. Money raised from tours and transfers was invested and went towards funding the NIDA Company, which began in 1990.
Ron Blair, Jane Street Theatre, Companion To Theatre In Australia, 1995, 305
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Ron Blair, Last Day in Woolloomooloo, Sun Herald, 11 October 1981, 95
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Ron Blair, Understanding the past, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 9, October 1986, 21 - 34
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Ron Blair, Understanding the past, Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 9, October 1986, 21 - 34
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Ron Cerabona, Back for an existential rant, Times2, 22 September 2008, 9
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Ron Cerabona, Baritone sings with the voice of the tango, The Canberra Times, 9 February 2008, 8
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Ron Cerabona, Boomers still rocking around the clock, Times2, 24 March 2008, 8
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Ron Cerabona, Brilliantly bad taste, Times2, 31 August 2007, 3
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Ron Cerabona, Buddy Holly musical to rock 'n' roll the Q, Times2, 7 March 2008, 11
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Ron Cerabona, Canberra premiere of bizarre tale, Times2, 2 April 2008, 13
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Ron Cerabona, Canberra Sunday Times, 13 May 2001, 62
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Ron Cerabona, Canberra Sunday Times, 14 January 2001, -1
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Ron Cerabona, Canberra Sunday Times, 25 March 2001, 72
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Ron Cerabona, Constant cause for a rebel, Panorama, 26 April 2008, 22
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Ron Cerabona, Curtain up on imagination, Times2, 29 September 2008, 9
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Ron Cerabona, Dickens of a job when no money for caring, The Canberra Times, 22 November 2007, 11
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Ron Cerabona, Double act for theatre debut, Times2, 22 November 2007, 8
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Ron Cerabona, Emotionally pent-up Felix could be in a Pigeon's pie , The Canberra Times, 21 February 2008, 8
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Ron Cerabona, Ensemble embraces a truly , The Canberra Times, 3 October 2007, 7
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Ron Cerabona, Eternal theme of adolescent angst provides just cause to stage a classic, The Canberra Times, 1 May 2008, 9
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Ron Cerabona, Ever more for Oliver, Times2, 21 September 2007, 1, 4-5
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Ron Cerabona, Facing life and death, Times2, 19 December 2007, 9
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Ron Cerabona, Family-friendly fun and mischief, Times2, 10 January 2008, 5
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Ron Cerabona, Farce tells story of Roman love triangle, The Canberra Times, 15 May 2008, 10
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Ron Cerabona, Five tales with bite to captivate youngsters, The Canberra Times, 30 August 2007, 9
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Ron Cerabona, Free-Rain's theatre folics, Times2, 10 December 2007, 8
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Ron Cerabona, Getting the heart pumping, Times2, 16 November 2007, 3
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Ron Cerabona, Giant of a production full of beans, The Canberra Times, 15 April 2008, 6
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Ron Cerabona, Good Times, 18 March 2004, 16
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Ron Cerabona, Good Times, 22 July 2004, 4
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Ron Cerabona, Haunting production honours du Maurier, The Canberra Times, 1 August 2007, 6
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Ron Cerabona, Hot flush of success for low-budget musical, The Canberra Times, 20 February 2008, 7
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Ron Cerabona, Icing on the cake / New moves in musical matters , Times2, 3 April 2008, 6-7
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Ron Cerabona, In the shadow of Rebecca , Times2, 3 August 2007, 7
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Ron Cerabona, It's dirty work, but the children are loving it. , The Canberra Times, 29 September 2007, 8
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Ron Cerabona, Jokes of a one-and-a-half chalk stick school, Times2, 7 May 2008, 8
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Ron Cerabona, Keeping it in the family, Times2, 26 November 2007, 12
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Ron Cerabona, Kiev dancer kicks a boxing habit to become a ballet star , The Canberra Times, 14 May 2008, 5
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Ron Cerabona, Knight of satire, Times2, 19 November 2007, 8
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Ron Cerabona, Life, environment inspires Tankard, The Canberra Times, 8 May 2008, 6
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Ron Cerabona, Living in lighthouses, Times2, 19 February 2008, 9
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Ron Cerabona, Making sense of nonsense, Times2, 1 April 2008, 8
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Ron Cerabona, Millie all set for new modern spin , Times2, 26 February 2008, 9
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Ron Cerabona, Modern take on the '20s, The Canberra Times, 26 January 2008, 13
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Ron Cerabona, Musical double act is , The Canberra Times, 26 September 2007, 9
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Ron Cerabona, One more standing ovation, Times2, 11 January 2008, 4
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Ron Cerabona, Panorama, 1 February 2003, 12
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Ron Cerabona, Panorama, 1 March 2003, 17
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Ron Cerabona, Panorama, 11 March 2005, 22
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Ron Cerabona, Panorama, 12 January 2002, 11
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Ron Cerabona, Panorama, 13 January 2007, 8
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Ron Cerabona, Panorama, 14 May 2005, 19
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Ron Cerabona, Panorama, 14 May 2005, 19
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Ron Cerabona, Panorama, 2 October 1999, 16
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Ron Cerabona, Panorama, 2 October 2004, 23
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Ron Cerabona, Panorama, 21 July 2001, 12
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Ron Cerabona, Panorama, 24 July 2004, 20
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Ron Cerabona, Panorama, 26 August 2006, 22
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Ron Cerabona, Panorama, 27 April 2002, 10
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Ron Cerabona, Panorama, 27 August 2005, 19
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Ron Cerabona, Panorama, 28 April 2001, 12
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Ron Cerabona, Panorama, 28 April 2007, 19
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Ron Cerabona, Panorama, 28 July 2001, 12
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Ron Cerabona, Panorama, 29 March 2003, 17
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Ron Cerabona, Panorama, 4 September 2004, 23
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Ron Cerabona, Panorama, 5 February 2005, 22
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Ron Cerabona, Panorama, 5 November 2005, 22
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Ron Cerabona, Panorama, 7 April 2007, 6
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Ron Cerabona, Panorama, 7 October 2006, 22
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Ron Cerabona, Play of dark and light, Times2, 29 September 2007, 21
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Ron Cerabona, Playhouse the scene for a magical night, The Canberra Times, 3 July 2008, 2
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Ron Cerabona, Playing Oliver with a twist, Times2, 13 August 2007, 8
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Ron Cerabona, Poignancy of odd scenario, Times2, 18 February 2008, 9
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Ron Cerabona, Putting fun into menopause, Times2, 30 January 2008, 13
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Ron Cerabona, Reign of cat, dog and lfea, Times2, 28 August 2007, 9
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Ron Cerabona, Relax, 12 November 2006, 4
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Ron Cerabona, Relax, 14 September 2003, 24
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Ron Cerabona, Relax, 14 September 2003, 24
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Ron Cerabona, Relax, 19 September 2004, 24
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Ron Cerabona, Relax, 20 February 2005, 24
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Ron Cerabona, Relax, 23 April 2006, 8
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Ron Cerabona, Relax, 30 July 2006, 8
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Ron Cerabona, Relax, 31 October 2004, 24
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Ron Cerabona, Relax, 4 September 2005, 8
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Ron Cerabona, Relax, 6 July 2003, 4
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Ron Cerabona, Relax, 7 August 2005, 8
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Ron Cerabona, Relax, 7 November 2004, 24
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Ron Cerabona, Relax, 8 April 2007, 16
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Ron Cerabona, Satirising a self-parody as Eurovision hits town, Times2, 20 August 2007, 9
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Ron Cerabona, Scratching the seven year itch, Panorama, 27 October 2007, 19
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Ron Cerabona, Secret's out, classic tales of treasure, The Canberra Times, 16 January 2008, 4
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Ron Cerabona, Senator gets act together to produce goods, The Canberra Times, 5 September 2007, 6
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Ron Cerabona, Shakespeare in disguise, Times out, 19 April 2008, 8-9
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Ron Cerabona, Singing through the glen, Times2, 20 December 2007, 7
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Ron Cerabona, South Pacific showstoppers, Times2, 13 May 2008, 8
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Ron Cerabona, Stage set for quirky Robin in the 'hood , The Canberra Times, 10 January 2008, 8
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Ron Cerabona, Symbols capture pride and prejudice, The Canberra Times, 26 July 2007, 9
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Ron Cerabona, The Canberra Times, 1 July 2001, 62
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Ron Cerabona, The Canberra Times, 1 March 2007, 7
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Ron Cerabona, The Canberra Times, 1 October 2003, 18
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Ron Cerabona, The Canberra Times, 1 October 2003, 8
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Ron Cerabona, The Canberra Times, 1 September 2004, 8
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Ron Cerabona, The Canberra Times, 10 July 2003, 9
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Ron Cerabona, The Canberra Times, 10 May 2006, 10
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Ron Cerabona, The Canberra Times, 10 October 2002, 9
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Ron Cerabona, The Canberra Times, 11 April 2007, 4
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Ron Cerabona, The Canberra Times, 11 February 2003, 3
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Ron Cerabona, The Canberra Times, 11 May 2007, 2
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Ron Cerabona, The Canberra Times, 12 February 2003, 10
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Ron Cerabona, The Canberra Times, 12 July 2006, 10
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Ron Cerabona, The Canberra Times, 12 March 2003, 7
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Ron Cerabona, The Canberra Times, 12 March 2005, 14
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Ron Cerabona, The Canberra Times, 12 May 2004, 4
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Ron Cerabona, The Canberra Times, 12 October 2005, 11
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Ron Cerabona, The Canberra Times, 13 December 2006, 7
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Ron Cerabona, The Canberra Times, 13 January 2005, 9
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Ron Cerabona, The Canberra Times, 13 June 2002, 12
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Ron Cerabona, The Canberra Times, 13 May 2005, 8
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Ron Cerabona, The Canberra Times, 14 April 2005, 7
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Ron Cerabona, The Canberra Times, 14 August 2001, 10
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Ron Cerabona, The Canberra Times, 14 August 2002, 6
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Ron Cerabona, The Canberra Times, 14 December 2005, 10
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Ron Cerabona, The Canberra Times, 14 July 2005, 6
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Ron Cerabona, The Canberra Times, 14 June 2002, 12
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Ron Cerabona, The Canberra Times, 14 September 2004, 3
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Ron Cerabona, The Canberra Times, 15 July 2005, 5
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Ron Cerabona, The Canberra Times, 15 March 2006, 6
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Ron Cerabona, The Canberra Times, 15 March 2007, 3
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Ron Cerabona, The Canberra Times, 15 May 2007, 4
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Ron Cerabona, The Canberra Times, 16 August 2006, 3
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Ron Cerabona, The Canberra Times, 16 July 2001, 10
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Ron Cerabona, The Canberra Times, 16 June 2004, 12
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Ron Cerabona, The Canberra Times, 16 May 2006, 6
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Ron Cerabona, The Canberra Times, 16 November 2001, 14
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Ron Cerabona, The Canberra Times, 16 November 2005, 8
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Ron Cerabona, The Canberra Times, 16 September 2005, 3
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Ron Cerabona, The Canberra Times, 17 June 2004, 5
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Ron Cerabona, The Canberra Times, 17 June 2005, 10
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Ron Cerabona, The Canberra Times, 17 March 2003, 19
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Ron Cerabona, The Canberra Times, 17 May 2007, 6
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Ron Cerabona, The Canberra Times, 17 September 2003, 10
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Ron Cerabona, The Canberra Times, 18 February 2004, 10
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Ron Cerabona, The Canberra Times, 18 June 2003, 10
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Ron Cerabona, The Canberra Times, 18 March 2003, 9
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Ron Cerabona, The Canberra Times, 18 March 2004, 9
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Ron Cerabona, The Canberra Times, 18 May 2006, 5
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Ron Cerabona, The Canberra Times, 18 November 2004, 5
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Ron Cerabona, The Canberra Times, 18 October 2006, 4
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Ron Cerabona, The Canberra Times, 18 September 2003, 10
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Ron Cerabona, The Canberra Times, 18 September 2003, 6
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Ron Cerabona, The Canberra Times, 19 February 2003, 3
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Ron Cerabona, The Canberra Times, 19 March 2002, 9
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Ron Cerabona, The Canberra Times, 19 May 2004, 18
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Ron Cerabona, The Canberra Times, 19 May 2004, 9
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Ron Cerabona, The Canberra Times, 2 April 2001, 10
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Ron Cerabona, The Canberra Times, 2 July 2007, 7
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Ron Cerabona, The Canberra Times, 2 June 2004, 2
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Ron Cerabona, The Canberra Times, 2 May 2005, 5
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Ron Cerabona, The Canberra Times, 2 September 2004, 11
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Ron Cerabona, The Canberra Times, 20 April 2006, 4
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Ron Cerabona, The Canberra Times, 20 February 2004, 10
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Ron Cerabona, The Canberra Times, 20 June 2007, 10
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Ron Cerabona, The Canberra Times, 20 May 2002, 9
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Ron Cerabona, The Canberra Times, 21 April 2004, 7
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Ron Cerabona, The Canberra Times, 22 July 2004, 4
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Ron Cerabona, The Canberra Times, 22 July 2004, 9
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Ron Cerabona, The Canberra Times, 22 June 2005, 6
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Ron Cerabona, The Canberra Times, 22 June 2007, 8
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Ron Cerabona, The Canberra Times, 22 March 2006, 5
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Ron Cerabona, The Canberra Times, 22 May 2007, 4
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Ron Cerabona, The Canberra Times, 22 September 2005, 7
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Ron Cerabona, The Canberra Times, 23 September 2004, 13
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Ron Cerabona, The Canberra Times, 23 September 2005, 8
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Ron Cerabona, The Canberra Times, 24 February 2006, 8
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Ron Cerabona, The Canberra Times, 24 June 2005, 7
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Ron Cerabona, The Canberra Times, 24 November 2004, 8
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Ron Cerabona, The Canberra Times, 24 November 2005, 11
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Ron Cerabona, The Canberra Times, 24 October 2002, 12
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Ron Cerabona, The Canberra Times, 24 September 2003, 3
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Ron Cerabona, The Canberra Times, 24 September 2003, 9
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Ron Cerabona, The Canberra Times, 25 August 2004, 4
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Ron Cerabona, The Canberra Times, 25 November 2004, 13
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Ron Cerabona, The Canberra Times, 25 November 2004, 5
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Ron Cerabona, The Canberra Times, 25 October 2006, 8
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Ron Cerabona, The Canberra Times, 25 September 2001, 10
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Ron Cerabona, The Canberra Times, 26 February 2007, 5
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Ron Cerabona, The Canberra Times, 26 June 2001, 10
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Ron Cerabona, The Canberra Times, 26 September 2001, 12
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Ron Cerabona, The Canberra Times, 27 August 2004, 3
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Ron Cerabona, The Canberra Times, 27 August 2005, 16
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Ron Cerabona, The Canberra Times, 27 February 2001, 12
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Ron Cerabona, The Canberra Times, 27 June 2007, 5
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Ron Cerabona, The Canberra Times, 27 May 2003, 9
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Ron Cerabona, The Canberra Times, 27 November 2002, 3
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Ron Cerabona, The Canberra Times, 27 October 2003, 11
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Ron Cerabona, The Canberra Times, 27 October 2005, 9
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Ron Cerabona, The Canberra Times, 27 September 2006, 8
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Ron Cerabona, The Canberra Times, 28 April 2004, 6
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Ron Cerabona, The Canberra Times, 28 April 2005, 4
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Ron Cerabona, The Canberra Times, 28 July 2004, 8
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Ron Cerabona, The Canberra Times, 28 July 2006, 5
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Ron Cerabona, The Canberra Times, 28 March 2003, 29
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Ron Cerabona, The Canberra Times, 28 May 2001, 12
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Ron Cerabona, The Canberra Times, 28 October 2004, 7
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Ron Cerabona, The Canberra Times, 29 May 2003, 9
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Ron Cerabona, The Canberra Times, 29 May 2004, 5
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Ron Cerabona, The Canberra Times, 29 September 2006, 9
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Ron Cerabona, The Canberra Times, 3 August 2006, 8
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Ron Cerabona, The Canberra Times, 3 December 2002, 8
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Ron Cerabona, The Canberra Times, 3 December 2005, 18
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Ron Cerabona, The Canberra Times, 3 July 2007, 2
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Ron Cerabona, The Canberra Times, 3 June 2004, 7
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Ron Cerabona, The Canberra Times, 3 June 2006, 14
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Ron Cerabona, The Canberra Times, 3 November 2004, 8
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Ron Cerabona, The Canberra Times, 3 September 2004, 6
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Ron Cerabona, The Canberra Times, 30 April 2003, 5
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Ron Cerabona, The Canberra Times, 30 April 2004, 10
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Ron Cerabona, The Canberra Times, 30 August 2006, 7
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Ron Cerabona, The Canberra Times, 30 January 2001, 105
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Ron Cerabona, The Canberra Times, 30 March 2005, 5
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Ron Cerabona, The Canberra Times, 30 March 2006, 10
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Ron Cerabona, The Canberra Times, 30 November 2001, 14
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Ron Cerabona, The Canberra Times, 31 January 2007, 4
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Ron Cerabona, The Canberra Times, 31 March 2005, 8
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Ron Cerabona, The Canberra Times, 4 April 2001, 12
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Ron Cerabona, The Canberra Times, 4 August 2004, 8
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Ron Cerabona, The Canberra Times, 4 January 2007, 3
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Ron Cerabona, The Canberra Times, 4 July 2002, 5
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Ron Cerabona, The Canberra Times, 4 July 2007, 5
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Ron Cerabona, The Canberra Times, 4 June 2001, 10
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Ron Cerabona, The Canberra Times, 4 June 2001, 10
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Ron Cerabona, The Canberra Times, 4 June 2001, 10
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Ron Cerabona, The Canberra Times, 4 June 2003, 3
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Ron Cerabona, The Canberra Times, 5 August 2004, 3
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Ron Cerabona, The Canberra Times, 5 August 2004, 4
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Ron Cerabona, The Canberra Times, 5 July 2002, 10
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Ron Cerabona, The Canberra Times, 5 March 2002, 9
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Ron Cerabona, The Canberra Times, 5 May 2003, 16
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Ron Cerabona, The Canberra Times, 6 April 2004, 18
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Ron Cerabona, The Canberra Times, 6 April 2006, 6
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Ron Cerabona, The Canberra Times, 6 February 2003, 5
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Ron Cerabona, The Canberra Times, 6 July 2005, 8
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Ron Cerabona, The Canberra Times, 6 June 2003, 23
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Ron Cerabona, The Canberra Times, 6 September 2006, 3
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Ron Cerabona, The Canberra Times, 7 August 2001, 12
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Ron Cerabona, The Canberra Times, 7 July 2004, 5
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Ron Cerabona, The Canberra Times, 7 July 2006, 3
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Ron Cerabona, The Canberra Times, 7 June 2002, 8
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Ron Cerabona, The Canberra Times, 7 March 2001, 10
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Ron Cerabona, The Canberra Times, 7 May 2003, 7
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Ron Cerabona, The Canberra Times, 7 May 2004, 11
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Ron Cerabona, The Canberra Times, 7 November 2002
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Ron Cerabona, The Canberra Times, 8 December 2005, 5
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Ron Cerabona, The Canberra Times, 8 June 2006, 5
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Ron Cerabona, The Canberra Times, 8 May 2002, 12
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Ron Cerabona, The Canberra Times, 8 May 2003, 10
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Ron Cerabona, The Canberra Times, 8 November 2005, 5
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Ron Cerabona, The Canberra Times, 9 December 2004, 13
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Ron Cerabona, The Canberra Times, 9 February 2007, 5
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Ron Cerabona, The Canberra Times, 9 June 2005, 6
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Ron Cerabona, The Canberra Times, 9 March 2005, 8
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Ron Cerabona, The play on Anzac Day, Panorama, 12 April 2008, 19
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Ron Cerabona, Think Pink with new stage musical, Times2, 8 May 2008, 9
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Ron Cerabona, Three girls and all that jazz, Times2, 6 August 2007, 8
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Ron Cerabona, Times out, 10 July 2003, 3
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Ron Cerabona, Times out, 11 March 2004, 4
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Ron Cerabona, Times out, 11 September 2003, 4
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Ron Cerabona, Times out, 12 February 2004, 4
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Ron Cerabona, Times out, 12 July 2001, -1
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Ron Cerabona, Times out, 12 July 2001, -1
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Ron Cerabona, Times out, 12 July 2001, -1
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Ron Cerabona, Times out, 12 July 2001, -1
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Ron Cerabona, Times out, 12 July 2001, -1
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Ron Cerabona, Times out, 12 July 2001, -1
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Ron Cerabona, Times out, 12 July 2001, -1
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Ron Cerabona, Times out, 13 March 2003, 5
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Ron Cerabona, Times out, 13 November 2004, 23
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Ron Cerabona, Times out, 17 October 2002, 5
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Ron Cerabona, Times out, 18 October 2001, -2
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Ron Cerabona, Times out, 18 September 2003, 4
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Ron Cerabona, Times out, 19 April 2001, 12
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Ron Cerabona, Times out, 19 June 2003, 3
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Ron Cerabona, Times out, 20 February 2003, 4
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Ron Cerabona, Times out, 22 August 2002, 12
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Ron Cerabona, Times out, 23 May 2002, 12
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Ron Cerabona, Times out, 23 October 2003, 4
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Ron Cerabona, Times out, 25 April 2002, 12
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Ron Cerabona, Times out, 25 September 2003, 3
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Ron Cerabona, Times out, 29 April 2004, 5
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Ron Cerabona, Times out, 4 October 2001, 12
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Ron Cerabona, Times out, 5 June 2003, 4
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Ron Cerabona, Times out, 5 September 2002, 12
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Ron Cerabona, Times out, 6 November 2003, 4
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Ron Cerabona, Times out, 6 September 2001, -1
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Ron Cerabona, Times out, 6 September 2001, -1
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Ron Cerabona, Times out, 6 September 2001, -1
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Ron Cerabona, Times out, 7 August 2003, 4
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Ron Cerabona, Times out, 9 May 2002, 9
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Ron Cerabona, Times out, 9 October 2003, 4
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Ron Cerabona, Times2, 1 October 2004, 2
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Ron Cerabona, Times2, 1 September 2004, 2
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Ron Cerabona, Times2, 10 August 2005, 5
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Ron Cerabona, Times2, 10 February 2006, 4
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Ron Cerabona, Times2, 11 February 2005, 4
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Ron Cerabona, Times2, 11 May 2007, 4
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Ron Cerabona, Times2, 11 November 2005, 4
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Ron Cerabona, Times2, 12 January 2007, 7
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Ron Cerabona, Times2, 13 March 2006, 8
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Ron Cerabona, Times2, 13 September 2006, 8
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Ron Cerabona, Times2, 14 January 2005, 8
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Ron Cerabona, Times2, 14 November 2005, 8
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Ron Cerabona, Times2, 16 April 2007, 8
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Ron Cerabona, Times2, 16 August 2005, 12
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Ron Cerabona, Times2, 17 February 2006, 3
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Ron Cerabona, Times2, 17 June 2005, 4
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Ron Cerabona, Times2, 17 March 2006, 4
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Ron Cerabona, Times2, 18 August 2006, 4
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Ron Cerabona, Times2, 20 January 2006, 4
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Ron Cerabona, Times2, 20 July 2007, 3
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Ron Cerabona, Times2, 21 June 2005, 6
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Ron Cerabona, Times2, 22 June 2005, 8
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Ron Cerabona, Times2, 23 May 2005, 2
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Ron Cerabona, Times2, 24 February 2006, 04
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Ron Cerabona, Times2, 26 May 2005, 8
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Ron Cerabona, Times2, 26 May 2006, 3
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Ron Cerabona, Times2, 28 April 2005, 9
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Ron Cerabona, Times2, 28 February 2005, 9
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Ron Cerabona, Times2, 28 January 2005, 2
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Ron Cerabona, Times2, 31 May 2005, 8
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Ron Cerabona, Times2, 4 August 2005, 9
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Ron Cerabona, Times2, 4 May 2006, 8
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Ron Cerabona, Times2, 4 May 2007, 4
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Ron Cerabona, Times2, 6 June 2007, 8
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Ron Cerabona, Times2, 7 October 2005, 4
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Ron Cerabona, Times2, 8 July 2005, 4
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Ron Cerabona, Times2, 8 May 2006, 8
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Ron Cerabona, Times2, 9 September 2005, 4
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Ron Cerabona, Tough call for theatre award judges as quality rises, The Canberra Times, 25 February 2008, 5
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Ron Cerabona, Wilde wit and shady idealings, Times2, 15 November 2007, 9
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Ron Cerabona, Witty play of lust and power , Times2, 14 May 2008, 8
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Ron Cerabona, Worries cast aside as youngsters greet an art full of hope, The Canberra Times, 7 September 2007, 7
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Ron Lee, The Daily Telegraph, 1 August 1987
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Ron Lee, The Daily Telegraph, 15 August 1987
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Ron Lee, The Daily Telegraph, 15 August 1987
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Ron Roberts, Catholic Weekly, 23 March 1988
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Ron Tindall, Illawarra Mercury, 24 October 1987
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Rona, flower child of a stormy era, The Age, 27 August 1975, 15
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Room, Sun Herald, 12 December 1982, 91
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Roos Reviewed, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 9
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Rope At Minerva Theatre, Sydney Morning Herald, 22 February 1944, 7
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Rory Gibson, The Telegraph (Brisbane), 29 March 1978, 0
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Ros Horin, Women's theatre in Sydney: A new awareness in the 1980s, Meanjin, 43/1, Autumn, 1984, 140-153
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Rosalie Higson, 2008 BC, Review, 12 April 2008, 16
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Rosalie Higson, In top gear, The Australian, 10 October 2009, 6
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Rosalie Higson, It's more than fun with Dick and Jane, The Australian, 21 August 2007, 16
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Rosalie Higson, Review, 13 May 2006, 16
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Rosalie Higson, Review, 14 April 2007, 3
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Rosalie Higson, Review, 16 April 2005, 16
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Rosalie Higson, Review, 17 February 2007, 16
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Rosalie Higson, Review, 26 May 2007, 4
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Rosalie Higson, Review, 29 January 2005, 16
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Rosalie Higson, Review, 30 July 2005, 3
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Rosalie Higson, Shock and awe, The Australian, 30 January 2010, 8
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Rosalie Higson, Stellar, Stellar, The Australian, 5 September 2009, 8
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Rosalie Higson, The Australian, 11 July 2006, 14
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Rosalie Higson, The Australian, 11 March 2005, 14
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Rosalie Higson, The Australian, 26 February 2004, 14
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Rosalie Higson, The Australian, 3 January 2006, 12
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Rosalie Higson, The Australian, 4 January 2005, 14
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Rosalie Higson, The Australian, 6 July 2007, 10
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Rosalie Higson, The Australian, 6 March 2004, 11
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Rosalie Higson, The Australian, 6 October 2005, 5
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Rosalie Higson, The Australian, 8 May 2007, 12
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Rosalie Higson, The Australian, 9 July 2007, 8
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Rosalind Reines, The Sentimental Bloke returns to the stage, Sydney Morning Herald, 26 March 1983, 40
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Rosanne Barrett, Gypsy Circus Kings of Swing, Courier Mail, 13 December 2007, 63
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Rose Gaby, 'Here's a Marvellous Convenient Place for Our Rehearsal': Shakespeare in Australian Space, Australasian Drama Studies, 46, April 2005, 124-38
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Rose Marie Beston, Women in Australian drama: White with Wire Wheels and Jugglers Three, Literary Half-Yearly, 18/1, 1977, 41-50
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Rose Mulready, We Love Lucy, Dance Australia, Theatre and Dance Platform, December 2010
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Rosebank, The Northern Star, Lismore, NSW, 25 March 1900, 4
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Rosemary Broomham, Boyd, Eileen Alberta (1890–1975), Australian Dictionary of Biography Online
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Rosemary Farrell, Chinese acrobatics unmasked in Australian circus in the nineteenth century, Australasian Drama Studies, 50, April 2007, 36-48
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Rosemary Farrell, Nanjing Project: Chinese acrobatics, Australian new circus and hybrid intercultural performance, Australasian Drama Studies, 53, October 2008, 186-202
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Rosemary Klich, 'The play's the thing' no longer: non-linear narrative in Kate Champion's Same, Same But Different, Australasian Drama Studies, 46, April 2005, 58-69
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Rosemary Myers, Melbourne to Manchester: Arena Theatre's artform evolution, Australasian Drama Studies, 47, October 2005, 26-53
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Rosemary Neill, Broadway beckons for rejected dramatist, The Australian, 16 May 1991, 3
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Rosemary Neill, David Parties On, Review, 28 May 2011, 5-8
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Rosemary Neill, Oh Joanna, The Australian, 12 November 2011, 8
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Rosemary Neill, On the crest of a wave, The Australian, 14 January 2012, 4
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Rosemary Neill, Review, 2 June 2007, 3
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Rosemary Neill, Review, 21 May 2005, 6
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Rosemary Neill, Review, 5 March 2005, 6
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Rosemary Neill, Stages of War, The Australian, 11 January 2014, 4
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Rosemary Neill, The Australian, 1 November 1990
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Rosemary Neill, The Real Thing, The Australian, 9 January 2010, 4
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Rosemary Neill, Triple threat, The Australian, 10 December 2011, 8
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Rosemary Nursey-Bray, Pecking at your head: the flight and fall of 'Magpie', Australasian Drama Studies, 47, October 2005, 36-54
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Rosemary Sorensen, Another take on mental ills, Courier Mail, 24 March 2001
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Rosemary Sorensen, Arts and Entertainment, 6 April 2004, 17
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Rosemary Sorensen, Courier Mail, 15 May 2004, 3
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Rosemary Sorensen, My view, BAM, 24 August 2002, 2
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Rosemary Sorensen, Nothing but the truth, The Australian, 19 September 2009, 4
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Rosemary Sorensen, Party like it's 1971, Review, 25 August 2007, 16-17
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Rosemary Sorensen, Seeing in the dark, The Australian, 9 January 2010, 6
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Rosemary Sorensen, The Australian, 15 May 2007, 10
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Rosemary Sorensen, The Australian, 30 March 2007, 16
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Rosemary Sorensen, The play's the thing, The Australian, 4 July 2009, 6
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Rosemary Sorenson, Courier Mail, 13 March 2003, 0
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Rosewood, The Brisbane Courier, 5 November 1881, 6
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Rosie Dennis, Noel Tovey, Tharunka, 4 June 1996, 31
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Rosie Dennis, Noel Tovey, Tharunka, National Library of Australia, 4 June 1996, 31
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Rosina Beaumont, [Les Liaisons Dangereuses], The Mercury (Hobart, Tas. : 1860 - 1954), 25 July 1988
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Rosita Boisseau, Lucy Guerin - Microclimat, Télérama, Theatre and Dance Platform, 12 January 2015
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Roslyn Arnold, Aggressive vernacular: Williamson, Buzo and the Australian tradition, Southerly, 35, 4 (December), 1975, 385-396
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Performing-arts centre in King William Street, Adelaide. Architect: Hassell Pty Ltd. Includes Festival Theatre, opened 1973; Playhouse 1974; Space 1974; Amphitheatre 1977.
The Adelaide Festival Centre has provided an optimal combination of low cost, workability and audience enjoyment. The idea for it emerged in 1960, the year of the first Adelaide Festival of Arts, when it became clear that future festivals would need a first-class venue for leading attractions. The Adelaide City Council set up a cultural committee in 1963 to consider the city’s needs, and the state government announced that it would join in financing a hall. An act passed in 1964 incorporated the Festival Hall and provided for the council to construct and operated it.A design was produced in 1965 but inadequate finance but delayed the project. There were fundamental objections that the hall could not be used for ballet or opera, and after talks with performing-arts groups the council proposed a multipurpose hall with full stage facilities. A New York consultant, Thomas De Gaetani reviewed the scheme and recommended that a drama theatre, experimental theatre and workshop be attached. The council instructed Hassell Pty Ltd to design a multipurpose theatre, remembering that the project could be extended as proposed.
Building of the Festival Theatre began in 1970 on the northern edge of the central business district, facing Elder Park and the Torrens River. In August 1971 the South Australian Premier, Don Dunstan, announced that the drama theatre and the experimental theatre would be added in a separate building. At the end of I971 the government and the city council agreed that the Adelaide Festival Centre Trust should be set up to operate the centre.
The Festival Theatre, completed first, is a lyric theatre with a proscenium stage and a fly tower. With a removable orchestra shell and an organ, it is convertible to a concert hall. It seats up to 1978 on three levels. The second stage was the Playhouse and the Space. The Playhouse, seating up to 612 on two levels, has a semi-thrust proscenium stage and a fly tower, with flying over the full stage, including the thrust. The Space Theatre (originally named The Space) is a square, flat-floored flexible space with pull-out bleacher seating for up to about 350 in theatre-in-the-round configuration, and fewer in thrust-stage, corner-stage, or end-stage configuration.
The centre, which cost $21 million, was completed in 1977 with the plaza and the car park. The Playhouse and Space building appears to be connected to the Festival Theatre beneath the plaza. Entrances from car ‘drop-off points’ here and from the car park are rather bleak, but seem to be the only disadvantages of the centre. In 1978 work began on adding a restaurant, a banqueting room, a brasserie and a piano bar at a cost of $2 million. Allowing for inflation and the lack of a separate concert hall, the cost of the centre, facility for facility, was one-quarter to one-third the cost of the Sydney Opera House and about half the cost of the Victorian Arts Centre to its second stage.
The Festival Centre functions better than the Sydney Opera House in several ways. There are some disadvantages in attempting to produce an auditorium that can double as lyric theatre and concert hall, such as the Festival Theatre, but it was wise to build a good, large lyric theatre that can be converted to a concert hall by constructing a heavy acoustic shell within the proscenium stage. The acoustic shell can be removed and the proscenium adjusted to the lyric-theatre format within three hours. Reverberation times are changed as required for theatrical or concert modes by positioning acoustic curtains and banners. A 13 tonne pipe organ can be moved to the front of the stage for organ recitals, to the rear for orchestral or choral performances, or backstage for use in an opera. The stage - the largest in Australia until the State Theatre of the Victorian Arts Centre was built - is very workable with ample wing and rear space. The auditorium combines the rectangular plan of a traditional concert hall with the three tiers and side boxes of a traditional theatre.
Intimate theatre
The Playhouse is also cleverly designed, with a wide auditorium crouching over the stage for an intimate actor-audience relationship. The design maximises the combined effectiveness of a thrust stage and a proscenium stage. Stage entrances surmounted by Juliet balconies in front of the proscenium wall on each side permit a performance style approaching that practised in the Georgian, Regency and early Victorian eras.
The Space was the first square, boxlike space built in Australia for experimental or alternative theatre. At 21 metres square it is as large as this type of theatre can be and still have satisfactory acoustics. The room echoed until absorbent banners were hung above the surrounding walkway balcony. Between the Festival Theatre and the Playhouse is the Amphitheatre, an outdoor thrust-stage theatre with stepped seating for 800. An overflow crowd of 400 can be accommodated on the steps and walkways above the Amphitheatre. At the back of the stage there are vine-covered fences, trees and shrubs. On the eastern and southern sides of the two buildings is an open plaza 1.4 hectares in area.
State Theatre is resident in the Playhouse, which is also used annually by Australian Dance Theatre and for a summer comedy season. The Festival Theatre is used by the Australian Broadcasting Corporation for concerts, by the Australian Ballet, and by touring opera and modern-dance companies. The Space is used regularly by the Stage Company and for alternative-theatre productions from other states, chamber music and children's theatre. The trust also conducts community arts activities in the Plaza and the amphitheatre, particlarly in summer.
Ross Thorne, Adelaide Festival Centre, Companion To Theatre In Australia, 1995, 29-30
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Theatre in Collins Street, Melbourne, opened as Melbourne Mechanics' Institute and Hall of Arts 1843. Rebuilt in 1885-86 and renamed Athenaeum Hall. Rebuilt as 880-seat, three-level Athenaeum Theatre, designed by Henry E. White for Frank Talbot, 1922-24. Used as cinema 1929-70 and 1970-77. Includes small hall converted to 100-seat Athenaeum 2 studio theatre in 1977 and to150-seat end-stage theatre in 1987.
A few master builders in embryonic Melbourne formed a mechanics' institute on 4 October 1839. The institute erected a two-storeyed building in Collins Street on a 19.8 metre-wide block extending to Little Collins Street. It had a library and reading room downstairs and a 'hall of arts’ upstairs, where the town council met and lectures were
given. The present hall was built in 1872 on the vacant, rear half of the site to house concerts and occasional theatricals.
After major rebuilding on the front portion in 1885-86, the Mechanics' Institute building was renamed the Athenaeum Hall. Like any institutional or town hall, it had an end stage and a small gallery at the opposite end. A smaller hall was on the top floor in the three-storey front section of the building. In 1882 the Athenaeum Hall became one of
the first public spaces connected to electricity.
In 1924 Henry E. White completed alterations to produce a Bijou-style drama theatre with fly-tower stage, stalls, circle and gallery. White used his current Adam style of decoration, but in a more austere manner than in his larger theatres. After five years of plays the Athenaeum Theatre
began showing films with Al Jolson's The Jazz Singer. There was an interlude of live drama for six months in 1970 but the theatre did not permanently return to it, origins until the Melbourne Theatre Company took over in 1977. The company at first presented classics in the theatre. Then it modified the small hall at the front of the building to make a studio theatre, Athenaeum 2. After the Melbourne Theatre Company moved to the new Victorian Arts Centre in 1984, Athenaeum 1 continued as a live theatre, beginning a new era which included its lo running show, Wogs Out of Work. In 1987 the lessees Elston, Hocking and Woods, refurbished Athenaeum 2 as an end-stage theatre. In 1991 the remainder of the building was refurbished as a heritage conservation project, with larger foyer and bar spaces, and restored auditorium. It reopened with a revival of Hair.
Ross Thorne, Athenaeum Theatre, Companion To Theatre In Australia, 1995, 64
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Theatre in Surry Hills, Sydney. Converted from factory by Nimrod Theatre Company. Main theatre, seating 320 persons, opened 1 June 1974 as Nimrod Theatre. Downstairs theatre, seating 110, opened 7 February 1976. Building bought on 19 June 1984 by syndicate now called Belvoir Street Theatre Ltd and renamed Belvoir Street Theatre.
When the Nimrod Theatre Company needed a theatre larger than the Nimrod Street Theatre - now the Stables Theatre - a developer offered it rent-free leasehold of a two-storey factory on a site for which low-rise office buildings were planned. The architect Vivian Fraser designed a theatre occupying the whole top floor, using the diagonal of the plan as the axis for a corner thrust stage and wide fan of seating around it. The lower floor contained a rehearsal room, dressing rooms, offices and a foyer and bar in which poster-covered walls and brick paving hinted at the informality of Nimrod Street. The rehearsal room was opened in 1976 as Downstairs, an open-space theatre which has been used in several formats. Robyn Archer used it as a cabaret for her Kold Komfort Kaffee and Gordon Chater performed Steve J. Spears's The Elocution of Benjamin Franklin on an end stage. For a decade the theatre stood alone on a large cleared site. In 1982 the Nimrod company converted its 15-year lease to ownership of the building and one metre of land around it for $1. In 1984, the company, facing insolvency, decided to sell its theatre and move to the Seymour Theatre Centre.
Ross Thorne, Belvoir Street Theatre, Companion To Theatre In Australia, 1995, 85
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Theatre above Victoria Arcade, opened as Academy of Music 6 November 1876. Architects: Read and Barnes Renamed Bijou Theatre 1880. Destroyed by fire 22 April 1889. RebuiIt and opened 5 April 1890. Architect: George Johnson. Demolished 1934.
The Bijou Theatre, always praised as comfortable and intimate, was above the Victoria Arcade which ran from Bourke Street to Little Collins Street. Stairs rose from an entrance in Bourke Street to a gallery, 36 metres long by 5.7 metres wide, that gave access to the theatre. Along the full length of the gallery, overlooking Royal Lane, was a 19th-century version of a glass curtain wall in arches and filigree cast-iron. The opposite wall repeated the arch motif in mirrors. The space was replete with statuary, urns, tessellated flooor and large basket chandeliers on the ceiling. Next to the gallery was an even longer billiards saloon.
The theatre appears to have been a three-and-a-half level house, seating up to 1500 persons, with a modest stage which backed onto Little Collins Street. There was no pit, but only stalls surrounded by a dress circle at stage level – half a level above the stalls floor. Posts supported a family circle and gallery above. An alderman, Joseph Aarons, built the theatre and leased it to the entrepreneur George Lewis, who managed it as the Academy of Music. The Italian actor Eduardo Majeroni took it over and renamed it the Bijou Theatre in 1880. The theatre was the Brough-Boucicault Comedy Company’s Melbourne home until fire reduced it to bare walls. After a coroner’s inquest into two deaths caused by falling bricks, Lorgnette magazine attacked the Victorian Board of Health, which licensed theatre. It also condemned fire brigades for ‘their petty squabble, their concentrated detestation of each other, their puerile punctiliousness, their contemptible intriguing, their peculiar appropriation of funds granted by Government, their drunkenness, thievery and insubordination’. All this indicated why fires were rarely brought under control.
The Brough-Boucicault company returned to the rebuilt theatre, which seems largely to have retained its original features, though the auditorium was now on three levels, with the stalls extending beneath the dress circle, and the capacity was 1700-1900 persons. The proscenium was 9 metres wide by 13.8 metres deep, with small dressing rooms in the flies. The old groove system of scenery, with its many ropes and pulleys, had been discarded.
In the early 20th century the Bijou had no long-term lessee until Fullers’ took it over, together with the smaller Gaiety Theatre in the same building. Fullers’ decided in 1929 to convert both theatres to cinemas, with the aim of eventually demolishing them and building one or more new theatres. Then a company of unemployed actors performed at the Bijou until it was demolished in 1934. No theatre was built on the site.
Ross Thorne, Bijou Theatre, Companion To Theatre In Australia, 1995, 87-88
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Theatre at corner of Conness and Main Streets, Chiltern (Vic.), opened c.1859 as Star Theatre. Destroyed by fire. Rebuilt in brick 1866. Renamed Chiltern Theatre and used for motion pictures in early 20th century. Now antiques shop.
The barn-like brick theatre at Chiltern is the only remaining hotel hall of the type that was fitted up for theatre in goldfields towns in Victoria in the mid-19th century. During the gold rushes in Queensland in the late 19th century similar halls behind hotels were built in timber. There was a gold rush in the Chiltern district in the second half of the 1850s. In 1859 the Chiltern Standard was advertising the Star Theatre attached to the White Star Hotel. Like most early theatres in gold-mining towns in Victoria, it was a hall built of flimsy temporary materials, fitted up with a stage for visiting entertainers. It was a separate building, linked to the hotel in front. There was no box, circle or gallery. In 1866 the hotel was rebuilt in brick after a fire. The new Star Family and Commercial Hotel had a 'splendid hall adapted for concerts, public meetings and theatrical programmes', according to the Federal Standard of 2 January 1867. During the year the hall was described as 'a splendid theatre', but few theatrical entertainments were advertised apart from an occasional solo show, such as Edith Palmerston in Wanted, a Star, dioramas and a 'grand moving panorama of a voyage round the world with hosts of novelties in melody'. The theatre doubled as the Star Assembly Rooms for balls. It remained an all-purpose theatre and hall until it became the Chiltern Theatre for films. The hotel is now a museum and tourist information centre and the theatre is an antiques shop.
Ross Thorne, Chiltern Theatre, Companion To Theatre In Australia, 1995, 135
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Theatre on corner of Park and Pitt Streets, Sydney, opened 27 December 1886. Architect: George Johnson. Partially rebuilt 1892. Architects: Backhouse and Laidley. Closed 13 July 1935 and demolished.
For almost 50 years the Criterion Theatre was Sydney's major intimate playhouse. When it opened in 1886, with the operetta Falka, it was noted that the stage curtain was gold-fringed, dark red plush instead of the green baize of Georgian-Regency convention. The Sydney Morning Herald said the theatre 'made the spectator feel far nearer to London than usual', the nearest approach being the 'pretty little' Bijou Theatre in Melbourne. It was 'a great advance in Sydney theatres'. The NSW Government Architect thought otherwise in 1887, when he inspected it as a postscript to a royal commission on the safety of theatres. He complained that the smell from poorly ventilated dressing rooms and their lavatories was so overpowering as to make him sick. He described a forced ventilation system that seemed to move air from this malodorous basement into the auditorium and expel it into the stalls urinals whence 'it must find its way back to the parts of the theatre from which it was drawn, carrying with it a proportion of the vitiated air from the urinals and closets'. George Johnson, the architect who designed the theatre for John Solomons, had previously produced a nightmare for officialdom in Melbourne, the Opera House in Bourke Street. The Sydney Morning Herald claimed a capacity of 1500-1700 for the Criterion, but the Government Architect calculated seating for only 991 persons on the three levels of the auditorium-stalls, dress circle and a combined family circle and gallery. After only five years another firm of architects was commissioned to redesign the auditorium, push back the proscenium wall, raise the roof by 3.7 metres, build new dressing rooms that could have light and air, and improve the foyer space. The high proscenium was lowered and widened, opening onto a stage 11 metres deep by 17.7 metres wide. The ceiling of the auditorium was raised and a dome with a sliding roof was inserted. Now the interior was in keeping with the solid, deeply modelled Victorian, neo-baroque Renaissance exterior.
This work was undertaken for the Brough-Boucicault Comedy Company, which leased the theatre for a few years. Later, The Kelly Gang was performed with sensational stage effects in 1898, and William Anderson presented Australian melodramas, including George Darrell’s The Land of Gold and Bert Bailey and Edmund Duggan's The Squatter s Daughter in 1907. Modifications in 1905 increased the seating capacity beyond 1300. Frank Musgrove bought the theatre in 1913 and in 1915 it passed to J.C. Williamson's and as the Firm's Sydney outlet for West End comedies from London. The Criterion also housed the Australian premiere of the musical comedy Irene in August 1920 and specialists such as Dante the Magician in 1933. It closed in 1935 with The Patsy by Barry Connor.
Ross Thorne, Criterion Theatre, Companion To Theatre In Australia, 1995, 168
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Theatre in Newtown, Sydney, opened 2 June 1917 as Majestic Theatre, seating 1642. Architect: Henry E. White. Reopened as Elizabethan Theatre 27 July 1955. Destroyed by fire 19 January 1980.
The Elizabethan Theatre housed many major productions of drama, opera and ballet before the Sydney Opera House opened. The Australian Elizabethan Theatre Trust reopened the old Majestic Theatre because the two other live theatres in Sydney were tied to prosperous commercial circuits. As the Elizabethan Theatre it saw the Sydney premiere of Ray Lawler's Summer of the Seventeenth Doll, touring shows organised by the Trust and Garnet H. Carroll, and such stars as Judith Anderson, Lewis Casson, Ralph Richardson and Sybil Thorndike. It has been claimed that the Majestic, which was built in an inner suburb for Fullers’ was a music-hall or a variety house. It was near Harry Clay's Bridge Theatre, a low-class vaudeville house that became the Hub cinema, but Benjamin Fuller’s son remembered the Majestic as a stock-company melodrama house with a weekly change of program. Agnes Dobson was the leading lady and Frank Neil was the producer, Benjamin Fuller jnr said, and 'the cast received the play on Friday and had it off by heart by Monday. When audiences flagged East Lynne always dragged them back... '. Fullers employed Henry E. White, who had renovated the National Amphitheatre in Melbourne for them, to design the Majestic. The stage was adequate, with an 11-metre-wide proscenium and 11·3 metres of useable depth behind a 760 mm apron. The full stage was 18·3 metres deep by 22 metres to the fly floor and there were four floors of dressing rooms immediately behind. For a suburban theatre the Majestic was elaborate. White's auditorium was typical of his Louis XV style, with Baroque moulded panelling, cartouches, flourishes and bellied balcony fronts. The site was tight and the foyer spaces were little more than lobbies because, said Benjamin Fuller jnr, 'women would not go out into the foyers to stand about, smoke, or even go to the lavatory'. Social mores had changed in 1954, when the Trust leased the rundown theatre - a cinema for some 20 years - and it removed seats from the back stalls to provide a promenade space. The theatre was cleaned and stage improved, but the auditorium was left in pastel blue. The Trust moved its operations to city theatres early in 1961, but leased the Elizabethan Theatre again in 1970 after fire destroyed Her Majesty’s Theatre. To suit patrons of the Australian Ballet and the Australian Opera the auditorium was transformed into an Edwardian joy in warm white and gold. Every available inch of space was taken to enlarge the original foyers for patrons of the stalls and the dress circle. But those in the gallery had only an unadorned stairway leading directly to the street, as in the more class-conscious era when the theatre was built.
Ross Thorne, Elizabethan Theatre, Companion To Theatre In Australia, 1995, 201
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Theatre in Castlereagh Street, Sydney. Built as National Sporting Club 1902. Converted to theatre and opened as National Amphitheatre 26 December 1906, seating 1410 on one level. Renamed Fullers’ National Theatre 1912. Converted to two-level theatre 1919, seating 1382. Architect: Henry E. White. Renamed Roxy Theatre cinema 28 February 1930. Renamed Mayfair Theatre 1932. Demolished 1984.
The National Sporting Club, with a large hall seating 2000 persons for boxing and other athletic entertainments, was built on the western side of Castlereagh Street, a little south of King Street, in 1902. In 1906 James Brennan converted the hall to a one-level theatre for variety performances and called it the National Amphitheatre. Fullers' took control of the Brennan Vaudeville Circuit in 1912 and renamed the house Fullers' National Theatre. The licensing authorities noted it as 'antiquated and dangerous' in June 1912 but rebuilding was not approved until September 1918. The architect Henry E. White converted the amphitheatre into a two-level theatre with twin stage boxes at each side on both levels. It had a shallow fly-tower stage. In the 1920s it was a popular vaudeville theatre. Fred Bluett, Mike Connors and Queenie Paul, Edgley and Dawe, Stiffy and Mo, and George Wallace performed there. But on 24 February 1930 the Sydney Morning Herald announced the end of Fullers' vaudeville and closure of the 'Nash'. Quickly redecorated, it reopened four days later as the Roxy Theatre, showing a film, Hollywood Revue. In February 1932 the Roxy briefly returned to live variety under Frank Neil, who was touring Ada Reeve. But at the end of the year Fullers' Theatres Ltd decided to show British films. The theatre, its auditorium refurbished in Art Deco style, was renamed the Mayfair. Later Hoyts Theatres bought the Mayfair and from the mid-1950s it showed major widescreen films. In 1977-78 there were live shows, including a revival of the rock musical Godspell, Q Theatre's rock show St Marys Kid and Peter Williams's production of Crown Matrimonial, starring June Salter and John Hamblin. After this rediscovery of its potential there were protests when demolition threatened the theatre and the NSW government indicated that efforts would be made to retain it. As usual, the protesters were lulled into false security. In 1980 the foyers and dress-circle stairs were converted into shops and in 1984 the building was demolished.
Ross Thorne, Fullers' National Theatre, Companion To Theatre In Australia, 1995, 239
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Theatre in Grote Street, opened as Rickards Tivoli Theatre, 6 September 1913, seating 2160. Architects: Williams and Good. Renamed Prince of Wales Theatre 1920. Renamed Tivoli Theatre 1930. Remodelled to seat 1200 and reopened as Her Majesty's Theatre 1962. Remodelled and reopened as Opera Theatre, March 1979. Renamed Her Majesty's Theatre 1988.
After the death of Harry Rickards in 1911, Hugh D. Mclntosh bought his Tivoli vaudeville circuit and formed Harry Rickards Tivoli Theatres Ltd to lease an unfinished theatre in Adelaide. The owners intended to call it the Princess Theatre but when McIntosh leased the building in 1913 he decided to name it Rickards Tivoli Theatre. It had a 25·9-metre-wide four-storey frontage and a stage that was 24.3 metres wide, 18·9 metres deep and 15·9 metres high to the grid. The original proscenium was narrow at 9 metres. The auditorium - equipped with an early example of mechanical ventilation - seated 622 in the stalls, 238 in the dress circle and 1300 in a deep gallery. From 1920, when the building was renamed the Prince of Wales Theatre, various entrepreneurs used it, presenting mostly plays. It was in the Fullers' circuit until 1929. The theatre returned to variety as the Tivoli in 1930. From 1940 Adelaide Repertory Theatre leased the Tivoli for 14 years, staging its own productions and letting it to commercial entrepreneurs. Then the owners leased it to a sporting club.
J. C. Williamson's bought the rather derelict Tivoli before closing its own Theatre Royal in 1959. The Firm had the interior remodelled in the nondescript functional style of the time to produce a two-level auditorium. The theatre reopened as Her Majesty's Theatre. Upon the demise of J.C. Williamson's in 1976, Her Majesty's came under threat of redevelopment, although it was the city's only medium capacity theatre and it was needed for the Adelaide Festival of Arts. The South Australian government bought the theatre and remodelled the interior to be reminiscent of Scandinavian modern style in its combination of simplicity and adequate richness. It reopened in March 1979 as the Opera Theatre and housed the State Opera of South Australia until 1988.
Ross Thorne, Her Majesty's Theatre Adelaide, Companion To Theatre In Australia, 1995, 268
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Theatre, opened 7 June 1875 as Academy of Music. Architect: George Browne. Altered and renamed Her Majesty's Theatre 1898. Architect: William Pitt jnr. Leased as cinema from 1938. Bought by Royal South Street Society in 1965 and renamed South Street Memorial Theatre 1966. Given to City of Ballarat and restored. Reopened 7 November 1990 as Her Majesty's Theatre, seating 931. Architects: Clive Lucas. Stapleton and Partners.
One of the finest Australian theatres is Her Majesty's in Ballarat (Vic.). No other has as many extant 19th-century architectural elements in the auditorium and stage. The theatre belongs to the second generation of the gold town's development. Within five years of the initial Victorian gold rush three significant theatres were built in Ballarat – the Charles Napier Theatre in 1854, the Victoria Theatre in 1856 and the Montezuma Theatre in 1856. All were associated with hotels and the Academy of Music in 1875 was exceptional in not having bars or a hotel in front. A patron, Sir William J. Clarke, built the theatre and for its first ten years it was run by community leaders, mostly lawyers interested in promoting the performing arts. The opening program included W. S. Lyster's opera company. The building was a substantial brick structure on a steeply sloping site which allowed for future expansion into the basement space. There were shops in front of the auditorium, which was a lofty two-level hall. The circle was partly supported by four cast-iron posts but largely hung by iron rods from the roof trusses. The roof continued over the raked stage. About 10.5 metres above the stage the grid was fixed to the bottom of the trusses. The stage itself was generous at 18 metres wide by more than 15 metres deep. The hall was 18 metres wide by 22 metres long by 12.3 metres high. Within this height, in 1898, the architect William Pitt Jnr managed to rebuild the existing circle and add another above it, utilising the same balcony-front design. He cut a large hole in the old coffered ceiling and inserted an opening dome to provide ventilation through a new sliding segment in the roof.
The brick wall between stage and auditorium was extended to the roof line as a fire wall, and a new grid was inserted about 1.5 metres above the bottom of the truss line. As a result, full-height scenery could be flown between the roof trusses. The stage was cleared of dressing rooms and the paint frame. New dressing rooms and a scene dock were housed in an extension at the side of the building. Pitt also raked the stalls floor. Renamed Her Majesty's, the theatre now rivalled some in the capital cities. At first it was under the direction of Williamson and Musgrove, who toured major productions and personalities. In 1911 the Plimmer-Denniston Company was so popular that the crowd blocked the street and women were knocked down in the rush for tickets. Touring companies played in the theatre until the 1930s but it was mostly used as a Hoyts cinema from the Great Depression until the Royal South Street Society, which had held competitions and performance in the theatre since 1896, bought it in 1965.
Alterations in 1906, 1912, 1927 and 1943 resulted in minor changes to the auditorium and undistinguished lobby and foyer accommodation, which left nothing of the original front of house. In the 1980s restoration the entrance was given a quasi-Victorian canopy and front doors. A new lobby replaces all the original shops and offices on the second floor have been sympathetically converted to the foyer-bar. Pitt's large dome has been reinstated in the auditorium, which has been restored close to the 1898 version. The stage has been re-equipped with mechanised fly lines. The theatre now presents local and touring productions with entrepreneurial flair.
Ross Thorne, Her Majesty's Theatre Ballarat, Companion To Theatre In Australia, 1995, 268
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Theatre in Queen Street, opened 2 April 1888 as Her Imperial Majesty's Opera House, seating 2200. Architect: Stombucco and Son. Originally owned by G. Byrne and leased by C. H. Holmes. Leased by Harold Ashton and reopened as His Majesty's Theatre 23 March 1901. Rebuilt and reopened 30 March 1929, seating 1387. Architect: Cedric Ballantyne or George McLeish. Later renamed Her Majesty's. Demolished 1983.
Until the Queensland Performing Arts Complex was built the only Brisbane theatre with a stage that could take the scenery of productions toured from Melbourne or Sydney by subsidised companies was Her Majesty's Theatre. When it was built as Her Imperial Majesty's Opera House, with a hotel in front, it looked grand indeed. It rose high above all other buildings in Queen Street, palatial, almost voluptuous, encrusted with more heavily modelled decoration in the Victorian Italianate style than any of them. The theatre was designed to seat 1200 persons on the ground floor - 500 in the stalls and 700 in the pit. Closely spaced, substantial cast-iron posts supported the 400-seat dress circle and above it the 600-seat 'family circle', which was not initially called a gallery. The daughter of W. H. Wallace, who managed the theatre from 1901 to 1928, remembered 'packers' being employed to squeeze patrons into this uppermost balcony. A good packer could squeeze in an extra 50.
The stage measured 18 metres by 19 metres. The proscenium was decorated with gold-painted Corinthian columns, but the auditorium was otherwise almost devoid of decorative plasterwork. The theatre opened with the new style of maroon velvet house curtain instead of the traditional scenic act-drop and green baize curtain. The auditorium lighting was originally gas but converted to electricity about two years later. Earthenware pipes and windows provided ventilation until 1901, when the architect William Pitt was commissioned to undertake minor alterations, including a sliding roof.
In 1929 His Majesty's Theatre reopened after major rebuilding of the auditorium and foyers. Reports are not clear on who was the architect responsible for the design, which provided a more comfortable theatre, in many ways more like a picture palace than a traditional theatre. There was now a single deep balcony, unsupported by posts in the stalls below. Two decorative but rather useless boxes were cantilevered from the side walls near the proscenium. All was decorated in a deeply modelled Renaissance-rococo style. The Brisbane Courier said the theatre presented a 'charming spectacle'. It quickly became the venue for major lyric and dramatic performances, especially those toured by the large entrepreneurs. The AMP Society bought the site from Byrne Hart and his sons in 1973, promising that it would build a new theatre when it developed this and adjacent sites. But in 1980 AMP sold the theatre to another developer, who demolished it in 1983. At that time there was criticism of the seating rake and backstage conditions.
Ross Thorne, Her Majesty's Theatre Brisbane, Companion To Theatre In Australia, 1995, 268-269
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Theatre in Exhibition Street, opened as Alexandra Theatre 1 October 1886, seating 2500 Architect: Nahum Barnet. Renamed Queen's Theatre 1897. Altered and reopened as Her Majesty's Theatre 19 May 1900. Architect, William Pitt. Renamed His Majesty's Theatre 29 March 1924. Auditorium gutted by fire 1929. Rebuilt and reopened 1934 Architect: Walkeley.and Hollinshed.
Melbourne's principal light musical theatre in the 20th century, as Her Majesty's or His Majesty's Theatre, was its principal melodrama house in the late 19th century as the Alexandra Theatre. Nahum Barnet designed it as an ambitious scheme for a building to cover a large site. On the long, three-storey elevation to Exhibition Street he used a late Victorian style with French Renaissance overtones, the main entrance being marked by a central pavilion surmounted by a steeply pitched roof.
This street frontage was highly decorative but the interior finish was austere because of lack of funds, which also caused delays in building. The three-tier auditorium was 26 metres wide by long 23 metres long, with a 10-metre-wide proscenium and a flat floor on the pit-stalls level. A forest of posts supported the tiers above the stalls. All this made for poor viewing for many of the 2500 or more persons it was designed to hold. The stage was adequate at 15 metres in depth, and had an early example of a fly tower – rising 16 metres to the grid. Within a year of the opening alterations were announced to 'suitably decorate' the walls of the dress-circle level and fit a new ceiling dome. Only four years later, in 1891, the building was in such disrepair that a writer in the Australian Builder and Contractor News said redecoration by the architect Philip Kennedy was required to bring about 'a nearer approach to a theatre than hitherto'. The theatre was used mainly for melodrama, particularly by Alfred Dampier and William Anderson. J.C. Williamson reopened it, principally for operetta, in May 1900. It was now Her Majesty's Theatre, after alterations directed by William Pitt. These included raking the stalls floor, lowering the stage, adding dressing rooms, installing a fire curtain in the proscenium opening, and general redecoration. The forest of posts remained until a fire gutted the auditorium in 1929.
His Majesty's lay semi-derelict during the early years of the Great Depression. F.W. Thring briefly used it as a film studio. When the Theatre Royal was demolished in 1934, J.C. Williamson’s employed Pitt's successors, Walkeley and Hollinshed, to rebuild the auditorium of His Majesty's Theatre and refit other damaged parts. The architects dispensed with theatrical tradition and redesigned the interior as the first live theatre in Art Deco style in Australia. They also worked with the pioneer acoustic consultant H. Vivian Taylor to evolve an acoustically functional decorative scheme for the auditorium. It retained the proscenium and traditional stalls, dress circle and gallery. The theatre continues to house long-run musicals.
Ross Thorne, Her Majesty's Theatre Melbourne, Companion To Theatre In Australia, 1995, 269
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Theatre in Pitt Street, opened 10 September 1887, seating 1650 on four levels. Architects: Morell and Kemp. Interior burnt out 23 March 1902. Rebuilt on three levels and reopened 1 August 1903. Architect: William Pitt. Closed 10 June 1933. Converted to variety store and offices 1934. Finally closed 2 March 1970 and demolished to make way for Centrepoint.
The most elaborate and best-equipped theatre in Sydney before the Sydney Opera House was Her Majesty's Theatre. It was the first theatre built in strict conformity with regulations that resulted from the NSW Royal Commission on Theatres in the early 1880s. Fire-resistant iron doors protected connections between the auditorium and the public spaces of the theatre, which were in a hotel in front. A thick brick firewall, a 'fireproof’ asbestos drop curtain at the proscenium opening and iron doors in other openings all separated the auditorium from the stage. Every effort was made to use fire-resistant materials, and any inflammable materials were coated with fire-retardant liquids. The auditorium and stage were lit by both electricity and gas. Scene-changing was by the continental European system of flat wings moved along slots in the stage floor on wheeled carriages at the mezzanine level of the stage basement. The Builder and Contractor's News of 22 October 1887 gave the width of the stage as 25.6 metres and the depth as 15.2 metres, but published dimensions varied. The proscenium opening was 11.6 metres square. Iron trusses spanned the width of the stage, supporting a grid for flying scenery, 33.2 metres above the basement. The building was 31 metres in front, 38 metres wide at the rear, and 51 metres deep. The facade was elaborately modelled in a baroque-Renaissance style with applied Corinthian columns, surmounted by a carved pediment and a roof pavilion in French Renaissance style. The building was designed for the Grand Opera Company, which leased the site from the William McQuade estate. The theatre was near completion when financial difficulties saw the site owner take it over. George Rignold then leased the theatre until 21 September 1895 and opened it, some four months late, playing Henry V in his famous production. He interspersed spectacular Shakespeare productions with comedies.
The owner, Cecily McQuade, had William Pitt design a new auditorium in Edwardian style. It had two tiers - supported by posts - above the stalls instead of three. The public spaces and stairways were improved in size and finish. Williamson leased the new theatre and opened it as his Sydney flagship. It housed his most notable attractions, including H. B. Irving as Hamlet in 1911. J.C. Williamson’s bought the building in 1922 but sold it during the Great Depression, after complaining of council taxes on the site and entertainments tax on gross receipts.
Ross Thorne, Her Majesty's Theatre Sydney 1887-1933, Companion To Theatre In Australia, 1995, 269-270
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Theatre in Quay Street, opened 28 February 1927 as Empire Theatre, seating 2515. Architects: Kaberry and Chard. Closed mid-1929. Reopened 7 December 1929 as talkies cinema. Used for live theatre from 27 December 1948. Bought by J.C. Williamson's 1949. Closed for major alterations 1954. Reopened 10 June 1954, seating 1728. Renamed Her Majesty's Theatre 21 May 1960. Destroyed by fire 31 July 1970. New Her Majesty's Theatre opened 30 November 1973, seating 1492. Architects: John W. Roberts and S. A. Baggs.
The Empire Theatre - the third of that name in Sydney enriched the city after the Second World War by its very existence, though it was a mean house for performers and audience. The theatre had been built in 1926-27, with optimal capacity and minimal facilities, by Empire Theatres Ltd, whose governing director was Rufe Naylor. The building was designed on a diagonal axis across the site. The proscenium stage, with fly tower, was tucked into the southwest comer and a wide two-level auditorium fanned out to the opposite comer. There was a minimal entrance lobby but no foyer. Press reports claimed that the Empire housed 3000 persons, but it was licensed for 2515. It opened with the musical comedy Sunny. Marlow-Rolls Theatres Ltd took over the Empire in December 1928 but after six months of stage shows it was closed. At the end of 1929 it reopened as a talkies cinema. The lessees, Empire Talkies Ltd, bought the building in 1934 and dedicated it to B-pictures and second runs. After the Second World War there was a resurgence of theatre but a lack of venues. Most live theatres had been closed, demolished or converted to cinemas since 1929. To allow J.C. Williamson's to present an opera company at the Tivoli Theatre, the Tivoli Circuit went to the capacious Empire, then a poorly attended cinema, in December 1948 to stage its Christmas shows. These were Take a Bow, a twice-nightly revue starring Two-Ton Tessie O'Shea, and Babes in the Wood, a twice-daily pantomime with Rex Dawe and Jenny Howard. In 1949 J.C. Williamson's bought the Empire and opened it with a 53-week season by the Kiwis Revue Company. The hypnotist Franquin, Hellzapoppin, Oklahoma!, Ice Parade and a Gilbert and Sullivan season followed. The theatre was much altered in 1954. New side walls were installed to narrow the extremities of the auditorium, reducing the capacity. The proscenium was modified and traditional boxes were installed. A portion of the back stalls was walled off to become a stalls foyer.
Shows after the alterations included the musicals Can-Can, Kismet, The Land of Smiles, Paint Your Wagon and The Pajama Game. A change of name to Her Majesty's Theatre and more improvements in 1960 heralded the arrival of My Fair Lady. During the next decade the theatre also housed Camelot, Hello Dolly!, Fiddler on the Roof and Funny Girl. During an opera season in 1970 fire destroyed the theatre.
The architects John W. Roberts and S. A. Baggs cleverly designed a new theatre on the tight site. They shifted the axis of the auditorium to run down the middle of the lot from front to back. To provide foyer space of modem standard they reduced the capacity of the stalls to 660, less than that of the 832-seat dress circle. They enlarged the stage, however, to some 26 metres wide by 14.3 metres deep, with a 12.2 metre-wide proscenium placed almost centrally. The new theatre opened with the musical A Little Night Music, with Taina Elg, Jill Perryman and Anna Russell. It had a slight downturn after J. C. Williamson's faded away and sold its properties, but it has remained a major commercial theatre, mostly presenting musicals.
Ross Thorne, Her Majesty's Theatre Sydney 1960-, Companion To Theatre In Australia, 1995, 270
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Theatre at corner of Hay and King Streets, Perth, opened 24 December 1904, seating 2584. Architect: William Wolf. Closed 1976. Bought by Western Australian government 1977. Restored and reopened as general-purpose lyric-drama theatre, 28 May 1980.
An Edwardian delight, carefully modified to meet 1980s requirements in function, comfort and sense of occasion, His Majesty's Theatre is testimony to the Perth theatre architect, Peter Parkinson, who restored it. Thomas Molloy, a land speculator built the original theatre, combined with a four-storey hotel, near his Theatre Royal in Hay Street on a quarter-hectare site. The architect of the new theatre was William Wolf, a German-trained American who emigrated to Australia m 1877 and began to practise in Perth in the mid-1890s. In His Majesty's he followed the current English model but, perhaps showing European influence, gave it a fly-tower stage, which at 20 by 23 metres was larger than tradition suggested. The three-level auditorium had two waterfalls to help to cool the air and a sliding dome and roof for ventilation. The theatre opened with The Forty Thieves. Later lessees - William Anderson, Fullers', J.C. Williamson’s, Edgley and Dawe and Michael Edgley successively – presented many major productions from the eastern states, from Nellie Stewart in Paul Kester's Sweet Nell of Old Drury to My Fair Lady. Other famous performers who appeared in the theatre included H. B. Irving, Sybil Thorndike and Vivien Leigh. When Michael Edgley's lease ended in 1976 His Majesty's closed. Its owner, Norman B. Rydge, chairman of the film-exhibiting Greater Union Organisation, asked $2 million for the theatre, which he had bought from Edgley in 1973 for $825 000. The theatre was threatened with redevelopment until the Western Australian government bought it for $1 ·9 million in 1977 with the intention of restoring the auditorium and refitting the stage.
Parkinson made structural modifications to reposition posts supporting the two balconies to give the audience a better view and hide new air-conditioning ducts. The old hotel with its ground-floor bars and shops, first-floor public rooms and dining-room, and 48 bedrooms and bathrooms on the upper floors was converted to provide the theatre with comfortable foyers and bars, new toilets, administrative offices, rehearsal space, and improved dressing rooms and orchestra rooms. The complex houses the West Australian Opera and Ballet Companies and the Theatre Collection.
Ross Thorne, His Majesty's Theatre, Companion To Theatre In Australia, 1995, 277
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Theatre in Russell Street, opened 11 November 1908 (sic), seating 2200. Architect: William Pitt jnr. Reopened 11 March 1959 as Barclay cinema. Demolished for construction of multiplex cinema 1977.
The 'essentially Australian and patriotic' entrepreneur William Anderson staged melodrama at the King's Theatre in Melbourne. It was built for him in 1908, when he was operating two dramatic companies and had been unable to lease the large Theatre Royal. The King's had a fly-tower stage 19.2 metres wide by 15.2 metres deep and the first production, a revival of the melodrama Man to Man, demonstrated its capacity for spectacle by showing a prison escape and a railway collision with burning carriages and injured passengers. Anderson's repertoire largely comprised bush dramas. The King's Theatre, described by Table Talk of 16 July 1908 as the most beautifully decorated theatre in Melbourne, had a three-level auditorium in gold, cobalt blue and royal blue. To the western side of Russell Street it presented an imposing asymmetrical three-storey facade in Edwardian style with a French Renaissance flavour. It comprised a pavilion at the Bourke Street end and five equal bays. The three central bays opened into the usual small vestibule, in which there were stairs to the dress circle and entrances to the stalls. There was no vestibule for gallery patrons, who climbed stairs to their seats from lanes on each side of the building.
After Anderson other managements, including J. and N. Tait Ltd and J. C. Williamson's used the theatre for drama, pantomime and variety. When a Williamson lease expired the Gaiety Theatres company of Garnet H. Carroll and Benjamin Fuller leased the King's and in 1942 installed movie projection equipment. Warner Brothers screened films there until Carroll, in partnership with Aztec Services, reconverted the theatre to stage presentation in 1949 for the variety entrepreneur Harry Wren as sub-lessee. In 1951 the King's reverted permanently to films, and in 1959 it was renamed the Barclay cinema, after remodelling of the interior and facade for Norman B. Rydge, who now owned the freehold.
Ross Thorne, King's Theatre Melbourne, Companion To Theatre In Australia, 1995, 316
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Theatre-restaurant in Darlinghurst, Sydney, opened 4 September, 1982, seating 240. Built as three-storey draper's shop and offices 1910. Remodelled as funeral parlour 1933. Architect: Bruce Dellit. Converted to restaurant and theatre restaurant 1982 Architects: Michael Davis and Glen Murcutt.
Comedy revue returned to Sydney for about four years in the 1980s at Kinsela's, a theatre-restaurant named after an undertaker. Charles Kinsela leased the ‘Mansion House’ building in 1932 and had the architect Bruce Dellit remodel the ground floor in angular art-deco style. In 1981 Kinsela sold the building. In a clever and sympathetic conversion the ground floor became a restaurant, with the lofty chapel, a superb example of Art Deco, preserved as required by a heritage order. A stair rose to bar, dressing rooms and toilets on the first floor, and the theatre-restaurant on the second. The audience sat at tables stepped up slightlv toward the rear of an almost square room, facing a narrow open stage stretching the length of one wall. The Sydney Theatre Company prepared the first cabarets, which began with The Stripper, and other revues or variety in late-night second shows. On 23 November 1982 Four Lady Bowlers in a Golden Holden brought back John McKellar and Lance Mulcahy, the writer and the composer of many Phillip Street Revues some 25 years before. Max Gillies was among the performers in the new wave of revue. The restaurant licence, requiring food to be consumed with alcoholic drink, created problems and after four years the proprietors closed Kinsela's and sold the property. The new owners changed to a hotel licence, converted the chapel into a bar and reopened in 1988, with mainly musical shows. There was a major production Forbidden Broadway, in mid-1991.
Ross Thorne, Kinsela's Cabaret Theatre, Companion To Theatre In Australia, 1995, 316
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Theatre in King William Street, Adelaide, opened in 1856 as White's Rooms. Architect: George Kingston. Altered to form Garner's Theatre, seating 1326, 1880. Renamed Hudson's Bijou Theatre 1892. Altered and reopened as Tivoli Theatre 20 June 1900. Architects: Backhouse and Backhouse, in association with English and Soward. Renamed Rickards's New Tivoli Theatre 1901. Renamed Star Theatre for films in 1913. Rebuilt and returned to live shows as Majestic Theatre 1916. Architects: Williams and Good. Became Celebrity Theatre Restaurant 1967-69. Returned to films as Warner Theatre 1969. Demolished 1981.
In 1856 an Adelaide architect designed a development consisting of two shops, offices and a large assembly room for concerts and balls. The front part of the building became the Shades Hotel and Restaurant. The entrepreneur Arthur Garner took over the hall in 1880, added a dress circle with rear amphitheatre and generally remodelled the interior to produce Garner's Theatre. Thomas Hudson renamed it Hudson's Bijou Theatre in 1892 for his vaudeville acts which within a few years included moving pictures. Harry Rickards leased the theatre in June 1900 and the architects Backhouse and Backhouse remodelled the theatre for him, adding a sliding roof. After Rickards's death, the theatre was renamed the Star Theatre for films in 1913.
Fullers' leased the theatre for vaudeville and instigated a major rebuilding in 1916. A fourth storey was added to the hotel and both the theatre and the hotel were widened and renamed Majestic. Only fragments of the original walling of White's Rooms were retained. The new auditorium was typical of small intimate theatres of the time. Two banks of private boxes, two boxes high, were adjacent to the proscenium at each end of the orchestra pit. The single tier above the stalls extended between the boxes on each side in a tight horseshoe. In 1928 Fullers' bought the theatre together with the hotel and other buildings in the block between Grenfell and Pirie Streets.
During the 1930s Greater Union showed films at the Majestic. Films and live shows alternated after 1942, when Fullers' again took over the theatre. After a period as the Celebrity Theatre Restaurant in the late 1960s it became a cinema again in 1969 as the Warner Theatre. The historic theatre building, only slightly modified since 1916 and in good condition, was demolished for a multistorey office block in spite of efforts in 1980 to save it.
Ross Thorne, Majestic Theatre, Companion To Theatre In Australia, 1995, 338
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Ross Thorne, Mayfair Theatre, rossthorne.com, 2009
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Ross Thorne, Melbourne’s Lost Theatres, Parts One & Two, Theatre Australia, 2, 10, 12, May 1978, 16-18, 11-13
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Theatre in Orwell Street, Kings Cross, opened 18 May 1939, seating 1016 on two levels. Architects: Guy Crick and Bruce Furse; Bruce Ward. Became cinema as Metro Theatre 29 April 1950. Returned to live theatre 5 June 1969. Converted to shopping market 1979. Now film studio.
Possibly the finest modern theatre built in Australia in the 1930s, the Minerva Theatre was intended to have a companion but this was never built. Minerva Centre Ltd aimed to build two theatres on facing sites at Kings Cross, according to the Sydney Morning Herald on 27 August 1937. The company's managing director was David N. Martin, formerly managing director of Imperial Theatres Ltd, which owned the Liberty Theatre, designed in 1934 by C. Bruce Dellit, an exponent of the fashionable Art Deco style. A share prospectus published on 7 September 1937 showed Dellit' s design for the Minerva Theatre. It would be erected in Orwell Street opposite the rather monumental Paradise Theatre Building, which would face Macleay Street and include a dance hall and a restaurant as well as a theatre. Other architects, Guy Crick and Bruce Furse, prepared the Minerva Theatre drawings that were submitted to the Sydney City Council and the licensing authority, but the two designs showed similarities of style. Crick's Moderne interior demonstrated his interest in German expressionist theatre design. The resulting theatre was very comfortable, with lounge chairs throughout a cocoon of sweeping, wide plaster troughs washed with indirect lighting. The foremost lighting trough curved down to the stage floor on each side of a striated proscenium frame. The stage apron extended to a rarely used small side stage on each side.
The theatre, grandly opened with Robert E. Sherwood's play Idiot's Delight on 18 May 1939, brought the number of professional theatres in Sydney to three-the others were the Theatre Royal and the Tivoli Theatre. It was initially managed by David N. Martin Pty Ltd in association with J. C. Williamson's. Then there were several changes of management until Martin's company resumed control. Some 25 plays were performed, including Shakespeare at matinees, until 1 May 1941, when Whitehall Theatrical Productions took over the lease. Under this management the Minerva became the only commercial playhouse in Sydney producing comedies, thrillers and mysteries, usually starring actors who were well known on radio, such as Lyndall Barbour, Neva Carr Glyn and Lloyd Lamble.
Metro-Goldwyn-Mayer bought the building and used it as the Metro cinema from 29 April 1950 and later sold it to the Greater Union Organisation. It was not a success as a cinema and on 5 June 1969 Harry M. Miller reopened the Metro as a live theatre with the rock musical Hair. It had a long run but the theatre generally would have been unprofitable for large-cast shows. In 1979 Greater Union flattened the floor of the stalls and converted the space to a shopping market. This was also unsuccessful and the Kennedy-Miller organisation finally took over the building as a film studio.
Ross Thorne, Minerva Theatre, Companion To Theatre In Australia, 1995, 369
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Theatre at University of Western Australia, Perth, opened 29 January 1964. Architect: Marshall Clifton.
The first attempt in modem times to reproduce the dimensions of the stage and auditorium of a public theatre of the time of Queen Elizabeth I of England was the New Fortune Theatre. It is a square quadrangle with a thrust stage, pit and three galleries inside the arts faculty building at the University of Western Australia. It conforms in general to the layout of the surrounding galleries and tiring house, or dressing room, of the Fortune Theatre that Edward Alleyn built in London in 1600. It does not replicate a 17th-century London theatre but simply provides the same actor-audience relationship as a theatre of Shakespeare's time. Allen Edwards, professor of English at the University of Western Australia, promoted the idea of following the Fortune dimensions when the architect was designing the arts faculty building. He saw it as a tribute to Harley Granville-Barker, who had advocated a replica of Shakespeare's Globe Theatre as essential to any university department of English that specialised in performance studies. Members of the English department, including Jeana Bradley, Philip Parsons and Neville Teede, supported Edwards.
The dimensions of the Globe Theatre do not exist but the basic measurements of the Fortune are on record. The stage platform, 13.1 metres wide by 8.4 metres deep, projects into the yard, which is 21 metres deep by 19.8 metres wide, including the depth of the 'galleries'. These are verandahs, which in the New Fortune conform to the three levels of the arts faculty building rather than to the heights of the galleries in the original theatre. Cutting across the quadrangle to provide access from one side of the building to the other is a three-level walkway, which has been modified to supply the principal theatrical requirements of a tiring house. The university banned rehearsal and performance during the academic year because tutorial rooms overlooked the quadrangle. The actor-audience relationship has nevertheless led to significant research, particularly by Parsons and Collin O'Brien, into Shakespeare's use of the stage.
The New Fortune opened with Hamlet during the Festival of Perth in 1964, the quadricentenary of Shakespeare's birth. John Gielgud, who was visiting Perth, recorded Ben Jonson's tribute to Shakespeare as a prologue. It has been regularly used during the festival and in February 1968 there was a memorable production by Aarne Neeme and Parsons of Richard III, with Martin Redpath in the title-role. Dorothy Hewett wrote her early plays This Old Man Comes Rolling Home (1966), The Chapel Perilous (1971) and Catspaw (1974) for the New Fortune. On the university campus the New Fortune Theatre complements the proscenium-stage Dolphin Theatre, the thrust-stage Octagon Theatre and the open-air Sunken Gardens Theatre.
Ross Thorne, New Fortune Theatre, Companion To Theatre In Australia, 1995, 399
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Theatre at comer of Lonsdale and Exhibition Streets, Melbourne, opened 30 July 1855, seating 1150. Architect: C. F. Ohlfsen Bagge. Prefabricated in cast and corrugated sheet iron by E. and T. Bellhouse, Manchester. Became dance hall 1857, theatre during 1859, Turkish baths 1860 and finally warehouse. Demolished 1894.
In England in 1854 George Coppin signed the tragedian G.V. Brooke to give a 20-week season in Melbourne for £10 000. Knowing that the young town had few theatres, he bought one from a Manchester ironworking company known for prefabricated buildings, including a theatre and ballroom for Prince Albert at Balmoral Castle. Brooke laid the foundation stone on 18 April 1855 and in six weeks the theatre was erected. Possibly the largest prefabricated iron building assembled in Australia until then, it seated 700 in the pit and stalls and 450 more in a rectangular dress circle, which had boxes in the side legs and rear of the auditorium and seats immediately facing the stage. Six gilded, fluted Corinthian columns supported a 10-metre-wide proscenium arch. William Pitt Snr decorated the interior, which was fitted out in timber. It had a pitched roof of corrugated iron, painted blue on the inside and dotted with gold stars. A couple of reviewers thought the theatre resembled a chapel. The iron roof made the building hot in summer, cold in winter and noisy in rain. Its two off-street sides were also covered in corrugated iron. The two street frontages, consisting of shops and entrances to the theatre, were framed in decorative cast iron, filled in with large sheets of glass - a precursor of the curtain walls that have been popular with architects since the 1950s.
Ross Thorne, Olympic Theatre, Companion To Theatre In Australia, 1995, 416-417
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Theatre in Bourke Street, opened 6 April 1912 as Brennan's Amphitheatre, seating c.2000. Renamed National Amphitheatre 1912. Redesigned by Henry E. White and reopened 4 November 1916 as Palace Theatre, seating 1700. Interior redecorated by White 1923. Became cinema as Apollo Theatre c.1929. Redecorated and renamed St James Theatre, November 1940. Renamed Metro Theatre. Returned to live musical theatre in early 1970s. Renamed Palace Theatre 1973. Became church. Metro Nightclub in late 1980s
When Brennan's Amphitheatre opened on Easter Saturday 1912 the auditorium was a plain white room with a single rake of seating with a 'balcony' at the rear. The theatre 'could seat 2000 people any night they care to pay the price of admission', said the Bulletin on 2 May. “The cost of the land and the building is set down at £32 000 and none of the money was wasted on interior decoration.’ Fullers’ obtained a controlling interest in the Brennan Vaudeville Circuit shortly after the theatre opened and renamed it the National Amphitheatre. In 1916 Fullers' employed their architect, Henry E. White, to redesign the interior as a three-level auditorium, similar to theatres he had designed or redesigned for them in Sydney (the Adelphi), Brisbane (the Tivoli) and Wellington, New Zealand. Renamed the Palace Theatre, it opened for vaudeville, revue and musicals but became the home of Fullers' melodrama companies. In 1923 Fullers' commissioned White to redesign the plaster decoration of the auditorium in the more elegant Adam style he had just used in the nearby Princess Theatre. With the onset of the Great Depression Fullers' turned their theatres over to talking pictures. The Palace became the Apollo Theatre. Snider and Dean showed films there from March 1936 until 1940, when Fullers' Theatres renamed it the St James Theatre. Then Metro-Goldwyn-Mayer bought the theatre and renamed it the Metro. Under this name it briefly returned to live performance with the rock musical Hair. A new owner renamed it the Palace Theatre in 1973. In 1978 it was bought by a revivalist Christian organisation, which moved out in 1986. Then it was turned into a technologically elaborate disco nightclub, still with White's 1923 interior decor.
Ross Thorne, Palace Theatre Melbourne, Companion To Theatre In Australia, 1995, 422-423
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Theatre in Pitt Street, opened 19 December 1896, seating 1000. Architect: Clarence Backhouse. Remodelled to seat 872, 1923. Architects: Ballantyre and Hare. Closed late 1969. Demolished 1970.
The small Palace Theatre was truly theatrical in its architecture. The brick-and-plaster exterior was an eclectic mixture of baroque arches and cornices with a French-style roof pavilion topped by an Indian-style cupola. Heavily modelled baroque was the style for the lobby, toilets and a small dress-circle foyer, which had a ceiling painting of diaphanously attired young women floating in a misty sky. The original auditorium was unique in Australia. Eight posts rose from the stalls floor to support the fronts of two circles above and then the roof by way of vaults in 'Hindoo Gothic' style. This amalgam of Mogul and Hindu detail continued in an ogee-arched proscenium and side boxes in the form of cupolas with onion-dome 'roofs'. Most of the auditorium was ornamented in sheet steel embossed in elaborate patterns designed and painted by Philip W. Goatcher, one of the last scene-painters to follow the custom of designing the interior decoration of a theatre. Many of the decorative elements he used in the Palace Theatre appear to have come from the Broadway Theatre built in Denver (Colorado, USA) in 1890. Goatcher was also the first lessee and director of the Palace Theatre. Its owner was George Adams, who built it as part of his Tattersall's Hotel complex. He intended it to be a palace of varieties - as close to an English music hall as NSW laws would allow. Until 6 p.m. closing of bars was introduced in 1916, patrons could leave the theatre by side exits, cross a narrow private alley and enter the hotel by side doors almost opposite. This satisfied regulations that theatres and hotels had to be on separate sites. The Palace had many later lessees, mainly minor entrepreneurs finding a short-term home or major managements needing an overflow theatre, and it housed entertainment of all kinds. Redesign of the auditorium in 1923 removed most of the posts and converted the decor to a more sedate European Renaissance style. The Palace became a full-time cinema during the Great Depression. After the Second World War it fluctuated between film and live theatre until its demise. The Australian Elizabethan Theatre Trust and Garnet H. Carroll sub-leased it from Hoyts it from Hoyts Theatres in 1960-61 and 1964.
Ross Thorne, Palace Theatre Sydney, Companion To Theatre In Australia, 1995, 423
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Ross Thorne, Palace Theatre, rossthorne.com, 2010
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Theatre in St Kilda, Melbourne, opened 11 November 1927 as cinema seating 2968. Architect: Henry E. White. Converted in 1960 to opera theatre seating 2854.
For nearly a quarter of a century from 1960 Melbourne's venue for large-scale musical theatre and dance was the 2854-seat Palais Theatre in suburban St Kilda. Since the opening of the Victorian Arts Centre the Palais has been more used for concerts but it remains the largest-capacity theatre in Australia. Henry E. White designed it for Harold, Leon and Hermann Phillips as a palatial suburban cinema, in a composite French and Oriental style, to replace the New Palais Pictures, opened in 1922 and destroyed by fire in 1926. The new cinema originally seated 1630 in the stalls and 1338 in the dress circle and it had a large stage and orchestra pit suitable for the variety acts that supplemented de luxe film presentations in the 1920s, but it was devoid of dressing rooms for performers. It showed films until 1960, when it was used for an opera season. The pit was enlarged to take the orchestra, reducing the stalls seating to 1516. Dressing rooms were built in 1962. The Palais housed the Melbourne season of Jesus Christ Superstar.
Ross Thorne, Palais Theatre, Companion To Theatre In Australia, 1995, 423
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Theatre in Phillip Street, Sydney, opened as St James Hall seating 650, 17 December 1903. Architect: Burcham Clamp. Seating reduced to 447 by new stage and proscenium 1916. Called Mercury Theatre 28 February 1952 to 19 December 1953. Redecorated and reopened 7 May 1954 as Phillip Street Theatre, seating 368. Closed 14 January 1961. Demolished and replaced in late 1963 by 15-storey building, including new 300-seat St James Hall, sometimes known as Phillip Street Theatre. Architects: Peddle Thorp and Walker. Closed for renovation of building, 7 October 1989.
The theatre where William Orr presented the acclaimed Phillip Street Revues for nearly seven years was originally the St James Hall, built by Church of England on a site it has owned since the nearby St James Church was built in 1820-24. The three-storey brick building was erected in 1903. Above a semi-basement for church offices were a concert hall and, on the third level, a school. The church hoped to repay large borrowings for the building by frequent letting of the hall, which was praised for good acoustics, harmonious proportion, central location and lack of noise from trams. The gallery, which had an intricate cast-iron balustrade, extended along the side walls. The original bare platform was replaced with a miniature stage in 1912, when the Sydney Stage Society produced Prunella. In 1916 the stage was rebuilt and enlarged, though a new proscenium reduced the seating capacity. The hall then became a popular venue for amateur, semiprofessional and professional theatrical groups, including the Modern Theatre Players and the New Sydney Repertory Society.
On 25 August 1950 the John Alden Company began a professional season of The Merchant of Venice and Measure for Measure. Mercury Theatre opened its first repertory season of plays in early 1952 and despite financial difficulties continued to the end of 1953. Then the hall was redecorated, reseated and renamed for the Phillip Street Theatre Company. Its fast, saucy, topical intimate revues won a great reputation and 14 were presented in the theatre until the building was closed in 1961. The new building contained a one-level raked hall which lacked the atmosphere of the old St James Hall, with its deep horseshoe balcony crowding the audience around the stage. It seated only 300, yet for seven years during the 1980s Peter Williams conducted a commercial enterprise there, including performances for schoolchildren and an acting school.
Ross Thorne, Phillip Street Theatre, Companion To Theatre In Australia, 1995, 441
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Theatre in Phillip Street, opened as Macquarie Auditorium 1941, seating 306. Became Playbox Theatre 1968. Demolished 1973.
Radio 2GB in Sydney fitted out new studios, including a theatrette on the ground floor, in late 1941. The raked auditorium, with well-upholstered seats, was lined with sound-absorbing soft fibreboard, the geometrically cut edges of overlapping sheets providing late Art Deco decoration. The radio shows it housed gradually disappeared after television came to Sydney in 1956, and in 1968 Harry M. Miller began live theatrical presentations in the little theatre. For the second stage production - Mart Crowley's The Boys in the Band, produced by Miller and Phillip Productions - the small stage was converted to a fixed two-level apartment set. The Playbox proved to be popular for well-proven overseas plays not taken up by larger commercial managements and, under Miller, it remained a live theatre almost until it was demolished in 1973.
Ross Thorne, Playbox Theatre Sydney, Companion To Theatre In Australia, 1995, 444
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Theatre in Castlereagh Street, Sydney, opened 12 March 1855, seating 3250. Architect: Henry Robertson. Burned down 3 October 1860. New theatre opened 23 May 1863. Architect: J. F. Hilly. Burned down 6 January 1872.
Joseph Wyatt sold his Royal Victoria Theatre and leased it back in 1849. In 1854 he could not renew the lease so he commissioned the theatre's architect, Henry Robertson, to design another. The result was the Prince of Wales Theatre, a large and well fitted-out house by contemporary standards. The auditorium was 21.3 metres to the orchestra by 18.3 metres across and had four tiers - a pit holding 1500 persons, a dress circle for 500, upper boxes for 750 and a gallery for 500. The fronts of the tiers were in the old style of flat wooden panelling. The ceiling, with a 4.6-metre diameter dome, was 17.7 metres above the pit floor and painted to represent a bright Italian sky. The proscenium opening was 11 metres wide and the stage was 18.3 metres wide by 26.5 metres deep from the gas footlights. Beneath it were the male actors' dressing-rooms, with neither natural light nor ventilation. At first Wyatt leased the theatre to Andrew Torning, who was also lessee of the Royal Victoria. He concentrated on shows there to the neglect of the Prince of Wales, which Wyatt sold in 1858. In 1859-60 the theatre saw a yearlong dispute between Samuel Colville and Charles Poole, who had interlocking leases of Sydney's two theatres, and the actors, who went on strike for a time over pay and conditions. In 1860 fire broke out in a bakery in King Street and wind sent the flames into the pine-framed roof of the theatre. Three Sydney insurance companies' fire brigades and two volunteer fire companies arrived, but their efforts, even in heavy rain, could not prevent two deaths, several injuries and almost total destruction of the theatre. R Fitzgerald bought the site and commissioned the architect J. F. Hilly to design a second Prince of Wales Theatre. Hilly is little known today but in his time he was considered a better architect than the famous Edmund Blacket. Hilly reused the front wall of the first Prince of Wales in the new theatre, which opened in 1863. Like its predecessors, it accommodated the audience on four levels. The auditorium was three metres shallower than in the previous building but the stage was now 30.5 metres deep, framed by a proscenium opening only 9.1 metres wide. The stage equipment was possibly the most up-to-date in Australia. Wing and back flats and borders in grooves were operated by shafts and purchase wheels, drums, winches and pulleys to provide maximum flexibility and simultaneous changing of all flats from scene to scene. There was a mezzanine floor beneath the stage for the operation of traps and a stage cellar below that. The second theatre opened under a firmer arrangement than the first, with W. S. Lyster taking a three year lease and alternating seasons of opera and drama. Fire destroyed the second Prince of Wales Theatre on 6 January 1872. The front wall survived again. A new Theatre Royal opened on the site in December 1875.
Ross Thorne, Prince of Wales Theatre, Companion To Theatre In Australia, 1995, 464
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Theatre at corner of McKenzie and View Streets, opened 1874, seating 2000. Architect: George R. Johnson, superintended by Vahland and Getzschman. Also called New Sandhurst Theatre or Royal Princess's Theatre. Altered to form cinema and theatre 1936. Architects: Cowper, Murphy and Appleford. Demolished 1963.
Soon after the first gold rush in 1851 a few theatres were built in Bendigo, then called Sandhurst. The first was the Royal Theatre in 1854. The Royal Victoria followed in the same year and soon closed. The Criterion Theatre, reported to seat only 350, opened in 1856. All were associated with hotels. In 1874 it was reported that there was no regular theatre in the town but a new one would remedy that.
The new Princess Theatre was behind deep shops, and long corridors reached to the various parts of the house. The axis of the auditorium and stage ran parallel to the street. The auditorium was 24 metres wide by 18 metres deep and the stage, contrary to published dimensions, was only about 18 metres wide by less than 15 metres deep, with a nine-metre-wide proscenium opening flanked by banks of three private boxes. The floor of the pit and stalls appears to have been flat, with 11 posts supporting the dress circle and the gallery above it. Six posts at the edge of the circles continued to support the domed ceiling. During its first 50 years the theatre saw touring companies of entrepreneurs such as William Anderson, Wybert Reeve and J. C. Williamson as well as local performers and oddities like the Egyptian War Diorama in January 1885. In 1936 major alterations to produce an Art Deco cinema and theatre reduced the auditorium to two levels but extended the theatre into a former warehouse behind.
Ross Thorne, Princess Theatre Bendigo, Companion To Theatre In Australia, 1995, 465
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Theatre in Gilles Arcade, Adelaide, opened 11 January 1841, seating c.1000. Closed 28 November 1842. Restored, enlarged and reopened as Royal Victoria Theatre 23 December 1850. Closed 10 November 1851. Reopened 1859. Closed 1868. Proclaimed heritage site 15 April 1994.
The remnants of the Queen’s Theatre, the first building to house continuous theatre in Adelaide, have yielded more architectural elements and artefacts than any other mid-19th century theatre-tavern site in Australia. The theatre held a pit for 700 persons, a dress circle of boxes and an upper circle. Its layout was advanced for the time, with the pit penetrating beneath the dress circle, in a similar way to the then recent Royal Victoria Theatre in Sydney. The brothers Vaiben and Emanuel Solomon spent £10 000 in 1841 to build the Queen’s Theatre, the Shakespeare Tavern – which opened into the auditorium – and five large houses. The theatre was run in a respectable manner by John Lazar but he was forced to close it in November 1842, during an economic depression in South Australia. In 1843 the theatre was converted to a courthouse. When George Coppin arrived in Adelaide in 1846 he found no theatre available, so he arranged with Emanuel Solomon to convert a billiards saloon adjacent to the Shakespeare Tavern into a temporary two-level theatre to house some 900 persons. This New Queen’s Theatre operated until the end of 1850. Edward Snell visited it on 21 November 1850 and noted in his diary that it was ‘a wretched place, only pit and boxes in it and the stage illuminated by 5 foot lights and 2 side lights only. The actors were a set of dull dogs, the scenery was damnable, and the audience a mixture of prostitutes and pickpockets.’
While performing at the New Queen’s Theatre, Coppin and Lazar restored, enlarged and improved the old theatre, after the Supreme Court moved out. It reopened on 23 December 1850 as the Royal Victoria Theatre. It had a new, more imposing front, with applied columns, entablature and pediment, constructed almost 4.2 metres in front of the central portion of the older Georgian-style façade. Architectural fragments of the original Queen’s Theatre still exist – window openings of the first façade and structural timber members cut off at the wall surface, which indicate the dress-circle and gallery levels. Exits from the dress circle to the saloon and tavern bar respectively are discernible. In addition, excavations in 1989-90 revealed walls of the Queen’s Theatre stage and dressing room, the adjoining tavern and the stage and auditorium of the New Queen’s Theatre. Also found were two bases for posts that supported the dress circle and the gallery of the Queen’s, and some 200 artefacts related to the theatre and the tavern. Excavation of the dressing room, stage and orchestra pit revealed grease paint, sequins, military buttons, a Tudor jester’s shoe, candlestick holders, clay pipes, glass bottles and stoneware bottles and shards of crockery.
A plan of the Queen’s Theatre before it was converted to a courthouse shows the auditorium as 16.2 metres long, possibly including the orchestra pit, the stage as 9.1 metres deep, and the whole as 9.8 metres wide. It shows the pit and gallery entrances from Weymouth Street to the front of the auditorium, with rooms behind and along one side of the stage and the Shakespeare tavern along the other side. The press reported that up to 400 persons could pack into the gallery, making the total capacity about 1200.
The gold rush in Victoria in 1851 denuded Adelaide of men and whole families. Deprived of an audience, Coppin became bankrupt and the Royal Victoria Theatre closed in November. It was occasionally used by touring companies until Alex Henderson reopened it permanently in 1859 after minor alterations. It was closed in 1868, just before the new Theatre Royal opened in Hindley Street. The old theatre became successively an extension to the tavern, premises for the City Mission and a horse bazaar. Buyers sat in the dress circle and gallery to study horses paraded in the pit which was paved in bricks. In 1900 the circle and gallery and above-ground stage walls were removed, leaving the building as it is today. The South Australian government has undertaken to preserve it as a state and national heritage item.
Ross Thorne, Queen's Theatre, Companion To Theatre In Australia, 1995, 471-472
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Performing-arts centre in Brisbane, opened 20 April 1985 as part of Queensland Cultural Centre. Concert Hall seats 2000. Cremorne Theatre seats up to 315. Lyric Theatre seats 1000, 1500 or 2000 people on three levels. Architect Robin Gibson. Managed by Queensland Performing Arts Trust.
The last mainland state capital to complete a performing arts complex, Brisbane benefited from the others' experience and obtained good value for the $66 million spent between 1979 and early 1985. The origins of the Queensland Performing Arts Complex date back to 1969, when the state government set up a committee to assess the needs of a new art gallery. In 1973 the architect Robin Gibson won a two-stage limited competition for that building. On 8 November 1974 the government announced that it would establish a cultural centre with a performing-arts complex as its major element. On 16 June 1975 Gibson was appointed to produce a conceptual design for an integrated complex, including the Performing Arts Complex, Queensland Art Gallery, Queensland Museum and State Library. Gibson, the theatre consultant Tom Brown and others produced the planning brief for the Performing Arts Complex in January 1978, and a building contract was let in 1979. The Art Gallery, which opened first, set the pattern by winning an award from the Royal Australian Institute of Architects. Its interior spaces were not lavish, but provided the public with a great feeling of comfort. The foyers, the Concert Hall and the Lyric Theatre continue in this vein, providing a quiet richness more appropriate to a theatrical occasion, yet without architectural gimmicks or postmodern references to past styles.
The Lyric Theatre was designed for current styles of performing opera, ballet and musicals, with a proscenium width of 14.7 metres and depth from house curtain to last flying line of 15.5 metres. The total width of the stage behind the proscenium is 40.5 metres. The almost rectangular auditorium has two balconies of almost equal size, each seating about 500 persons. The rake of each balcony extends in a leg down each side of the auditorium as a modem equivalent of the horseshoe balcony. The colours of Queensland walnut wall panelling and deep rose carpet and upholstery are graded from back to front of the theatre to direct the eye towards the proscenium arch. Opera and dance companies and musical-theatre companies toured by commercial entrepreneurs perform in this theatre.
The Queensland Theatre Company has used the Cremorne Theatre since it opened. It is a studio theatre which can be arranged into any of five modes---cabaret, in-theround, thrust stage, flat-floor concert and single-rake cinema. Its name commemorates an old vaudeville theatre that stood on part of the site from 1911 to 1954.
The two-level Concert Hall is used for events ranging from symphony-orchestra concerts to rock concerts and solo shows by popular entertainers. The whole complex also caters for convivial social occasions through the bar service, a cafe and two restaurants.
Ross Thorne, Queensland Performing Arts Complex, Companion To Theatre In Australia, 1995, 472
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Theatre in Castlereagh Street, Sydney, opened 29 April 1886 as Royal Foresters' Hall, seating 906. Architects: Ellis and Slatyer. Renamed Royal Standard Theatre 8 May 1886. Renamed Empire Theatre 16 March 1901; Standard Theatre 24 November 1906; Little Theatre 22 March 1913; Playhouse 1917. Demolished c.1923.
After nearly 30 years of melodrama, vaudeville, boxing, seances and two-up games, this modest hall-cum-theatre became significant in 1913, when Hugh Buckler and his wife Violet Paget made it the home of their Little Theatre. This company was the first in Sydney to specialise in literary drama, following the lead of the Royal Court Theatre in London and the Birmingham Repertory Theatre. The theatre began as a hall in a building on the western side of Castlereagh Street, south of Bathurst Street. It was erected by the Ancient Order of Foresters, a lodge and friendly society. There was a lodge room behind the dress circle and there were more rooms above the auditorium. According to the NSW Government Architect, the hall was 29.2 metres long by 11 metres wide. The stage was the same width but only 7.6 metres feet deep with a 6.1 metre-wide proscenium opening. The original lessee, Frank Smith, had a slight slope built into the floor. He also had 308 iron tip-up chairs, upholstered in crimson velvet, put into the front stalls and 220 into the dress circle. The rear stalls, occupying less than half of the floor, were 442 hard tip-up seats.
Nine days after the hall opened it was renamed the Royal Standard Theatre for the first stage performance - Alfred Dampier's production of The Phantom Ship, based on the legend of Vanderdecken, the Flying Dutchman. The premiere of For the Term of His Natural Life by Dampier and Thomas Somers followed on 5 June 1886.
In 1901 Fullers' from New Zealand leased the theatre, renovated it and reopened it as the Empire Theatre. Their Empire Minstrel and Variety Company played there for nearly a year. From November 1906 it was called the Standard Theatre and occupied by Harry Clay's Vaudeville Company. In 1913 the theatre, renovated, redecorated and re-seated, reopened as the Little Theatre, 'the Home of High-Class Comedy'. Gone was the 'mouldy, mediocre unloveliness' of the auditorium, said the management, which had installed a tea and coffee lounge beneath the stage so that patrons could exchange ideas after matinee performances. A photograph of the Little Theatre in 1913 corresponds to a description published in 1886 - a three-storey building surmounted by the largest carved stone pediment in Sydney. This displayed rich foliage and the arms of the Foresters' lodge.
During the First World War the lease passed from Hugh Buckler to Sid James, who again renovated the theatre and reopened it as the Playhouse on 29 September 1917, with The New Sin, a play by Basil Macdonald Hastings. Later J. and N. Tait Ltd. took over the Playhouse. It seems to have ended its days with the final performance of the Aussie Smart Set Diggers on 15 January 1921.
Ross Thorne, Royal Standard Theatre, Companion To Theatre In Australia, 1995, 511
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Theatre in Bourke Street, opened 12 April 1841 as Royal Pavilion Saloon. Called Theatre Royal in 1842. Closed and reopened August 1842 as Royal Victoria Theatre. Closed 24 April 1845. Reopened as Canterbury Hall but soon demolished.
Only four years after Melbourne was officially named and planned, Thomas Hodge, or Hodges, built the first theatre. Hodge, whose interest in theatre had arisen from some menial contact with the English actor-manager Charles Kean, was apparently a barman. His employer at the Eagle Inn, J. Jamieson, put up adjoining land and most of the finance for construction of a shed-like timber building measuring 22.5 by 10.5 metres. The Colonial Secretary in Sydney refused Hodge a licence for theatrical performances but the local police magistrate gave permission for musical concerts and the Royal Pavilion Saloon, generally known as the Pavilion, opened on 12 April 1841. The musical performance was 'spiced with low buffoonery, ribaldry and interludes of riot and confusion' and Hodge was imprisoned for infringing a law introduced in the 1820s. George Buckingham offered to organise and direct a company of local players but this was initially unacceptable to the authorities. In December 1841 six leaders of the community formed themselves into a board of stewards to set up an Amateur Theatrical Association to obtain a temporary licence for performances for the benefit of a projected hospital. The Colonial Secretary issued a licence for one month from 24 January 1842. Buckingham prepared the theatre and stage decorations and doubtless rehearsed the casts for amateur performances of Rob Roy and The Widow’s Victim in aid of the hospital fund on 21 February. The theatre was then called the Theatre Royal. It was given a continuous 12-month licence on 8 July and in August it reopened as the Royal Victoria Theatre, sometimes called the Victoria Theatre.
According to vague descriptions, the dress boxes were so low that occupants could bend and touch people in the pit, so the floor of the dress circle must have been at stage level, in Georgian style. An unstable ladder-like stair led to an upper circle of small pens graced with the name of boxes. The partitions between them were soon removed to form a more conventional gallery. The theatre leaked and it was so unstable that it swayed in a wind. Inebriated 'swells' once attempted to capsize it by applying brute force beneath the floor. Successive managers, Buckingham, Conrad Knowles and Samson Cameron were all criticised for poorly prepared actors and riotous behaviour in the audience. Three days after the opening of the more substantial Queen’s Theatre Royal the Royal Victoria was closed.
Ross Thorne, Royal Victoria Theatre Melbourne, Companion To Theatre In Australia, 1995, 511
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Theatre in Pitt Street, 26 March 1838, seating 1900 in four tiers. Architect: Henry Robertson. Auditorium rebuilt in three tiers for reopening on 2 December 1865. Destroyed by fire 22 July 1880.
For most of its existence the Royal Victoria Theatre was Sydney’s largest and most important theatre. Joseph Wyatt decided to build it in mid-1836, shortly after he became sole lessee of Barnett Levey’s Theatre Royal and on 7 September the foundation stone was laid, on the western side of Pitt Street, between King and Market Streets. The architect, Henry Robertson designed a building in the Regency colonial style – a restrained, three-storey façade with pilasters above the ground floor topped by an entablature and modest cornice. His early sketches of the elevation, published prior to construction, have been misinterpreted as representing the Theatre Royal. The front section of the Royal Victoria housed a hotel and a shop. Entry to the more expensive seats was between the hotel bar and the shop, while patrons reached the cheaper seats down a side alleyway. The interior broke with Georgian tradition and heralded the Regency style of theatre design. The Royal Victoria was the first theatre in Australia to have the ground-floor pit extend beneath a dress circle raised above stage level. Above the dress circle were a family circle and a gallery – four tiers in all. There was a splayed-arch proscenium but Georgian proscenium doors for actors’ entry to the stage were retained until 1854, when they gave way to proscenium boxes. The Georgian scene-changing system of wing flats and shutters in sliding grooves was also installed.
Drawings in the Mitchell Library (Sydney) show the auditorium to have been 16.75 metres long by 15 metres wide buy 11.38 metres high. The stage apron was 3.05 metres deep and the depth from the curtain line to the rear stage was 12.42 metres. In 1840, for Edward Fitzball’s play The Flying Dutchman, an opening 4.72 metres wide was made in the rear stage wall to allow scenic vistas for a further 15.24 metres in depth. At first the theatre was lit by Argand oil lamps but in 1841 gas lighting, fed by a private gas generator on site, was installed in the auditorium.
The Royal Victoria opened on 26 March 1838 with Othello followed by the farce The Middy Ashore. Complaints that Wyatt had a monopoly subsided when George Coppin took over the theatre for a season in 1843. Wyatt and his wife Rachael sold the land on which the theatre stood on 5 November 1847 and then leased back the building on 4 January 1849. On 31 December 1851 they sub-leased the hotel part to Andrew Torning. In 1854 Wyatt was unable to renew the lease on favourable terms and Torning became the lessee at the start of September. Wyatt decided to build the Prince of Wales Theatre, which gave the Royal Victoria its first real opposition. Later lessees of the Royal Victoria included Samuel Colville from 1 October 1859, R. Tolano from 2 December 1865 and Coppin for six months in 1867. In 1865 the auditorium was gutted and rebuilt with only three tiers, which reduced the capacity from the original 1900 or more persons and improved comfort and safety. Until its destruction in 1880 the Royal Victoria continued to be upgraded and redecorated – 20 times in all – and to house leading performers. In the 1850’s Clarance Holt and his wife, Richard Stewart and the Australian tragedian H.N. Warner performed there. The 1860s included two seasons by Charles and Ellen Kean, and the 1870s saw William Creswick, Alfred Dampier, George Darrell in his own Transported for Life and other works, Bland Holt and Adelaide Ristori at the Royal Victoria.
Ross Thorne, Royal Victoria Theatre Sydney, Companion To Theatre In Australia, 1995, 512
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Theatre in Russell Street, Melbourne. Converted from church and opened as theatre seating 374, 1944. First used by Union Theatre Repertory Company 20 July 1960. Altered to seat 416 - later reduced to 394 - and reopened by Melbourne Theatre Company 12 February 1968. Architect: Robin Boyd.
Australia's oldest existing professional theatre company, the Melbourne Theatre Company made the Russell Street Theatre its home during a period of consolidation and development in the 1960s and has remained there ever since. The building in downtown Russell Street was a church until the Victorian Council for Adult Education took it over in 1944 and converted it for amateur theatrical performances. In the late 1950s audiences for amateurs were falling away and the Union Theatre Repertory Company was seeking premises off the University of Melbourne campus. It presented a revue at Russell Street for a month in 1960 and next year it began a six-month season there. The company left the university at the end of 1965 and moved to Russell Street full time in 1966. Between the 1967 and 1968 seasons the architect Robin Boyd remodelled the converted church into a delightfully intimate theatre. The capacity was increased by the addition of two boxes each seating 15 persons, at the rear of the raked stalls and a small central balcony - virtually another box – seating about 12 and filling one-third of the auditorium width. The proscenium stage, lacking a fly tower, was cleverly designed to minimise separation of the audience from the action. A wall-covering pattern reproducing the company's new symbol in a variety of sizes enriched the red-toned auditorium. The company reopened the theatre with The Crucible by Arthur Miller - its first performance as the Melbourne Theatre Company. The company intended to use the theatre only until the larger Playhouse at the Victorian Arts Centre was available in the mid-1970s, but it had to wait until 1984 for that theatre. Since then it has retained the Russell Street Theatre as its second venue. The theatre was redecorated in greys in 1989.
Ross Thorne, Russell Street Theatre, Companion To Theatre In Australia, 1995, 514
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Performing-arts centre on Darlington campus of University of Sydney, opened September 1975. Architects: Allen, Jack and Cottier. Contains thrust-stage York Theatre, seating 788; end-stage Everest Theatre for music and dance, seating 600; Downstairs studio theatre, seating up to 200.
Metropolitan theatres derive their image from the type of shows performed in them, their district or the sense of occasion they engender but none such distinction serves the Seymour Theatre Centre. It houses a wide range of shows and it is a kilometre from the central business district. In many ways it is like a performing-arts centre in a large country town, but without the local status.
The centre commemorates Everest York Seymour, who developed a chain of shops, bred cattle and took an interest in the arts. When he died in 1966, aged 60, he left the Sydney City Council $4 million for the 'purchase or construction of a building as a centre for the cultivation, education and performance of the musical and dramatic arts befitting the City of Sydney'. No money was provided for maintenance or performances. Building costs virtually meant that the recipient of the bequest would have to provide the land for a new building. The University of Sydney, apparently the only organisation within the city able and willing to provide the land and infrastructure, obtained the funds.
The Seymour Centre was designed to supplement the city's theatres with a fully-equipped thrust-stage theatre, a medium-capacity concert hall-theatre with good acoustics, and an adaptable studio theatre. Its success has varied, in the case of the York Theatre partly because of the dull brick and concrete architectural style and the black interior, so loved by directors, and partly because of the lack of a permanent vibrant company. From 1984 to 1987 the Nimrod Theatre Company was resident in the York. The seating capacity made viable such productions as Arthur Miller's Death of a Salesman with Warren Mitchell and Mel Gibson, but the style of acting contrasted unfavourably with the informal style which the company had been identified in the smaller Nimrod Theatre. Some actors have found the actor-audience relationship demanding and alienating, but on occasion it could not be bettered, as with the commercial productions of Nell Dunn's Steaming and Claire Luckham's Trafford Tanzi. The York is mostly used for touring productions of drama, comedy, musicals and dance. The Everest Theatre has been modified for dance and musical theatre as well as concerts.
Ross Thorne, Seymour Theatre Centre, Companion To Theatre In Australia, 1995, 521
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Theatre in Sydney, in premises of Robert Sidaway, managed by John Sparrow. Opened 16 January 1796.
The evidence is scanty, but it is known that the first theatre building in Australia, known simply as the Theatre, existed somewhere in little Sydney Town at the end of the 18th century. The prices show that it had four divisions in its auditorium - pit, front boxes and gallery. Other descriptions published since the mid-19th century have been based on circumstantial evidence or conjecture. The facts revealed by research so far come from a description by David Collins, Judge-Advocate of NSW, at the time of the first performance in the Theatre; reports printed in a couple of contemporary British journals; and a few playbills in the Mitchell Library in Sydney. For a century writers have argued whether Sidaway's theatre was near the bakery where he made the colony's bread - somewhere east of Bell Row, now Bligh Street – or near his home off High Street (now George Street), near present-day Jamison Street. Some have assumed that he built the theatre for the cost of £100 cited in one report, yet Collins's words were: ' ... some of the more decent class of prisoners ... obtained permission to prepare a play-house... [and] they had fitted up the house with more theatrical propriety than could have been expected'. Given the costs of the time, £100 would not have been enough to build a theatre from scratch. Furthermore, 'prepare' does not generally indicate 'erect' or 'construct' a whole building. It is likely that the theatre was in existing premises.
Collins wrote of a benefit for widow Eades and her family: 'The house was full, and it was said that she got upwards of twelve pounds by the night'. Paul McGuire, in his book The Australian Theatre, assumed that this meant the takings for the night were £12 and, calculating loosely from the seat prices, he deduced that the theatre held 120 persons. A beneficiary, however, generally gained the takings less expenses, so £12 would have been yielded by a performance before many more than 120 persons. The design of the interior, with its four divisions, is also uncertain. It may have been laid out in typical Georgian style on two levels, rough-hewn like the theatre shown in J. Wright's 1788 engraving of W. R. Pyne's painting Macbeth in a Barn rather than a typical English provincial theatre. Or it may have been on one raked level, like the fit-ups in barns in which English touring companies played where there was no dedicated theatre; George Coppin describes these temporary theatres in his autobiography. If Sidaway's theatre was of the latter type, this would account for its having been 'dismantled' in 1798, on the orders of Governor John Hunter, and its having existed again in 1799 and 1800.
The Theatre's existence was chequered largely because there was a shortage of money in the colony and goods-in-kind were accepted in place of the one to five shillings charged for admission. A contemporary report claims that while the people of Sydney - mostly convicts and emancipists - were at the theatre, other convicts ransacked their houses.
Ross Thorne, Sidaway's Theatre, Companion To Theatre In Australia, 1995, 529
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Theatre in Nimrod Street, Darlinghurst, Sydney. Opened 2 December 1970 as Nimrod Street Theatre, sealing 140, Renamed The Loft 1974, Stables Theatre 1975.
Since 1970 this little theatre has seen the most innovative and exciting productions in Sydney, especially of Australian plays. It was founded by the actor John Bell and Ken Horler and his wife Lilian, who became business manager. Ken Horler, a lawyer, had been passionately interested in theatre since he and Bell were both in the Sydney University Players. The small, austere building, more than 100 years old, had been a stables for delivery and cab horses, a garage for taxis and a gymnasium. With some money from Horler, members of the proposed company worked unpaid to convert the building into a small, primitive theatre. Double coach-house doors opened into a brick-paved, barn-like foyer. A stair led to a triangular loft, two sides of which contained raked hard wooden benches. The remaining side, which formed the acting area, had a post dead-centre, supporting the low roof. Despite, or even because of these restrictions, the Nimrod mounted extraordinary productions in the theatre. It opened with Biggles, a satire on Returned Services League clubs by Ron Blair, Michael Boddy and Marcus Cooney, and it developed works by Blair, Alex Buzo and others in rough, larrikin style. Two high points were David Williamson's The Removalists, which left members of the audience as emotionally wrung out as if they had experienced police arrogance and brutality at first hand, and the memorable premiere of Peter Kenna's A Hard God. After only three years the company decided it needed double the audience capacity of 140, and in May 1974 moved to a new theatre, now called the Belvoir Street Theatre, in Surry Hills. The old theatre was renamed the Loft for a short period during which it was rented to alternative-theatre groups. The dramatist Bob Ellis bought the theatre in late 1975 and renamed it the Stables Theatre. The Griffin Theatre Company took up permanent residence in 1980. It was still there when Ellis put the theatre up for sale in 1985. The theatre was threatened with destruction. In 1987, however, a theatrical philanthropist, Dr Rodney Seaborn, established a family foundation, the Seaborn, Broughton and Walford Foundation, to buy and improve the building. In 1988 the roof was raised-enabling patrons in the back seats to stand up straight when the performance ended - and supported with trusses to eliminate the centre-stage post. Air-conditioning was installed and the seating was made more comfortable. The early works of Grant Fraser, Michael Gow, Gordon Graham and Hannie Rayson were performed at the Stables.
Ross Thorne, Stables Theatre, Companion To Theatre In Australia, 544
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Performing-arts centre on Bennelong Point, opened 28 September 1973. Architects: Joern Utzon, stages 1 and 2, 1957-66; Peter Hall, Lionel Todd and David Littlemore in association with NSW Government Architect, E. H. Farmer, stage 3, 1966-73: Originally comprised Concert Hall seating 2690, Opera Theatre seating 1550, Drama Theatre seating 544, Music Room seating 419 and Recording Hall seating 300. Recording Hall became Broadwalk Studio April 1986. Music Room became Playhouse November 1983.
Whatever the problems of design, cost and function before and after its completion, the Sydney Opera House is a major architectural achievement. Its unique site and exterior design have made it the sight tourists most wish to see in Australia. It has become a symbol and a centre for civic events in Sydney. It gave patrons of the performing arts facilities that remain far superior to any others in Sydney, and this has helped to generate a considerable increase in audiences, especially for drama and opera. It has been the principal venue for the Sydney Theatre Company and its predecessor, the Old Tote Theatre Company.
The Sydney Opera House was the most complex structure proposed for Sydney, perhaps anywhere in Australia, since the Harbour Bridge was built in 1927-32. In 1954, after several years' discussion about a venue for concerts and opera, the NSW government resolved to build a music centre on Bennelong Point. It was to comprise a large concert hall, seating about 3000 persons, that could be converted for performances of opera, and a small multipurpose theatre for chamber opera and drama, to seat 1200.
Sir Eugene Goossens has been credited with promoting the idea when he was director of the NSW State Conservatorium of Music and conductor of the Sydney Symphony Orchestra, but students at the University of Sydney School of Architecture had a project to design an opera house on Bennelong Point in 1947 and another in 1951, which was exhibited in a department store.
An international architectural competition was held in 1956, judged by Professor H. Ingham Ashworth of Sydney, Professor Leslie Martin of Cambridge (England), the American architect Eero Saarinen and the NSW Government Architect, Cobden Parkes. From 222 entries they chose a design by a 38-year-old Dane, Joern Utzon. It was so sketchy that a perspective drawing had to be made by a local architect before it could be exhibited and a local quantity surveyor had to make a rough estimate of cost. As with many competitions, imagination mattered more than strict conformation to specifications. It is usually argued that because competition designs are hardly more than architectural ideas, it is less important to select a design than to select a designer who will produce a superior building.
In the event there was probably more controversy during the construction of the Sydney Opera House than any other building in Australia. A change of government from Labor to Liberal, changes in the design brief, the lack of a theatre consultant, rising costs, the forced resignation of the architect in 1966, and the appointment of a consortium of architects to complete the design, mostly the interior, all contributed to a first-rate public scandal. The architect, the government and the committee set up to act on its behalf all have been criticised for their actions and their organisation of the job. The government produced a poor design brief for the building and insisted on the work beginning before the design had been satisfactorily developed or proper costing done. The Public Works Department's procedures of calling for public tender were incompatible with Utzon's need to work with manufacturers on the mass production of revolutionary components. A new government in 1966 reviewed and changed the design brief, causing considerable redesign of the interiors to produce the present spaces.
The space originally intended to house the auditorium and fly-tower stage of the main theatre was converted to a concert hall. The space beneath the stage, originally to be occupied by machinery for moving scenery, was converted to the Recording Hall. The original space for chamber opera and drama had to be 'stretched' to become the Opera Theatre - in which 98 seats have poor views of the stage. A space allocated for an 'experimental' theatre became the Drama Theatre. For years designers and directors had difficulty in filling its wide low-proscenium stage with setting and action. The Music Room quickly became a cinema for art films, and when the Ensemble Theatre Company found a home there during rebuilding of its premises, it became the Playhouse, now used by entrepreneurs. Apart from these five auditoria there is the Reception Hall, which accommodates 200 persons.
The Sydney Opera House was Sydney's first theatre in the 20th century to provide bars serving alcoholic drinks in the foyer. The management has fostered catering as well as performance. Soon after the opening of a restaurant and a harbour-side cafeteria, it converted part of the box-office lobby into a cafe. Alterations to the forecourt in 1986-88 added a third restaurant as well as shops and a new pedestrian concourse. The management also hires out the harbour-side foyers of the concert hall and the opera theatre for luncheons and other functions. All this and the bar trade provide more income than the box office.
Ross Thorne, Sydney Opera House, Companion To Theatre In Australia, 1995, 571
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Ross Thorne, Sydney’s Lost Theatres, Theatre Australia, 4, 1 and 2, August 1979, 14-15, 13-14
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Ross Thorne, Sydney’s Theatres Parts 1 and 2, Theatre Australia, 1, 1 and 2, November 1977, 22-23, 22-23
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Ross Thorne, Theatre buildings as one indicator of the social history of Australia., Architecture Australia, 68, 4, September 1979
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Theatre in Hindley Street, opened 13 April 1868, seating 894. Architect: Thomas English. Enlarged to seat 3000 and reopened 2 March 1878. Architect: George Johnson. Remodelled, reopened 11 April 1914. Architect: William Pitt jnr. Closed 1959. Demolished 1962.
From the 1880s until its closure in 1959 the first Theatre Royal was the Adelaide showplace of J.C. Williamson’s and its forerunners. When it opened in 1868 Samuel Lazar, J. T. Sagar and J. M. Wendt owned it and George Coppin leased and directed it. The new theatre was an improvement on others in Adelaide, although its auditorium was quite small – 15.3 metres long by 13.8 metres wide by 10.8 metres high. Into this were squeezed the pit and stalls, holding 614 persons, a dress circle seating 200, and a gallery seating 480. The stage was 13.8 metres wide by 16.2 metres deep and fully equipped with traps. The scenery was the traditional system of sliding wings and shutters, with borders that could be raised out of sight, all worked by pulleys and drums. One bar served pit and stalls patrons, and dress-circle patrons had exclusive use of a second bar and a billiards room, adjoining a large saloon. At the foot of the gallery stairs there was a third bar, reached by passing through a restaurant from a separate entrance. When the theatre was rebuilt in 1878 some of the original facade may have been retained but two-thirds of it was a new and far more imposing neoclassical section. This was symmetrical in itself, with a tripartite first-floor facade of pilasters, pedimented windows, entablature, and a deep cornice, over which was a large central pediment in front of a balustraded parapet wall. The interior was among the earliest in Australia to conform to the new Victorian style. The auditorium, enlarged to 21.9 metres wide by 21 metres deep, housed 3000 people on three levels. The stage was increased in size and the proscenium, widened from 7.5 to 9 metres, was designed like a picture frame. Gas lighting was installed, with the new pilot-light system which permitted lights to be turned off during performances. Separate entries to the various parts of the house still enforced the separation of social classes, to the gratification of a reviewer in South Australian Register who referred to pit and gallery patrons as the 'great unwashed' with 'playful eccentricities'. The 1878 auditorium, as in the original building, had three boxes, one above the other in a narrow band directly in front of the proscenium. When William Pitt jnr altered the auditorium in 1914 he designed a very deep proscenium with a splayed-arch sounding board and four private boxes on each side in two banks of two, all decorated in heavily modelled French rococo. Unfortunately the elderly Pitt had not kept his engineering skills up to date, so the tiers were still supported by six posts. By the mid-20th century, audiences resented these as unnecessary obstructions. In 1959 J.C. Williamson's found it a better proposition to buy and remodel the Tivoli Theatre, now Her Majesty’s Theatre, than to modernise the Theatre Royal.
Ross Thorne, Theatre Royal Adelaide, Companion To Theatre In Australia, 1995, 582
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Theatre in Elizabeth Street, opened January 1865 as Mason's Concert Hall. Architect: W. Coote. Name later alternated between Victoria Concert Hall and Victoria Theatre. Renovated, reopened on 21 April 1874 as Queensland Theatre. Rebuilt and reopened on 18 April 1881 as Theatre Royal, seating 1350. Improved with electric lighting and redecoration 1911. Closed 19 December 1959 and converted to cabaret and orchestral rehearsal room.
The first true theatre in Brisbane began as a one-level hall behind the Victoria Hotel. A photograph of the old hotel shows 'Theatre Royal Est'd 1863' in plasterwork above the cornice, but the publican George B. Mason did not open the simple concert hall that became the theatre until early 1865. There were dress seats, stalls and pit on the flat floor, but there was neither gallery nor boxes. The stage appeared 'to be well adapted for theatrical representation', said a correspondent in the Brisbane Courier. The theatre was first advertised as the Victoria Theatre on 30 September 1865, but patronage seems to have been mediocre. After the theatre reopened as the Queensland Theatre on 21 April 1874, the Brisbane Courier said the formerly 'dingy and cellar-like' house had been considerably improved. It had a raked floor, a new proscenium, a new gas sunlight, lighter colours and generally increased comfort. The newspapers still did not consider it a good theatre, however. The whole building appears to have been rebuilt from the street backwards in 1881, parts of the hotel becoming integral with the theatre as refreshment and smoking rooms. Both hotel and theatre were named Royal. The theatre housed 350 in the dress circle, 250 in the stalls and 750 in the pit. The newspapers rated it suitable for a city of nearly 30,000 inhabitants. It was rather austere, with numerous closely spaced posts supporting the circle. From 1900 until the Second World War its uses fluctuated between vaudeville and popular light drama. It was in the Brennan Vaudeville Circuit for a period after the 1911 refurbishment. During the Second World War it was a theatre for the American armed forces. It returned to vaudeville in 1948 under the direction of George Wallace jnr, but his weekly-change shows lost popularity after television began in Brisbane and it soon closed.
Ross Thorne, Theatre Royal Brisbane, Companion To Theatre In Australia, 1995, 583
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Theatre opened c.1852. Front portion rebuilt as hotel 1856. Destroyed by fire and immediately rebuilt 1857. Gutted by fire and rebuilt as two-level theatre in 1887 Remodelled as cinema in 1930s.
For more than 130 years there has almost continuously been a place of entertainment on the site of the Theatre Royal in the old gold town of Castlemaine. The first building was made of timber and canvas, but some fragments of masonry walls of the 1857 and 1887 rebuildings remain in the present theatre. A photograph of the interior after the 1887 rebuilding shows a deep horseshoe balcony with a Regency-style deep proscenium, in which there are traditional stage doors and small boxes above. This interior disappeared when the theatre was redecorated in Art Deco style inside and outside in the 1930s. It is used for cinema, live theatre and disco.
Ross Thorne, Theatre Royal Castlemaine, Companion To Theatre In Australia, 1995, 583
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Theatre in St John Street, opened 1857, seating 800. Architect: W. H. Clayton. Partly rebuilt in 1878 and thereafter known variously as Gaiety Theatre, Empire Theatre and Lyceum Theatre. Now Lyceum Hall, used as craft shop.
Possibly the oldest little-altered theatrical structure in Australia is the two-storey Lyceum Hall in Launceston (Tas.). It was built in 1856 by the Manchester Unity Independent Order of Odd Fellows as members' rooms and offices, with a hall in the upper storey. Like many such halls, it would have been fitted up with a temporary or semipermanent stage and dressing rooms in front of the rear windows. The ground floor has been gutted for modem shops but the second-storey front and rear facades retain the windows that originally illuminated the simple, high-ceilinged rectangular hall. A straight stair from a rear lane enters one side of the hall. The original stair came from the main entrance on the ground floor and turned. As the Theatre Royal from 1857 to 1878 the hall saw major touring performers such as G. V. Brooke, Sir William and Lady Don, Charles Poole's dramatic company and W. S. Lyster's Royal Italian and English Opera Company. The building became the property of the Bank of Tasmania in 1872 and was partly rebuilt in 1878. After this it seems to have housed mainly variety. From about 1892 to 1910 the hall was one of four in Launceston that were fitted up for theatrical performances. The others were the Academy of Music, the Albert Hall and the Mechanics' Institute. The Theatre Royal was the home of Todd's (Lyceum) Pictures from early in the 20th century until 1921, when it became the Lyceum Billiard Saloon.
Ross Thorne, Theatre Royal Launceston, Companion To Theatre In Australia, 1995, 584
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Theatre in Bourke Street, opened 16 July 1855. Architect: J. R. Burns. Seated 3300 persons in four levels. Destroyed by fire March 20 1872. Rebuilt and reopened 6 November 1872. Architect George Browne. Seated nearly 4000. Redesigned by William Pitt Jnr. as three-level auditorium 1904. Closed 17 November 1933 and demolished to make way for department store.
Built in 1854-55, only two decades after the first settlement of Melbourne, this large, substantial theatre rivalled the Theatres Royal at Covent Garden and Drury Lane in London in the sizes of its auditorium and stage. The auditorium was 19.2 metres wide by 22.8 metres from the rear to the stage curtain line. The stage was 26.4 metres from the same curtain line to its rear wall, with a 3.6 metre apron projecting into the auditorium. The stalls-pit floor extended to the boundary walls of the auditorium, with posts supporting three balconies, all rather cramped in height. In front of the theatre was a lofty two-storey hotel in a heavy early-Victorian neoclassical style. The theatre, owned by John Black, was largely an optimistic extravagance for the young town, even with the influx of residents and itinerants brought by the Victorian gold rushes. A year after Black opened the Theatre Royal with R. B. Sheridan's The School for Scandal, he went bankrupt and was forced to sell it for £21 000, about one-quarter of the cost of building it. The actor G. V. Brooke and the actor-manager George Coppin bought the theatre, but it was rarely profitable to them or various lessees. In 1861 the theatre came under the control of Ambrose Kyte and then returned to Coppin.
After fire destroyed the building in 1872 Coppin rebuilt the theatre with a high three-storey hotel in front, designed in rococo Victorian style and surmounted by a huge royal coat of arms. The architect George Browne increased the depth and height of the auditorium to 25.5 metres and 18 metres respectively and increased the capacity to nearly 4000 people. The stage was deepened to 36 metres. There was a huge gas chandelier in a 12.6 metre diameter dome, painted with scenes of Melbourne and London. In 1880 the proscenium was brought forward to eliminate the stage apron. Yet even with these improvements Dion Boucicault in 1885 found the theatre to be large, dusty and primitive, with poor audience accommodation and wretched backstage arrangements for the actors.
Coppin operated the theatre in partnership with Henry Harwood, John Hennings and Richard Stewart until it was taken over by Williamson, Garner and Musgrove. This firm and its successors ran until the Great Depression, when it was sold as a redevelopment site. In 1904 J. C. Williamson had the auditorium gutted and redesigned by William Pitt Jnr with only three levels, but still with a forest of posts. As the Williamson company's premier theatre in Melbourne, the Theatre Royal mainly housed major overseas companies and opera and operetta productions.
Ross Thorne, Theatre Royal Melbourne, Companion To Theatre In Australia, 1995, 584
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Theatre in George Street, opened 5 October 1833. Seated about 900.Closed September 1838. Destroyed by fire 17-18 March 1840.
The first continuously licensed permanent theatre Australia, the Theatre Royal was the brainchild of Barnet Levey, an amateur singer of comic songs. In April 1826 he began a building spree on the eastern side of George Street between King and Market Streets. The first structure was to be the Colchester Warehouse, which would include a two-tier theatre, with one floor of grain storage beneath it and two above. During 1827 Levey was preoccupied with building a windmill atop the warehouse and commencing a new building between the warehouse and George Street. This building, which was attached to the warehouse, was at first noted as being a dwelling, purportedly designed by the architect Francis Greenway. By mid-1828 the 'dwelling house' was being roofed and the theatre was being prepared. It then emerged that Levey did not possess title to the land on which the warehouse was built. Part of the 'dwelling house' was opened as the Royal Hotel in March 1829 and Levey obtained a licence to hold balls, dances and concerts at the hotel, but he appears to have transferred the concerts to the theatre in the warehouse, which was first used on 24 August 1829. Then he went further and performed dramatic sketches at an 'at-home'. This riled Governor Ralph Darling and he further restricted Levey's licence for balls and concerts when it was renewed on 1 January 1830. Unable to use the theatre for theatrical performances, Levey advertised the concerts that he held there as being in the Royal Assembly Rooms.
On 18 December 1830 the hotel and warehouse, including the theatre, were sold by order of the mortgagee. The purchaser transferred the title to the former mortgagee, Daniel Cooper. He employed John Verge, architect and builder, to refit the theatre and enlarge it by adding a third tier in place of a storage floor above. The hotel in front was to be completed and include an 'orchestra surmounted by the royal arms' in the saloon, for concerts. George Sippe, the new licensee, reopened the hotel in September 1831.
Levey leased the theatre and the saloon of the hotel and obtained a licence under a new governor to hold at-homes, including theatrical sketches, in the saloon until work on the theatre was completed. Newspaper reports of the time are confusing as to whether Levey held his at-homes in the saloon or the theatre, but it is clear that the saloon was fitted up with a 'tasty stage' and 'a tier of boxes' for a performance of Douglas Jerrold's Black-Eyed Susan on 26 December 1832. Regular performances were given in this temporary abode until the beginning of June 1833. Finally the new three-tier theatre within the warehouse was completed. It opened on 5 October 1833 with a melodrama, The Miller and His Men, followed by a farce, The Irishman in London. With the exception of an additional tier of audience accommodation, in dimensions and style the theatre was similar to the Georgian Theatre at Richmond in Yorkshire - two tiers of narrow boxes, the lower at the level of the stage, and one tier of gallery, including side slips over the boxes. These, together with the stage, were arranged in a rectangle enclosing a raked pit. The pit and the three tiers above it were contained within a height of 8.8 metres. The theatre was 26 metres long, including the stage, and about 9.7 metres wide. The space for each person at that time was about half today's allowance, so the capacity would have been about 900 persons.
Management fluctuated between Levey and Joseph Simmons until June 1836, when Conrad Knowles took control as actor-manager until early February 1837. There were consistent complaints of imperfect preparation of plays even after Levey reopened in April 1837. Thomas Simes became manager in May. Levey died on 2 October 1837. His wife Sarah took over the management, with the stage under John Lazar's control, but closed the theatre without notice just before Joseph Wyatt opened the Royal Victoria Theatre on 26 March 1838. She continued to occupy the building, and its owner, Daniel Cooper, sued her in September 1838. He won an action for ejection, leaving him free to lease or sell the building to someone else. Wyatt bought all the buildings on 2 January 1839.
Ross Thorne, Theatre Royal Sydney 1833-38, Companion To Theatre In Australia, 1995, 585-586
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Theatre in Castlereagh Street, opened 11 December 1875. Architect: J. F. Hilly. Auditorium damaged by fire 17 June 1892. Reopened 2 January 1893. Closed 29 April 1972 and demolished. Replaced by new Theatre Royal in King Street, opened 23 January 1976. Architect: Harry Seidler.
After fire destroyed the second Prince of Wales Theatre in January 1872 its architect, J. F. Hilly, was commissioned to design the third theatre on the site, the Theatre Royal. He reused the Castlereagh Street front of the Prince of Wales Theatre. The stage was reduced to 20.1 metres in depth and the auditorium was slightly increased to 21.3 metres by 18.3 metres. It seated only about 1500 people in comfort, in three levels instead of four. The groove system of scene-changing remained. The outer walls were brick and the posts and basic framing were cast-iron but the interior was still lined in timber with canvas affixed as the base for painted and modelled decoration. The theatre opened under the lesseeship of Samuel Lazar, who offered fairly eclectic fare, ranging from classical drama with Mary Scott-Siddons and later George Rignold, through Alfred Dampier's dramas to the London Comedy Company and the Emily Soldene Opera-Bouffe Company. The theatre was refurbished in 1882, when Williamson, Garner and Musgrove took it over. In 1883 electricity was installed. This allowed the auditorium to be plunged into darkness, producing a 'peepshow stage', which quickly became the new tradition for proscenium-stage theatres. Fire damaged the auditorium on 17 June 1892, leaving the canvas hanging in shreds. The theatre reopened on 2 January 1893 with the stage-house raised to provide full height flying facilities. About 1897 the freehold came into the hands of Gustave Ramaciotti. Stars who appeared at the Theatre Royal in the late 19th and early 20th centuries included Sarah Bernhardt, Dion Boucicault and Nellie Stewart. The theatre housed vaudeville in the 1920s. In 1921 the architect Henry E. White redesigned the facade in an Edwardian style, foyers in classical style and an auditorium, again on three levels, in classical Adam style. There was now only one post in the stalls instead of 13. Lewis Casson and Sybil Thorndike acted there in 1932 but the Theatre Royal was largely given over to musicals during the Great Depression. By the end of 1935 it and the Tivoli Theatre were the only live theatres in Sydney.
The Ramaciotti family sold the theatre to developers in 1969 and closure became imminent in 1972. John Tasker tried to save the theatre by organising a small committee of interested citizens, including Jack Mundey, president of the Builders' Labourers Federation. After public meetings, protests and a building workers' ban on demolition, the developer signed an undertaking on behalf of the owners of the site that the MLC Centre would incorporate a new fully professional theatre, seating no fewer than 1000 persons - the old theatre then held 1292 persons. It was agreed to retain items from the old theatre for 'possible inclusion in the new theatre'. These items are not in the new Theatre Royal and no-one knows where they are. The last performance before the old theatre was demolished ended a Shakespeare season by the Prospect Theatre Company from England. The new Theatre Royal, turned 90 degrees to face King Street, seats its audience on two levels, facing an unadorned proscenium. The musicals Cats and Les Miserables had long runs at the theatre.
Ross Thorne, Theatre Royal Sydney 1875-1972, 1976-, Companion To Theatre In Australia, 1995, 586
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Two theatres in Albert Square, Brisbane, opened 15 May 1915. Comprised three-level proscenium theatre seating 1800 and Roof Garden Theatre seating 1200. Architect: Henry E. White. Reconstructed as two-level cinema 1927. Architects: Kaberry and Chard. Closed 17 June 1965 and demolished.
In 1914 Henry E. White was reported to be designing 'more theatres than all the other architects in Australasia'. One was the Tivoli Theatre in Brisbane for Hugh D. McIntosh's Rickards Tivoli Theatres Ltd. The exterior was in a style variously referred to as Art Nouveau and Spanish. The interior was in White's 'Louis Seize' style, very similar to Her Majesty's Theatre in Wellington (New Zealand), which he had designed in 1911. The main auditorium, 19.2 metres square, was on three levels, each containing two private boxes within a deep proscenium. The stage was 19.2 metres wide by 11.4 metres deep, with a skimpy fly tower. There was a minuscule vestibule - no foyer - to the street. Above this was the one-level Roof Garden Theatre with a shallow stage – 4.5 metres deep - with no fly tower. The auditorium had a latticed ceiling and wide side-wall shutters that could be raised to expose potted plants and creepers and the subtropical night. The Roof Garden Theatre remained largely unaltered when Union Theatres had the main vaudeville theatre reconstructed as a two-level cinema. The stage depth was halved to 4.8 metres, the old proscenium firewall was removed and the two tiers above the stalls were removed and replaced by a circle extending back to the front wall of the building over the circle foyer. Every wall and ceiling surface was decorated in a semi-classical picture-palace style with false window-backed balconies along the side walls, and dropped-dome and chandelier on the ceiling. The exterior remained unchanged until the theatre, bought by the City of Brisbane in 1963, was closed in 1965 and demolished to make way for a city square.
Ross Thorne, Tivoli Theatre Brisbane, Companion To Theatre In Australia, 1995, 604
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Theatre in Bourke Street, opened as Prince of Wales Theatre 24 August 1872. Architect: George Johnson. Became known as Prince of Wales Opera House. Renamed Her Majesty's Opera House September 1884. Renamed Alhambra Theatre 1893. Lost licence 1899. Rebuilt as Opera House, opened 18 May 1901, seating 1539. Architect: William Pitt jnr. Renamed Tivoli Theatre 1912. Auditorium rebuilt 1956. Architect: Dudley Ward. Closed 2 April 1966. Interior destroyed by fire April 1967. Theatre sold as redevelopment site in 1969.
The laissez-faire attitude to safety in theatre design adopted by entrepreneurs and licensing authorities alike in the late 19th century was strikingly exemplified in the Prince of Wales Theatre in Melbourne. It stood on a site that was initially occupied by the Australia Hall, built above a stable in 1866. By the end of the year it was referred to as the Varieties. Singers, instrumentalists and comedians performed on a rough platform at one end of an 'unprepossessing chamber' furnished with tables and chairs and served by two bars in the style of an English music hall. The hall, renamed the Opera Comique in 1869, was destroyed in a fire on 5 July 1870.
On 27 December 1871 the architect George Johnson submitted plans for a theatre on the site to the Victorian Board of Health, the licensing authority. Johnson estimated a capacity of 3000 persons. Each would have had little more than a quarter of a square metre, and the board's inspector believed that 2200 would be more appropriate. In building the Prince of Wales Theatre, it seems, the old rubble stone outer walls of previous buildings on the site were reused to a height of three metres, then brick was added to the height of gallery, which was protected from elements by a timber wall to the roof. The architect chose wooden posts to support the three balconies above the pit and stalls, although cast-iron posts were readily available. Patrons of the top gallery had to negotiate gangway exits that were 560 mm wide with only 1.4 metres' headroom. The entrance to the theatre, reached through the ground floor of the hotel, stood 7.6 metres from the rear of the hotel and it was suspected that contaminated air from the hotel's stable and kitchen yards entered the ventilation intake. Another official observation was that a fire in the hotel would cut off most egress from the theatre.
The new theatre opened on 24 August 1872 with Dion Boucicault's comedy London Assurance, starring Mary Gladstane, whose husband, L. M. Bayless, was lessee of the theatre. W. S. Lyster took over the theatre for his opera companies in March 1873 and it became known as the Prince of Wales Opera House. After Lyster's death in 1880, the theatre housed productions by his nephew George Musgrove. It was lit by electricity in 1882. From September 1884, the theatre was under new management as Her Majesty's Opera House, and from 1886 it was the Melbourne base of the Brough-Boucicault Comedy Company. About that time, only 14 years after the opening, inspectors referred to the theatre as 'this dilapidated makeshift sort of building', though illustrations show a handsome interior and descriptions praise its white-and-gold decoration.
By 1893 the theatre had become a vaudeville house. Despite some slight modifications it limped well behind the ever-rising standards of safety and construction of theatres. The Board of Health's files indicate the social irresponsibility of theatre owners and entrepreneurs and of officials who continued to license the theatre in disregard of inspectors' advice that it breached the board's recommendation. It was finally refused a licence in 1899.
Harry Rickards, lessee since 1895, oversaw the building of a new theatre designed by William Pitt Jnr. A newspaper article described it as French Renaissance but it more closely approached an 'Alhambra style' that was popular for variety theatres at the time. The new Opera House had three levels, including the stalls, and seated only 1539 persons. Although English engineering developments over the previous decade had eliminated most of the need for balcony-supporting posts, Pitt supported the dress circle and the gallery with 14 posts in the stalls. These remained until Dudley Ward redesigned the auditorium in 1956. The stage was commodious, measuring 18.3 by 19.5 metres and it had a fly tower. Rickard's successor, Hugh D. McIntosh changed the name to Tivoli Theatre in 1912 and this remained until the theatre closed in 1966.
Ross Thorne, Tivoli Theatre Melbourne, Companion To Theatre In Australia, 1995, 604-605
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Theatre in Castlereagh Street, opened 5 April 1911 as Adelphi Theatre, seating 2400. Architects: Eaton and Bates. Major alterations reduced seating to 2100 in 1915. Architect: Henry E. White. Renamed Grand Opera House 28 August 1916. Renamed New Tivoli Theatre 1932. Closed March 1966. Demolished 1969.
In 1910 the Sydney City Council split its Old Belmore Markets site - bounded by Campbell, Castlereagh, Hay and Pitt Streets - into two lots of about 0.2 hectares each and auctioned off 50-year leases. Both successful bidders claimed they would build theatres, but only Thomas Rofe did. His Adelphi Theatre, designed for the entrepreneur George Marlow, had a 18.3 metre square stage behind a 9.1 metre-wide proscenium. Marlow began with Frederick Melville's The Bad Girl of the Family, starring Nellie Ferguson and Robert Inman. George Willoughby managed the theatre from 1912 until 1915, when Marlow resumed management. He reopened a renovated Adelphi on 26 June 1915 with his wife Ethel Buckley heading a 'new and brilliant dramatic company' in Mary Latimer - Nun. On 23 October 1915 the theatre closed for major alterations. Henry E. White redesigned the auditorium, lowering the lofty circle and gallery to improve sight lines and reducing capacity to 2100. The Adelphi reopened on 21 December 1915 with Dick Whittington and His Cat, starring Carrie Moore as principal boy. In 1916 Marlow's partner Benjamin Fuller took over the stage direction, for vaudeville at first. Then he renamed the theatre the Grand Opera House for a season by the Gonsalez Grand Opera Company from Italy. In the early 1920s Fuller combined with Hugh J. Ward to present musical comedy and drama at the Grand Opera House, but at the end of the decade Fullers' gave up live theatre.
The theatre had a chequered existence until 1932, when Mike Connors and Queenie Paul took it for revue and renamed it the New Tivoli Theatre. In 1934 it became part of the second Tivoli Circuit. From 1948 until the theatre's closure in 1966 revue was interspersed with drama, musicals and opera, performed by local and touring companies. The Old Vic Theatre Company and the Shakespeare Memorial Theatre Company from England performed there. During renovation in 1954 White's rich decoration was removed or painted in a single colour, leaving a bland interior. But the Tivoli remained an asset to Sydney. Its capacious auditorium - 1933 seats at the time of closure and large stage and scenery store made it particularly suitable for touring shows. For a quarter of a century since its demolition in 1969 until the Capitol Theatre was rehabilitated these characteristics were combined in no Sydney theatre. The new developers promised to build a 1300-seat theatre but the part of the site dedicated for this purpose has remained vacant ever since the demise of the Tivoli.
Ross Thorne, Tivoli Theatre Sydney 1911-66, Companion To Theatre In Australia, 1995, 605
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Theatre in Castlereagh Street, opened 22 December 1890 as Garrick Theatre, seating about 1000. Architect: E. Weltzel. Renamed Tivoli Theatre 18 February 1893. Destroyed by fire 1899. Rebuilt and opened 12 April 1899, seating 1181. Architect: Backhouse and Backhouse. Closed 28 September 1929. Rebuilt as Embassy cinema. Closed 1977. Demolished in mid-1980s.
The first Tivoli Theatre in Sydney stood on land where there was entertainment for most of 126 years. In September 1851 an American named J. S. Noble established the Olympic Circus behind the Painters' Arms Hotel on the western side of Castlereagh Street, midway between King and Market Streets. For about 40 years thereafter a large yard behind the street-facing buildings was called Circus Court. The circus was converted to a theatre in May 1852. In July 1854 the theatre and the hotel in front were both called the Royal Albert. Both had gone by 1860. In 1866 the Scandinavian Hotel was built with the Scandinavian Hall, which was used in the style of a British Music Hall, with tables and chairs and free admission. In December 1869 it saw an Australian burlesque, Formosa by W. Read. In 1870 the hall was renamed the St James Hall, with fixed seating and an entrance charge, and the hotel in front was eliminated. By 1872 it was called the Scandinavian Music Hall, with a Columbia Hotel next door. It was an athletic hall by 1875, and a billiards saloon from 1877 to 1880. About 1881 both hall and hotel were renamed Victoria. In December 1881 an Australian extravaganza, Aladdin and Company Limited, was performed on the hall's small stage-about 8.5 metres feet wide and 9.4 metres deep with a 6.4 metre-wide proscenium. Dion Boucicault's The Shaughraun was also played there. After renovation, the hall was renamed the Academy of Music on 23 September 1882. Its small auditorium - 8.5 metres wide by 24 metres long - officially seated 750 on two levels.
The Colonial Architect criticised the hall as old and dilapidated only a few years later and at the end of the 1880s it and an adjacent boarding house facing into Circus Court were demolished to provide a wider frontage for the new Garrick Theatre, again behind a hotel. The Garrick had a three-level auditorium, 13.7 by 16.8 metres. The stage was 13.8 by 15.2 metres. After a short period of drama, Harry Rickards renamed the theatre Tivoli and devoted it to vaudeville. He redecorated it in gold and crimson plush in 1897, but in 1899 fire destroyed the auditorium and stage. Rickards built a slightly larger theatre behind the original facade. He died in 1911 and Hugh D. Mclntosh acquired control of the Tivoli circuit, but the Rickards estate retained the Sydney Tivoli. It sold the site in September 1928 and the Tivoli closed a year later.
Ross Thorne, Tivoli Theatre, Sydney, 1890-1929, Companion To Theatre In Australia, 1995, 605
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Performing-arts centre in St Kilda Road, Melbourne. Architect: Roy Grounds. Melbourne Concert Hall, opened 6 November 1982. Theatres complex includes State Theatre opened 12 May 1984, seating 2000; Playhouse opened 8 May 1984, seating 809; and George Fairfax Studio opened 4 May 1984, seating 250-400.
The largest and most comprehensive arts centre in Australia, the Victorian Arts Centre stands on a site that has been a centre of entertainment since circuses began to perform there in tents in 1870. From 1901 to 1953 circuses performed in permanent buildings, including the Olympia, which was leased as Melbourne's largest cinema in 1911. A dance hall, an ice rink and the Melbourne Theatre Company’s Playhouse Theatre were also on this 4.5 hectare site and its surroundings, across the Yarra River from the Flinders Street railway station. In 1943 a committee of architects appointed by the Victorian government proposed that the site be reserved for a new art gallery, including an auditorium to hold 1000 persons, to be built after the Second World War. In 1945 the government passed an act to reserve the site but political turbulence in Victoria delayed its proclamation until 1955. The two-stage building project began in 1959 with the appointment of Roy Grounds, a notable Victorian architect. He was then much admired in architectural circles for designing houses within simple plan forms such as a triangle or a circle, within which he skilfully manipulated all the functional requirements. His preoccupation with wrapping simple external form around complex internal function also manifested itself in his overall design for the arts centre. His scheme was for two buildings - a strong rectangular form for the National Gallery of Victoria and an elongated teepee-shaped copper-sheathed spire above the theatres and concert hall, which would be underground.
The gallery, built on a foundation of basalt rock, opened in 1968. After it was built it was discovered that the foundation material on the adjacent site was not basalt as expected but silt from Port Phillip Bay and fill dumped there during the 19th century. On such a site, so close to the bay and the Yarra, it would have been enormously difficult and prohibitively expensive to construct a building more below the water table than above it. It was decided to raise the theatre complex partially out of the ground and build the concert hall on a different site. The Melbourne City Council assigned the small triangular Snowden Gardens to the government for the concert hall. It was separated from the remainder of the complex by a busy road but the foundation was basalt, which allowed two-fifths of the building's height to be below ground.
The concert hall was finished two years before the theatres building, which had to be completely redesigned. This fills every corner of its awkwardly shaped site with accommodation below ground, but above two hemicylinders linked by parallel straight sides are to be seen, surmounted by a mast of lacy steelwork. The concert hall appears above ground as a simple cylindrical form but below ground it is a pear shape. Thus, Roy Grounds in his final major work repeated his strong predilection for simple external forms irrespective of the internal function. This approach is more successful visually in the Sydney Opera House.
When the interior finishes and furnishings of the concert hall and theatre buildings were being decided, the current architectural style was off-form, pre-cast or bush-hammered concrete and natural timbers of various types with fabrics and carpets of muted colours. There were already bush-hammered columns in the foyers and prismatic concrete diffusers all over the interior of the concert hall as part of the architect's concept for the interior. Late in the project, the Victorian Arts Centre building committee decided to employ the designer John Truscott to obtain a more traditional quality in a contemporary manner. He was forced to decorate rather than influence the architectural form. He covered walls and ceilings and foyers with leather, mirrors, brass and glossy surfaces to reflect sparkle from carefully placed electric lighting and make subterranean spaces with rather low ceilings seem spacious. The major revision of the interiors in the theatres building occurred in the principal public spaces as timber panelling had been determined for the State Theatre auditorium at the acoustic design stage.
The State Theatre is in traditional opera-house form, with a large proscenium stage and a three-level auditorium with side boxes. The acoustics are good and a mellow orchestral sound emanates from the pit. The stage is the best in Australia, with 1067 square metres of space, a fly tower incorporating 111 lines and facilities for trucking in complete settings from each side and the rear. It opened with the Australian Opera's production of Fiddler on the Roof. The Playhouse is the major performing space for the Melbourne Theatre Company, which opened it with a production of Euripides's Medea. It has a modified thrust in front of a proscenium stage of 321 square metres, with fly tower. The seating, on two levels, fans out close to the stage, giving an impression of intimacy, but behind this the auditorium is more narrowly rectilinear.
The George Fairfax Studio opened with the Playbox Theatre Company's production of Jack Hibberd's A Stretch of the Imagination. It is fairly typical of the flat-floored, box-type spaces that have become popular as experimental theatres, or studio theatres for professionals, amateurs and students. Comfortable pull-out 'bleachers' seat 250-400, depending on which of the six staging modes is chosen - theatre-in-the-round, corner stage, thrust stage, centre stage, end stage or proscenium stage. There is an access walkway halfway up and all round the walls. The theatres building also houses restaurants and gallery space, and the concert hall building houses the temporary exhibitions of the Performing Arts Museum.
Ross Thorne, Victorian Arts Centre, Companion To Theatre In Australia, 1995, 624
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Theatre in Hickson Road, Walsh Bay, Sydney, opened 13 December 1984, seating 319. Architect: Vivian Fraser.
When maritime freight went to containers many wharves became redundant, including Pier 4/5 at Walsh Bay, a double-decked finger wharf projecting 222 metres into Sydney Harbour. The NSW government gave the upper deck of this fine timber warehouse, built in 1920-22, to the Sydney Theatre Company with $3.7 million to convert it into a home. The resulting complex contains the thrust-stage Wharf Theatre; a versatile studio space, renamed Wharf Theatre 2 in 1994; rehearsal rooms; scenery and costume workshops; administrative offices and a restaurant. The company schedules the Wharf Theatre year round for smaller-scale productions in its subscription seasons and conducts experimental work in Wharf Theatre 2 and occasionally in its rehearsal rooms. Since 1991 it has also sometimes converted warehouse space on the lower deck into a rough open-stage auditorium, named the Blackfriars Theatre because of Shakespeare performances given there. At the Wharf the company also assembles and rehearses productions for performance in the Drama Theatre at the Sydney Opera House. On the lower deck, Arts Council of NSW has its offices, the Australian Youth Theatre has premises and the Sydney Dance Company has rehearsal and administrative space.
Vivian Fraser’s conversion retained the material and structural qualities of the wharf. It is built of ironbark, a hard timber which is so fire-resistant that fire regulations required only sprinklers and an internal emergency exit tunnel to the street from the restaurant at the farthest end. The Wharf won the Sir John Sulman Award for architecture in 1985 and the Royal Australian Institute of Architects' President's Medal for the best recycled building in Australia in 1984-85.
Ross Thorne, Wharf Theatre, Companion To Theatre In Australia, 1995, 635-636
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Rosslyn Beeby, People with no way forward, no way back, The Age, 1 September 1983, 14
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Rosslyn Beeby, The cultural cringe is alive and well back in Melbourne, The Age, 20 December 1984, 14
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Rosslyn Beeby, The informal face of high opera, The Age, 31 January 1986, 12
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Rossville Notes, Cairns Post, 3 September 1924, 9
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Rosy Mobbs, Sydney Theatre Company's Great Revival, Intheblack, 81, 2, March 2011, 12-14, 16
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Round the Shows: Journey's End, Barrier Miner, 27 October 1942, 2
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Round the Theatres, Sydney Morning Herald, 7 December 1933, 9S
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Routa Company's residence in Melbourne, Tanssin Tiedotuskeskus, Theatre and Dance Platform, 11 March 2014
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Rowan Callick, Loyal labour bears fruit, The Australian, 1 October 2007, 8
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Rowena Childs, The Canberra Times, 20 May 1995
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Royal - The Prodigal Son, Sunday Times, 13 May 1906, 2
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Royal - The Prodigal Son, Sunday Times, 27 May 1906, 2
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Royal Albert Theatre, Sydney Morning Herald, 12 July 1854, 4
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Royal Marionette Theatre, Freeman's Journal, 19 August 1852, 10
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Royal Marionette Theatre, The People's Advocate and New South Wales Vindicator, 9 April 1853, 3
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Royal Perth Yacht Club Entertainment, Western Mail, (Perth, WA : 1885 - 1954), 23 August 1890, 22
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Royal Princess Theatre, Bendigo Advertiser, 2 May 1891, 5
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Royal Victoria Hall, The Brisbane Courier, 30 September 1870, 1
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Royal Victoria Theatre, South Australian Gazette and Mining Journal (Adelaide, SA :, National Library of Australia, 1 March 1851, 3
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Royal Victoria Theatre, Sydney Morning Herald, 6 October 1846, 2
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Royal Victoria Theatre, The South Australian Register, National Library of Australia, 1 May 1852, 3
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Royal Victoria Theatre, The South Australian Register, National Library of Australia, 20 August 1852, 2
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Open during the present week, Monday, Thurs day, Friday, and Saturday. MESSRS LAZAR & COPPIN BEG most respectfully to acquaint their friends and the public generally, that the above SPLENDID THEATRE, Being now completed, will Open for the Season,. THIS EVENING, Monday, December 23rd. With an Occasional ADDERSS to be spoken bv MESSES LAZAR & COPPIN. . It is unnecessary to dilate upon the vast outlay expended upon this Establishment, to render it an agreeable and commodious place of Public Amuse ment, suffice it to say that every care and attention has been paid to render it complete in every De partment, and to conduce towards the comfort and entertainment of the public. THE DRESS CIRCLE Is replete with every elegance and convenience, to which are attached a ladies' retiring room, and splendid SALOON, Where Refreshments may be obtained. THE PIT Is constructed upon the principle of the Princess's Theatre, London, commanding a distinct view of the Stage, and, for the purpose of maintaining pro per order, an efficient Police will be in constant at tendance. THE GALLERY, Capable of containing 400 persons, will be found to possess every requisite for seeing and hearing. The Stage Department, (The most extensive in the Colonics), will be brought into operation for the production of GORGEOUS SPECTACLES, As early as the Mechanical Arrangements arc com pleted. The Theatre will be lighted by FIVE MAGNIFICENT CHANDELIERS, Expressly imported from England. The Orna mental and Decorative Designs are copied from the most classical subjects, and executed by Mr E. A. Opie, the whole forming a Tout Ensemble never yet equalled in the Australian Colonies. Engagements arc pending with some of the most Established Favourites of Sydney, Melbourne, and Hobart Town, who will shortly make their first ap pearance in Adelaide. THE ORCHESTRA Will embrace the Leading Talent of the Colony, viz.:— Leader—Mr Andrew Moore, Assisted by' Mr S. W. AVallacc, Hcrr Mater, Herr Ziegler, Mr Harwood, Sir Lawrence, Ilerr Ilcunerbein, Herr Kierdel, and Mr Chapman. The Performances will commence with a Musical Extravaganza, entitled THIS HOUSE TO BE SOLD, (The property of the late William Shakespeare). INQUIRE WITHIN. I To be preceded by Mozart's Overture to Don Giovanni. For Characters see Bills of the Day. IN THE COURSE OF THE EXTRAVAGANZA WILL BE SUNG— " I'm a Gent, I'm a Gent" Chopkin?. Song—" OIc Will Sat at Covcnt Garden Gate" .. Othello. Trio—" Who's dat knocking at dc Door".. Othello, Desdemona, and Chopkins. Chorus of Characters—" Round, around, around, about," The last scene will represent a Grand Tableau of Shakespearean Characters surrounding the Im mortal Bard, the Spirit of Poetry poised in the air, placing a Crown of Laurel on his brow. SONG MR. C. WALSII. Niggkiz Bai.j.ad—"Carry me back to Ole Vir ginity"—(Bones and Tambourine Accompani ment) . .Julius C«sar Squash. In the course of the evening, the Band will play Several New Folhas, Waltzes, $-e. To conclude with the Musical Farce in two acts, of Dove Laughs at Locksmiths. To be preceded by Auber's Overture to Massaniello. GST The Entrance to the Dress Circle will be from Gilles' Arcade ; the Pit and Gallery from Weymouth-street. Doors open at half-past 7, commence at 8 precisely. Dress Circle, 4s. Pit, 2s, Gallery, Is. Half-price at to 10. Dress Circle, 2s Gd. Pit, I s. No half-price to the Gal Icrv. N.B.—A Box Keeper will be in attendance at the Theatre daily, from 11 to 4. Six Private Boxes have been added to the Dress Circle, which may be engaged Nightly, or for the Season, upon applica tion to Mr Lazar, Temple Tavern, or Mr G. Cop pin, Royal Exchange. Season Tickets may also be had, single or for parties, upon application as above. All Accounts against the Theatre, to be for warded every Saturday for payment from eleven until one.
Royal Victoria Theatre, The South Australian Register, National Library of Australia, 23 December 1850, 3
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Last evening the lovers of dramatic representation were gratified to their hearts' content, by witnessing the per- formances of their old favourite, Coppin, who fully sustained his former reputation by his clever personification of Mr. Leeson, in the comedy or ' Time Tries All,' and of Grim- shaw, in the farce of 'Grirashaw, Bagshaw, and Brad- shaw.' The hits in ' Billy Barlow ' were as clever as usual, and exceedingly well- sustained. ' Billy Barlow ' had realised the truth which has become patent to so many of our fellow-colonists, that ' all is not gold that glitters,' and 'Billy' wisely resolves for the future to abandon the diggings, to stick to South Australia, and trust to the Escort, composed, as he says — ' Of good men and true ' All made of the same stuff as 'Billy Barlow,' and with a glance of self-complacency at his care over the grass widows, and a happy hit which drew roars of applause from the galleries, that the swells carried their pretensions rather humbly at the diggings, ' Billy Barlow' concluded one of the most successful and happy pieces of humour we have heard him deliver. An old favourite, Mrs. Cameron, sustained her part well. The orchestra was small but, led by Mr. Lee, was quite effective, and the evening passed off most agreeably and orderly.
Royal Victoria Theatre, The South Australian Register, National Library of Australia, 30 March 1852, 3
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I cannot allow this, which will be my last oppor- tunity to pass without acknowledging the many favours received at the hands of the South Australian Public. A residence of six years has not only attached me to the Colony, but to many true and sincere friends, whose assistance in the hour of need, end gratuitous offers for the future, have materially increased the reluctance and pain I feel in saying Farewell. Trusting Dame Fortune may place it in my power to make my absence of temporary duration, and that I shall continue to deserve and enjoy the good opinion of my friends and the public generally, with sincere wishes for the prosperity of the Colony and its Inhabitants, I am, Liberal Public, your obliged and grateful Servant, GEORGE COPPIN.
Royal Victoria Theatre, The South Australian Register, National Library of Australia, 8 May 1852, 2
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Royal Victoria Theatre.—This fine building is now completed, and will be opened this evening, for the first time, under the combined management of Messrs Lazar and Coppin, who have engaged it from the proprietor, Mr Emanuel Solomon, for three years, at 500l per annum. The front is adorned with Ionic pillars, surmounted with the Royal Coat of Arms, a beautiful specimen of English manufacture, measuring seven feet by five feet, which is placed in bold relief over the front entrance. The entrance to the dress circle is a facsimile to that of the Princess's Theatre, London, beautifully papered all round, and includes two flights of stairs that lead to a magnificent lobby, 36 feet by 16 feet, intended exclusively for ladies as a withdrawing and promenading hall. The interior of the Theatre surpasses anything of the kind in the Australian colonies, both in design and execu tion, and the several departments are of gigantic dimensions. The whole length is 140 fee ; breadth 34 feet; and height 50 feet; and the boxes[---], including; six private boxes with private en trances. The pit is a vast space with close seats, capable of accommodating an immense concourse of people. Besides the compartments alluded to, there are the following rooms attached:—Gentle men's saloon, 36 feet by 16 feet; two rooms for ladies to retire, 18 feet by 13 feet each; green room, 35 feet by 21 feet; storeroom; females' dressing-room; men's dressing-room; property room; and wardrobe-room. The stage measures 74 feet by 34 feet 6 inches, and is well supplied with drop, scenes, and other necessary parapher nalia. The proscenium is both expansive and magnificently ornamented with a variety of allego rical devices, surrounding a Cupid in the centre holding the mirror up to Nature, and surmounted with an arched motto,—Imitatio Vita; Speculum consueiudinis; Imutjo Vcritatis, of which the fol lowing is a translation:—The imitation of life; the mirror of manners; the representation of Truth. The front of both tiers of boxes is similarly adorned with appropriate allegorical and mythological de signs, and beautifully bordered with mouldings of gilded papier mache, whilst the support ing pillars are all veneered and beautifully French polished. This vast expanse is brilliantly lighted up with five magnificent chandeliers, hold ing 108 wax candles. The chandeliers alone have cost the proprietor 120/. All the painting was done by the talented artist Mr Opie, in his best style, and the masterly manner in which it is exe cuted reflects the highest credit on that gentleman. Mr Solomon has, in short, determined to spare no outlay or pains in forming a theatre worthy of the colony, and even the foregoing cursory description shews how well he has succeeded. The managers are equally resolved to render the performances as efficient and entertaining as possible, by introducing the best available talents front the neighbouring colonies, and have already engaged several " stars " for that purpose. The programme for this evening will be found in another column," and the crowd is likely to be immense, for all the boxes, except two or three reserved ones, were engaged early last week.
Royal Victoria Theatre: Description of Renovations, Adelaide Times, 23 December 1850, 3
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MESSRS. LAZAR & COPPIN, in laying the following statement before the public, regret that their exertions in providing a rational entertainment have met with so bad a return. Nothing on their parts has been wanting to secure the talent, not only of this, bat of the sister colonies, and to produce such entertainments as those who have patronised the Theatre acknowledge to be highly gratifying. Notwithstanding this the losses have been so great as to leave no other alternative than CLOSING the THEATRE after the next TWELVE NIGHTS' PER FORMANCES, when Messrs. LAZAR & COPPIN will then take their FINAL LEAVE OF THE STAGE. ' Adelaide, October 8th, 1851. ' Mr. Emanuel Solomon, ' Dear Sir — We regret exceedingly that, from the want of that patronage we were induced to expect would be ex tended to the Theatre, we are compelled very reluctantly to inform you of the utter impossibility of our being longer able to support it. We, therefore, rely upon your acknow ledged liberality to relieve us from the fulfilment of the terms of our lease. We have only to assure you that nothing but the very severe losses we have sustained, amounting to more than £800, would induce us to make this application. ' We, at the same time, can only regret that the large outlay which you have made upon the Theatre has not met with that liberal response from the public which the spirited speculation deserves. ' We are, Sir, your obedient servants, LAZAR & COPPIN.
' Gentlemen — I am in receipt of yours of this day's date, and am very sorry to find that you cannot make the Theatre sufficiently remunerative to continue it. I was induced by and at the request of a number of influential families in Adelaide to refit the Theatre at an expense of upwards of £2,000, fullv believing that when a place of public enter tainment, elegantly fitted up and properly conducted, was established, the patronage of the public would have been extended towards it. I regret, however, that for your sake and my own, such has not been the case. ' I shall feel myself bound to accede to your request, and at the same time you can, before giving up the Theatre, have it for twelve nights rent free, to retrieve a portion of your loss. ' Yours truly, 'E. SOLOMON. 'Adelaide, 8th October, 1851.
Messrs. Lazar and Coppin.' Messrs. LAZAR & COPPIN cannot close this correspon dence without thus publicly returning thanks to Mr. Emanuel Solomon for the very ready and uncompromising manner he has acceded to their request, and at the same time call upoa the public to extend their patronage and support to the LIMITED NUMBER OF NIGHTS ADVERTISED.
Royal Victoria Theatre: Notice of Closure, The South Australian Register, National Library of Australia, 11 October 1851, 2
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PUBLIC NOTICE. IN compliance with the request of several influ ential Families and Patrons of the Theatre, who have expressed a wish that a number of Shares should be issued, in order to secure a respectable and Bnmerous attendance, the Proprietors beg to put forth the following liberal scheme to ensure the same :— The price of Shares will be 5/ each, payable in advance, which will entitle the holder to a ficee admission to the Victoria Theatre (commencing from the re-opening) for the twelve months. A balence sheet of the affairs of the Theatre to be struck every three months, and the profits to be equally divided. Shareholders are guaranteed from loss or responsibility, and will not be called upon to pay anything above the £5 per Share. Not more than fire Shares will be issued to any one person, any part of which may be re-sold, but will not be transferable after the name of the holder is entered on the Free List of the Theatre. Early application required, as the numbers aro limited. N.B.—The above Shares will not extend to Bene fit Nights.
Royal Victoria Theatre: Public Notice, Adelaide Times, National Library of Australia, 9 September 1851, 2
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Royal Visit, The Argus, 11 April 1927, 9
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Royal: "Prodigal Son", Referee, 9 May 1906, 12
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Royalty In Australia, The Advertiser, 30 April 1927, 27, 28, 29
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Royalty In South Australia, The Register, 7 July 1920, 7
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Rua McCallum, Maori performance: marae liminal space and transformation, Australasian Drama Studies, 59, October 2011, 88-103
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Rubik Roy, Times2, 11 December 2006, 8
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Rubik Roy, Times2, 24 July 2006, 8
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Ruby Doyle, The Kursaal Theatre, Sydney's Former 'Repertory', The Richmond River Herald and Northern Districts Advertiser, 17 August 1934, 3
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Ruddigore, The University of Adelaide, Library Special Collections
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Ruddigore, The University of Adelaide, Library Special Collections
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Rugby Football Union., The Morning Bulletin, 26 April 1900, 6
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Running up a Dress: Home Cooking Theatre Company, New Theatre Australia, March/April, 4, March 1988, 26-28
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Rush gift, On Stage, 13, 1, 2012, 3
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Russell Fewster, A director in rehearsal: Neil Armfield and the Company B production of The Blind Giant is Dancing by Stephen Sewell, Australasian Drama Studies, 40, April 2002, 106-118
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Russell Fewster, Staging David Hicks, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 65, October 2014, 12 - 36
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Russell Fewster, Staging virtual worlds, Australasian Drama Studies, 60, April 2012, 208-222
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Russell McDougall, Sugar, land and belonging: Summer of the Seventeenth Doll and No Sugar, Australasian Drama Studies, 38, April 2001, 58-67
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Russell Walsh, Melbourne Times, 19 February 1987
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Russell Walsh, Melbourne Times, 25 May 1988
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Russell Walsh, Melbourne Times, 25 November 1987
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Russell Walsh, Melbourne Times, 30 March 1988
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Russell Walsh, Melbourne Times, 4 February 2001
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Russell Walsh, The Herald, 11 April 1988
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Russell Walsh, The Herald, 17 August 1988
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Russell Walsh, The Herald, 18 August 1988
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Russell Walsh, The Herald, 2 June 1988
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Russell Walsh, The Herald, 20 August 1987
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Russell Walsh, The Herald, 30 July 1987
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Russell Walsh, The Herald, 4 August 1987
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Russell Walsh, Theatre Australasia, 1 August 1994
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Russell Walsh, [After Dinner], The Herald, 25 April 1988
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Russian Ballet Dancer Dies in New Zealand, The Argus, 24 January 1945, 5
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Russian variety artists to visit Australia, The Australian Women's Weekly, 9 May 1962, 7
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Rusty Bugles to continue, The Sun (NSW), 2 April 1950
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Rusty Bugles to return, The Age, 9 February 1950
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Ruth Bradshaw, Muse, 1 July 1989
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Ruth Cracknell, The 1st 10 years, Meanjin, 43, 1, 1984
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Ruth Dewsbury, Sydney Morning Herald, 4 October 1985, 0
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Ruth Lee Martin, Muse, 1 March 2001
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Ruth Teale, Burton, Henry (1823–1900), Australian Dictionary of Biography Online, 1969
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Ruth Thompson, Theatre/s of Peace and Protest: The Continuing Influence of Euripides' Play The Trojan Women at the Nexus of Social Justice and Theatre Practice, Australasian Drama Studies, 48, April 2006, 177-188
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Ryan Gardiner, Ballet a rare opportunity, Cairns Post, 4 October 2002, 5
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Ryan Hartigan, 'They watch me as they watch this' - Alfred Jarry, symbolism and self-as-performance in Fin-de-Siecle Paris, Australasian Drama Studies, 52, April 2008, 165-179
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S Rooke, Adelaide Festival retrospective - drama in the doldrums. A critical review of the 5th Festival, Masque, 1/5, May-June, 1968, 36-37
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S Rooke, Masque talks to John Sumner, Masque, 1/2, November/December, 1967, 32-33
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S.A. actor in new comedy, The Advertiser, 21 June 1965
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S.A. News, Barrier Miner, 1 February 1898, 4
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S.U.D.S. Play Opened As Men Stopped Painting, Sydney Morning Herald, 11 July 1950, 7
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S.U.D.S. will present "Twelfth Night" in the Great Hall of the University, Sydney Morning Herald, 9 July 1940, 14
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SA judge stops 'Calcutta', The Age, 3 August 1971, 3
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Sacha Molitorisz, Metro, 8 June 2001, 15
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he trouble developed during: the last few min- utes of the final Mel bourne performance of "Cinderella" when Trin- der interpolated an ad lib sequence. Trinder recalled several chorus girls who were leaving the stage during the final scene. He lined them up and marched them around the stage in military drill fashion. The show ended, the curtain carne down, and the audience applauded wildly, expecting curtain calls. After two or three minutes Jim Gerald, comedian, came through the curtains and made a short speech. Gerald then left the stage, and several more minutes elapsed while the audience called for Trinder. Trinder finally came on stage, pale and agi- tated, and apologised lo the audience for having kept them waiting. He explained that he had been having a discussion with Mr. Martin back- stage. Trinder then called through the curtains to Mr. Martin, who carne through to the front of the stage. Mr. Martin made a short speech, praising Trinder and ex- pressing hopes for the success of the comedian's New Zealand tour. "Tell them!" Trinder, almost in tears, then turned to Mr. Martin and shouted: "Now tell them what you said in front of everyone backstage - that I am a disgrace lo show business and can go back to England on Monday." Turning to the audience, Trinder then announced: "I've been sacked." A section of the audience laughed, taking the announcement as a joke, but the whole of the house soon afterward i realised that the comedian was serious. Trinder briefly fare- » welled the hushed audience; then retreated through the curtains, leaving Martin, flushed and embarrassed, alone., on the stage. . .*'' The orchestra then began to play, and Mr. Martin left the stage as the shocked audience began to'drift out of the theatre. A crowd waited until about 12.30 a.m. at the stage door for Trinder, but he remained in the theatre, still wearing make-up and a dressing gown, to talk with mem- bers of the company. "Sacked" Interviewed in his dressing-room about 1 a.m., Trinder said: "I don't know where I stand. All I know is that I was sacked last night. "My bit of tomfoolery on the stage was harm- less, and the customers loved it. Everyone knows that ad-libbing is my stock-in-trade. "My contract with the Tivoli was only a verbal ' one, and if Mr. Martin wants lo put me on a new contract he can come and sec me." Mr. Martin, inter- viewed a few minutes later in his office at the ft ont of the theatre, said: "Some artists arc very temperamental. I believe Tommy was defi- nitely wrong in what he did last night. Perhaps I was a little undiplo- matic in my handling of the situalion. "Tommy has been drawing £1,250 a week. Settled Trinder, told of this proposal, said: "This is ridiculous. He can see me here or at my flat." Trinder announced shortly after midday yes- terday that the dispute was settled. He said: "Mr. Martin and I had a long discussion in my drchsing-room until about 4 a.m. and cleared up the whole unpleasant busi- ness.
Sacked! Tommy Tells Tiv. Audience, The Argus, National Library of Australia, 2 February 1953, 1, 16
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SAD END. FAMOUS ACTOR MR. WALTER BENTLEY FOUND SHOT, The Brisbane Courier, 20 September 1927, 13
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Sailors' and Strangers' Rest, Western Mail, (Perth, WA : 1885 - 1954), 22 October 1892, 23
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Sailors' Rest, Fremantle, Western Mail, (Perth, WA : 1885 - 1954), 30 December 1898, 12
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Sailors' Rest, Fremantle, Western Mail, (Perth, WA : 1885 - 1954), 9 December 1898, 45
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Salad Days for Broken Hill season, Barrier Miner, 27 August 1958, 2
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Salda Pedley, Sunday Telegraph, 8 April 1990, 0
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Sale of National Theatre Likely, The Examiner, National Library of Australia, 22 April 1948, 1
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Salisbury, June 2, The South Australian Chronicle and Weekly Mail., 3 June 1871, 7
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Salisbury, South Australian Advertiser, 3 June 1871, 3
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Sallie Muirden, Melbourne Times, 10 June 1987
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Sallie Muirden, Melbourne Times, 18 November 1987
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Sallie Muirden, Melbourne Times, 23 September 1987
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Sally Bennett, Dancers step out in style, The Sunday Herald Sun, Theatre and Dance Platform, 10 March 2013
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Sally Bennett, Switched on by the daily news, The Herald Sun, Theatre and Dance Platform, 21 July 2010
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Sally Croxton, A life of work behind the play, Newcastle Morning Herald and Miners' Advocate, 16 September 1981
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Sally D'Souza, Bending to Bollywood beats, Times2, 5 February 2008, 9
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Sally D'Souza, Dancing queen lives her dream, Times2, 26 November 2007, 10
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Sally D'Souza, Listening to vagina's voices, Times2, 25 February 2008, 9
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Sally Heath, Melbourne Times, 16 September 1987
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Sally McHenry, The Advertiser, 10 March 1988
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Sally McHenry, The Advertiser, 16 July 1988
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Sally McHenry, The Advertiser, 19 March 1988
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Sally McHenry, The Advertiser, 29 February 1988
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Sally Richards, Review: Mary Luckhurst, Caryl Churchill, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 70, April 2017, 209 - 213
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Sally Sussman, Terry Day, Orientalia, Orientalism, and the Peking opera artist as 'subject' in contemporary Australian performance, Theatre Research International, 22, 2, 1997, 130-149
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Sally White, But don't clown with Sammy: he's sincere about this show, The Age, 5 October 1971, 2
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Sally White, Chaos of the teenage mind, The Age, 18 April 1980, 10
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Sally White, Hoopla now in late night shows, The Age, 8 October 1977, 2
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Sally White, Playwright hates his first nights, The Age, 1 September 1976, 2
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Sally White, Puppeteers have great pull, The Age, 30 August 1978, 2
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Sally White, The show's miss-managed, The Age, 13 December 1976, 2
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Sally White, Winning Monica lives the part, The Age, 6 March 1972, 2
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Sally White, [The Magical Tintookies Return], The Age, 8 January 1975, 2
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Sam Cleveland, Caught Keating, Gold Coast Bulletin, 31 January 2008, 21
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Sam Hardcastle, Sunday Times, 11 January 1987
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Sam Hardcastle, Sunday Times, 18 January 1987
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Sam Hardcastle, Sunday Times, 18 January 1987
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Sam Kelton, Digging Deep for Signs of the Times, Sunday Mail, 2 April 2017, 68-69
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Sam Trubridge, Inside the black margin: an essay in words and images, Australasian Drama Studies, 61, October 2012, 12-29
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Samantha Chan, The Canberra Times, 20 April 2006, 9
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Samela Harris, Bard moves into cyberspace, The Advertiser, The University of Adelaide, Library Special Collections, 8 February 1996, 21
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Samela Harris, Boy, is this Hamlet, Courier Mail, 6 October 2000, 4
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Samela Harris, Family ties in an age of melancholy, The Advertiser, 22 September 2007, 9
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Samela Harris, Final curtain call for Adelaide’s much-loved Bakehouse Theatre, InDaily, Flinders University, Academic Commons, 20 April 2022
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Samela Harris, Getting their Phyl of a true showbiz legend, The Advertiser, 22 October 2012, 21
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Samela Harris, Hilarious tale of love, The Advertiser, 17 October 2009, 36
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Samela Harris, Rage Against the Machine, The Advertiser, 15 July 2010
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Samela Harris, Surreal vitality, The Advertiser, 13 September 2012, 47
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Samela Harris, The Advertiser, 10 August 1987
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Samela Harris, The Advertiser, 10 January 1987
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Samela Harris, The Advertiser, 10 June 1987
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Samela Harris, The Advertiser, 11 April 1987
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Samela Harris, The Advertiser, 11 May 1987
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Samela Harris, The Advertiser, 14 February 1987
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Samela Harris, The Advertiser, 14 March 1988
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Samela Harris, The Advertiser, 15 August 1988
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Samela Harris, The Advertiser, 18 March 1988
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Samela Harris, The Advertiser, 19 March 1988
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Samela Harris, The Advertiser, 2 March 1987
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Samela Harris, The Advertiser, 20 June 1987
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Samela Harris, The Advertiser, 21 March 1988
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Samela Harris, The Advertiser, 21 September 1987
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Samela Harris, The Advertiser, 22 February 1988
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Samela Harris, The Advertiser, 24 March 1988
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Samela Harris, The Advertiser, 26 April 1988
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Samela Harris, The Advertiser, 27 August 1987
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Samela Harris, The Advertiser, 27 June 1988
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Samela Harris, The Advertiser, 4 March 1988
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Samela Harris, The Advertiser, 5 March 1988
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Samela Harris, The Advertiser, 7 March 1988
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Samela Harris, The Advertiser, 7 May 1988
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Samela Harris, The Advertiser, 8 June 1987
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Samela Harris, The terrible life of a playwright hermit, The Australian, 18 October 1983, 8
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Sandhurst, The Argus, 27 February 1884, 6
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Sandra Lee, The Herald, 1 June 1987
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Sandra McGrath, The Australian, 19 July 1978, 9
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Sandra McLean, Adam's Antics, Arts and Entertainment, 10 July 2002, 44
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Sandra McLean, BAM, 23 July 2005, 3
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Sandra McLean, BAM, 3 April 2004, 9
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Sandra McLean, Black on Black, BAM, 17 August 2002, 4
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Sandra McLean, Hard Drive, Supplements, 5 September 2002, 17
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Sandra McLean, Life is so much more than a cabaret, BAM, 20 September 2003, 2
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Sandra McLean, Life's a rehearsal, BAM, 8 December 2001, 2
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Sandra McLean, Revved up by an icon, BAM, 24 August 2002, 2
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Sandra McLean, Rites stuff hits its target, Courier Mail, 21 April 1999, 44
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Sandra McLean, Salt with a twist, BAM, 11 May 2002, 4
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Sandy Santmyers, The Leader, 19 August 1987
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Sandy Santmyers, The Riverina Leader, 10 November 1987
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Sandy Santmyers, The Riverina Leader, 11 May 1988
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Sandy Santmyers, The Riverina Leader, 13 May 1987
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Sanjay Sircar, Appropriate misappropriation and cultural transposition: My Wife's Mother (1833) and Byapika Bidai (1926) , Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 15/16, April 1990, 167 - 186
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Sarah Adams, Lucy Guerin's Human Interest Stories, artsHub, Theatre and Dance Platform, 27 July 2010
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Sarah Blakers, Muse, 1 October 2001, 9
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Sarah Chester, Nomads keep their ideas on the move, The Age, 7 March 1983, 14
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Sarah French, Radical Adaptation: Hypertextuality, Feminsm and Motherhood in The Rabbleʻs Frankenstein (After Mary Shelley), Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 66, April 2015, 81 - 108
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Sarah Harris, Dancing in the Dark, The Weekly Review, Theatre and Dance Platform, 11 March 2015
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Sarah Hudson, The Herald Sun, 7 May 2001
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Sarah McNeill, Moving with the Times, Subiaco Post, Theatre and Dance Platform, 12 February 2011
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Sarah Miller, Art Almanac, 1 July 1988
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Sarah Miller, Something in the air, RealTime Arts, 48, April 2002, 24
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Sarah Miller, That's entertainment...!, RealTime Arts, 48, April 2002, 4
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Sarah Peters, Acting in Verbatim Theatre: An Australian Case Study, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 68, April 2016, 143 - 167
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Sarah Peters, Playing with extremes: The travelling sisters and contemporary sketch comedy, Australasian Drama Studies, 75, December 2019, 316-340
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Sarah St Vincent Welch, Muse, July 2003, 18
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Sarah Thomas, Life is one big circus, The Advertiser, The University of Adelaide, Library Special Collections, 14 October 1995
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Sarah Thomas, Text Me, Amadeus, Sydney Morning Herald, 12 September 2008, 6
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Sarah Thomas, The Advertiser, 24 May 1997, 11
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Sarah Thomasson, ʻMad Marchʻ in the Festival City: Place-Making and Cultural Clash and Adelaideʻs Festival, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 70, April 2017, 187 - 208
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Sarina Talip, Dancer steps into renowned role of sad singer, The Canberra Times, 2 May 2008, 5
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Sarina Talip, Gender-bender performance sets stage for fun, The Canberra Times, 24 April 2008, 12
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Sarina Talip, Silicone secret to a good Bloody Mary, The Canberra Times, 14 May 2008, 8
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Sarina Talip, The Canberra Times, 21 February 2007, 4
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Sarina Talip, The Canberra Times, 23 February 2007, 7
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Sarong Aussie, Theatre Australia, April 1980, 5
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Saturday, April 13, 1889., The North Australian, Saturday, February 26, 1887, 13 April 1889, 2, 3
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Saturday, June 6, 1885, South Australian Advertiser, 6 June 1885, 4, 5
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Saturday, November 28, 1874, The Argus, 28 November 1874, 6, 7
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Saumya Liyanage, My body taught me how to act: towards an epistemology of actor learning and apprenticeship, Australasian Drama Studies, 60, April 2012, 185-193
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Sauro Antonelli, OutFromUnder_Article, Macquarie University, Library, 1984
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Savoy Theatre, Sydney Morning Herald, 11 March 1939, 6
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GARRY Stewart prefers to describe his work as a choreographer like a writer's art - where his artistic fantasies can come true.
"I'm able to create the text from scratch whereas a theatre director only explains how actors should perform according to the script," Stewart said. Stewart choreographed Fugly, one of the pieces for Two, a double bill of contemporary dance from The One Extra Company.
Lucy Guerin choreographed Two's other piece, Remote.
Stewart said he took up dancing at 20 because he was a "movement junkie". The Australian Ballet School graduate presents a vigorous acrobatic style with DJ Jad McAdam, who mixes techno beats to recreate the energetic dance party mood.
"I was inspired by the techno music and the driving rhythm to propel the choreography," Stewart said.
Although Stewart, 35, has no formal training in acrobatics, he said he knew what he wanted from the dancers and mentally sketched the movement.
"I like how the body can change and metamorphose into something totally different," yoga-trained Stewart said.
"The connection between the dancers is a magical process through the combined forces."
Stewart's last work Helmet, a sell-out success for the Mardi Gras festival, has created Fugly, which is a challenge for the dancers who must move through a world of accidents, home videos, awkwardness and distorted romance.
Stewart has choreographed work for the Sydney Dance Collection, Melbourne Festival For The Arts, the National Theatre Festival, Canberra, and Queensland University of Technology. He hopes to work overseas in either New York or Holland.
"Conceptually, there is a lack of choreographers and limited opportunities for them in Australia," Stewart said. "The standard of Australian dance is good universally, but there aren't very many choreographers around.
"Choreographers should question tradition and display more of a cutting edge."
Stewart's credits include Fred And Ginger Get Laid, The Year My Voice Broke, The Velocity Of Sex, Spectre In The Covert Memory and Thack, which appeared at the Sydney Opera House.
Stewart said the standard of Australian dance was good universally.
"To survive in the industry, dancers need a versatile style including jazz, ballet and contemporary experience," he said.
Stewart praised Kate Levy and Narelle Benjamin, who are performing in Two, as two of the best dancers he has worked with. Two is at the York Theatre, Seymour Centre, until November 2.
Saxon Cheng, Two Steps Forward, The Daily Telegraph, 31 October 1997, 35
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Scene at the Warrangesda Mission, Illustrated Sydney News, 1 September 1883, 14
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School for Scandal, Daily News, 4 May 1940, 6
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Schools' Concert Repeat, Barrier Miner, 17 October 1940, 4
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Schools' Concert, Barrier Miner, 17 October 1941, 4
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Scientific Expedition, Sydney Morning Herald, 29 May 1874, 5
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Scissors and Paste, Burra Record, 12 July 1878, 4
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Scotsman, 14 September 1995
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Scott Henderson, Sunday Times, 1 February 1987
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Scott Rankin, DIY virtuosity versus professional mediocrity, Australasian Drama Studies, 52, April 2008, 97-111
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Scrip of Repertory play watered down, The Canberra Times, 11 March 1949, 2
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Sea Drift, The Age, 16 September 1982, 14
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Sea Drift, The Age, 21 September 1982, 14
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Seamus Bradley, The Sunday Age, 4 February 2001
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Sean Cadd, The Southside Chronicle, 2 April 2002, 39
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Sean Maher, Anticipated rough gems not enought, Theatre Australasia, August 1994, 0
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Sebastian Black, Guest Editorial and Contributors, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 18, April 1991, 3 - 6
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Section 3, 21 October 1975, 2
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Section 6, 12 October 1975, 4
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Section III, 18 October 1988, 19
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Section III, 22 November 1988, 16
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Secular Association. Opening the New Hall, Evening News, 1 August 1892, 8
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PUBLICITY officer Michael Karaffa is not content to let the title of this year's Law Revue 'Legal AIDS' speak for itself. He stresses, a trifle smugly, that this production by the Melbourne University Law Students' Society features "festering buckets full of bad OPPPOT r So far, he says, the show has been received "extremely well" and its cast or "dynamic young people in the peak of physical condition" is showing no signs of flagging under the strain of delivering lusty choruses and dances. The law revue has in the past helped such notables as Gough Whitlam and Sir John Kerr (as illustrated by Tandberg) start their career in high farce. The only possible disappointment for Mr Karaffa is that a possible successor (politically) to Mr Whitlam is yet to become apparent from among this year's hoofers. He is optimistic enough to suggest, however, that there may still be several future PMs in the cast, although whether predominantly Labor or Liberal he could not tell because of the anarchic nature of their contributions to the script. "But they could be a little of both, much like our present incumbent," he said. The show ends its run at the Open Stage, corner of Swanston and Grattan streets (Carlton), with matinee and 8.15 pm performances tomorrow. There is also a show tonight.
See tomorrow's Kerrs and Whitlams strut the stage, The Age, 1 July 1983, 36
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Sela Kiek, Site and site-specific dance, Brolga, 27 December 2007, 27-35
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Senia Chostiakof for Crystal, Barrier Miner, 29 November 1941, 2
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Senior Lifestyle, February 2006, 17
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Sensation at Launceston, The Mercury (Hobart, Tas. : 1860 - 1954), National Library of Australia, 27 January 1912, 5
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Sentimental journey is never ending, The Daily Telegraph, 31 March 1983, 33
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Serial search for attitudes to death, Arts and Entertainment, 10 October 2001, 36
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Series of 5 stage shows in Adelaide, The Mail, 5 April 1947, 3
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Serious Chances, Barrier Miner, 15 April 1907, 3
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Sermon in the R.C. Cathedral, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 20 October 1893, 7
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Setting Sydney on its Ear!, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 18-19
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Setting the stage for talent to shine, The Advertiser, Weekend Extra Tributes, 10 December 2016, 62
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Sex and Violets, The National Times, 17 May 1981, 41
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Shaaron Boughen, Dance gala's ingenious mix stirs, Arts & Entertainment, 11 August 2003, 7
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Shaaron Boughen, Hypnotic movement entrances, Arts & Entertainment, 27 August 2001, 15
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Shaaron Boughen, Season unite East and West/review, Arts & Entertainment, 18 August 2003, 6
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Shakespear Revived, The Examiner, National Library of Australia, 26 October 1938, 12
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Shakespeare also said it, The Age, 27 February 1970, 3
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Shakespeare for City, The Sunday Herald, 19 March 1950, 6
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Shakespeare gets sexy, Sydney Star Observer, 1 November 2007, 26
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Shakespeare in Jeans, Pix, 12 November 1960, 24-26
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Shakespeare on Tour. Additions to Allan Wilkie's Repertoire, The Herald, 9 April 1927, 21
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Shakespeare's Tempest an Ard act to follow, The Herald Sun, 2 January 2007, 0
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Shakespearean actor leaves, The Argus, National Library of Australia, 28 July 1926, 19
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Shakespearean Comedietta, Sydney Morning Herald, 8 August 1934, 8
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Shakespearean Play , Sydney Morning Herald, 23 June 1937
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Shane Burke, Melbourne Sun, 2 July 1987
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Shanghai Afternoon Post, November 2000, 0
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Shanna Provost, Artlook, August 2005, 26
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Shanna Provost, Artlook, August 2005, 6
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Shanna Provost, Artlook, July 2005, 7
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Shanna Provost, Artlook, September 2005, 9
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Shanna Provost, The Word, July 2006, 0
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Shanna Provost, The Word, March 2006, 0
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Shanna Provost, The Word, May 2005, 0
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Shannon O'Neill, Impro: ethical, musical and now, RealTime Arts, 72, April 2006, 30
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Shari Tagliabue, Trance North, Townsville Bulletin, 26 November 2016, 10
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Sharman's Lear will be 'simple, direct', The Age, 23 June 1971, 20
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Sharon Mazer, 'Ethnographer, tourist, cannibal': telling the self, splitting the self, Australasian Drama Studies, 59, October 2011, 104-120
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Sharon Mazer, Skirting Burlesque, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 63, October 2013, 24 - 33
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Sharon Verghis, Belonging, Review, 4 June 2011, 4-6
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Sharon Verghis, Go Pinocchio, Sydney Morning Herald, 20 May 2005, 12
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Sharon Verghis, Great currency, The Australian, 19 November 2011, 6
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Sharon Verghis, Journey to the red earth, Sydney Morning Herald, 14 July 2003, 12
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Sharon Verghis, Same, But Different, The Australian, 21 November 2010
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Sharon Verghis, Sonic Boom, Review, 11 June 2011, 6-8
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Sharon Verghis, Spectrum, 13 January 2007, 18
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Sharon Verghis, Spectrum, 25 November 2006, 4
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Sharon Verghis, Spectrum, 31 March 2007, 4
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Sharon Verghis, Sydney Morning Herald, 1 August 2003, 5
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Sharon Verghis, Sydney Morning Herald, 10 August 2004, 15
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Sharon Verghis, Sydney Morning Herald, 13 February 2004, 16
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Sharon Verghis, Sydney Morning Herald, 14 January 2004, 12
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Sharon Verghis, Sydney Morning Herald, 15 October 2003, 5
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Sharon Verghis, Sydney Morning Herald, 16 June 2004, 16
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Sharon Verghis, Sydney Morning Herald, 18 February 2004, 16
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Sharon Verghis, Sydney Morning Herald, 2 December 2005, 11
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Sharon Verghis, Sydney Morning Herald, 2 December 2005, 18
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Sharon Verghis, Sydney Morning Herald, 2 May 2005, 17
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Sharon Verghis, Sydney Morning Herald, 2 October 2003, 16
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Sharon Verghis, Sydney Morning Herald, 20 May 2004, 14
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Sharon Verghis, Sydney Morning Herald, 24 April 2004, 5
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Sharon Verghis, Sydney Morning Herald, 24 January 2005, 12
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Sharon Verghis, Sydney Morning Herald, 25 February 2004, 17
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Sharon Verghis, Sydney Morning Herald, 25 June 2004, 13
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Sharon Verghis, Sydney Morning Herald, 26 December 2003, 5
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Sharon Verghis, Sydney Morning Herald, 3 March 2006, 3
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Sharon Verghis, Sydney Morning Herald, 3 October 2005, 12
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Sharon Verghis, Sydney Morning Herald, 31 August 2005, 15
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Sharon Verghis, Sydney Morning Herald, 31 October 2003, 13
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Sharon Verghis, Sydney Morning Herald, 4 February 2005, 13
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Sharon Verghis, The Australian, 1 June 2005, 22
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Sharon Verghis, The Australian, 29 January 2007, 12
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Sharon Verghis, [American Masters], Sydney Morning Herald, 29 May 2003, 3
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Sharp at 2 O'Clock. KATE HOWARDE COMPANY., Warwick Examiner and Times, Qld, 26 July 1899, 3
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Shaun McLeod, Lucy Guerin: Finality and new direction, RealTime Arts, Theatre and Dance Platform, 39, October 2000, 37
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Shaunagh O'Connor, The Herald Sun, 29 October 1997
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Shaw Play, The Age, 3 September 1963, 9
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Shawn Stanley, bma (bands music action) , 17 July 2003, 27
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She has a lot more to write, Pictorial Show, 18 November 1957
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She'll produce male play, The Herald, 12 October 1961
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Sheila Rabillard, The seductions of theatricality: Mamet, Tremblay, and political drama, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 29, October 1996, 33 - 42
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Shelley Clarke, bma (bands music action) , 24 April 2003, 27
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Shelley Neller, Three sisters and a husband and wife, The Australian, The University of Adelaide, Library Special Collections, 17 March 1981
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Shelli-Anne Couch, Heaven_Article1, Sydney Morning Herald, Macquarie University, Library, 19 November 1993, (Metro section)
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Ship of Heaven. Poet Meets Musician. Let Alf Have It., The Sun (NSW), 23 November 1923, 4
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Ship's Mails, Sydney Morning Herald, National Library of Australia, 7 June 1862
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Shipping Intelligence. The Drama, The Currency Lad, 26 January 1833, 2
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Shirley Apthorp, Figaro, June 2003, 12
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Shirley Despoja, A dearth of good local plays, The Advertiser, The University of Adelaide, Library Special Collections, 10 June 1978, 28
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Shirley Despoja, The Saturday Review, 23 July 1983, 0
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Shirley Meldrum, Sun Herald, 30 June 1985
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Shoba Rao, Mx, 17 January 2006, 2
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"Some of the more decent class of prisoners, male and female, having some time since obtained permission to prepare a playhouse at Sydney, it was opened on Saturday, January 16, 1796, under the management of John Sparrow, with the play of "The Revenge," and the entertainment of "The Hotel." The building cost upward of one hundred pounds. The names of the principal performers were: H. Green, Sparrow, William Folkes, G. H. Hughes, William Chapman, and Mrs Davies. Of the men Green best deserved to be called an actor. They had fitted up the house with more theatrical property than could have been expected, and their performance was far above contempt. Their motto was modest and well chosen. "We cannot command success, but will endeavor to deserve it." Of their dresses the greater part was made by themselves; but we understand that some veteran articles from the York Theatre were among the best that made their appearance.
At the licensing of this exhibition they were informed that the slightest impropriety would be noticed, and a repetition punished by the banishment of their company to the other settlements. There was, however, more danger of improprieties being committed by some of the audience than by the players themselves. A seat in their gallery which was by far the largest place in the house, as likely to be most resorted to was to be procured for one shilling.
"In the payment of this price for admission, one evil was observable, which in fact, could not be prevented; In lieu of a shilling, as much flour, or as much meat or spirits, us the manager would take for that sum, was often paid at the gallery door. It was feared that this, like gambling, would furnish another inducement to rob; and some of the worst of the convicts, ever on the watch for opportunities, looked on the playhouse as a certain harvest for them, not by picking the pockets of the audience of their purses or their watches, but by breaking into their houses while the whole family might be enjoying themselves in the gallery. This actually happened on the second night of their playing.
"In February the players, with a politic generosity, performed the play of the "Fair Penitent," with a farce, for the benefit of the family of a soldier who was accidentally drowned. The house was full, and it was said that they got upward of twelve pounds by the night."
Short History of the Botany Bay Theatre, The Sun (NSW), 19 September 1911, 2
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Shorter run for play, The Age, 5 April 1977, 2
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Show is family affair, Barrier Miner, 29 October 1964, 14
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Show prices cut, Courier Mail, 22 April 1949, 5
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Show proves he who laughs, lasts, Courier Mail, 23 September 2002, 2
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Showman says fires caused losses, Sydney Morning Herald, 30 June 1954, 7
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Sian Martin, Daily Sun, 9 March 1988
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Sian Martin, Entertaining Mister Sloane, The Daily News, 22 July 1988
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Sian Martin, The Daily News, 1 January 1988
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Sian Martin, The Daily News, 10 June 1988
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Sian Martin, The Daily News, 11 June 1987
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Sian Martin, The Daily News, 12 February 1987
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Sian Martin, The Daily News, 12 January 1987
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Sian Martin, The Daily News, 15 January 1987
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Sian Martin, The Daily News, 15 January 1987
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Sian Martin, The Daily News, 16 March 1988
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Sian Martin, The Daily News, 18 September 1987
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Sian Martin, The Daily News, 19 August 1988
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Sian Martin, The Daily News, 19 February 1988
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Sian Martin, The Daily News, 2 January 1987
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Sian Martin, The Daily News, 2 October 1987
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Sian Martin, The Daily News, 20 March 1987
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Sian Martin, The Daily News, 22 April 1988
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Sian Martin, The Daily News, 24 July 1987
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Sian Martin, The Daily News, 25 September 1987
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Sian Martin, The Daily News, 26 February 1988
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Sian Martin, The Daily News, 26 February 1988
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Sian Martin, The Daily News, 26 March 1987
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Sian Martin, The Daily News, 28 August 1987
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Sian Martin, The Daily News, 28 May 1987
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Sian Martin, The Daily News, 29 January 1987
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Sian Martin, The Daily News, 29 June 1988
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Sian Martin, The Daily News, 31 July 1987
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Sian Martin, The Daily News, 4 September 1987
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Sian Martin, The Daily News, 6 May 1988
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Sian Martin, The Daily News, 9 October 1987
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Sian Powell, Love in a mist, Sydney Morning Herald, 24 April 1991
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Sian Powell, Review, 28 November 2006, 3
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Sian Prior, Agenda, 19 May 2002, 9
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Sian Prior, The Sunday Age, 11 March 2001
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Sian Prior, The Sunday Age, 18 February 2001
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Sian Prior, The Sunday Age, 18 February 2001
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Sian Prior, The Sunday Age, 25 February 2001
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Sian Prior, The Sunday Age, 4 March 2001
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Sian Prior, The Sunday Age, 4 March 2001
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Sid will carry on - despite the jabs, The Age, 22 September 1972, 1
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Siftings, Local and Otherwise, Northern Territory Times and Gazette, 10 April 1891, 3
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Siftings, Local and Otherwise, Northern Territory Times and Gazette, 18 March 1892, 2, 3
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Siftings, Local and Otherwise, Northern Territory Times and Gazette, 31 July 1891, 3
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Siftings, Local and Otherwise, Northern Territory Times and Gazette, 6 May 1892, 2, 3
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Siftings, Local and Otherwise, Northern Territory Times and Gazette, 7 August 1891, 3
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Sightseeing, March 2004, 0
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Silver City Players to stage 'Sky High', Barrier Miner, 6 November 1943, 4
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Silverton, Burra Record, 1 May 1907, 3
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Silverton, December 26., Australian Town and Country Journal, 1 January 1887, 17
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Simon Castles, Preview, 15 January 2006, 24
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Simon Garrett, The plays, playmakers and playhouses of recent New Zealand Theatre, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 18, April 1991, 30 - 46
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Simon Hopkinson, David Allen, Companion To Theatre In Australia, 1995, 37
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Simon Houpt, Misha in motion, The Globe and Mail, 15 May 1999, C1
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Simon Kent, Clean sweep, Sun Herald, Time Out, 24 May 1998, 16
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Simon Mikkelsen, Gladstone Observer, 20 November 1987
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Simon Phillips, The Canberra Times, 10 April 2001
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Simon Plant, A Show of Strength, The Herald Sun, 4 August 2007, 6
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Simon Plant, Landing on their feet, The Herald Sun, Theatre and Dance Platform, 31 May 2010
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Simon Plant, The Herald Sun, 11 May 2007, 73
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Simon Plant, Weekend, 24 February 2007, 0
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Simon Weaving, Times2, 12 July 2006, 8
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Simon Weaving, Times2, 5 July 2006, 8
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Sinead O'Neill, Events offer music and contemporary dance, Daily Ireland, Theatre and Dance Platform, 2 November 2005, 24
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Singer in the top register, The Age, 8 January 1986, 10
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Singer wants a babysitter - and in a hurry, The Age, 22 November 1965, 5
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Singleton, The Maitland Mercury, 17 June 1846, 2
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Singleton, The Maitland Mercury, National Library of Australia, 14 February 1846, 2
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Singleton. Boxing Day, The Maitland Mercury, National Library of Australia, 2 January 1847, 2
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Siobhan Kent, Times out, 24 July 2003, 3
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Sir Rupert Clarke. New Film Director, An Adventurous Life , The Sun (NSW), 13 February 1921, 2
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Sixth Drama Festival Award to Launceston, The Examiner, National Library of Australia, 2 June 1952, 4
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Skating Stars Study Stage, The Advertiser, 28 June 1950, 4
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Sky High for SA production, Barrier Miner, 26 January 1944, 3
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SLOMAN AND SMITH'S BIJOU TROUPE.
This troupe of talented artistes have given
a series of performances'at the Odd Fellows' Hall, during the week, which for variety, novelty, attraction, and excellence have never been surpassed by any company that has yet visited the colony. The company possess a combination of varied and superior talent seldom witnessed anywhere else than in established places of amusement in large cities. The troupe consists of a nurmber of artists, selected especially for excellence in some distinct line of the profession, and at the sanie time of sufficient versatility to combine together in the some general and effective scene. The crowded state of the house on each evening of the performance, was the surest test of the excellence and popularity of the performances. It is seldom that Fremantle can afford even a tolerably good house on a third evening's performance, but in this instance, the third night was a fuller and more fashionable night than either of the preceeding. There was a slight falling off on the two followfng nights, but the attendance to the last was good, and the reception accorded the company, individually and collectively on each occasion of their appearance must have been extremely gratifying. To criticise, however briefly, the programme of each evening, would be beyond what the space at our disposal will permit, and we must content ourselves with selecting for notice the principal features of the week's entertainments. Of the ladies - we will not attempt.the invidious task of particularising, or leave ourselves open to a charge of being unduly influenced by our particular taste in feminine beauty - in addition to posessing pleasing features and pretty figures, are clever, and whatever they attempt, they do well. Whether standing still as chiseled marble, in the beautiful classical tableaux, which alonie are worth the price charged for admission - or in character costume, dancing the national dances of England, Scotland, and Ireland the hornpipe, fling, and jig, tripping gaily and gracefully the merry in Tarentella - or floating through the inazes of the ballet, they are equally perfect, equally chanrming; and the man who having witnessed the performance could go away grumbliung and dissatisfied - must, like "he who hath no music in his soul, be fit for treason,, stratagem, and spoil., The Japanese juggling of Mr. E. Smith is accomplished with finiish, and his quiet, unpretentious manner lends additional force to the marvellous deceptions, which appear sufficiently impossible to satisfy the most greedy lover of marvel and magic.. The step dancing and negro eccentricities of Messrs. Walllace and Carroll, cannot be described ; they must be seen to be appreciated. The Pedestal dance by these two gentlemen is a feature in the entertainment, and never fails to elicit unbounded applause, and a vociferous encore. The pianist, who works as hard as any other member of the company, does hiis full share towards making the performance a success, though he does not participate in the abundant applause bestowed upon the other members of the company. The costumes and appointmlents throughout, are correct, appropriate and effective and reflect the greatest credit upon tie proprietary and management. :They leave almost immediately for Java, and those who have not already paid them a visit should not fail to do so, for it may be long ere such a company will again visit us.
Sloman and Smith's Bijou Troupe, The Herald, 13 June 1874, 3
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SM watched actor say'--- boongs', The Age, 24 July 1969, 9
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Small Army Active: Work Behind the Scenes, Barrier Miner, 29 October 1964, 15
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Small Mercies, Sydney Morning Herald, 12 August 1980, 8
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Snakes - He had 'em, Newcastle Morning Herald and Miners' Advocate, 3 June 1887, 8
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Snappy Sydney, The Canberra Times, 16 November 1933, 4
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Snappy Sydney. Large Audience Sees Revue, The Canberra Times, 20 November 1933, 2
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Snowy-Monaro Weekly, 28 April 1993
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So Chaucer gets the treatment, The Age, 27 March 1969, 2
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So Long Letty to open at Crystal, Barrier Miner, 17 September 1945, 7
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So Long Letty, Sydney Morning Herald, 15 November 1920, 7
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So Long, Letty. Breezy Comedy at the Royal., The Register, 29 April 1918, 7
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So they just "took it from there", The Age, 21 July 1965, 3
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Social and General, The Argus, 4 July 1881, 1
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Social Calendar [The Thirteenth Chair], Honi Soit, 6 August 1930, 3
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Sloman & Smith's Bijou Variety Troupe, give a performance on Monday evening at the Town Hall, Perth, in aid of thie funds of the Catholic Boy's Orphanage. His Excellency patronised the performance by being present, but the attendance was poor.
Social Events, The Herald, 18 June 1874, 3
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Social Nondescripts, The Age, 2 January 1886, 4
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Social Notes, The West Australian, (Perth, WA : 1879 - 1954), 12 August 1901, 6
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Social Notes., Clarence and Richmond Examiner, Grafton, NSW, 31 July 1909, 11
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Social Notes., Clarence and Richmond Examiner, Grafton, NSW, 31 July 1909, 11
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Social Sphere. Gossip, Townsville Daily Bulletin, Townsville, 18 January 1936, 8
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Society Entertainment, The Goulburn Evening Penny Post, NSW, 25 March 1902, 2
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Soldier and Star, The Age, 5 August 1965, 5
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Solo, Theatre Australia, April 1981, 49
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Sombre Aboriginal Decor for Ballet, The Herald, 6 August 1946, 9
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Some local children are born actresses, Barrier Miner, 29 September 1934, 5
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Someone at the Door, The Argus, 25 September 1937, 39S
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Something funny came out of a fracture, The Age, 26 September 1968, 6
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Song of the Seals, The Advertiser, 9 May 1983, 15
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Song of the Seals, The Australian, 10 May 1983, 10
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Songs from Sideshow Alley, Theatre Australia, March 1980, 10-11, 62
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For many of us the pre-9am period is a netherworld, rarely visited.
Yet on the water, marine life wakes early. "The wind drops at dawn, and sound travels better. It's a beautiful time to be out," says Madeleine Flynn, artist and occasional boat co-skipper.
Flynn works with Tim Humphrey to create sound art projects and in 5 Short Blasts their new soundtrack accompanies those using the watery ways of the Port of Melbourne. Having "orchestrated" weather, vessels and industry sounds, they're about to invite passengers onto a little flotilla of electric boats.
From this week, the boats will depart from two points in Docklands, at 6am on Fridays - for adventurous travellers on the way to work - and later for sleepy weekend voyagers.
The two created the nautical encounters as a means of reconnecting people to Melbourne's often maligned waterfront. While they're artists first and foremost, they admit they're now immersed in the bustle of maritime life.
"We totally love it down here now, and defend it if anyone disses the Docklands," says Flynn. "Also, the water is really easy to get on to. You can join the Docklands Yacht Club for 20 bucks a year!"
Such was their commitment the two went to "boat school" to get a marine radio licence. "Entering into port waters and taking people with us, we had to be in a powered vessel", says Flynn.
They opted for battery-powered boats, to avoid the noise and smell of petrol or diesel. Their skill at salty sea talk extends to the event's title - vessels use five short blasts (of a horn or whistle) to advise others: "I am not sure of your intentions and am concerned we are going to collide." It struck the team as a perfect metaphor for life and for art.
5 Short Blasts is partly choreographed, partly spontaneous. Passengers will hear recorded stories from those working on the water or living on boats. The artists went up cranes and into container ships, and interviewed Australia's first female wharfie, sailors, rowers, boat builders and motor mechanics. Their stories are interspersed with the melodic electro-acoustic music in each boat. Unexpected noise is very welcome too, and regular Docklands groups have been invited to time their activities with the event.
Hand on the tiller, Humphrey emphasises the importance of the "sound esky" in each boat. "On the water radio is a central sound structure for all the operations and recreational activities."
The sound installation will also be broadcast on 89.5FM from the Old Harbour Master Tower on the North Wharf. Anyone in a 30 kilometre radius can listen in.
For urban types, it's startling to see divers emerge from the mucky depths of a city waterway. "They're called wharf carpenters", Flynn explains. "They have underwater chainsaws, and it's a continuous process of maintenance."
If you're not working and submerged, there are few better places to be than on a boat when the sun cracks open the morning cloud. "It means something for Australians to make a work of art in a boat," says Flynn. "The relationship between the first Australians and everyone who came afterwards is all about boats."
Sonia Harford, Installation explores life and depths of waterway, The Age, 23 November 2013, 26
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Sonia Harford, Melbourne Times, 29 June 1988
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Sonia Harford, On the street where we live, The Age, Saturday Extra, 13 December 1997, 5
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Sonia Harford, Using a bayside base as a springboard to the world modern dance, Emerald Hill, Sandridge and St Kilda Times, Theatre and Dance Platform, 4 August 1988, 19
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Sonia Humphrey, The Australian, 24 April 1998
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Sonia Humphrey, The Australian, 27 March 1998
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Sonny to be staged locally, Barrier Miner, 11 August 1941, 4
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Sonya Voumard, Press versus corruption, TV Scene, 22 March 1985
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Sophie Benjamin, So you think you can't dance?, Toowoomba Chronicle and Darling Downs Gazette, Theatre and Dance Platform, 9 February 2011
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Sophie Elias, Contemporary Australian dramatists, Commonwealth, 1979-1980, 4, 1979, 129-137
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Sophie Elias, Political drama in Australia: Why and Wherefore? An interview with John Romeril, playwright, Commonwealth, 1979-1980, 4, 1979, 147-154
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Sophie Tedmanson, All in the family, The Australian, 19 October 2000, 16
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Sophie Tedmanson, The Australian, 15 October 2003, 3
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Sophie Tedmanson, Weekend Australian, 18 October 2003, 9
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Sophie Travers, Dance down under, Dancing Times, Theatre and Dance Platform, November 2007, pp.16-18
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Sophie Travers, Making the trip work, RealTime Arts, Theatre and Dance Platform, 97, June 2010, online
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Sophie Travers, Melbourne International Arts Festival: Inside Out/Outside, RealTime Arts, Theatre and Dance Platform, 75, October 2006, 4
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Sophie Travers, Obsessed with the fold, RealTime Arts, 73, June 2006, 41
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Soprano returns, 'an actress', The Age, 13 April 1966, 5
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Sorlie's Revue popular, The Canberra Times, 14 October 1954, 2
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Sorlie's Revue returns to Canberra, The Canberra Times, 8 October 1954, 2
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Sorlies Open Carnival Season, The Morning Bulletin, 12 June 1954, 4
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Soul-searching in Sydney, On Stage, 12, 4, 2011, 51
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Sound performance by Rep Players in The Man, Barrier Miner, 2 August 1961, 17
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Sounds from the Ether, Caulfield Glen Eira/Port Phillip Leader, Theatre and Dance Platform, 15 March 2005, 4
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South Australia, Barrier Miner, 29 January 1898, 2
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South Australia, Barrier Miner, 29 January 1898, 4
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South Australia, Bendigo Advertiser, 15 November 1867, 2
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South Australia, The Mercury (Hobart, Tas. : 1860 - 1954), 1 February 1898, 4
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South Coast News, Northern Star, 28 March 1896, 7
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South Coast News, Northern Star, 8 April 1896, 3
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South West News Pictorial, 11 October 1964, 10
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Southern Amateur Theatrical Society, Sydney Morning Herald, 21 August 1890, 5
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Southern Districts, Armidale Express and New England General Advertiser, 9 June 1860, 2
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Southern Highlands News, 18 September 2002, 14
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Southern Highlands News, 18 September 2002, 16
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Southern Highlands News, 18 September 2002, 20
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Southern Standard, 9 April 1981, 10
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Spain, The Morning Bulletin, 8 January 1875, 2
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Spark that grew into vigorous flame; amazing rise of Broken Hill Quartette Club, Barrier Miner, 6 December 1941, 16
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Sparkling comedy at Theatre Royal: Lover's Leap this week, The Advertiser, 5 April 1937, 11
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Special Performance of "Wattle Farm", Singleton Argus, 9 December 1932, 4
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Spectacular theatre season planned for Sydney and Melbourne, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 4-5
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Spectacular, Journal Frankfurt, Theatre and Dance Platform, 13/09, 12 June 2009
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Spectrum, 10 May 1997, 15
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Spectrum, 20 July 1996, 13
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Spectrum, 3 February 2007, 19
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Spell of Pantomime, The Canberra Times, 23 December 1961, 12
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Spirit of Christmas, Supplements, 15 November 2007, 21
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Splints and Splices, The Gundagai Times and Tumut, Adelong and Murrumbidgee Dist, NSW, 2 September 1902, 2
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Splints and Splices, The Gundagai Times and Tumut, Adelong and Murrumbidgee Dist, NSW, 28 February 1899, 2
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Sport and racism mingle, Stirling Times Community, 12 February 2008, 27
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Sport Events at the Show Tomorrow, Barrier Miner, 22 September 1951, 3
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Sporting and Theatrical Notes, The Argus, 21 June 1872, 3
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Sporting Celebrities V - Mr James Brennan, The Sunday Sun, 20 March 1904, 3
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Sporting, The Brisbane Courier, 23 January 1896, 6
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Sports At Benalla, Euroa Advertiser, 19 March 1897, 2
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Sports At The Aborigines' Home, Clarence and Richmond Examiner, 29 December 1894, 5
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Spotlight on Society, The Sun (NSW), 24 June 1938, 9
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Spotlight on Society, The Sun (NSW), 4 July 1939, 13
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Spring 2001: Article, General Admission, 2001, 3
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Spring 2001: Article, General Admission, 2001, 3
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Springsure, 31 July 1880, The Brisbane Courier, 31 July 1880, 6
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Springsure. 12 June 1882., The Morning Bulletin, 12 June 1882, 2
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St George and Sutherland Shire Leader, 17 December 1975
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St George and Sutherland Shire Leader, 21 January 1976
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St Marys-Penrith Times, 18 April 1963, 5
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St Marys-Penrith Times, 2 May 1963, 5
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St Marys-Penrith Times, 25 April 1963, 7
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St Marys-Penrith Times, 4 April 1963, 6
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St. Aloysius College Annual Concert, The Advertiser, 5 October 1946, 11
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St. Andrews Day, The Sydney Gazette and New South Wales Advertiser, 1 December 1829, 2
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St. John's Bazaar, Cairns Post, 15 May 1920, 4
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St. John's Bazaar, The Maitland Mercury, National Library of Australia, 24 November 1847, 2
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St. John's Total Abstinence Anniversary, The Maitland Mercury, National Library of Australia, 17 August 1850, 2
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St. John's Total Abstinence Society , The Maitland Mercury, National Library of Australia, 23 August 1845, 2
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St. John's Total Abstinence Society - St. John's Day, The Maitland Mercury, National Library of Australia, 26 June 1850, 2
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St. John's Total Abstinence Society, The Maitland Mercury, National Library of Australia, 19 August 1854, 2
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St. John's Total Abstinence Society, The Maitland Mercury, National Library of Australia, 23 August 1845, 2
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St. John's Total Abstinence Society, The Maitland Mercury, National Library of Australia, 8 February 1854, 2
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ST. MARY'S CHURCH. (1836, June 2), The Colonist, 2 June 1836, 4
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St. Patrick's Church, Fremantle, West Australian Catholic Record, (Perth, WA : 1888 - 1922), 22 June 1895, 7
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St. Patrick's Night at Midland Junction, West Australian Catholic Record, (Perth, WA : 1888 - 1922), 29 March 1902, 8
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St. Paul's Church, Beaconsfield, Western Mail, (Perth, WA : 1885 - 1954), 24 December 1897, 46
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St. Paul's Hall, Charles-street.
Another of the series of weekly entertainments for the benefit of the parochial funds was given on Tuesday evening. The concert, which was got up by Mesdames Fuller and Clinch, met with considerable success, notwithstanding so many counter-attractions. Miss Power, who also accompanied throughout with great skill and helpfulness, opened the proceedings with a brilliant pianoforte selection. Miss Wardle's two numbers on the violin were warmly received. Miss Ledger gave a tasteful rendering of "Sunshine from Above," the other ladies taking part being Miss Rodda, with a well-played overture, and Mrs. Fuller, with a charmingly rendered song. Mrs. Snowball gave two readings, one of which, a Dutch humorous piece, caused much amusement, and Miss Whitford recited with feeling. Of the gentlemen, Mr. John Horgan, who was in excellent voice, sang with much acceptance "The Last Watch" and "Star of my soul." Mr. Ledger sang "Tell Me, Mary" and "I seek for thee" with good expression. Mr. Roxby was pleasingly heard in two songs. The Rev. John Ellis vigorously sang "The skippers of St. Ives," and also read a humorous American piece. It was announced that next Tuesday there will be a recital by Mr. Ellis, particulars of which will be duly advertised and that Mrs. A. S. Appleton has undertaken to produce the next musical entertainment.
St. Paul's Hall, Charles-street, The West Australian, (Perth, WA : 1879 - 1954) , 19 July 1900, 4
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St. Paul's Hall, Charles-street. One
of the series of weekly entertainments now being given in the above hall took place on Tuesday evening. There was an excellent attendance, and the programme, which was prepared by Mrs. Wolfe and Miss Whitford, was rendered with. spirit, and received with marked appreciation. It comprised the following numbers:- Mrs. Bollard (who played most of the accompaniments). a pianoforte selection and a song, "Tatters"; Miss Newton, overture; Miss Catling, "Fiddle and I," "Juanita," and "Ben Bolt" (as an encore); Miss Whitfield, pianoforte solo; Miss Rance, a recitation, "Aunt Tabitha": Misses Newton and Rance, pianoforte duett; Mrs. Rance, a song, "Life's Story"; Mr. and Miss Dawes, humorous duett, '"Very Suspicious"; Mrs. Wolfe, a recitation, "The Primrose"' Mrs. W. Smith, a song, '"The Fisherman's Danghter" ; Mr. Marsh, a song, "My Old Duch"; Mr. Solomon, a recitation, "The Soldier's Reprieve"; Rev. John Ellis, a humorous dialogue; Mr. C. Rance. a song, "Alas I Those Chimes." The announcement was made that the next ehtertainment would take the form of a social, or soiree, with refreshments.
St. Paul's Hall, Charles-street, The West Australian, (Perth, WA : 1879 - 1954) , 23 August 1900, 4
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Stacey Lucas, The Southside Chronicle, 21 May 2002, 25
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Stacy Farrar, Sydney Star Observer, 25 May 2006, 14
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Stage and Screen Personalities, Sydney Morning Herald, 5 March 1936, 24S
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Stage and Screen Personalities, Sydney Morning Herald, 5 September 1935, 8S
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Stage and Screen; Plays and Players, Sydney Morning Herald, 8 March 1934, 9S
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Stage and Screen; Plays and Players, Sydney Morning Herald, Sydney, 8 March 1934, 9S
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Stage asides: Alec Kellaway, Townsville Daily Bulletin, 2 August 1938, 9
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Stage Burnt in National Theatre Fire, The Examiner, National Library of Australia, 9 June 1951, 1
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Stage Career Banned. Conditions of a will., Weekly Times, 19 December 1931, 6
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Stage Career Banned., The Herald, 16 December 1931, 7
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Stage Comedy Good Fun, The Mail, 31 August 1946, 3
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Stage Debut for Isla, The Age, 9 February 1964, 8
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Stage history of , Sydney Morning Herald, 19 January 1924, 12
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Stage Manager and Electrician, The Age, 15 June 1963, 8
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Stage memories, The Argus, 14 September 1953, 8
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Stage performance held up - union official's action causes half hour delay, Barrier Miner, 4 October 1934, 1
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Stage Play Competition, Sydney Morning Herald, 11 December 1947, 16
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Stage play on the move, The Sunday Herald Sun, 18 June 1965
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Stage set for unusual sale as curtain closes on theatre warehouse, Newcastle Herald, 16 September 1994, 5
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Stage stars still draw fans, The Age, 29 December 1971, 8
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Stage Whispers, August 1999, 46
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Stage Whispers, December 1998, 5
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Stage Whispers, July 1994, 3
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Stage Whispers, July 1999, 20
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Stage Whispers, July 2000, 11
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Stage Whispers, November 1993, 40
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Stage Whispers, November 1999, 10
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Stage Whispers, October 1996, 8
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Stage Whispers, September 2002, 25
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Stage Whispers, The Sunday Herald, 11 September 1949, 6 S
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Stage Whispers, The Sunday Herald, National Library of Australia, 4 February 1951, 8S.
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Stage Whispers..., The Sunday Herald, 5 March 1950, 6
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Stage, Song and Show, The Australian Star, 13 June 1904, 3
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Stage, Song and Show, The Australian Star, 21 June 1890, 2
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Stage, Song and Show, The Australian Star, 26 September 1896, 3
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Stage, Song and Show, The Australian Star, 28 March 1896, 3
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Stage, Song, and Show, The Australian Star, Sydney, NSW, 27 September 1890, 2
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Stage, The Age, 1 December 1978, 2
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Stan Foley at Tivoli, Barrier Miner, 21 July 1942, 4
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Stan Foley at Tivoli, Barrier Miner, 25 July 1942, 3
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Standard Operating Procedure, The National Times, 11 July 1982, 27
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Standard Theatre, Sydney Morning Herald, 7 April 1887, 11
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Standard Theatre, Sydney Morning Herald, National Library of Australia, 21 September 1891, 9
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Standard Theatre, Sydney Morning Herald, National Library of Australia, 28 October 1889, 5
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Standard Theatre, Truth, 26 March 1911, 3
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Standard, Sydney Morning Herald, 29 March 1890, 12
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Stanley Holloway: music hall to 'My Fair Lady', The Age, 1 February 1982, 10
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Stanley McKay's Gaieties, Barrier Miner, 23 August 1940, 3
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Stanley, The North Western Advocate and the Emu Bay Times, Tas, 17 May 1904, 2
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Stanley, The North Western Advocate and the Emu Bay Times, Tas, 19 May 1904, 2
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Stansbury, April 20, The South Australian Register, 29 April 1885, 3
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Star of Irene breaks her wrist. Heavy fall on stage, Sydney Morning Herald, 21 July 1975, 1
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Star's wife in spotlight, The Age, 10 July 1967, 6
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Starred in "Parnell" with Clark Gable, The Sun (NSW), 22 September 1938, 29
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Stars of Opera, The Canberra Times, 30 April 1959, 23
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Stars of the Air: Alathea Siddons, The Grenfell Record and Lachlan District Advertiser, 17 September 1945, 4
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Stars of the Air: [Betty Lucas], The Grenfell Record and Lachlan District Advertiser, 3 May 1949, 4
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Stars of the: Players Born and Bred [Ethel Lang and Wendy Brunton Gibb], The Grenfell Record and Lachlan District Advertiser, 28 November 1946, 1
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Stars step down to the bare boards, Weekend Australian, 18 March 1978
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State funds frozen for theatre companies, Newcastle Herald, 5 December 1989, 6
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State News, The Southern Argus, 18 May 1905, 2
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State of play, Masque, 1/3, March-April, 1968, 8-9
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Steals the Limelight, The Age, 3 August 1963, 8
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Steam Trip to Clarence Town, The Maitland Mercury, 24 October 1855, 2
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Stefan Haag, Ten years of the Trust, Quadrant, 32, October/November, 1964, 7-18
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Stefan Haag, Underlying reasons for Trust's approach to government, Trust News, Spring, 1966, 3f
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Stefan Treyvaud, Three blokes become boring, Arts and Entertainment, 6 October 2003, 13
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Stefansson Party's Visit, Sydney Morning Herald, 30 July 1924, 13
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Stella Tzobanakis, The West Gate Bridge dance of disaster, Maribyrnong Leader, Theatre and Dance Platform, 17 November 2009
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Stella Wilkie, Muse, 1 March 2001, 6
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Stella Wilkie, Muse, 1 May 2001, 3
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Stella Wilkie, Muse, February 1998, 2
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Stella Wilkie, Muse, July 2002, 7
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Steph Harmon, Perth festival 2018: Siren Songs to sound through city in a program 'full of ritual', The Guardian (London), 9 November 2017, online
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Stephanie Bunbury, Forty-eight hours, 10 July 2004, 8
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Stephanie Bunbury, Good Weekend, 8 April 2006, 47
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Stephanie Bunbury, Mr Music, back to his old haunts, Sydney Morning Herald, 29 April 2009, 14
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Stephanie Bunbury, Pressing Engagement, Sydney Morning Herald, 29 August 2008, 11
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Stephanie Bunbury, Preview, 16 October 2005, 22
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Stephanie Bunbury, Spectrum, 11 February 2006, 35
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Stephanie Bunbury, Spectrum, 14 July 2007, 8
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Stephanie Bunbury, Spectrum, 20 October 2007, 4 - 5
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Stephanie Bunbury, Spectrum, 7 January 2006, 34
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Stephanie Bunbury, Sydney Morning Herald, 10 March 2006, 12
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Stephanie Bunbury, Sydney Morning Herald, 25 April 2007, 14
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Stephanie Bunbury, The Age, 2 July 2007, 13
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Stephanie Bunbury, Universal soldiers, Spectrum, 24 November 2007, 18 - 19
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Stephanie Burridge, Dreaming the future: the emergence of Bangarra Dance Theatre, Australasian Drama Studies, 41, October 2002, 77-89
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Stephanie Gardiner, The Canberra Times, 6 July 2006, 11
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Stephanie Glickman, The Herald Sun, 29 May 1998
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Stephanie Glickman, The Herald Sun, 3 April 1998, 92
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Stephanie Kennedy, ABC News, Dancers take Dreamtime to Stonehenge, ABC News, 11 June 2006
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Stephen Alomes, The search for a national theatre, Voices, 3/3, Spring, 1993, 21-37
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Stephen Amos, The Australian, 1 January 1987
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Stephen Amos, The Australian, 1 March 1987
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Stephen Amos, The Australian, 2 February 1987
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Stephen Amos, The Australian, 31 May 1988
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Stephen Amos, The Australian, 4 February 1988
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Stephen Amos, The Australian, 8 February 1988
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Stephen Amos, The Australian, 8 March 1988
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Stephen Bevis, Heavy and heaving with a hint of a laugh, The West Australian, 19 February 2010, 16
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Stephen Bevis, Scent and sensibility as choreographer taps beauty myth, The West Australian, 30 May 2008, 8
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Stephen Carleton, Australian Gothic Drama: Mapping a Nationʻs Trauma from Convicts to the Stolen Generation, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 66, April 2015, 11 - 39
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Stephen Carleton, Darwin as the frontier capital: theatrical depictions of city space in the north, Australasian Drama Studies, 52, April 2008, 52-68
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Stephen Carleton, Empire and moon, RealTime Arts, 72, April 2006, 42
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Stephen Carleton, New media consolations, RealTime Arts, 73, June 2006, 14
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Stephen Carroll, Agenda, 29 July 2001, 12
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Stephen Carroll, Agenda, 6 May 2001
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Stephen Carroll, Agenda, 8 July 2001, 13
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Stephen Carroll, Pulling at the 'ol heart things, The Age, 24 July 1992
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Stephen Carroll, Sun Herald, 1 February 1987
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Stephen Carroll, Sun Herald, 11 January 1987
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Stephen Carroll, Sun Herald, 11 January 1987
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Stephen Carroll, Sun Herald, 11 October 1987
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Stephen Carroll, Sun Herald, 12 April 1987
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Stephen Carroll, Sun Herald, 17 January 1988
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Stephen Carroll, Sun Herald, 18 January 1987
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Stephen Carroll, Sun Herald, 2 August 1987
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Stephen Carroll, Sun Herald, 21 June 1987
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Stephen Carroll, Sun Herald, 21 June 1987
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Stephen Carroll, Sun Herald, 24 January 1988
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Stephen Carroll, Sun Herald, 3 January 1988
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Stephen Carroll, Sun Herald, 3 January 1988
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Stephen Carroll, Sun Herald, 3 May 1987
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Stephen Carroll, Sun Herald, 4 January 1987
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Stephen Carroll, Sun Herald, 6 December 1987
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Stephen Carroll, The Australian, 24 December 1995, 0
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Stephen Carroll, The Sunday Age, 11 February 2001
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Stephen Carroll, The Sunday Age, 11 February 2001
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Stephen Carroll, The Sunday Age, 21 January 2001
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Stephen Carroll, The Sunday Age, 21 January 2001
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Stephen Carroll, The Sunday Age, 28 January 2001
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Stephen Carroll, The Sunday Age, 28 January 2001
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Stephen Carroll, The Sunday Age, 7 January 2001
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Stephen Carroll, The Sunday Age, 8 July 1997
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Stephen Cauchi, The Age, 23 October 1996
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Stephen Di Benedetto, Shattering images of sex acts and other obscene staged transgressions in contemporary Irish plays by men, Australasian Drama Studies, 43, October 2003, 46-65
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Stephen Dunne, A matter of life, death and sequins, Sydney Morning Herald, 7 March 1998, 11
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Stephen Dunne, As Gross As A Blade, Sydney Morning Herald, 22 August 2008, 11
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Stephen Dunne, Class Action, Sydney Morning Herald, 20 August 1999, 14
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Stephen Dunne, Don't eat me, Pac-Man, Metro, 6 September 2007, 15
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Stephen Dunne, Jobs for da boys, Sydney Morning Herald, Metro, 28 March 1998, 19
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Stephen Dunne, Johnny come lately, Sydney Morning Herald, Metro, 25 February 2000, 14
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Stephen Dunne, Men and the art of relationship maintenance, Sydney Morning Herald, Metro, 1 February 2000, 14
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Stephen Dunne, Metro, 1 June 2007, 11
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Stephen Dunne, Metro, 10 February 2006, 13
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Stephen Dunne, Metro, 13 April 2007, 11
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Stephen Dunne, Metro, 14 July 2000
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Stephen Dunne, Metro, 16 December 2005, 15
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Stephen Dunne, Metro, 16 May 2008, 14
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Stephen Dunne, Metro, 18 August 2006, 15
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Stephen Dunne, Metro, 19 August 2005, 13
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Stephen Dunne, Metro, 19 May 2006, 13
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Stephen Dunne, Metro, 20 January 2006, 13
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Stephen Dunne, Metro, 21 April 2006, 13
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Stephen Dunne, Metro, 27 October 2006, 13
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Stephen Dunne, Metro, 28 July 2000, 14
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Stephen Dunne, Metro, 28 July 2000, 15
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Stephen Dunne, Metro, 29 September 2006, 13
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Stephen Dunne, Metro, 30 June 2000, 15
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Stephen Dunne, Metro, 31 March 2006, 15
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Stephen Dunne, Metro, 4 August 2006, 13
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Stephen Dunne, Metro, 5 January 2007, 11
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Stephen Dunne, Metro, 5 May 2006, 13
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Stephen Dunne, Metro, 6 January 2006, 13
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Stephen Dunne, Metro, 7 July 2000
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Stephen Dunne, Metro, 7 July 2000, 14
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Stephen Dunne, Metro, 7 June 2006, 13
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Stephen Dunne, Metro, 8 February 2002, 14
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Stephen Dunne, Metro, 8 February 2002, 15
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Stephen Dunne, Metro, 8 February 2002, 16
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Stephen Dunne, Pier pressure, Metro, 18 June 1999
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Stephen Dunne, Spectrum, 1 April 2006, 0
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Stephen Dunne, Sydney Gay & Lesbian Mardi Gras Festival Guide, 9 February 2001, 15
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Stephen Dunne, Sydney Gay & Lesbian Mardi Gras Festival Guide, 9 February 2001, 15
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Stephen Dunne, Sydney Gay & Lesbian Mardi Gras Festival Guide, 9 February 2001, 8
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Stephen Dunne, Sydney Gay & Lesbian Mardi Gras Festival Guide, 9 February 2001, 9
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Stephen Dunne, Sydney Gay & Lesbian Mardi Gras Festival Guide, 9 February 2001, 9
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Stephen Dunne, Sydney Morning Herald, 24 February 1997, 13
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Stephen Dunne, Sydney Morning Herald, 5 May 2007, 27
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Stephen Dunne, Take my wife ... please!, Metro, 9 October 1998, 0
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Stephen Dunne, The brothers grim, Sydney Morning Herald, Metro, 10 March 2000, 14
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Stephen Dunne, The Ode Couple, Sydney Morning Herald, 27 June 2008, 11
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Stephen Dunne, To die for, Sydney Morning Herald, Metro, 30 January 1998, 15
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Stephen Dunne, Travel all over the countryside, Metro, 12 October 2007, 17
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Stephen Dunne, [Two Weeks with the Queen], Sydney Star Observer, 18 September 1992
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Stephen Gray, Athol Fugard's 'insubstantial pageant' The Road to Mecca, Australasian Drama Studies, Australasian Drama Studies, C/- Department of English, Univ, 7, October 1985, 44 - 52
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Stephen Jones, Memories of buildings and other ghosts, RealTime Arts, 73, June 2006, 36
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Stephen Lacey, Sydney Morning Herald, 7 December 2006, 16
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Stephen Long, Tribune, 14 October 1987
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Stephen Long, Tribune, 15 July 1987
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Stephen Matchett, The Australian, 19 July 2005, 14
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Stephen Radic, A Day in the Life of Joe Egg, The Herald, 29 September 1987
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Stephen Radic, Nunawading Gazette, 18 March 1987
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Stephen Radic, The Herald, 1 July 1988
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Stephen Radic, The Herald, 22 August 1988
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Stephen Radic, The Herald, 24 June 1988
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Stephen Radic, The Herald, 29 June 1988
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Stephen Radic, The Herald, 5 May 1988
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Stephen Radic, The Herald, 8 July 1988
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Stephen Radic, The Herald, 9 March 1988
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Stephen Radic, The Ringwood Mail, 17 February 1988
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Stephen Romei, Review, 14 January 2006, 8
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Stephen Romei, Review, 17 September 2005, 3
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Stephen Romei, Review, 25 June 2005, 3
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Stephen Romei, Review, 4 November 2006, 3
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Stephen Romei, Sunday Telegraph, 17 January 1988
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Stephen Romei, Sunday Telegraph, 24 January 1988
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Stephen Romei, Sunday Telegraph, 31 January 1988
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Stephen Rosenberg, Muse, May 1993, 10
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The title of Carla Kissane's latest work, Whores and Weeping Women, is wickedly provocative. It's an irreverent cabaret that reveals Shakespeare's leading ladies at their worst, as well as their finest. The show takes the Bard's dramatic verse and mashes it up with pop music from Lady Gaga, Amy Winehouse and Rihanna. "I called it Whores and Weeping Women because of this idea that you can either be pure or debauched, black or white," says the playwright and performer. "This idea of binary oppositions that doesn't allow us to find a middle path." In comparing Shakespeare's queens and court ladies to today's controversial pop stars, Kissane aims to challenge traditional notions of womanhood. "He didn't put these women on a pedestal," she says. "He really expressed their weaknesses and foibles ... but at the same time he has so much compassion. He's never judging." The germ of the play was born when Kissane was touring Australia with Motherhood the Musical, while also playing understudy for the Australian Shakespeare Company's The Comedy of Errors. "I was living in two different worlds, quickly embodying lots of different women," Kissane says. "It just felt a bit like a brain workout, a huge exploration on the theme of what it means to be a woman." Having studied the texts at length, she feels that Shakespeare was something of a proto-feminist. Even the most troubling of Shakespeare's characterisations, such as Katherina in The Taming of the Shrew, can be unpicked, she says. "It's hard to interpret from a contemporary perspective, but I can appreciate the levels of irony. For me, Shakespeare's making a comment on the contract of relationship, of compromise, and how to become more skilled in the navigation of that." Jane Montgomery Griffiths, head of the centre for theatre and performance at Monash University, has performed for the Royal Shakespeare Company in Britain and toured Australia with Bell Shakespeare's King Lear. "Shakespeare's women are pretty amazing, but the bummer for a middle-aged actress is that they start to dry up once you hit 30," she says. "When you hit your 40s, that's when the harridans start to appear." Griffiths' Shakespearean roles have included Imogen in Cymbeline and Goneril in King Lear. "You have the autonomous and self-motivated characters ... or the characters that are absolutely subsumed within a male world, so you get somebody like Katherina in The Taming of the Shrew - that's some very interesting sexual politics, because she starts out baulking against the patriarchy and, of course, is tamed into it." With the exception of Hermione in The Winter's Tale, Shakespearean heroines don't have children. "They tend to be autonomous and searching for a degree of freedom, but then they are always reincorporated back into the patriarchy," Griffiths says. "It's very interesting to work it out now, from a contemporary perspective. Are these decent role models or not?"
Stephen Russell, Tame or otherwise, the Bard's women shine, The Age, 23 November 2013, 16
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Stephen Scourfield, Vogue Australia, November 1996
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Stephen Sewell, But what does it mean?, 24 hours, June, 1994, 68-71
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Stephen Sewell, Living theatre, dead theatre and Australian theatre, Meanjin, 53, 3 (Spring), 1994, 526-530
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Stephen Sewell, Understanding father, POL Magzine, August 1983
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Stephen Vagg, Alec Coppel : Australian playwright and survivor, Australasian Drama Studies, 56, April 2010, 219-232
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Stephen Vagg, Finch, fry and factories: a brief history of Mercury Theatre, Australasian Drama Studies, 50, April 2007, 18-35
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Stephen Vagg, Frank Harvey: Australian Screenwriting Pioneer, Australasian Drama Studies, 48, April 2006, 79-98
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Stephen Vagg, Frank Harvey: Australian Screenwriting Pioneer, Australasian Drama Studies, La Trobe University/Australasian Drama Studies Association, Melbourne, 48, April 2006, 79-98
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Steve Dow, A rebellious Bart on display, The Age, 5 November 2008, 16
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Steve Dow, Opera Buff, The Sunday Age, 25 November 2007, 27
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Steve Dow, Spectrum, 15 January 2005, 3
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Steve McLeod, Insight on living, dying in the 80s, Sydney Morning Herald, 28 February 1986, 36
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Steve Meacham, Metro, 22 July 2005, 15
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Steve Meacham, Metro, 24 February 2006, 15
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Steve Meacham, Sydney Morning Herald, 17 March 2003, 19
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Steve Meacham, Sydney Morning Herald, 23 January 2006, 11
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Steve Rattle, Jessie Masson, On Stage, 13, 2, 2012, 28-29
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Steve Rattle, Mae Dahlberg - The Australian Years, On Stage, 13, 3, 2012, 32-33
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Steve Rattle, Remembering Leon Errol, On Stage, 13, 4, December 2012, 10-11
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Steve Rattle, Superb and unsurpassed: the forgotten art of Esme Dawson, On Stage, 12, 2, 2011, 34-35
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Steve Rattle, The end nears for Mr Wertheim's Richmond bastion, 12, 2, 2011, 28-29
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Steve Warnock, Sun Herald, 26 June 1994, 21
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Steven Carroll, Comic tragic life explored, The Age, 16 September 1994, 7
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Steven Carroll, Jack's back, The Age
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Steven Carroll, Jack's back, The Age, Agenda, 25 June 1995, 7
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Steven Carroll, The Australian, 7 July 1998, 0
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Steven Carroll, The lonely brain and the sky, The Age, 11 September 1992, 95
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Steven Carroll, The Sunday Age, 10 May 1998
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Steven Carroll, The Sunday Age, 12 April 1998
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Steven Carroll, The Sunday Age, 12 April 1998
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Steven Carroll, The Sunday Age, 12 April 1998
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Steven Carroll, The Sunday Age, 15 March 1998
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Steven Carroll, The Sunday Age, 15 March 1998
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Steven Carroll, The Sunday Age, 17 May 1998
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Steven Carroll, The Sunday Age, 17 May 1998
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Steven Carroll, The Sunday Age, 19 April 1998
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Steven Carroll, The Sunday Age, 19 April 1998
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Steven Carroll, The Sunday Age, 22 March 1998
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Steven Carroll, The Sunday Age, 24 May 1998
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Steven Carroll, The Sunday Age, 24 May 1998
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Steven Carroll, The Sunday Age, 26 April 1998
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Steven Carroll, The Sunday Age, 26 April 1998
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Steven Carroll, The Sunday Age, 26 April 1998
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Steven Carroll, The Sunday Age, 28 December 1997
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Steven Carroll, The Sunday Age, 29 March 1998
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Steven Carroll, The Sunday Age, 3 May 1998
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Steven Carroll, The Sunday Age, 3 May 1998
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Steven Carroll, The Sunday Age, 3 May 1998
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Steven Carroll, The Sunday Age, 31 May 1998
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Steven Carroll, The Sunday Age, 31 May 1998
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Steven Carroll, The Sunday Age, 31 May 1998
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Steven Carroll, The Sunday Age, 5 April 1998
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Steven Carroll, The Sunday Age, 5 April 1998
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Steven Carroll, The Sunday Age, 5 April 1998
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Steven Carroll, Triumphant 'Wog' turned heartbreak kid, The Age, 1 September 1989
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Steven Carroll, Wrap, 2002, 0
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Steven Carroll, [Gary's house], The Age, The Age entertainment guide, 22 March 1996, 12
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Steven Clarke, The Eastern Herald, 5 June 1987
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Stewart Hawkins, Daily Telegraph-Mirror, 8 July 1994
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Stewart Hawkins, Thrill of audience joining in, Daily Telegraph-Mirror, 12 November 1992, 35
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Stop your nonsense, Sydney Morning Herald, 11 January 1936, 10
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Stop Your Nonsense, The World's news, 17 July 1915, 5
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Story of Repertory in B.H., Barrier Miner, 20 September 1963, 6
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Strahan Notes, The Zeehan and Dundas Herald, Tas., 15 November 1901, 3
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Streamlined Ballet: Bodenwiesers Introduce New Technique to Dancing, The Daily Telegraph, 1 September 1939, 14
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Street Procession And Carnival, The Brisbane Courier, 16 November 1923, 9
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Streetcar for theatre, The Age, 18 May 1972, 26
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Strike grounds their pleasant company for an extra week, The Age, 9 May 1977, 2
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Structure and Sadness opening night, Sun Herald, Theatre and Dance Platform, 14 January 2007, 14
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Struggling Comedy At Minerva, Sydney Morning Herald, 3 May 1949, 5
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Stuart Goodman, The Daily Telegraph, 13 June 1987
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Stuart Goodman, The Daily Telegraph, 18 July 1987
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Stuart Goodman, The Daily Telegraph, 18 June 1987
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Stuart Goodman, The Daily Telegraph, 2 July 1987
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Stuart Hoar, A playwright's perspective, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 18, April 1991, 64 - 69
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Stuart Wagstaff, A true gentleman of the theatre [Obituary], Sydney Morning Herald, 5 July 2013
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Stuart Young, Sleeping with the mainstream: gay drama and theatre in Britain moves in from the margins, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 31, October 1997, 71 - 91
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Student actors score success, Pix, 25 June 1960, 22-25
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Student View of 'Hamlet', Sydney Morning Herald, 8 March 1969
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Students Make Fun of Themselves, The Age, 11 June 1963, 6
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Students Will 'Revue' the Situation, The Age, 28 April 1964, 11
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Studio Theatre Club, Sydney Morning Herald, 24 August 1935, 8
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Subjecting relationships to dance, The Mercury (Hobart, Tas. : 1860 - 1954), Theatre and Dance Platform, 27 July 2007
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Subscriptions To The Maitland Hospital, The Maitland Mercury, 3 July 1869, 3
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Suburban dream machines, RealTime Arts, 51, October 2002, 42
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Suburbia - in the suburbs, The Age, 20 April 1972, 16
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Success was in his own rave reports, The Age, 20 June 1969, 2
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Successful Revue, Barrier Miner, 23 July 1942, 6
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Such Barbaric Rituals, Sun Herald, 6 May 1983, 78
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Sue Field, Drawn to the light: the freehand drawing from the dramatic text as an illumination of the theatre designer's eye of the mind, Australasian Drama Studies, 61, October 2012, 94-111
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Sue Gough, Lost opportunities in an old territory, The Australian, 16 September 1987, 8
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Sue Gough, The Australian, 1 September 1988
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Sue Gough, The Australian, 11 July 1988
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Sue Gough, The Australian, 11 March 1988
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Sue Gough, The Australian, 11 May 1987
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Sue Gough, The Australian, 12 August 1988
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Sue Gough, The Australian, 12 July 1988
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Sue Gough, The Australian, 13 July 1987
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Sue Gough, The Australian, 13 March 1987
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Sue Gough, The Australian, 14 March 1988
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Sue Gough, The Australian, 15 June 1987
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Sue Gough, The Australian, 16 June 1988
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Sue Gough, The Australian, 16 October 1987
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Sue Gough, The Australian, 17 August 1987
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Sue Gough, The Australian, 17 July 1987
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Sue Gough, The Australian, 17 June 1988
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Sue Gough, The Australian, 17 November 1987
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Sue Gough, The Australian, 18 August 1988
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Sue Gough, The Australian, 18 December 1987
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Sue Gough, The Australian, 18 June 1987
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Sue Gough, The Australian, 19 May 1988
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Sue Gough, The Australian, 22 August 1988
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Sue Gough, The Australian, 22 July 1988
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Sue Gough, The Australian, 23 June 1988
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Sue Gough, The Australian, 24 August 1987
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Sue Gough, The Australian, 24 February 1987
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Sue Gough, The Australian, 24 September 1987
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Sue Gough, The Australian, 25 August 1988
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Sue Gough, The Australian, 25 July 1988
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Sue Gough, The Australian, 26 August 1988
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Sue Gough, The Australian, 26 May 1988
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Sue Gough, The Australian, 26 October 1987
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Sue Gough, The Australian, 27 November 1987
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Sue Gough, The Australian, 28 May 1987
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Sue Gough, The Australian, 29 August 1988
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Sue Gough, The Australian, 29 January 1988
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Sue Gough, The Australian, 29 July 1988
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Sue Gough, The Australian, 29 May 1987
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Sue Gough, The Australian, 3 April 1987
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Sue Gough, The Australian, 3 July 1987
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Sue Gough, The Australian, 3 June 1987
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Sue Gough, The Australian, 30 March 1987
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Sue Gough, The Australian, 30 May 1988
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Sue Gough, The Australian, 30 November 1987
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Sue Gough, The Australian, 31 August 1987
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Sue Gough, The Australian, 4 December 1987
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Sue Gough, The Australian, 5 October 1987
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Sue Gough, The Australian, 6 April 1987
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Sue Gough, The Australian, 6 May 1988
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Sue Gough, The Australian, 7 April 1987
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Sue Gough, The Australian, 8 February 1988
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Sue Gough, The Australian, 8 March 1988
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Sue Gough, The Australian, 9 June 1988
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Sue Hicks, Sleuth seeking sleazy Mr Big, Mosman Daily, 29 July 1993, 25
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Sue Moss, Improvising the future, RealTime Arts, 50, August 2002, 40
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Sue Moss, The body in the world, RealTime Arts, 74, August 2006, 35
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Sue Sees Sydney, The Sun (NSW), 21 August 1939, 9
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Sue Thomas, 'What happens to the spectator of hysteria's realism?' The reception of Elizabeth Robins and Florence Bell's Alan's Wife (1893), Australasian Drama Studies, 38, April 2001, 68-82
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Sue Thomas, Betty Roland's 'The Touch of Silk' and 'Granite Peak.', Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 8, April 1986, 81 - 95
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Sue Tweg, Dream On: A Reconciliation Tempest in 2001, Contemporary Theatre Review, 14, 3, 2004, 45-52
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Sue Westwood, The Herald Sun, 2 May 1998
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Sue Westwood, The Herald Sun, 27 April 1998
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Sue Westwood, The Herald Sun, 27 April 1998
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Sue Westwood, The Herald Sun, 27 March 1998
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Sue Westwood, The Herald Sun, 4 April 1998
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Sue Westwood, The Herald Sun, 8 April 1998
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Sue Yeap, The West Australian, 2 March 1988
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Sue-Ellen Case, Musical The Last Empress: A Korean Staging of Woman and Nation, Australasian Drama Studies, 49, October 2006, 10-19
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Suicide of a Musician, The South Australian Register, 29 November 1899, 6
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Summary For Europe, South Australian Advertiser, 22 June 1881, 1
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Summary For Europe: Introduction, The Argus, 27 April 1867, 1
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Summary For Europe: Introduction, The Argus, 27 March 1867, 1, 2, 3, 4
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Summary for the Mails, The Herald, (Fremantle, WA : 1867 - 1886), 27 March 1872, 2
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Summary of Monday and Wednesday's News, Mount Alexander Mail, 8 October 1858, 2
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Summary, Sydney Morning Herald, 11 April 1927, 1
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Summary, Sydney Morning Herald, 23 December 1919, 1
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Summer of the Seventeenth Doll, Adelaide Gay Times, The University of Adelaide, Library Special Collections, 13 September 1996, 11
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Summonses will not stop play, The Age, 4 July 1969, 2
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Sun Herald, 11 March 1990, 158
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Sun Herald, 14 February 1988
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Sun Herald, 14 February 1988
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Sun Herald, 19 September 1971
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Sun Herald, 22 September 1963
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Sun Herald, 27 June 1975, 0
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Sun Herald, 3 February 1963, 73
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Sun Herald, 31 December 1995, 95
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Sun Herald, 31 October 1982, 0
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Sun Herald, 5 October 1986, 0
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Sun Herald, 7 September 1997, 4
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Sunanda Creagh, Spectrum, 29 July 2006, 8
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Sunanda Creagh, Sydney Morning Herald, 1 November 2005, 13
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Sunanda Creagh, Sydney Morning Herald, 1 October 2005, 19
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Sunanda Creagh, Sydney Morning Herald, 10 January 2006, 11
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Sunanda Creagh, Sydney Morning Herald, 11 January 2006, 13
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Sunanda Creagh, Sydney Morning Herald, 11 July 2006, 13
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Sunanda Creagh, Sydney Morning Herald, 12 September 2005, 15
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Sunanda Creagh, Sydney Morning Herald, 17 January 2006, 13
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Sunanda Creagh, Sydney Morning Herald, 26 October 2005, 19
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Sunanda Creagh, Sydney Morning Herald, 28 November 2005, 20
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Sunanda Creagh, Sydney Morning Herald, 4 January 2006, 20
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Sunanda Creagh, Sydney Morning Herald, 5 August 2005, 14
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Sunanda Creagh, Sydney Morning Herald, 7 September 2005, 14
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Sunanda Creagh, Sydney Morning Herald, 8 April 2005, 12
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Sunday Australian, 3 October 1971
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Sunday Concerts, The Daily Telegraph, 1 August 1887, 3
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Sunday Mail, 10 January 1988
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Sunday Mail, 11 January 1987
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Sunday Mail, 12 April 1987
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Sunday Mail, 14 June 1987
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Sunday Mail, 16 August 1987
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Sunday Mail, 17 May 1987
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Sunday Mail, 18 January 1987
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Sunday Mail, 19 July 1987
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Sunday Mail, 21 June 1987
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Sunday Mail, 22 February 1987
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Sunday Mail, 28 June 1987
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Sunday Mail, 31 May 1987
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Sunday Mail, 31 May 1987
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Sunday Mail, 7 October 1990
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Sunday Mail, 8 March 1987
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Sunday Mail, 8 March 1987
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Sunday Services at the Theatre, South Australian Advertiser, 16 July 1860, 3
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Sunday Telegraph
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Sunday Telegraph, 1 October 1972
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Sunday Telegraph, 19 September 1971
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Sunday Telegraph, 2 February 1975
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Sunday Telegraph, 23 March 1986
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Sunday Telegraph, 26 April 1992, 59
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Sunday Telegraph, 26 September 1971
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Sunday Telegraph, 29 December 1974, 48
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Sunday Telegraph, 4 November 1984
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Sunday Telegraph, 7 October 1973, 0
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Sunny Burns, Ballet with a giggle, Sydney Star Observer, 6 September 2007, 26
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Sunny Burns, Sydney Star Observer, 12 July 2007, 18
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Sunny Burns, Sydney Star Observer, 28 June 2007, 18
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Sunny Burns, Sydney Star Observer, 9 August 2007, 20
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Sunny chorus girls, Barrier Miner, 15 November 1941, 2
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Sunny is popular: Mrs Jack Prider versatile, Barrier Miner, 4 October 1941, 4
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Sunny proves magnet, Barrier Miner, 6 November 1941, 2
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Sunny Way proves success: Comforts Fund Art Union, Barrier Miner, 1 May 1942, 2
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Sunnysiders at Crystal Tonight, Barrier Miner, 30 August 1946, 3
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Sunnysiders Concert for Beach Girl, Barrier Miner, 22 March 1947, 4
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Sunnysiders Final Show, Barrier Miner, 22 November 1947, 6
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Sunnysiders in repeat revue, Barrier Miner, 3 September 1947, 6
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Sunnysiders' Revue at Crystal Tonight, Barrier Miner, 29 November 1946, 4
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Sunnysiders' Revue at Crystal, Barrier Miner, 29 August 1946, 7
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Sunnysiders' Show, Barrier Miner, 28 November 1947, 7
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Superstar for Adelaide, The Age, 2 March 1972, 15
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Support for Independent Living, Guardian - The Magazine of he Anglican Diocese of Adelaide, Adelaide, SA, December 2011, 13
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Supreme Court - Criminal Side, South Australian Gazette and Mining Journal (Adelaide, SA :, National Library of Australia, 23 May 1850, 3
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Supreme Court, South Australian (Adelaide, SA : 1844 - 1851), National Library of Australia, 5 March 1850, 2
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Surat. February 27, The Brisbane Courier, 6 March 1880, 6
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Susan and God. Good Performance. Play That Caused Controversy., Sydney Morning Herald, 26 February 1941, 5
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Susan Archdall, Artist as teacher, The Advertiser, 18 March 1999, 64
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Susan Archdall, In step on home ground, The Advertiser, Theatre and Dance Platform, 1 January 2000
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Susan Archdall, Whatever will be, Arts and Entertainment, 19 May 2001, 4
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Susan Bredow, Backs to the wall of urban authority, The Australian, The University of Adelaide, Library Special Collections, 2 May 1985
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Susan Bredow, OutFromUnder_ArticleSideT, The Australian, Macquarie University, Library, 7 August 1984, 13
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Susan Bredow, Serious Money, The Daily Telegraph, 11 August 1988
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Susan Bredow, The Australian, 9 January 1987
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Susan Bredow, The Daily Telegraph, 1 August 1988
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Susan Bredow, The Daily Telegraph, 1 January 1988
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Susan Bredow, The Daily Telegraph, 1 October 1987
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Susan Bredow, The Daily Telegraph, 11 April 1988
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Susan Bredow, The Daily Telegraph, 11 January 1988
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Susan Bredow, The Daily Telegraph, 13 May 1988
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Susan Bredow, The Daily Telegraph, 14 April 1988
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Susan Bredow, The Daily Telegraph, 15 October 1987
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Susan Bredow, The Daily Telegraph, 16 August 1988
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Susan Bredow, The Daily Telegraph, 16 August 1988
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Susan Bredow, The Daily Telegraph, 16 November 1987
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Susan Bredow, The Daily Telegraph, 16 October 1987
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Susan Bredow, The Daily Telegraph, 18 January 1988
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Susan Bredow, The Daily Telegraph, 18 January 1988
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Susan Bredow, The Daily Telegraph, 19 April 1988
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Susan Bredow, The Daily Telegraph, 19 October 1987
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Susan Bredow, The Daily Telegraph, 2 May 1988
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Susan Bredow, The Daily Telegraph, 2 November 1987
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Susan Bredow, The Daily Telegraph, 2 September 1988
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Susan Bredow, The Daily Telegraph, 20 June 1988
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Susan Bredow, The Daily Telegraph, 20 November 1987
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Susan Bredow, The Daily Telegraph, 22 April 1988
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Susan Bredow, The Daily Telegraph, 23 May 1988
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Susan Bredow, The Daily Telegraph, 23 November 1987
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Susan Bredow, The Daily Telegraph, 25 January 1988
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Susan Bredow, The Daily Telegraph, 25 July 1988
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Susan Bredow, The Daily Telegraph, 26 April 1988
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Susan Bredow, The Daily Telegraph, 26 July 1988
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Susan Bredow, The Daily Telegraph, 26 November 1987
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Susan Bredow, The Daily Telegraph, 27 January 1988
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Susan Bredow, The Daily Telegraph, 28 March 1988
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Susan Bredow, The Daily Telegraph, 28 October 1987
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Susan Bredow, The Daily Telegraph, 28 September 1987
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Susan Bredow, The Daily Telegraph, 3 December 1987
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Susan Bredow, The Daily Telegraph, 3 June 1988
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Susan Bredow, The Daily Telegraph, 30 November 1987
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Susan Bredow, The Daily Telegraph, 30 October 1987
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Susan Bredow, The Daily Telegraph, 4 January 1987
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Susan Bredow, The Daily Telegraph, 4 January 1988
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Susan Bredow, The Daily Telegraph, 4 July 1988
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Susan Bredow, The Daily Telegraph, 4 May 1988
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Susan Bredow, The Daily Telegraph, 7 January 1988
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Susan Bredow, The Daily Telegraph, 8 April 1988
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Susan Bredow, The Daily Telegraph, 8 January 1988
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Susan Bredow, The Daily Telegraph, 9 October 1987
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Susan Broadhurst, Theorising Performance Technology, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 65, October 2014, 212 - 236
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Susan Chenery, Bell ringing for the Bard, The Bulletin with Newsweek, The University of Adelaide, Library Special Collections, 21 August 1990, 82-88
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Susan Chenery, Wild Life, The Bulletin with Newsweek, The University of Adelaide, Library Special Collections, 27 October 1992, 38-39
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Susan Croft, A lost Australian playwright: 'A. Lady', c.1850, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 28, April 1996, 99 - 105
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Susan Hogan, Dawn, Gloria (1929–1978), Australian Dictionary of Biography Online, 1993
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Susan Horsburgh, Review, 11 February 2006, 16
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Susan Horsburgh, Review, 17 December 2005, 16
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Susan Horsburgh, Review, 4 February 2006, 16
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Susan Horsburgh, Review, 8 October 2005, 16
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Susan Horsburgh, The Australian, 10 January 2006, 12
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Susan Horsburgh, The Australian, 18 October 2005, 14
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Susan Horsburgh, The Australian, 8 December 2005, 14
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Susan McCulloch, The Bulletin, 1 September 1987
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Susan McCulloch, The Bulletin, 1 September 1987
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Susan McCulloch, The Herald, 17 May 1988
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Susan McCulloch, The Herald, 3 December 1987
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Susan Molloy, Sydney Morning Herald, 1 July 1982, 0
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Susan Molloy, Sydney Morning Herald, 26 June 1982, 14
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Susan Pfisterer-Smith, Cultural anxiety and the new woman playwright: Mrs E. S. Haviland's On Wheels, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 27, October 1995, 143 - 150
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Susan Pfisterer-Smith, Playing with the past: towards a feminist deconstrcution of Australian theatre historiography, Australasian Drama Studies, 23, October 1993, 8-22
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Susan Philip, 'So many types, how can all be in the same category': questioning racial boundaries in Mark de Silva's Stories for Amah, Australasian Drama Studies, 44, April 2004, 96-112
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Susan Reiter, Dance; Making the Most Of the Awkward And Threatening, The New York Times, 7 October 2001, 8
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Susan Reiter, Melt in New York, Dance Australia, Theatre and Dance Platform, June 2003, 40-41
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Susan Reiter, The Joy in Sadness, New York Press, Theatre and Dance Platform, 23 September 2009
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Susan Reiter, Weather at UCLA's Royce Hall marks a first in L.A. for Lucy Guerin, Los Angeles Times, Theatre and Dance Platform, 12 September 2013
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Susan Ryan, On The Street, 24 February 1988
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Susan Shineberg, Berlin is a curious city, a place..., Courier Mail, 7 September 2002
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Susan Shineberg, Crossing cultural borders, The Age, 1 July 2003, 11
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Susan Shineberg, European campaign marches on, The Age, 5 September 2002, 4
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Susan Shineberg, Sheer fun as poets swap some words on culture, Sydney Morning Herald, 7 July 2003
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Susan Shineberg, Spectrum, 6 January 2007, 18
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Susan Skelly, The Bulletin, 24 May 2005, 60
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Susan Skelly, The Bulletin, 31 May 2005, 65
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Susan Williams, The Daily Telegraph, 7 May 1987
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Susan Wooldridge [Obituary], The Australasian, 19 February 1887, 27
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Susan Wyndham, Breaking through on Broadway, Weekend Australian, 18 April 1992, 10
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Susan Wyndham, Bringing down the cultural walls, Sydney Morning Herald, 11 July 2003
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Susan Wyndham, The German connection ... taking the brolgas to Berlin ., Sydney Morning Herald, 12 June 2003
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Susan Yung, New York Notebook: Double Dose of Guerin, Dance Magazine, Theatre and Dance Platform, September 2009
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Susanne Messmer, Blitzschlag mit tollenden Hunden, Der Tageszeitung, 30 June 2003
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Susie Eisenhuth, Sunday Telegraph, 27 January 1974, 69
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Suzanna Clark, Bowing Out With A Favourite, Courier Mail, 24 November 2007, 5
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Suzanne Brown, Melbourne festival begins with sound ideas, The Age, Theatre and Dance Platform, 20 October 2000
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Suzanne Brown, Review, 16 April 2005, 3
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Suzanne Brown, Review, 16 July 2005, 3
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Suzanne Brown, Review, 23 July 2005, 3
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Suzanne Brown, Review, 8 October 2005, 3
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Suzanne Kiernan, The Sydney Review, 1 September 1994
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Suzanne Kiernan, [Blood Relations], New Theatre Australia, 1, 1 September 1987, 23, 24
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Suzanne Little, Creating the reflective student-practitioner, Australasian Drama Studies, 57, October 2010, 38-53
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Suzanne Olb, Melbourne Report, 1 July 1988
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Suzanne Olb, New Theatre Australia, 22 April 1988
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Suzanne Olb, The Australian, 1 March 1992, 0
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Suzanne Olb, The White Problem, New Theatre Australia, July/August, 6, July 1988, 4-7
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Suzanne Orr, bma (bands music action) , 20 June 2002, 24
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Suzanne Spunner, Since Betty jumped: theatre and feminism in Melbourne, Meanjin, 38/3, Spring, 1979, 368-377
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Suzanne Spunner, The Great Leap Forward, 1 October 1992
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Suzanne Spunner, Theatre and feminism from then till now, Theatre Australia, 4, 7, 1980, 28-30
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Suzanne's in fine shape for Total role, The Age, 5 June 1975, 3
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Suzi Dougherty, Currents, March 2006, 0
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Sweet Shock, The Canberra Times, 14 June 1982, 6
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Sweet sound of success, The Age, 1 June 1972, 19
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SX news, 11 May 2006, 15
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SX news, 19 July 2007, 16
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SX news, 5 July 2007, 15
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Sydney Boy's Dramas Thrill U.S. Camp, The Sun (NSW), 15 June 1943, 4
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Sydney College Hall, The Sydney Monitor, 7 January 1835, 2
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Sydney Diary, The Sun (NSW), 12 December 1947, 7
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Sydney Gay & Lesbian Mardi Gras Festival Guide, 2 February 2007, 4
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Sydney Gay & Lesbian Mardi Gras Festival Guide, 2 February 2007, 5
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Sydney Gay & Lesbian Mardi Gras Festival Guide, 9 February 2001, 6
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Sydney Gay & Lesbian Mardi Gras Festival Guide, 9 February 2001, 8
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Sydney Gazette, 12 July 1844
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Sydney Man as "L'Aiglon", Sydney Morning Herald, 30 July 1936, 20
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Sydney Morning Herald
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Sydney Morning Herald
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Sydney Morning Herald
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Sydney Morning Herald, 1 August 1987, 50
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Sydney Morning Herald, 1 January 1992
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Sydney Morning Herald, 1 June 1974
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Sydney Morning Herald, 1 June 1988, 18
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Sydney Morning Herald, 10 September 1961, 30
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Sydney Morning Herald, 12 April 2007, 3
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Sydney Morning Herald, 12 February 1990, 4
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Sydney Morning Herald, 14 November 1987, 96
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Sydney Morning Herald, 15 October 1958, 4
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Sydney Morning Herald, 17 February 1989, 24
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Sydney Morning Herald, 17 July 1997, 15
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Sydney Morning Herald, 17 November 1990, 82
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Sydney Morning Herald, 18 October 1958, 10
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Sydney Morning Herald, 19 August 1987, 2
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Sydney Morning Herald, 2 July 1987, 20
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Sydney Morning Herald, 20 November 1984
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Sydney Morning Herald, 20 October 1979, 17
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Sydney Morning Herald, 21 December 1987, 6
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Sydney Morning Herald, 21 February 1990, 32
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Sydney Morning Herald, 22 April 1997, 15
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Sydney Morning Herald, 22 August 1987, 6
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Sydney Morning Herald, 22 March 2007, 3
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Sydney Morning Herald, 23 April 1990, 28
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Sydney Morning Herald, 23 April 1992, 16
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Sydney Morning Herald, 23 January 1987, 16
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Sydney Morning Herald, 23 January 1987, 16
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Sydney Morning Herald, 23 July 2007, 13
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Sydney Morning Herald, 24 April 1987, 12
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Sydney Morning Herald, 25 February 1961, 7
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Sydney Morning Herald, 26 August 1996, 11
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Sydney Morning Herald, 27 November 1958, 2
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Sydney Morning Herald, 28 April 1990, 27
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Sydney Morning Herald, 28 July 1955, 1
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Sydney Morning Herald, 28 November 1959, 3
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Sydney Morning Herald, 28 September 2001, 3
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Sydney Morning Herald, 29 March 2007, 5
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Sydney Morning Herald, 29 September 1973, 0
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Sydney Morning Herald, 3 April 1982, 42
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Sydney Morning Herald, 3 February 1959, 2
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Sydney Morning Herald, 4 July 1987, 3
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Sydney Morning Herald, 5 June 1972, 0
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Sydney Morning Herald, 5 June 1987, 16
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Sydney Morning Herald, 6 February 1959, 2
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Sydney Morning Herald, 6 November 1987, 14
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Sydney Morning Herald, 8 April 1992, 1
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Sydney Morning Herald, 8 February 1990, 4
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Sydney Morning Herald, 8 July 1987, 14
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Sydney Morning Herald, 8 October 1987, 2
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Sydney Morning Herald, 9 October 1982
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Sydney Newman Society - Mr J V Gould, Catholic Press, The, 10 April 1930, 19
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SYDNEY PLAY "A FLOP" £10,000 Loss By Backer, Sydney Morning Herald, 7 December 1949, 17
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Sydney Players' Club, Sydney Morning Herald, 29 February 1936, 12
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Sydney Playwright's Experiences in Russia, Sydney Morning Herald, 5 June 1939, 4
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Sydney Repertory Society, Sydney Morning Herald, 21 December 1923, 8
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Sydney Scope Magazine, May 2003, 24
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Sydney Shows, Melbourne Punch, 31 July 1902, 31
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Sydney Star Observer, 25 May 2006, 16
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Sydney Star Observer, 26 July 2007, 24
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Sydney Star Observer, 26 July 2007, 26
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Sydney Theatre to Close, Central Queensland Herald, 30 August 1956, 29
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Sydney Theatres Seek Up-to-Dateness, Sydney Morning Herald, 4 November 1944, 7
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SYDNEY THEATRICAL INTELLIGENCE
[FROM A CORRESPONDENT]
On Saturday evening last, Capt. Piper and many of his friends visited the Theatre. The "haut ton" mustered pretty strong in the Dress Circle. The performance commenced with the "Lear of Private Life." Mr. Simmons's personification of the fond, doting and ultimately maniac Father, was excellent, as well as Mrs. Taylor's exquisite performance of the tender dutiful confiding artless daughter, who relying on the promises of " Alvanley" consequently brings herself to ruin and goads her parent on to madness. in her departure from " Alvanley" and the scene which arises in the forest where she recognizes her father, her acting was truly effective; as was that of Mr. S. - Ample applause was the reward of their exertions. From the intense feeling she exhibits in this line of the drama, which may be termed the Tragedy of Domestic life, we should recommend to the manager's notice, Annetta, Victorine, The Sergeant's wife. Mrs. Jones was the Merriel and was a poor substitute for Miss Winstanley who originally played it here. It is a matter of regret to find that young lady absent from the establishment; for with all its dramatic strength, it requires more females- from the improvement she had lately shown and from her capital performance of Mrs. Tucker, Norna, and some other little characters she was rising in public favour. Grove's "Alvanley" may be rated as his best character, the other characters are all so trifling that the actors could not well acquit themselves better or worse than they did. A" Day after Wedding" closed the performance. There arose many ludicrous points about this little piece, that it cannot but excite laughter, and it did so abundantly, but did it give general satisfaction? We will pass over it in silence - it was wrong cast. Mrs Chester introduced three songs and was very happy in "Should he upbraid." It is impossible to observe the spirit which prevails on the Sydney Stage to produce horrible and terrific melo-dramas, instead of those fine, true, mirth inspiring and moral pictures which Mr. Centlives, Faraquhar, Morton, Reynolds, Colman, Sheridan have spread before us to make us ashamed of our follies but not of our species, We are now almost continually presented with odious and appalling dramas, which tho' calculated powerfully to disturb the wellspring of our emotions, have any thing but a pleasing or beneficial effect on the heart. Being profoundly impressed with a veneration for the drama and still more so for the moral lesson it ought to convey, we cannot behold with indifference our stage transformed into an exhibition of crimes which are beyond human imagination. The production of "Father and Son" last night causes these remarks, it being a tissue of improbabilities at the same time the heart shudders to behold a parent committing crimes, with the knowledge of his children, merely to cover his former sins and aggrandize his face. Instead of time being spent in such productions, something better might be substituted, which would tend to cultivate a correct and judicious taste for the drama. We do not advise the old plays indiscriminatingly, but a careful observer could select such as would suit the present stage. We understand Miss Winstanley's absence is caused by some disarrangement with the manager respecting her salary. This of course the public have nothing to do with. It is to be hoped however that her absence will not be long.
Sydney Theatrical Intelligence , The Sydney Gazette and New South Wales Advertiser, G. Howe, Sydney, NSW., National Library of Australia, XXXIV, 2770, 9 February 1836, 3
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Sydney Tomholt, THEY HAVE TAKEN THE FINAL CURTAIN , Sydney Morning Herald, 4 July 1942, 7
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Sydney's first professional repertory: an account of Sydney University's Union Repertory Theatre company 1961, Australian Theatregoer, 2/1, November, 1961, 33-34
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Sydney's Glamour Hotel, The Australian Women's Weekly, 12 October 1960, 3
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Sydney's Latest Theatre. Fraser's Strand, The Sun (NSW), 23 May 1915, 12
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Sydney, Melbourne Punch, 25 November 1886, 8
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Sylvia Deutsch, Australian Jewish News, 7 May 1993
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Sylvia Kleinert, An Aboriginal Moomba: Remaking History, Continuum: Journal of Media and Cultural Studies, 13, 3, 1999, 345-357
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Sylvia Kriven, Kissing Frogs is fun for Glynn, The Advertiser, 4 August 1992, 5
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Sylvia's Progress, The Argus, 15 August 1936, 34 S
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T Berto, Competing histories, clashing, cultural systems: Yanagai! Yanagai! challenges the valorisation of testimony in the Olney decision, Australasian Drama Studies, 52, April 2008, 38-51
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T Fitzsimons, Writing in the margins: the theatrical voice of women, Overland, 136 (Spring), 1994, 27-29
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T.H. Goodwin's Journal, The Argus, 29 April 1859, 5
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Table Cape, The North Western Advocate and the Emu Bay Times, Tas, 17 May 1904, 2
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Table Talk, 19 April 1917, 17
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Table Talk, 19 April 1917, 20
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Table Talk, 19 April 1917, 24
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Table Talk, 21 December 1933, 1
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Table Talk, February 1934, 13
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Table Talk, Portland Guardian and Normanby General Advertiser, 27 September 1862, 2
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Tactful Words from Victor Borge, The Age, 16 February 1962, 3
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Taemas Bridge, Yass, NSW, 16 April 1888, Sydney Morning Herald, 16 April 1888, 2
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Taffy Davies, The Sun (NSW), 1 October 1987
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Taffy Davies, The Sun (NSW), 10 March 1988
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Taffy Davies, The Sun (NSW), 10 March 1988
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Taffy Davies, The Sun (NSW), 10 September 1987
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Taffy Davies, The Sun (NSW), 11 February 1988
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Taffy Davies, The Sun (NSW), 12 February 1987
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Taffy Davies, The Sun (NSW), 13 August 1987
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Taffy Davies, The Sun (NSW), 14 October 1987
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Taffy Davies, The Sun (NSW), 15 January 1987
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Taffy Davies, The Sun (NSW), 15 January 1987
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Taffy Davies, The Sun (NSW), 15 October 1987
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Taffy Davies, The Sun (NSW), 15 October 1987
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Taffy Davies, The Sun (NSW), 17 September 1987
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Taffy Davies, The Sun (NSW), 19 March 1987
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Taffy Davies, The Sun (NSW), 19 November 1987
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Taffy Davies, The Sun (NSW), 2 April 1987
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Taffy Davies, The Sun (NSW), 2 April 1987
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Taffy Davies, The Sun (NSW), 2 July 1987
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Taffy Davies, The Sun (NSW), 20 August 1987
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Taffy Davies, The Sun (NSW), 21 May 1987
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Taffy Davies, The Sun (NSW), 22 October 1987
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Taffy Davies, The Sun (NSW), 26 March 1987
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Taffy Davies, The Sun (NSW), 27 April 1987
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Taffy Davies, The Sun (NSW), 28 January 1988
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Taffy Davies, The Sun (NSW), 29 January 1987
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Taffy Davies, The Sun (NSW), 30 July 1987
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Taffy Davies, The Sun (NSW), 30 July 1987
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Taffy Davies, The Sun (NSW), 5 February 1987
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Taffy Davies, The Sun (NSW), 5 November 1987
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Taffy Davies, The Sun (NSW), 6 August 1987
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Taffy Davies, The Sun (NSW), 6 August 1987
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Taffy Davies, The Sun (NSW), 7 January 1988
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Taffy Davies, The Sun (NSW), 8 January 1987
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Taffy Davies, The Sun (NSW), 8 October 1987
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Tahnae Goldsworthy, Wild Show Full of Funk, Flinders University, Academic Commons, 16 April 2010
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Tailem Bend News, The Mount Barker Courier and Onkaparinga and Gumeracha Adve, National Library of Australia, 3 July 1914, 3
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Take Off, Courier Mail, 24 September 1983, 33
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Take Over J.C.W. Company Of £105,000, The Sun (NSW), 25 May 1938, 1
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Taken From Life, Newcastle Morning Herald and Miners' Advocate, 13 February 1888, 5
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Taken from Life, The Lorgnette (Melbourne, Vic. : 1878 - 1898),, 25 April 1883, 4
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Taking life stage by stage, Newcastle Herald, 14 April 1989
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Taking the hammer to Hamer Hall, On Stage, 11, 4, 2010, 44-45
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Tales of Hoffmann, The Australian Women's Weekly, 3 March 1954, 11
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Talk of the Town: On the Air, Barrier Miner, 29 July 1947, 3
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Talking Pictures, The Examiner, National Library of Australia, 23 May 1929, 10
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Tamara Glumac, Hats off to the gravity-resistant Circus Oz, The Canberra Times, 13 February 2006, 3
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Tamara Glumac, The Canberra Times, 24 September 2005, 7
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Tamara Glumac, The Canberra Times, 30 September 2005, 7
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Tamara Glumac, Top this: contortionist juggler who can also play mean tuba, The Canberra Times, 15 February 2006, 6
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Tammy Walters, Making metal move: five dancers and eight metal-heads come together in an explosive performance, Beat
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Tamworth Mechanics' Institute, The Maitland Mercury, National Library of Australia, 6 August 1857, 2
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Tamworth, The Maitland Mercury, National Library of Australia, 25 December 1856, 4
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Tania Bawden, Southern Cross, 1 May 1989, 27
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Tania Dale, Valley Voice, 22 July 2003, 7
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Tania Dale, Valley Voice, 22 July 2003, 7
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Tania Dale, Valley Voice, 5 November 2003, 7
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Tania Phillips, Topps fun back after a hard year, Gold Coast Mail, 9 November 2007, 21
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Taroom, The Brisbane Courier, 29 May 1867, 3
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Tartuffe, City News (Canberra), 27 April 2006, 21
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Tasmania, Sydney Morning Herald, National Library of Australia, 8 October 1884, 10
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Tasmanian Telegrams, The Mercury, Hobart, Tas., 23 June 1898, 3
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Tasmanian Telegrams, The Mercury, Hobart, Tas., 24 June 1898, 3
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Tasty musical treat, Albert and Logan News, 2 October 2002, 47
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Tea Party and Lecture, The Maitland Mercury, National Library of Australia, 15 April 1846, 2
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Tea Party and Lecture, The Maitland Mercury, National Library of Australia, 15 April 1846, 2
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Tea Party, The Maitland Mercury, National Library of Australia, 15 November 1845, 2
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Tea Party, The Maitland Mercury, National Library of Australia, 21 March 1846, 2
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Teahouse of the August Moon, Barrier Daily Truth, 15 June 1965, 7
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Ted gives tour cash, The Age, Theatre and Dance Platform, 28 June 2011
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Ted Smith, Luisillo and his Spanish Dance Theatre, The University of Adelaide, Library Special Collections
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Teetotal Procession and Tea Party, National Library of Australia, 29 March 1845, 2
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Telegrams, The Northern Mining Register, 22 August 1891, 12
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Telegraphic and Sporting. Kate Howarde Opera Company, Clarence and Richmond Examiner, Grafton, NSW, 15 July 1899, 5
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Telegraphic Despatches, The Mercury (Hobart, Tas. : 1860 - 1954), 25 November 1867, 4
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Telegraphic Messages, Young, Sydney Morning Herald, 30 August 1870, 5
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Telegraphic, The Brisbane Courier, 15 March 1867, 2
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Telegraphic, The Brisbane Courier, 22 April 1874, 2, 3
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Telegraphic, The Brisbane Courier, 25 May 1874, 2, 3
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Telegraphic, The Brisbane Courier, 30 July 1867, 2
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Telegraphic: Dalby, The Brisbane Courier, 16 November 1867, 4, 5
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Tempest is Rich Spectacle, Sydney Morning Herald, 16 September 1949, 2
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Ten times as many likely to see tv version of play, The Age, TV-Radio Guide, 6 July 1962, 7
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Tent offer for "rusty Bugles", The Daily Telegraph, 4 April 1950
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Tent or Palace, The Mail, 5 March 1927, 1
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Tenterfield Agricultural Show, Clarence and Richmond Examiner, 24 February 1894, 3
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Tenterfield Show, Clarence and Richmond Examiner, 13 March 1894, 4
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Tenterfield Show, The Brisbane Courier, 4 March 1896, 4
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Terry Sawyer, Finding the right pitch, On Stage, 13, 2, 2012, 12-13
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Tes Lyssiotis, 'Going to the Source': Tess Lyssiotis talks to Tony Mitchell, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 12/13, 1988, 5 - 15
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Tess Lawrence, Tickets rushed for gala Launceston opening, The Examiner, State Library of Tasmania, Launceston Reference Library, 12 November 1970, 4
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HUSH, NOW
SCRIPT Alive presents a live reading of unproduced screenplay A Kind of Hush, written by Michael Henry.
Read by Australian actors Kestie Morassi (Wolf Creek), Simon Stone (Jindabyne), Emily Browning (Ned Kelly),above, and Geoff Paine (The Wog Boy), it's a tale of illicit sex, secrets, jealousy, suicide and retribution.
Cinema Nova, 380 Lygon Street, Carlton, tomorrow at 6.45pm.
Tickets: $9/$6. Phone: 9347 5331; www.cinemanova.com.au
ON-COURSE CRAFT THE Stitches and Craft Show is five days of workshops and advice from international and Australian craft experts.
Highlights include a DIY ideas area, stylish quilting for handbags, workshops for kids aged five to 12, the Australian doll and bear show, and beading stalls and displays.
Caulfield Racecourse, Caulfield East, tomorrow until Sunday, 10am-5pm.
Tickets: $14/$7 (multi-day passes available at discounted rates).
Phone: 1800 770 222. -- Compiled by TESSIE VIRGIOTIS metromail@theage.com.au
Tessie Virgiotis, The Age, If You Do One Thing, The Age, 5 September 2006
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Testing Ground, Theatre Australia, September 1980, 7
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Tex Morton Circus, Barrier Miner, 1 March 1947, 6
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That first night, The Age, 24 May 1968, 17
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ON Friday of last week the Tivoli (Sydney) had its 35th anniversary as a theatre. A few days before its opening as the Adelphi (April 5, 1911) several of us were invited to an inspection. One of our number was Harry Skinner, letting manager of the Palace Theatre. A showman of the old school, Harry went from seat to seat in stalls, circle and gallery, to check up sighting angles on the stage. He was highly critical of the line of vision from side seats it would be bad luck to be ushered into anyhow. Rather elated at his discovery of the worst, he announced that he wouldn't let the architect build an outhouse for him. Some malicious person passed his judgment on to the architect, who considered, not without justification, that his professional capacity had been impugned. Result was that Harry received a solicitor's letter on his moot and burning comment. He was asked to acquaint the legal man with the name of his solicitor who would accept service of a writ for slander. Harry wrote back that there was no need for precipitate action. He was not only prepared to apologise, but to retract unreservedly. He would, he assured the solicitor of the architect, allow his client to build an outhouse for him should ever the occasion arise. In the face of this whole-souled acknowledgement of having been in the wrong the threatened proceedings were not carried any further. GEORGE Marlow was the first lessee of the Adelphi. He had been an actor of minor gifts with William Anderson, who presented lurid melodrama at 3/-, 2/- and 1/-. George's wife was an ambitious soubrette and, as he reasoned it, if Anderson could make his wife, Eugenie Duggan, a leading lady there was no earthly reason why he couldn't keep his own wife's salary in the family. So Ethel Buckley became a star. She appeared as a series of stage girls. The bad one of the family, the one who took the wrong turning, always to triumph virtuously however misjudged by those too ready to condemn. For years virtue had its box office reward, and George Marlow waxed wealthy. Like Anderson, he owned racehorses, but in his case he won a race now and then. And George would have a packet on his colors when winning. He went into real estate, buying around Circular Quay. Always he had kept as a saver a small tobacconist's shop in George Street. The day came when he concluded he would never have to go back to it. Then racing and real estate preoccupied him, and he sold his lease in the Adelphi, his scripts and company to George Willoughby. These nights you may often hear George Willoughby's fruity voice in ABC plays. He is either a colonel or a squire, always the head of a good county family. For George Willoughby has gone up in the world of make-believe. He came to this country as a farce comedy actor, and few in his day could be more solemnly hilarious. He was "The Wrong Mr. Wright" and other absurdities. As the successor and assign of the Marlow tradition a farceur was a calamity. Marlow believed in the heroine in distress with all the passion of a business man in a gilt-edged asset. He imparted his faith to his company who spoke the lines of masters of bathos with a fierce conviction that clutched at the heart of a multitude. No situation where the villain was in pursuit but was a breathless moment for Marlow's audiences. GEORGE Willoughby hadn't the same deep sincerity for the impossible. Burlesque of every human instinct and relation was to him a reversal of the uses of adversity. Where Marlow wrung tears of compassion from his patrons. Willoughby, with material that was a travesty of probability, was accustomed to evoke tears of laughter. He was congenitally and by stage training incapable of trading in such undisguised trash. Anyway, he couldn't disguise it as human experience. The more he spent on these productions the farther they receded from verisimilitude. As a vendor of the near-victim of a rich man's whim Willoughby was a flop. And simply because when they jumped in the lake he firmly believed that they ought to — for reasons his dramatists always neglected to mention. AFTER Willoughby had no doubt analysed the truth of humour as a disability, the Fullers entered into possession of the Adelphi, which now be came the Opera House. The redoubtable Sir Benjamin had the provender for appetites that sought satisfaction to that end of the town, and with varied bills he drew them in droves. But he, too, had yearnings for higher standards, and with Hugh Ward the St. James Theatre arose to challenge J. C. Williamsons in the light musical field. HOWEVER, as these recollections bear on the Opera House, there was before this, marathon litigation. It was marked by great tenacity of all parties. They were the brothers Fuller and T. E. Rofe. How the original antagonism began isn't very clear. But Rofe held the ground lease of the theatre from the City Council, and when a shop in the building was let by the operating lessees — the Fullers — without reference to him, he went to law. The case was fought to the Privy Council and Rofe won. The verdict enabled him to cancel the Fuller lease. Fullers had remodelled the auditorium by lowering the circle and gallery and resighting the house. These improvements cost over £25,000 and, of course, fell into Rofe's lap. COUNTING this consequence and the legal costs, the Fullers were set back by £60,000. It was then that they came up town to the St James, and Marlow once again became lessee of his old stand. While the Fullers ran the Opera House they introduced Stiffy and Mo in pantomime. It was then that the old gag, "As a music lover, what do you think of Mozart?" was inflicted on us. The answer, of course, was, "I prefer Stiffy's." Girl and dance shows, an American burlesque company, melodrama, and Italian grand opera kept the entertainment varied under the Fuller flag. LATER the theatre was re-christened the Tivoli, and vaudeville and revue experienced a revival amounting to a boom. This has been sustained to the enrichment of the management if not to the elevation of popular taste. However, they make no pretence to be a refining Influence. That obviously not being the answer to how hang out "House Full" signs.— CM.
that reminds me, Smith's Weekly, 13 April 1946, 12
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That word stays, The Age, 25 April 1969, 1
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That's Entertainment, 27 August 1986, 0
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That's Me, Courier Mail, 21 April 1983, 2
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That's Vinyl, The Great Leap Forward, July 1982, 20
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The "Julia-line" is fashon breakthrough, The Daily Telegraph, 23 July 1964
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The "Register's" Libel Case, Adelaide Times, National Library of Australia, 4 March 1850, 3
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The "Workshop Theatre", South Coast Times and Wollongong Argus, 19 June 1952
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The Aborigines' Friends' Association, Adelaide Observer, National Library of Australia, 1 September 1860, 3
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The Aborigines, Bendigo Advertiser, 24 September 1864, 6
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The Aborigines, The Maitland Mercury, 1 December 1860, 3
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The Academy of Music, The Daily Telegraph, 3 February 1894, 5
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The Adelaide Festival of Arts, Hastings Deering News, December, 1960, 55-57
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The Adelaide Festival of Arts, Hemisphere, March, 1962, 14-20
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The Adelaide Repertory Theatre: A Doll's House, The Mail, 18 August 1917, 10
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The Adelphi Theatre, The Age, National Library of Australia, 4 November 1856, 5
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The Advertiser, 11 October 1990
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The Advertiser, 12 August 2006, 7
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The Age, 9 January 2007, 45
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The Alexandra and Princess's Theatre, The Argus, National Library of Australia, 22 June 1886, 10
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The Alien, Artlook, August 1979, 25-26
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The Alien, Artlook, July 1981, 16
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The Alien, Theatre Australia, September 1981, 37
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The Amateur Theatre, The Maitland Mercury, National Library of Australia, 19 April 1845, 2
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The Arawatta's Passengers, The North Queensland Register, 25 November 1901, 54
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By THE CHIEL Handicapped by conditions without parallel in the history of the stage in Melbourne, owing to the dispute with the Actors' Equity (see page 3), the musical play "Viktoria and Her Hussar" was presented at His Majesty's Theatre on Saturday night. Although members of the equity re- frained from demonstrating either inside or outside the theatre, ab- sence of the chorus imposed a heavy strain on the principals. It was a courageous gesture on the part of the cast to undergo the or- deal m the circumstances; that they carried the show through success- fully was a still higher tribute to their courage. Wherever the merits of the dispute may lie, there was no doubt as to the feelings and sympa- thies of the audience. The keynote was struck before the curtain rose by the prolonged applause that greeted the appearance of Mr Claude Flemming in one of the boxes. The music by Paul Abraham pro- vides some pleasing and well-remem- bered numbers. Chief among these are "Sweet Love's Dream" and "Petals of the Plum," in both of which Gladys Moncrieff, as Viktoria, scored heavily. Fred Murray as Count Ferry Hegedus, and Miriam Lester as' O Lia San made a notable success of their infectious and hilarious duet "Mousie." Herbert Browne's "One Girl Only ni the World For Me" was another highlight.
The Argus, Viktoria and her Hussar, National Library of Australia, 29 May 1944, 6
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The Armidalian, 1994, 53
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The Athenaeum, September 1916, 445
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The Australian Ballet Celebrates its First Ten Years, Elizabethan Trust News, The Australian Elizabethan Theatre Trust, Autumn, 1972, 2, 1972, 6-7
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The Australian Drama Company 1956 Season, Australian Elizabethan Trust, Sydney, 1956, 27-29
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The Australian Elizabethan Theatre Trust, Australian Elizabethan Theatre Trust, Sydney, 1956, 32-33
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The Australian Theatre, Tharunka, 1 November 1972, 14
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The Australian Women's Weekly, 25 November 1964, 8
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The Australian, 1 May 1971
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The Australian, 10 March 1977, 10
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The Australian, 10 September 1985, 0
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The Australian, 15 November 1985, 16
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The Australian, 15 October 1986, 0
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The Australian, 15 October 1986, 0
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The Australian, 16 April 1971
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The Australian, 16 December 1997
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The Australian, 19 August 1987
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The Australian, 19 December 1975, 2
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The Australian, 19 December 1997
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The Australian, 19 December 2003, 14
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The Australian, 19 December 2003, 14
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The Australian, 2 December 1983, 0
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The Australian, 2 October 1971
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The Australian, 20 December 1975, 20
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The Australian, 20 November 1985, 0
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The Australian, 20 November 1985, 0
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The Australian, 22 November 1985, 0
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The Australian, 22 November 1985, 0
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The Australian, 23 December 2003, 17
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The Australian, 23 December 2003, 17
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The Australian, 24 April 1987
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The Australian, 24 October 1988, 0
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The Australian, 24 September 1982, 0
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The Australian, 25 October 1969
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The Australian, 27 May 1986, 0
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The Australian, 28 August 1991, 14
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The Australian, 29 August 1970
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The Australian, 7 January 1971
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The Auxiliary Squadron, The Argus, 15 August 1891, 10
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The Auxiliary Squadron, The Brisbane Courier, 15 August 1891, 5
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The Auxiliary Squadron, The Queenslander, 15 August 1891, 296
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The Ballet of the Birds, The Daily Telegraph, 21 March 1935, 8
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The Ballet Rambert, Barrier Miner, 20 January 1948, 8
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The Banana Bender, Theatre Australia, May 1980, 63
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The banned picture, The Argus, 28 June 1952, 3
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The Bastard from the Bush, Newcastle Star, 29 August 1984
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The Bee and the Butterfly, The Canberra Times, 15 June 1982, 15
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The Belconnen Banner, 9 November 1988, 13
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The Belle of New York, The Age, 27 August 1917, 9
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The big show, On Stage, 13, 1, 2012, 26-27
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THe Bijou Variety Troupe performed in the Odd Fellows' Hall, on Tuesday evening last, and introduced a novel feature into the entertainment, by announcing the presentation of a silver watch, to the authonr of the best connundrum, sent in to the management before seven o'clock, on the evening of the performance--the award being made by a jury of three, selected by the audienoe from among themselves. The first part of the programme was opened by Mr. Houten, playing with great effect, a composition by Crosse, "A night storm at sea," whilh was followed by the well known song, "When other lips and other hearts." Notwithstanding many defects, which careful study and constant practice, can alone remove, Miss Lynch sang this song sufficiently well to elicit a well merited encore. The song set down in on the programe was," I cannot sing the old songs," and it is desirable that the management should see that the programme is strictly adhered to ; substitutions are a disappointment to the audience, and should never be resorted to without an explanation being afforded. Next came a double hornpipe by Mesdames St. Clair and Beatrice. The constant repetition of this favorite national dance in no way affects time receptiou ascorded the fair executants, who on this occasion were as heartily applauded as on, the first night of their appearance... Mr. E. Smith made his first appearance as a trapesist on thisocceasion, and by the ease and grace of his movements, as well as his skill and daring, shewed himself a well-trained gymnast, and each trick was greeted with outbursts of applause. A duet, cornet and piano, played by Mr. Houten, afforded evidence of his abilities as a musician, and his command over both instruments. The little ballet by Misses St. Clair, Beatrice and Lynoch, were as graceful and pleasing a spectacle as could be desired, and the efforts of the ladies was rewarded by a repetition being demanded, Mr. Sloman, as a magician, performed some excellent tricks, but he lacks confidence and ease in his intercourse with the audience; his "Atmospheric mint," which enabled him to get half crowns from anywhere and everywhere - out of ladies chigoons, off the bald heads of elderly gentlemen, and from the scant beards of the young ones, was very successIul, and kept the audience agape with astonishment, and in roares of laughter. The presentation of the watch was to have taken place during the interval between the first and second parts of the programme, but as Mr. Sloman was behind in his arrangements for his feats of magic, the presentation took place before the conclusion of the first part of the programme. A jury consisting of Messrs. D. C. Hillman, G. Knight, and C. Searle, having been selected, the sealed envelopes containing the connundrums were handed to them by the stage manager, Mr. Wilson. They were opened opened and read to the audience, the reading creating much fun. They were as follows : No 1. What does Mr. Houten possess, which he pours out without wasting, and yet continues to retain ?- His Soul in harmony. No 2 How can the agent of the Bijou Troupe claim relationship to a Norman conquorer? - Because he is Wil'son. (Wills'son), No 3. Why is Miss Lynch like the Western Australian Bank? - Because she changes her notes for gold.No 4. Why may Miss Beatrice of the
the Bijou Troupe be suspected of smoking? - Because she has been seen indulging in a Horn-pipe. No 5. Why does a dog gnaw a bone ?-, Because he can't swallow it. No 6. Why is Responsible Government like the Grave? - Because we are hastening to it and the issue is uncertain. No 7. If on this occasion there were three watches for the successful competitor to choose from, one having been purchased at King's one at Moore's and the other at Mason's, which one should he select? - Why, the best, of course, ha ! ha ! Now if that is not the best connundrum, the answer's "the best " at any rate. No 8. If Miss Stewart were accidentally to drop from the top of the duplicate Ladder, what would she be 7--a fallen star. No 9. Why is the chief of the Fremantle Good Templars like a man about to be hanged? - Because he objects to taking a drop. No 10. Why should the power of the prima-danseuse of the Bijou Troupe be dreaded more than that of any other member of the Company? - Because she can administer Lynch Law. No 11. Why should not the handsomest man of the Bijou Troupe be considered fast? - Because he is without doubt a Slow-man. No 12. Why should Mr. Houten of the Bijou Troupe be sent to the DeGray District to civilize the natives? - Because music bath charms to soothe the savage breast No 13. Why is Mr. James' perpetual motion machine, like Miss St. Clair when she is dancing an Irish Jig? - because it goes till it stops. No 14. Who should take precedence as our maritime auctioneer? - Why Mr. Humphry to be sure, for he is the only one that is A One (A 1) at Lloyds. No 15. (a)-Why is the presentation watch like the Proprietor of the Bijou Troupe? Because it's Slo.man, of course. (b)-Why is Hopkins the bellman like a spoilt child? - Because the more he gets the more he cries. (c)-Why will Mr.Marmion's new store be very uncomfortable to live in? - Because there will always be a noise (Annois) next door. No 16. Why is professor Smith of the Bijou Troupe more independent than any man of the Company when he is dancing on his back? - Because he has the Globe at his feet. No 17, Why is David Harwood's whiskers like the Township of Rockingham? - Because they are largely laid out and thinly populated. No I8. What is the most diflcult operation a Doctor can perform? - Take the the jaw out of a woman, The jury having consulted, gave the award in favor of the last one of No. 15, as they stand above, and the author having been requested to come forward, Mr. J. W. Humphlry stepped up to the stage, when Mrs. Sloman presented him with the watch, - a handsome silver hunter, The tableaux of the Seasons, and the Classical Groupings, which formed the concluding portion of the programnme, were as successful as usual. The attendance was very good, and the entainment, was altogether one of the best yet given by the company.
The Bijou Variety Troupe, The Herald, (Fremantle, WA : 1867 - 1886), 27 June 1874, 2-3
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The bit players: bases of argument in the Elizabethan Theatre Trust, Nation, 12 August, 1961, 14-16
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The Black Cricketers, The Mercury (Hobart, Tas. : 1860 - 1954), 16 October 1867, 3
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The Blacks' Corroboree, Barrier Miner, 2 May 1898, 2
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The Blacks, Geelong Advertiser, 24 March 1848, 2
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The Blacks, The Maitland Mercury, 3 July 1847, 4
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The Blacks, The Moreton Bay Courier, 19 June 1847, 2, 3
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The Bland Holt Company, The Herald, 17 April 1905, 5
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THE BLAND HOLT COMPANY. (1900, April 6). , Evening News, 6 April 1900, 2
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THE BLAND HOLT PERFORMANCES., Evening Journal, 31 August 1894, 4
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The Bland Holt Season, The Australian Star, 24 February 1902, 6
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The Bloke's back in full song, The Sun (NSW), 1 July 1976, 16-17
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The Blue Goose, The Argus, 30 June 1945, 12
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The Border Watch, Border Watch, Mount Gambier, South Australia, 10 April 1909, 2
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The boy from Wagga Wagga honoured by home town, On Stage, 12, 3, 2011, 25
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The boys unbanned, The Age, 29 July 1969, 7
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The British Bioscope Company., Morning Bulletin, Rockhampton, QLD, 17 December 1909, 4
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The British Bioscope Company., Morning Bulletin, Rockhampton, QLD, 20 December 1909, 4
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The British Football Team, The Capricornian, 28 October 1899, 34
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The cad - he let her go!, The Mail, 31 October 1953, 64
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The Canberra Times, 26 June 2004, 12
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The Canberra Times, 27 June 1974, 10
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The Canberra Times, 28 July 1966, 19
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The Canberra Times, 28 June 1985, 13
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The Canberra Times, 28 May 2001, 12
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The Canberra Times, 29 June 2005, 4
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The Canberra Times, 29 March 1978, 26
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The Canberra Times, 29 October 1981, 21
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The Canberra Times, 3 April 1988
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The Canberra Times, 3 November 1970, 9
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The Canberra Times, 30 April 1969, 16
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The Canberra Times, 30 November 2001, 14
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The Canberra Times, 31 October 1968, 22
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The Canberra Times, 4 July 1978
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The Canberra Times, 4 June 2001, 10
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The Canberra Times, 7 July 1975, 3
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The Canberra Times, 9 February 1971, 10
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The Canberra Times, 9 May 1967, 33
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The Canberra Times, 9 October 1968, 0
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The Carnival by Gaslight. A Social and Artistic Success., National Advocate, Bathurst, NSW, 10 November 1897, 2
-
The Carnival, The Mercury (Hobart, Tas. : 1860 - 1954), 11 February 1910, 2
-
The Carnival, The Mercury (Hobart, Tas. : 1860 - 1954), 15 February 1910, 6
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The Carnival, The Mercury (Hobart, Tas. : 1860 - 1954), 18 February 1910, 5
-
The Carnival, The Mercury (Hobart, Tas. : 1860 - 1954), 9 February 1910, 3
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The Case of Katherine Mansfield, The Age, 21 August 1980, 24
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The Case of Katherine Mansfield, The Australian, 1 November 1983, 8
-
The Case of the Fraudulent Heir, Newcastle Herald, 2 September 1981, 7
-
The Cedar Tree at the Criterion, The Australian Women's Weekly, 23 March 1935
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The Cedar Tree. Forthcoming Australian Musical Romance, The Sydney Mail, 13 March 1935, 28
-
The Celestials at the Ovens, The Age, 21 September 1860, 5
-
The Centenary, The Brisbane Courier, 28 July 1924, 11
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The Centenary, The Brisbane Courier, 30 July 1924, 19
-
The Chinese and the Hospital, Ovens and Murray Advertiser, 8 February 1859, 3
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The Chinese Camp at the First White Hill, Bendigo, The Age, 7 April 1859, 3
-
The Chinese Camp on Spring Creek, Ovens and Murray Advertiser, 24 August 1857, 2
-
The Chinese Celebration, The Ballarat Star, 11 December 1867, 3
-
The Chinese Circus, Mount Alexander Mail, 1 October 1858, 5
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The Chinese Circus, Mount Alexander Mail, 23 December 1861, 3
-
The Chinese Joss House at Campbell's Creek, The Age, 19 May 1859, 6
-
The Chinese Joss House, Bendigo Advertiser, 21 May 1859, 3
-
The Chinese Mission, Mount Alexander Mail, 10 November 1856, 2
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The Chinese New Year, Mount Alexander Mail, 27 January 1860, 4
-
The Chinese New Year, Ovens and Murray Advertiser, 27 January 1857, 2
-
The Chinese Quarter, Mount Alexander Mail, 20 April 1864, 3
-
The Chinese Spectacular coming back to Canberra, The Word, December 2008, 26
-
The Chinese Theatre, Mount Alexander Mail, 19 October 1860, 4
-
The Chinese Theatre, Mount Alexander Mail, 20 July 1860, 4
-
The Chinese Theatre, The Star, 11 November 1861, 1
-
The Chinese Theatre, The Star, 9 April 1860, 2
-
The Chinese Troupe, Bendigo Advertiser, 23 September 1858, 3
-
The Chinese, The Argus, 26 January 1857, 6
-
The Choir, Sydney Morning Herald, 23 January 1981, 8
-
The Choir, Theatre Australia, May 1980, 10
-
The Christian Science Monitor, 29 September 1934
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The Christmas Cracker Show or Nuts to You, Newcastle Herald, 3 December 1981, 4
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The Chronicle
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The Chronicle, 1 February 1993
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The Chronicle, 1 November 1993
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The Chronicle, 11 September 1995
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The Chronicle, 14 March 1994
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The Chronicle, 15 June 1992, 29
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The Chronicle, 17 January 1994, 21
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The Chronicle, 17 November 1982, 11
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The Chronicle, 18 April 1994, 40
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The Chronicle, 18 December 1995
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The Chronicle, 18 July 1994
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The Chronicle, 18 September 1995, 25
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The Chronicle, 21 October 1997, 29
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The Chronicle, 22 November 1988, 12
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The Chronicle, 23 January 1995
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The Chronicle, 27 February 1990, 14
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The Chronicle, 27 September 1993, 38
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The Chronicle, 28 November 1994
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The Chronicle, 28 November 1994
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The Chronicle, 3 May 1993
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The Chronicle, 30 January 1995
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The Chronicle, 4 April 1988
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The Chronicle, 4 July 1994, 43
-
The Chronicle, 5 February 1991
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The Chronicle, 5 June 1995
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The Chronicle, 6 February 1990, 0
-
The Church of England Newspaper, 23 April 1999, 5
-
The Circus, Bendigo Advertiser, 9 August 1859, 2
-
The Civil and Military Ground, The Sydney Mail and New South Wales Advertiser, 28 October 1876, 564
-
The Clarence Examiner. Kate Howarde Dramatic Company, Clarence River Examiner, Grafton, NSW, 7 January 1899, 4
-
The Comedie-Francaise, Theatre Australia, 5, 1, August 1980, 7
-
The Commissioner Of Public Works In The South, The South Australian Register, 23 March 1867, 3
-
The Commonwealth, The Advertiser, 11 March 1901, 5
-
The Condition of Bourke, Bathurst Free Press and Mining Journal, 1 May 1890, 4
-
THE CONTROVERSY CONDENSED, Melbourne Punch, 8 August 1867, 2
-
The Manager of the Theatre has been so ill advised as to commence an action for damages against the Proprietor of this paper for libel, founded upon articles which have recently ap- peared in our columns, denouncing the gross im- moralities, obscene allusions, impertinent and foul interpolations which have been introduced by Mr Lazar into the performances ot late. If tried by a jury of Light-square ladies, it is possible the verdict might be against us; but that twelve citi- zens (husbands, fathers, or brothers) can be found to resist the complete justification which we shall put upon the record is out of the question.
The Convict Question, The South Australian Register, National Library of Australia, 4 February 1850, 3
-
The Coolgardie Mechanics' Institute, The West Australian, 24 July 1896, 3
-
The Corporation of Sydney and the Centennial Hall., The Sydney Mail and New South Wales Advertiser, 30 November 1889, 1204-1208
-
The Corroboree, Camperdown Chronicle, 14 May 1884, 3
-
The Corroboree, Clarence and Richmond Examiner, 15 May 1886, 8
-
The Corroboree, Northern Star, 29 June 1910, 5
-
The Corroboree, The Mercury (Hobart, Tas. : 1860 - 1954), 28 June 1881, 3
-
The Corroboree, The Southern Argus, 7 December 1867, 2
-
The Country Wife, The Age, 9 February 1964, 8
-
The Country, The Advertiser, National Library of Australia, 12 December 1904, 8
-
The Country, The Advertiser, National Library of Australia, 20 March 1905, 9
-
The Country., The Advertiser, 11 February 1905, 10
-
The Courier, 10 November 1966, 19
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The Courier, 13 April 1972, 29
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The Courier, 14 November 1968, 18
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The Courier, 17 March 1966, 4
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The Courier, 17 October 1968, 22
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The Courier, 18 April 1973, 16
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The Courier, 22 February 1973, 33
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The Courier, 23 May 1968, 15
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The Courier, 24 February 1966, 8
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The Courier, 24 October 1968, 0
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The Courier, 25 September 1974, 22
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The Courier, 27 May 1971, 25
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The Courier, 27 September 1973, 16
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The Courier, 28 September 1972, 14
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The Courier, 30 October 1969, 22
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The Courier, 4 February 1971, 24
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The Courier, 7 December 1972, 25
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The Courier, 9 July 1975, 22
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The Courier, The Hobart Town Courier, 27 December 1833, 2
-
The Courier, Thursday, September 28, 1871, The Brisbane Courier, 28 September 1871, 2
-
The Courier, Tuesday, April 27, 1869, The Brisbane Courier, 27 April 1869, 2
-
The Courts, Evening News, 21 April 1896, 6
-
The Courts, Evening News, 31 March 1896, 4
-
The Criterion Burlesque Co. Crowded Houses., The Gundagai Times and Tumut, Adelong and Murrumbidgee Adve, NSW, 21 August 1896, 2
-
The Criterion Burlesque Co., The Western Champion and General Advertiser for the Central, Barcaldine, 17 December 1896, 14
-
The Criterion Burlesque Company, Darling Downs Gazette, Qld., 11 May 1896, 2
-
The Criterion Burlesque Company, The Dubbo Dispatch and Wellington Independent, 8 October 1896, 2
-
The Criterion Burlesque Company, The Riverine Grazier, 24 July 1896, 1
-
The Criterion Company, The Criterion Company, The Yass Courier, NSW, 7 November 1896, 2
-
The Criterion Dramatic Company, Darling Downs Gazette, Qld., 9 May 1896, 5
-
The Culture, 23 July 2002, 4
-
The Cyclorama, Evening Journal, 20 September 1890, 7
-
The Cyclorama. An American Show., Sydney Morning Herald, 5 January 1889, 12
-
The Cynogylorama, The Mercury (Hobart, Tas. : 1860 - 1954), 25 July 1870, 2
-
The Daily Telegraph, 15 June 1974
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The Daily Telegraph, 19 September 1963
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The Daily Telegraph, 22 June 1992, 3
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The Daily Telegraph, 25 January 1974, 0
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The Daily Telegraph, 3 July 1982, 19
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The Daily Telegraph, 4 October 1985, 0
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The Daily Telegraph, 6 August 1970
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The Daily, 11 March 1932, 2
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The Daily, 23 November 1932, 2
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The Daily, 6 March 1932, 2
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The Daily, 8 September 1932, 2
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The Dancing Mistress, Sydney Morning Herald, 28 July 1913, 3
-
The Danger Signal, The National Advocate, Bathurst, NSW, 20 April 1903, 1
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The death is announced of Mr Charles Holloway, actor., The Ballarat Star, Christchurch, 9404, 30 November 1908, 3
-
Ghosts today people the Theatre Royal and on Monday even they will be disturbed in their fretful musings by the first crashes of falling masonry as the wreckers begin the work of demolition.
The old theatre died last night in a blaze of triumphant glory. Never even in the heyday of the past can there have been such a night. Once more were the splendours of yesteryear rehearsed in tableau and the audience cheered and cheered again until the last sundering curtain fell between it and all the world of pageantry that has been the Royal.
It was fitting that so popular a production as “The Maid of the Mountains” should be chosen for the last performance and probably there was never a merrier one.
Favourites applauded
For the invisible barriers between players and audience were dissolved, and an intense personal sympathy between them made every sally of the old favourites, heard by many present probably a dozen or 20 times, doubly amusing, and every romantic moment more glamourous than before.
Often the action of the show was held up by the demonstrations of the audience. For all the cast, and especially for such favourites as Gladys Moncrieff, Arthur Stigant, and Phil Smith, there was continuous applause.
But it was when “The Maid” was over that the real show began.
The Lord Mayor (Cr Gengoult Smith), who had been sitting in a box, went upon the stage and recalled the grandeurs of the far past and of more recent years.
Nights of Long Ago He spoke of nights when a younger Melbourne gazed up adoringly at its favourites; of after-theatre revelry at the now defunct Savoy, and of the passing, in its turn, of the Royal itself.
“But,” he said, “The flesh and blood of the theatre can never die!” and the audience which, by now, filled every seat and crowded in the aisles and along the back of stalls and circle, cheered again and again.
Now Mr Stigant, in his costume as General Malona, introduced a series of tableaus.
“Tonight,” he said, “within this historic theatre the curtain falls for the last time and there will remain but a memory of the many plays and players who have been seen upon the old stage with its historic associations of the past.”
Upon the Boards Again
The shades of the old players must come trooping across the boards upon which they once strutted their brief hour of triumph. We shall present to you a glimpse of them in the characters in which they were notably associated, so that when you leave this theatre tonight you will feel that, although this occasion is invested with a good deal of sadness, there is still the pleasure of remembrance.
“Once more unto the breach, dear friends, once more, or close the wall up with our English dead!’ Who can forget the stirring call of King Henry the Fifth, or the never-to-be-forgotten triumph in that role of George Rignold, whom Mr Harvey Adams will present before you?” Player after player they appeared, most represented by some performer of the present day, with a few old favourites in person.
Great Names
Here they all were – George Rignold, affectionately known as Handsome George, who first appeared in the theatre of 1878; Marion Dunn, the Daughter of the Regiment of 1864, represented by her daughter; Marion Marcus Clarke, in the dress used in the original production; J B Atholwood, the character actor, represented by his son Ronald Atholwood; Julius Knight, “A Royal Divorce” celebrity; Pavlova; Jack Ralston; Harriet Bennett, of “Rose Marie”; Melba: Rueben Fax; Lewis Walker; Maggie Moore; Nellie Stewart; Tittel Brune as L’Aiglon, recalled Patricia Wenman; and to the rapture of the audience, Carrie Moore herself, the original Merry Widow; Meta Pelham, at 84 Australia’s oldest actress; and smiling Cecil Kellaway himself.
Never can any of the famous in the flesh have had a more tumultuous reception than was given their depictors. When Mr Frank Tait had explained that a new His Majesty’s was to arise, the theatre was showered in streamers from circle and gallery and, amid a mass of multi-coloured ribbons, Gladys Moncrieff sang “Farewell.”
The Last Curtain So at midnight the last curtain fell.
The audience streamed away, but not a few people lingered wandering across the huge stage or among the deserted dressing rooms. What tales indeed could be told by these well-worn walls, these rooms all empty now!
But now the lights were going out. Carrie Moore was saying a last farewell. She stopped to speak to Frank Talbot, who was paying the last tribute of a brother showman to the dying theatre. The corridors were piled high with theatrical baskets. On the walls hung the wardrobe of the last performance.
Mourners and merrymakers alike took their last look and drifted away.
Workmen began to carry out the furniture The exit doors to Bourke street were closed.
The Theatre Royal was dark for ever.
The Death Of A Theatre (1933, November 18). , The Herald, 18 November 1933, 15
-
The Devil's Disciple, Sydney Morning Herald, National Library of Australia, 4 October 1913, 24
-
The Diamond Jubilee of B. Hill Quartette Club, Barrier Miner, 21 September 1955, 4
-
The Dominion, 18 May 1972, 0
-
The Don's Last Innings, The Advertiser, 29 November 1982, 29
-
The Doomed Black Man, Barrier Miner, 4 May 1898, 2
-
The Dover Road. Players' and Repertory Society, Sydney Morning Herald, 11 July 1924, 8
-
The Drama, Adelaide Independent and Cabinet of Amusement (SA : 1841), National Library of Australia, 14 October 1841, 2
-
The Drama, The Daily Telegraph, 21 March 1896, 9
-
THE DRAMA.
"Eloped!- she- she eloped! Then are the angels false" Lear-Act 1st. sc. 5.
This touching piece, "The Lear of
Private Life," was played on Thursday
night last to a well and respectably filled
house. For pathos, incident, and moral,
this is unquestionably the best dramatic
production of Moncrieff's, voluminous a
stage writer as he is, and ingeniously as
he has dramatized "Eugene Aram,"
"Monsieur Tonsou," and several more.
It represents a father slung to madness
by the seduction of his only child- her
consequent suffering and his own-her
final return to virtue, and his his to rea-
son. The piece abounds in touching
scenes, which, above once, draw the tears
from many of the audience. Mr. Sim-
mons personated Fitzurdine capitally;
Mrs. Taylor rather failed in the placid
plaintive character of Agnes, but did the
character much justice notwithstanding;
in the harp scene her voice was particu-
larly sweet and thrilling. The other parts
were well sustained. The after-piece,
'The Warlock of the Glen," was ex-
ceedingly well performed. Mr. Mackie
played Andrew; Mr. Knowles the War-
lock; Miss Winstanley played Adela
better than any character we have seen
her in yet. The house opens again to-
night.
The Drama, The Sydney Gazette and New South Wales Advertiser, G. Howe, Sydney, NSW., National Library of Australia, XXXIV, 2752, 9 January 1836, 2
-
THE DRAMA. (1897, July 10)., The Daily Telegraph, 10 July 1897, 4
-
The Drama. Australians' Works, Daily News, 29 April 1939, 9
-
The Drama., The Narracoorte Herald, Narracoorte, SA, 27 April 1909, 2
-
The Dran=ma. State Support. Judge Beeby's Views., Sydney Morning Herald, 26 January 1924, 14
-
The Dreamers, The Australian, 18 July 1983, 5
-
THE DRINK OF THE AGE, ROYAL CLUB NECTAR, Referee, 10 May 1893, 7
-
The Dubbo Dispatch, 3 February 1950, 3
-
The Dubbo Dispatch, 30 January 1950, 1
-
The Duke Of Edinburgh At Adelaide, Launceston Examiner, 23 November 1867, 6
-
The Earl And Countess Of Jersey, The South Australian Register, 16 March 1893, 5
-
The Early Days Of Melbourne, The Argus, 3 January 1885, 4
-
The Edithburgh Trade, The South Australian Chronicle and Weekly Mail., 19 June 1875, 13
-
The Elizabethan Theatre Opens, Australian Elizabethan Trust, Sydney, 1956, 17
-
The Elizabethan Theatre...A Base for Operations, Australian Elizabethan Trust, Sydney, 1956, 13-14
-
The Empire. New Theatre Opened. "Sunny", Sydney Morning Herald, 1 March 1927, 12
-
The End of an Era?, Theatre Australia, 4, 12, July 1980, 3
-
The English Footballers, Bathurst Free Press and Mining Journal, 19 May 1899, 3
-
The Era, 22 May 1917, 11
-
The Era, 25 April 1917, 0
-
The Era, 26 February 1919, 13
-
The Era, 5 September 1917, 0
-
The Era, 6 September 1916, 0
-
The Escorts [Oddfellows festival], Sydney Morning Herald, 29 October 1859, 5
-
The Examiner, 5 July 1963, 0
-
The Fake Cafe, Artlook, October 1981, 48
-
The Famous Miss Burney, Melbourne Times, 17 August 1983, 12
-
The Famous Miss Burney, The Australian, 8 August 1983, 8
-
The Fanatics, The Age, 30 November 1931, 10
-
The Fancy Ball, Sydney Morning Herald, 29 August 1844, 3
-
The Far North, The South Australian Register, 23 May 1892, 6
-
The Far West, Cairns Post, 15 August 1891, 1
-
The Fatal Card. (1895, March 8)., Table Talk, 8 March 1895, 7
-
The Festival of Sydney, The Australian Women's Weekly, 14 December 1977, 16
-
The Fifties: Life In Melbourne, The Argus, 9 August 1913, 8
-
The Fire at the Victoria Theatre, Sydney Morning Herald, 27 July 1880, 6
-
the first burst, Limelight, July 2007, 14
-
The first burst, Limelight, July 2007, 14
-
The First Theatre, The West Australian, 7 September 1929, 5
-
The Fittest, The Canberra Times, 22 June 1982, 18
-
The Fleet, Northern Standard, 3 April 1925, 2
-
The Fleet, Northern Territory Times and Gazette, 17 March 1925, 3
-
The Fleet, Northern Territory Times and Gazette, 24 March 1925, 2
-
The Flowers Still Die, The Age, 10 May 1982, 10
-
The Freelance Club, Sydney Morning Herald, 22 November 1933, 9
-
THE FREMANTLE LUNATIC ASYLUM. To Messrs. Farmer and Imray, of Fremantle, I am indebted for a very excellent variety entertainment which they were good enough to organise and carry out most successfully, and I trust that when it becomes practicable to make the necessary additions to the Asylum, a large hall for concerts and similar entertainments may be included in the plan. At present the only available room is the dining room on female side: it is quite unsuitable to the purpose, and cannot be used without much inconvenience.
The Fremantle Lunatic Asylum, The West Australian, 27 March 1888, 3
-
The Frogs, Sydney Morning Herald, 14 September 1940, 9
-
The fruits of a BHP study, Newcastle Morning Herald and Miners' Advocate, 24 July 0981
-
The Fuller Pantomime, The Advertiser, 26 May 1917, 11
-
The Gaieties Show, Barrier Miner, 29 March 1950, 5
-
The Gaiety Theatre, The Brisbane Courier, Qld, 31 January 1898, 4
-
The Gaiety Theatre, The Sydney Mail and New South Wales Advertiser, 27 March 1886, 660
-
The Gaiety Theatre. Benefit to Miss Kate Howarde, The Brisbane Courier, Qld, 7 February 1898, 7
-
The Gaiety, Evening News, 8 September 1880, 2
-
The Geelong Fete, The Argus, 2 July 1857, 6
-
The Ghost Train, The Examiner, National Library of Australia, 7 August 1933, 8
-
The Girl from Wayback, Sydney Morning Herald, 5 October 1912, 24
-
The Girl in the Taxi, Sydney Morning Herald, 29 November 1920, 6
-
The Girl in the Taxi, The Age, 23 August 1920, 8
-
The Goernor's Tour In The South-East, South Australian Advertiser, 12 June 1869, 2
-
The Gondoliers, The Argus, The University of Adelaide, Library Special Collections
-
The Gondoliers, The University of Adelaide, Library Special Collections
-
The Good Old Days, The Australian Women's Weekly, 6 February 1957, 30-31
-
The Governor and Premier Attend a Corroboree, Chronicle (Adelaide, SA : 1895 - 1954), National Library of Australia, 30 June 1923, 44
-
The Governor and the Natives, Northern Territory Times and Gazette, 1 September 1899, 3
-
The Governor At Boulia, The Northern Miner, 15 May 1913, 3
-
The Governor At Georgetown, The Northern Miner, 5 May 1892, 4
-
The Governor At Oodnadatta, Chronicle, 29 July 1899, 16
-
The Governor At Oodnadatta, The Advertiser, 27 July 1899, 5
-
The Governor In The Northern Territory, The South Australian Register, 6 April 1891, 5
-
The Governor In The Territory, The Advertiser, 5 June 1905, 7
-
The Governor In The Territory, The Advertiser, 5 May 1905, 4
-
The Governor's Northern Tour, Sydney Morning Herald, 28 June 1870, 2, 3
-
The Governor's Northern Tour., The Brisbane Courier, 4 May 1892, 5
-
The Governor's Northern Tour., The Queenslander, 3 May 1890, 831
-
The Governor's Tour In Gipps Land, The Argus, 10 March 1859, 5
-
The Governor's Tour, Cairns Post, 7 May 1892, 2
-
The Governor's Trip To The Murchison, The West Australian, 23 November 1887, 3
-
The Governor's Visit to Port Macquarie, The Empire, 2 July 1870, 4
-
The Governor's Visit To The Clarence River, Sydney Morning Herald, 3 August 1869, 2, 3
-
The Governor's Visit To The Clarence River, The Maitland Mercury, 5 August 1869
-
The Governor's Visit to the Clarence, Australian Town and Country Journal, 15 May 1886, 14
-
The Grange Corroboree, The Advertiser, 12 March 1898, 8
-
The Great Flight, Sydney Morning Herald, 21 May 1924, 12
-
The Great Leap Forward
-
The H.A.C.B.S. Concert, The Daily News, (Perth, WA : 1882 - 1950) , 18 June 1896, 2
-
The Hasty Heart season extended, Barrier Miner, National Library of Australia, 17 October 1947, 7
-
The Havana Band, Sydney Morning Herald, 23 November 1923, 13
-
The Haymarket Theatre, The Argus, 10 November 1866, 5
-
The Heart Of Australia, The Register, 9 September 1910, 5
-
The Heartache and Sorrow Show, Sydney Morning Herald, 6 December 1980, 23
-
The Herald Sun, 1 March 1997, 73
-
The Herald Sun, 15 March 1997
-
The Herald Sun, 21 May 1997
-
The Herald Sun, 9 December 2003, 62
-
The Herald, 1 November 1933
-
The Herald, 13 September 1962, 0
-
The Herald, 14 October 1933
-
The Herald, 18 November 1933
-
The Herald, 22 July 1961, 0
-
The Herald, 22 July 1988, 15
-
The Herald, 5 September 1995
-
The high life for Circus Oz, The Age, 14 November 1980, 10
-
The Hobart Carnival, The Mercury (Hobart, Tas. : 1860 - 1954), 21 February 1910, 5, 6, 7
-
The Hobart Carnival, The Mercury (Hobart, Tas. : 1860 - 1954), 28 February 1910, 5
-
The Home : an Australian quarterly, November 1934, 24
-
The Hospital, Mount Alexander Mail, 7 July 1858, 3
-
The Howarde Pantomime Company, Clarence and Richmond Examiner, Grafton, NSW, 2 April 1898, 8
-
The Howley - Yam Creek - Port Darwin Camp, The South Australian Register, 13 April 1882, 5-6
-
The I.A.C. Debate, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 3
-
The Immigrant, Playlab Newsletter, 12 June 1981, 2
-
THE IMPRESSIONIST THEATRE, Sydney Morning Herald, 16 June 1934, 10
-
The Independent Theatre, Sydney Morning Herald, 10 December 1938, 5
-
The Indian Risings in America. What Dr. Carver and his Indians say., The Argus, 1 January 1891, 6
-
The Injury to the Eye of Mr. Ireland the Actor at Newcastle, The Sydney Mail and New South Wales Advertiser, 18 February 1888, 385
-
The Innisfail Amateur Dramatic Company, West Australian Catholic Record, (Perth, WA : 1888 - 1922), 4 December 1897, 10
-
The Innisfail Amateur Dramatic Company, Western Mail, (Perth, WA : 1885 - 1954), 17 December 1897, 28
-
The Irish and Scotch Distress , The Maitland Mercury, National Library of Australia, 21 July 1847, 2
-
The Jottings of a Lady About Town, Truth, 28 April 1940, 35
-
The Jubilee, Cairns Post, 11 November 1926, 8
-
The Jubilee, Cairns Post, 28 October 1926, 5
-
The Junior Theatre League, Sydney Morning Herald, 3 August 1935, 10
-
The Kate Howarde Burlesque Company, The Yass Courier, NSW, 7 November 1896, 2
-
The Kate Howarde Co. An Excellent Show, The Mudgee Guardian and North-Western Representative, NSW, 29 September 1904, 13
-
The Kate Howarde Co., The Examiner, Launceston, Tas., 6 June 1904, 6
-
The Kate Howarde Co., The Mudgee Guardian and North-Western Representative, NSW, 3 October 1904, 2
-
The Kate Howarde Co., The National Advocate, Bathurst, NSW, 30 December 1896, 2
-
The Kate Howarde Co., The Temora Star, NSW, 24 September 1902, 3
-
The Kate Howarde Co., The Temora Star, NSW, 7 October 1903, 3
-
The Kate Howarde Company, Lithgow Mercury, NSW, 8 May 1900, 2
-
The Kate Howarde Company, Mudgee Guardian and North-Western Representative, NSW, 16 May 1899, 2
-
The Kate Howarde Company, The Berrigan Advocate, Cobram, NSW, 8 October 1897, 2
-
The Kate Howarde Company, The Campbelltown Herald, NSW, 23 November 1898, 2
-
The Kate Howarde Company, The Campbelltown Herald, NSW, 30 November 1898, 2
-
The Kate Howarde Company, The Gundagai Times and Tumut, Adelong and Murrumbidgee Dist, 25 August 1905, 2
-
The Kate Howarde Company, The Gympie Times and Mary River Mining Gazette, Qld, 14 March 1903, 3
-
The Kate Howarde Company, The Lithgow Mercury, NSW, 15 February 1901, 6
-
The Kate Howarde Company, The Lithgow Mercury, NSW, 4 October 1904, 2
-
The Kate Howarde Company, The Millthorpe Post, NSW, 5 January 1901, 5
-
The Kate Howarde Company, The Narrandera Argus and Riverina Advertiser, NSW, 29 July 1904, 3
-
The Kate Howarde Company, The North Coolgardie Herald, WA, 11 January 1905, 6
-
The Kate Howarde Company, The Riverina Times, Hay Standard and Journal of Water Conse, Hay, NSW, 25 July 1901, 3
-
The Kate Howarde Company, The Riverine Grazier, Hay, NSW, 22 July 1904, 4
-
The Kate Howarde Company, The Wagga Wagga Advertiser, NSW, 2
-
The Kate Howarde Company, The Wagga Wagga Advertiser, NSW, 22 August 1903, 2
-
The Kate Howarde Company, The Wyalong Star and Temora and Barmedman Advertiser, West Wyalong, 6 October 1903, 2
-
The Kate Howarde Company, The Wyalong Star and Temora and Barmedman Advertiser, West Wyalong, NSW, 30 September 1902, 2
-
The Kate Howarde Company, Wagga Wagga Advertiser, Wagga Wagga, NSW, 29 June 1909, 2
-
The Kate Howarde Company, Wagga Wagga Advertiser, Wagga, NSW, 1 July 1909, 2
-
The Kate Howarde Company. "The Kelly Gang", The North Coolgardie Herald and Miners Daily News, Menzies, WA, 20 February 1900, 2
-
The Kate Howarde Company. "When London Wakes"., The Riverine Grazier, Hay, NSW, 28 August 1900, 2
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The Kate Howarde Company. 'East Lynne'., Coolgardie Miner, WA, 24 February 1900, 6
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The Kate Howarde Company. My Sweetheart., The Coolgardie Miner, WA, 26 January 1905, 3
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The Kate Howarde Coy., The Byron Bay Record, NSW, 12 March 1904, 8
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The Kate Howarde Coy., The Leader, Orange, NSW, 3 January 1903, 2
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The Kate Howarde Coy., The Riverine Grazier, Hay, NSW, 31 August 1900, 2
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The Kate Howarde Coy., The Wagga Wagga Advertiser, NSW, 14 July 1904, 2
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The Kate Howarde Dramatic Co., The Manning River Times and Advocate for the North Coast Di, Taree, NSW, 11 February 1899, 2
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The Kate Howarde Dramatic Company, The Cootamundra Herald, NSW, 13 February 1901
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The Kate Howarde Dramatic Company, The Riverina Times, Hay Standard and Journal of Water Conse, Hay, NSW, 11 April 1901, 4
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The Kate Howarde Dramatic Company, The Riverine Grazier, Hay, NSW, 23 July 1901, 3
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The Kate Howarde Dramatic Company, The Riverine Grazier, Hay, NSW, 9 April 1901, 2
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The Kate Howarde Dramatic Company, The Wagga Wagga Advertiser, NSW, 18 July 1903, 2
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The Kate Howarde Musical Company, The Wagga Wagga Advertiser, NSW, 18 February 1904, 2
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The Kate Howarde Opera Co., The Western Champion and General Advertiser for the Central, Barcaldine, Qld, 29 August 1899, 10
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The Kate Howarde Opera Company, Petersburg Times, SA, 10 November 1899, 5
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The Kate Howarde Opera Company, Port Pirie Recorder and North Western Mail, SA, 8 November 1899, 3
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The Kate Howarde Opera Company, The North West Post, Formby, Tas., 2 June 1898, 2
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The Kate Howarde Opera Company, The North West Post, Formby, Tas., 4 June 1898, 4
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The Kate Howarde Opera Company, Wagga Wagga Express, Wagga Wagga, NSW, 15 October 1898, 2
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The Kate Howarde Opera Company. "Struck Oil"., The Mount Lyell Standard and Strahan Gazette, Queenstown, Tas., 21 May 1898, 4
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The Kate Howarde Opera Coy., Port Pirie Recorder and North Western Mail, SA, 4 November 1899, 3
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The Kate Howarde Pantomime Company, Northern Star, Lismore, NSW, 23 March 1898, 2
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The Kate Howarde Pantomime Company, The Northern Star, Lismore, NSW, 26 March 1898, 2
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The Kellaway Family on Stage and Screen, Sydney Morning Herald, 4 August 1938, 23
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The Kelly Gang, Sydney Morning Herald, 31 July 1899, 9
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The Kennel, Chronicle, 5 February 1898, 43
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The Kiama Centenary, Sydney Morning Herald, 6 April 1896, 5
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The King Georges Sound Natives, Perth Gazette and West Australian Times, 26 January 1833, 15
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The King's Theatre, Sydney Morning Herald, 11 October 1910, 6
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The Kiwi Season, Barrier Miner, 12 October 1951, 3
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The Kure Corroboree, The South Australian Register, 15 June 1844, 3
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The Land of the Christmas Stocking, Sydney Morning Herald, 18 December 1945, 5
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The Last Days of the World, Sydney Morning Herald, 3 February 1983, 8
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The Last Days of the World, The Advertiser, 13 April 1983, 36
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The Last Night of "The Silver Box", The Register, 21 July 1920, 8
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The Last of Mrs Cheyney - 04/10/1926
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The late Gilbert J. Smith, whose death at Nyngan the previous day was briefly mentioned in the last issue of the "Sunday Times," was a well-known figure in the Australian theatrical world. In 1883 he started in Brisbane as a theatrical wig- maker, and soon after he became lessee of the local Gaiety Theatre, which he success- fully conducted for some time. Later on he established a theatrical costume business known as "Noah's Ark" in the same city. In 1891 he opened in Sydney, and remained here up till the time of his death, with the exception of occasional tours which he took with different companies. While lessee of the Gaiety Theatre in Castlereagh-street, Mrs. Keightley appeared under his manage- ment in "Bailed Up," a piece which had been specially written for her. The de- ceased made his will a couple of hours be- fore his death, leaving his business to Miss Lily Smith and Miss Harrie Courtney, his manager (Lieut. Stephen J. Byrne) and Mr. R. F. Brentnall being appointed the trustees. The remains were interred at Nyngan with Masonic honors, the local band and that of Eroni Brothers' circus heading the funeral procession. A monument will be placed over the grave by the local Masons. For- tunately the deceased left ample provision for his mother, wife, and family.
The Late Gilbert J. Smith, Sunday Times, 27 May 1900, 2
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The Late J. L. Hall, Table Talk, 19 October 1888, 22
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The late Mr Edwin J. Kelly, The Advertiser, 2 January 1899, 6
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The late Mr W. S. Lyster, Evening News, 29 November 1880, 3
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THE LATE MRS STEWART EARLY STAGE REMINISCENCES, The Australasian, 30 July 1904, 46
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Ashley v. Bliss For plaintiff, the Solicitor-General and Mr Wood for defendant, Mr G. A. Stephen.
An action on replevin to recover the amount of a bond given by defendant to the sheriff for the prosecution of an action to recover damages for an excessive distress for rent made by plaintiff on one John Black, the lessee of the Theatre Royal. The action was not brought, and therefore the present action was brought to recover the amount of the bond.
In 1855, Mr John Black was the lessee of the Theatre Royal, in Bourke street, and being in default of payment on his rent, his goods were distrained, and were at once replevined under a bond for the amount of double the value of the goods, that Black would institute a suit against the landlord for excessive distraint for rent. Defendant joined in the bond to the sheriff, who endorsed it over to the landlord as his only security for the rent.
The Solicitor-General, having stated these circumstances, called Arthur Theodore Wilson, clerk to Messer’s Bennett and Taylor, who proved the signature and seal of defendant to the bond. Lewis Ellis proved the signature and seal of the Sheriff to the bond.
Edward Ashley, merchant and proprietor of the Theatre Royal, proved that £458 was due for three quarters rent at the time of the distraint. The goods distrained were worth more than the amount of rent due. Everything on the premises was seized. The bond produced was assigned to witness by the sheriff. Black brought no action against witness on this distraint, nor did he serve him with a writ.
Cross-examined by Mr G. M. Stephen, Black has not paid the rent; never promised Bliss not to hold him responsible for the bond.
Another witness was called, but his evidence was of no value.
Charles William Stuart, sheriff’s officer; Remembers the distress in question. Delivered over the goods from plaintiff’s bailiff to defendant; did so on the replevin; cannot say anything of the value of the goods.
Plaintiff’s case closed here.
Mr G. M. Stephen moved for a nonsuit on the ground that the bond being taken under a statute the terms of that statute should be strictly carried out. This act is 15 Vict., No. 2 which is a transcript of the 11 George 11 which prescribes the form of the bond which in this case is drawn up under the common law procedure act which was not passed until long after the bond had been given. He cited Jackson v. Hanson, 8 Mus., and Wells; and Edwards v. Chalin. The variance in the words of the bond cause the bond produced not to be the same as that set out on the declaration.
His Honor over-ruled the objection.
Mr Stephen addressed the jury for the defence. His Honor summed up the evidence and explained the law of the case and the jury gave a verdict for plaintiff damages £400
THE LAW COURTS. (1858, March 4). , The Age, 4 March 1858, 6
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The Lessey Reception Tomorrow
night, at the Theatre Royal, a complimentary entertainment is to be given in honour of Sergeant Lessey, by a number of leading amateur and professional ladies and gentlemen. The performance will be under the patronage of His Excellency the Administrator and Lady Onslow, who announced their intention of being present; his Worship the Mayor and the Mayoress, the president and committee of the Masonic Club. Mr. Philip Newbury will sing the war song, "Bianca," and other items will be given by Mrs. Kerferd, Misses Ada Baker, Marie Godwin. and Sadie Harris. The Misses Florence Hope and Emmie Smith will render a "scene" from "The Geisha," while patriotic songs will be contributed by Messrs. Harry Fitzmaurice, Henry Hicks, H. B. McCormick, J. Ernest Andrew, and Arch. Newbury. By permission of Messrs. Jones and Lawrence, Mr. Jarvis will paint two pictures in view of the audience, and on their completion they will be sold by a well-known auctioneer. Mr. D. Sharp will recite "Wait a week or two" and "Magersfontein." Professor Seguy will give an athletic exhibition. Other attractions promised are lightning sketches, by Mr. Booty, and comic songs by Mr. Ted Symonds, the performance concluding with a spectacular military tableaux, "At Bay," under the direction of Mr. Harry Fitzmaurice, in which a number of returned soldiers will take part. An efficient orchestra, under the direction of Mr. W. Ernst Crome, will give selections during the performance. The Headquarters Band will play some of their popular pieces in front of the theatre from half-past 7 to S p.m. The accompanists will be Mrs. A. G. Russell, Messrs. W. Ernst Crome. and R. D'Arcy Irvine. Members of the returned contingents are invited to attend in uniform.
The Lessey Reception, The West Australian, (Perth, WA : 1879 - 1954) , 20 December 1900, 4
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The life and times of Dorothy Hewett, Weekend Australian, The University of Adelaide, Library Special Collections, 31 January 1981
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The Life of Melbourne, The Argus, 9 October 1946, 7
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The Life of Melbourne: Colourful Stage Dressing, The Argus, 30 July 1946, 10
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The Life of Melbourne: Vesta Junior's Mirror of the Week-end, The Argus, 25 June 1945, 8
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The Life of Melbourne: Vesta Junior's Mirror of the Weekend, The Argus, 1 October 1945, 10
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THE LITTLE THEATRE (1956, August 24), The Argus, 24 August 1956, 11
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The Little Tin Soldier, Courier Mail, 28 July 1981, 2
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The Little Tin Soldier, Queensland Cultural Diary, September 1981, 14
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The lollipop girl, The Age, 3 February 1968, 11
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The London Comedy Company, The South Australian Register, 10 November 1879, 6
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The Lone Hand, The Stage, The University of Adelaide, Library Special Collections, 1 August 1913, 327 - 334
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The Lords Of The Soil, Sydney Morning Herald, 28 April 1870, 4, 5
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The Lux Show on 2BH. Broken Hill Girl Featured., Barrier Miner, 30 June 1939, 3
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The Lyceum Theatre. A Sydney Morning Herald Feature, Sydney Morning Herald, 7 June 1966, 16-17
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The Mackay Expedition, The Advertiser, National Library of Australia, 27 June 1933, 8
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The Magic Gum Tree, Sydney Morning Herald, 14 July 1934, 7
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The Mail Steamers, The Advertiser, 10 March 1898, 4
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The Mail, The Merry Widow, The University of Adelaide, Library Special Collections
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The Mainland Day by Day. Melbourne. Sunday. The Touch of Silk., The Mercury (Hobart, Tas. : 1860 - 1954), 5 November 1928, 6
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The Maitland Hospital, The Maitland Mercury, 28 January 1846, 2
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The Maitland Mercury, 9 June 1981, 0
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The man who came to breakfast and found success, Sunday Telegraph, 26 July 1964
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The Man Who Did. Play for charity., The Herald, 18 November 1931, 17
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The man who rang up our curtain, The Sun (NSW), 6 June 1948, 2
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The Manxman, Chronicle, 11 June 1898, 32
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The Manxman, Table Talk, 14 January 1898, 13
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The Manxman, Western Mail, 24 June 1898, 34
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The Maryborough and Gympie Railway, The Tour Of The Grounds, The Brisbane Courier, 26 March 1878, 3
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The Maryborough Carnival, The Tour Of The Grounds, The Queenslander, 30 March 1878, 12, 13
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The Mechanics' Institute, The Argus, 31 October 1872, 1
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The Melbourne Athenaeum, Illustrated News for Home Readers, 5 December 1872, 240
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The Melbourne Athenaeum, The Argus, 20 November 1872, 7
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The Melbourne Little Theatre, The Age, 31 March 1933, 11
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The Merchant of Venice. Successful Performance., Sydney Morning Herald, 27 April 1940, 17
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The Merry Widow, Pix, 8 October 1960, 60-63
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The Merrymakers for the Crystal Theatre, Barrier Miner, 19 October 1943, 2
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The Miner's Daughter. At the School of Arts., National Advocate, Bathurst, NSW, 29 December 1896, 2
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The Ministerial Tour in the West, Sydney Morning Herald, 27 June 1885, 8
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The Monitor, Edward Smith Hall and Arthur Hill, 1826
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The Morning Bulletin, 14 June 2003, 31
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The Mount Franklin Goldfield, Bendigo Advertiser, 18 August 1887, 4
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The Mutoscope Biotint tour, The Northern Miner, 8 July 1904, 2
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THE MUTOSCOPE COMPANY, The Clarence River Advocate, 6 September 1904, 2
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The Mutoscope-Biotint Company, The Morning Bulletin, 26 July 1904, 4
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The name is fictional - but is the character?, The Age, 25 January 1973, 19
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The National A Modern Playhouse, The Examiner, National Library of Australia, 24 September 1915, 7
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The National Hall, The Examiner, National Library of Australia, 29 April 1915, 7
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The National Theatre, The Examiner, National Library of Australia, 22 September 1915, 6
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The National Theatre, The Examiner, National Library of Australia, 27 September 1915, 3
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The National Times, 10 June 1974, 28
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The National Times, 20 June 1982, 43
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The National Times, 6 January 1975, 26
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THE NATIVE CORROBOREE.—It has been gene- rally supposed that this fantastic ceremony is connected, with the religious superstition of the aborigines, but as the late affair was merely at the request of three or four white men, we incline to the opinion that it is simply a dra- matic performance, for which the natives have a remarkable talent. Whether for good or for evil, they appear, like others of the genus homo, greatly under the influence of the softer sex ; and whether to the absence of this charm, or to the fact of the ceremony not being spon- taneous, it is certain, that as a mere exhibition, the Corroboree of last Monday was remarkably dull. It has already been noticed that, of their own accord, they appeared partially clothed. There were three tribes, numbering together, probably, 150. Of these, the Rufus, or Lake Victoria tribe were nearly strangers to Adelaide, and it says much for their faith in the white men, that although a report was current that they were to be shot when collected together, they simply took the precaution of leaving their wives at their own wurleys, a distance of a mile. The Park Land had an unusully ani- mated appearance, beneath the splendour of a summer full moon.
The Native Corroboree, The South Australian Chronicle and Weekly Mail., 15 December 1848, 2
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The Native Corroboree, The South Australian Register, National Library of Australia, 16 March 1844, 3
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The Native Singers, The Advertiser, 15 August 1900, 6
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The Native Singers, The Advertiser, 20 August 1900, 7
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The Natives' Corroboree, The Daily News, 28 December 1909, 6
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The Natives, Adelaide Observer, 13 October 1860, 3
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The Natives, Geelong Advertiser, 10 June 1848, 2
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The Natives, Geelong Advertiser, 15 November 1850, 2
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The Natives, Perth Gazette and West Australian Times, 14 September 1833, 146
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The Natives, South Australian Gazette and Colonial Register (Adelaide, S, National Library of Australia, 15 June 1839, 4
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To the Editors of the South Australian Register. I am, Gentlemen, Yours, &c. A TOWNSMAN. GENTLEMEN —Not long ago, I saw in the Gazette a notice to the effect that the police and park-keepers were to consider it their duty to prevent as far as possible the natives from cutting wood on that portion of the park lands lying be- tween North and South Adelaide. After this notice, I was rather surprised the other morning to see a whole body of natives hewing and cutting away at the fine trees nearly opposite Government House; and not only this, but one fine tree was set on fire and continued burning during the whole day and succeeding night. Now, it is to me, and must be I think to every citizen of Adelaide, a matter of regret to see the only part of the park lands on which the trees have been preserved, and the only part which can now be converted into a pleasure ground, thus left for the natives to do as they please with. In a year or two, when our minicipal autho- rities shall have been fairly established, and our colonists have a little more leisure for recreation, this might be converted into a pleasure ground with very little trouble or expense, but if the natives are allowed to cut down or deface the finest trees, fifty years will not repair the damage. Besides, I cannot for my own part see what right the natives have to the park lands any more than the settlers. If the natives are to have the use of public property, they may as well claim the use of private. Not that I wish to see them driven off the park lands; but the Protector tells us how well they are advancing towards civilization, and that they have built houses for themselves,—why then do they not reside in them, and have wood supplied to them for fires, which would be a very trifling expence? I think they would be much more comfortable in their houses, and it would be a better proof of their improvement than all the statements the Protector can make. Again, where is the use of appropriating land for them in country districts, if they are to be allowed to loiter about our park lands doing nothing but mischief? I trust the attention of His Excellency the Governor will be directed to this subject, and I am certain he would apply a remedy without delay. [The above letter refers to a subject we have often had it in contemplation to bring under public notice. It is impossible for our readers who do not reside in North Adelaide to form any idea not only of the wholesale destruction of the finest trees of the park which the natives are committing with absolute impunity, but of the nuisance of their beastly corrobories, the noise of which is so frequently carried far into the night. Surely it were desirable for the Protector to take some order on these points. Could they not, at least, be persuaded to cele- brate their discordant orgies at some greater distance from town ?—EDITORS.]
The Natives, The South Australian Register, National Library of Australia, 15 August 1840, 5
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The new Academy of Music, South Australian Advertiser, 5 June 1885, 6
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The New Babylon, Evening News, 27 April 1880, 2
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The New Babylon, Freeman's Journal, 8 May 1880, 19
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The New Babylon, The Lorgnette (Melbourne, Vic. : 1878 - 1898), (Edition 3)., 18 June 1880, 2
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The New Chinese Joss-House on Emerald Hill, The Ballarat Star, 14 December 1866, 4
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The New Christmas Shows., Table Talk, 31 December 1931, 16
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The New Drama, The Australasian, 13 October 1923, 33
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The New Joss House at Fryer's Creek, Bendigo Advertiser, 24 September 1859, 2
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The New Joss House, Mount Alexander Mail, 23 September 1859, 4
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The New Oddfellows' Hall, Australian Town and Country Journal, 20 May 1871, 16
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The New Playbox, Sydney Morning Herald, 6 July 1929, 12
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The New Royal Hotel, The Sydney Gazette and New South Wales Advertiser, 14 September 1841, 2
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The New Royal Hotel, The Sydney Gazette and New South Wales Advertiser, 20 November 1841, 2
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The New Sandhurst Theatre, The Australasian Sketcher with Pen and Pencil, 11 July 1874, 53-54
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The New South Wales Budget, The North Western Advocate and the Emu Bay Times, Tas., 6 October 1900, 3
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The New Temperance Hall, Western Mail, (Perth, WA : 1885 - 1954), 12 August 1893, 38
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The New Theatre at Fremantle, The West Australian, (Perth, WA : 1879 - 1954), 26 September 1904, 2
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The New Theatre [Theatre Royal Victoria], The Sydney Monitor, 21 February 1838, 2
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The New Theatre, The Age, 24 August 1872, 5
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The New Theatre, The Examiner, National Library of Australia, 28 August 1911, 7
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The New Yorker, 9 January 1989, 82
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The New Zealand Herald, 19 May 1972, 0
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The News, 17 January 1986, 37
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The News, 20 February 1986
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The News, 5 January 1988
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The News, G & S Opera Here, The University of Adelaide, Library Special Collections
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The Newtown Hippodrome, Sydney Morning Herald, 18 April 1908, 14
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The North Australian, Saturday, February 26, 1887, North Australian and Queensland General Advertiser, 26 February 1887, 2
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The North Western Gathering, The Age, 4 January 1861, 7
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The North-West, The West Australian, 27 June 1910, 5, 6
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The Northampton Celebrations, Victorian Express, (Geraldton, WA : 1878 - 1894), 25 October 1890, 5
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The Northern Miner, 19 July 2005, 1
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The Northern Star. Kate Howarde Company, The Northern Star, Lismore, NSW, 24 December 1898, 4
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The Northern Star. The Kate Howarde Coy., The Northern Star, Lismore, NSW, 16 March 1901, 4
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The Northern Star. The Kate Howarde Opera and Comedy Company., Northern Star, Lismore, NSW, 26 July 1899, 4
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The Northern Territory News, 7 November 1974, 4
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The Northern Territory Tours, Chronicle, 22 June 1907, 39
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The Northern Territory Tours, The Advertiser, 19 June 1907, 7
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On Tuesday night the Government Resident entertained the commanders and officers of the Tauranga and Penguin by providing a native corrobboree, which was held on the esplanade opposite to the residence. This exhibition was followed by a dance, at which a large number of residents were present
The Northern Territory, The South Australian Register, National Library of Australia, 3 August 1891, 5
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The Octagon Theatre, University of Western Australia, Architect, June 1969
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The Octopus Strikes Back in the Haunted House, Newcastle Herald, 19 May 1981, 4
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The Odd Fellows' Anniversary, The Maitland Mercury, 24 October 1846, 2
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The Olympic, Evening News, 3 October 1885, 4
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The Oobleegooblers, Melbourne Times, 26 August 1981, 12
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The Opening of the New Theatre Royal, Illustrated Sydney News, 12 January 1876, 11
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The Opening of the New Theatre Royal, The Argus, 7 November 1872, 6
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The new theatre royal – concerning which small talk has long been busy – was opened last night under the management of Messers Harwood, Stewart, Hennings and Coppin. The pit, stalls and dress circle were crowded to suffocation. The galleries were not so well filled.
We have already given particulars of the construction and decoration of the theatre, and it only remains to describe the effect which the decorations and furniture produced when viewed by gaslight. The dress circle is furnished (by Messers Cohen Brothers, of Lonsdale street, who are the contractors for the upholstery) in red damask, the effect of which is to our thinking somewhat sombre. The stalls are supplied with cane seats, with arm divisions of kauri pine for each person; and in both parts of the house attention has been paid to the comfort of the audience. The panelling and painting is rich and tasteful. The liberality of lighting and the multiplication of chandeliers gave to the auditorium a most brilliant appearance and when the first notes of “God save the Queen” drew the immense house to its feet, the scene was a remarkable and exciting one. The same fault which was so marked in the old Royal – the extent to which the upper boxes overhung the dress circle – has, however, not been omitted to be reproduced. The acoustic properties of the house are good, its appearance elegant and airy, while the marked improvements in stage accommodation and increased facilities for exit and entrance render it a theatre second in convenience to none of its size in Europe.
The singing of the national anthem completed, Mr Hennings new drop-scene was exhibited. The subject chosen is a view of a lake and mountains. It is impossible for Mr Hennings to paint anything which is not artistic, but in this instance we can but agree with Goldsmith’s admirer of Pietro Perugino and say that “the picture would have been much better had the artist taken more pains.” It is barely finished, and bears marks of great haste. The painting is not worthy of the first theatre in the colonies. This complaint of hastiness may be made indeed with reference not only to the other parts of the building but to the performance which initiated the season. The bars, café, and lounge are in a condition of bricks mortar and mud which his utterly abominable, and the bill of fare set before the audience was of the most meagre kind. Mr Coppin has given his reasons for the non appearance of a company in his speech, and doubtless to him they are all sufficient, but there was no necessity to open the theatre at all until it was completely finished, and furnished with actors. Mr Coppin has a good stock comedy company in Adelaide; if he could not get them back in time to open his theatre, he might have accepted the results of his arrived. “To Oblige Benson” and “Milky White” are good pieces enough, and were very defective arrangements, and waited until they well played, but we maintain that there are not the sort of plays to produce upon the opening night of the leading theatre in Australia, and we regret that the tradesman-like consideration of the pocketing of a few hundred pounds during the race week should have induced the management to thrust second rate pieces upon the boards of an unfinished theatre.
The opening address was written by Dr Neild and spoken by Mrs Collins, late Miss Docy Stewart, who has returned to the stage where she made so many friends. It is as follows:-
It seems indeed but as the other day,
That here a heap of smoking ashes lay, O’erhung by blackened walls that high appeared
Their ruined length, like ramparts lightning-seared
It was, in truth, a very tristeful scene
Nought left but memories of what had been;
Mind-thronging memories of things long sped,
Of those in other lands, and of those dead!
A lengthened pageant passed before the eye
Through that black void, all open to the sky
And it was hard indeed to vanquish tears
To think that of the glories of gone years
The ruthless fire no monument had left,
But into devastation all had swept.
The boards that Brooke so oft had trod were gone
Those on which Rogers in his best days shone
On which, too, we were wont, erewhile to see
The ideal Hamlet in Montgomery
Where Jefferson his perfect skill displayed
And fine old Alberts last farewell was made
Where, later, Mathews with consummate art
Seemed all he played, yet seemed to play no part;
Where hosts of others, not unknown to fame
Had left a more or less enduring name –
Gone was the place – scene of their glories all –
Spent like a fleeting day dream, past recall
But yet, though dismal ruin sat and frowned
On smouldering beams, still sacred was the ground;
Although the temple to the earth was cast
Its history stood still grandly in the past
So long the drama’s home had flourished here
‘Twere profanation other pile to rear
Destructions hand had crushed to dust the lane
What then remained? Why – build it up again
Hence active brain, with busy hand combined
(Alliance potent, muscle wed with mind)
Resolved this drama’s temple to restore
A fairer building that it was before
And in short spaces as if by wizards will
The structure ’gan the dreary void to fill
Soon there was seen a goodly house well planned
Worthy of the foremost southern land
And of the drama worthy too, we trust
Albeit they say the drama ‘s in the dust.
But that’s a slander, and we hope to show
Not yet it hath received its mortal blow
But this in passing. Nathless be it said
If now the drama be in truth quite dead
Faded and withered never more to bloom
That we have built for it a fitting tomb
But will I not believe that so’t must be
Not ended yet the drama’s history
So long as passion stirs the human breast
And the soul hath its tumult and its rest;
So long as men in life’s hard battle fight
And wrong for victory contends with right
So long a loves great lever moves mankind
So long the drama, worshippers shall find
And when the last man utters his last sigh
Then but not till then will the drama die
Tis nothing that it changes oft its mood
That all the muses in their turn t’as wooed.
That mad burlesque hat sometimes favoured been
And art been hidden by sensation scene –
These are but shadow phases and the light
Will come again, as it of erst was bright
Bit howsoe’er, or whosoever it be
Burlesque, sensation, or pure comedy
Tragedy, farce, or aught of all the rest
We here will strive to please you with our best
I speak for all my friends, I who awhile
Here basked in the sunshine of your smile
Grateful I come for many favours past
And the first part of which you find me cast
Is this, the pleasantest of many a part
To bid you welcome from my inmost heart
Take then my greeting, warm as words can make
And I your pleasant greeting back will take
For tis a night of greetings, as’t might be
In a long separated family
Our house is built again, let us rejoice
With one united and outspeaking voice
And as the roof tree rattles with our cheers
Lets wish’t may last at least a thousand years.
The applause was frequent, and Miss Stewart – as she still chooses to be termed – may feel proud of the hearty and appreciative cheering which greeted her appearance. After the first-piece, in which Mr Coppin, as Trotter Southdown was as amusing as of yore, occurred the event of the evening – the managerial speech. We print it verbatim:-
“Ladies and Gentlemen – it is usual at the commencement of a dramatic season to announce coming events. I will not do so upon the present occasion, because I am much in the dark in reference to the future managerial policy of the theatre as any sleeping partner in the depths of somnolence can possibly be. The next mail steamer brings Mr Harwood, who will, I have no doubt, give a very satisfactory account of his search for novelties and talent in the old country. As I cannot enlighten you as to the is to be’s I will make a few remarks about the has beens and the is-s-s-s. You are no doubt aware that I was burnt out of the Theatre Royal. You may have heard that my positive losses exceeded £5,000. In fact, if the stock of old scenery and machinery destroyed were valued in proportion to the cost of the new, my losses would exceed £7,000. You can all understand that the disastrous event was neither agreeable nor convenient. The ashes of the old Royal were undisturbed for months. The property was advertised for sale, or to let. Appeals were made in the newspapers to the enterprise and public spirit of our wealthy colonists to restore the legitimate home for the drama, but without a response. As no one else would face the breach, I came to the fore again, and leased the ground for 99 years, through the negotiations of Mr. Auctioneer Knipe. I selected my architect, had plans prepared, and accepted tenders for the building. I negotiated for insurance in England, and let the theatre for five years to Harrow and Co. Now, many persons would say – why didn’t Coppin float the Theatre Royal Proprietary Association before making himself liable for £20,000 because we all know that he hadn’t the money to carry it out? He couldn’t say – Alone I did it. I’ll tell you:- I am a member of one or two excellent associations that are perfectly dormant at the present time, in consequence of the inaction and want of sympathy on the part of some of the directors and the secretary. There are many persons in this world that either cannot or will not do anything themselves, but constantly oppose the exertions of others that are willing and competent to undertake the responsibility of guaranteeing success. With this mortifying experience I arrived at the conclusion that when you wish to carry out any undertaking, the safest way is to keep the power within yourself until the arrangements are so far advanced that they cannot be altered. After entering into all my engagements, I then issued a prospectus for the formation of a company to carry them out. The shares were disposed of by Mr J P Macdonald. My plans have been most literally endorsed by the directors, who – whilst protecting the interests of the shareholders, have not neglected the comfort of the public – and the result of this little bit of management is the magnificent building you now occupy, which I think ought to satisfy the demands even of those gentlemen which were liberal enough to dictate the expenditure of other people’s money by building theatres in the air through the newspapers. I cannot too highly praise the talent and energy displayed by my architect, Mr George Brown. His heart was evidently in his work and the result must elevate him greatly in public estimation. The services of Mr Powell have been most valuable as clerk of works, from the experience he gained in his connexion with building, the old Royal and Haymarket Theatres. The contractors, messers Hood and Brown, have carried out their works in a substantial and tradesman like manner. I cannot now enumerate every person that is entitled to honourable mention – from Mr Hennings down to the most humble labourer employed there has been a general desire to make the theatre a success – to each and all I tender now my thanks. I need not tell you that we are in an unfinished state. It would be a pity to spoil the Brussels carpets by placing them upon the floors whilst the plasterers are at work. I should therefore advise you to come every night to notice the gradual improvements until we arrive at completion. I have no doubt that some amount of disappointment exists (in which I heartily join) at the non-appearance of the ladies and gentlemen intended to open the theatre. The fact is that a great portion of the company is under written engagement ‘to open the Theatre Royal on or about the 7th of November. You see I calculated my opening night very closely some months ago. Without thought, engagements were afterwards made for a three months season in Adelaide, and when noticed to appear this evening, they found themselves in the awkward position of having to break one of their engagements. Managerial pressure, through the violation of a distinct understanding, compelled them to remain in Adelaide until the 19th of November, and we had to form another company not a very easy task with two other theatres open in Melbourne. The fortunate arrival of Miss Rose Evans placed novelty and talent at our disposal, and tomorrow evening I thoroughly anticipate one of those great successes for which the old Royal was so celebrated. And now, ladies and gentlemen, permit me to thank you most sincerely for your attendance here this evening. Although I shall not take any active part in the management of the theatre, I shall occasionally pop in, and hope I don’t intrude. On behalf of Harwood and Co, I can assure you that every exertion will be made to insure the liberal patronage and support that they had the good fortune to enjoy during their former years of management.”
Mr Coppin was much applauded at the conclusion of this effort, and Mr Brown, the architect, was also summoned by the audience to receive their compliments.
The comedy-drama, “Milky White” concluded the entertainments. It was received with great marks of favour, and it merited them. Mr Coppin never played the misanthropical cow keeper better. Mrs Crosbie made an excellent Mrs Sadrip, and Miss Maggie Stewart may be congratulated on the acquisition of some little sprightliness during her recent absence from the boards. Mr Munro and Mr Collier would seem to claim some notice, but beyond stating that they, Mr Stewart, Miss Douglass, and little Miss Nellie Stewart appeared in the course of the evening, the insignificance of the parts enacted by them renders criticism needless. For the same reason we refrain from commenting upon the acting of Miss Docy Stewart. She sustained the small part of Mrs Trotter Southdown with the ease of experience. Miss Stewart is a capable and painstaking actress, and we are glad to see her again upon the boards.
This evening Miss Rose Evans will appear in a drama called “quite alone,” dramatized, we understand, by herself, from “Jane Eyre”.
THE OPENING OF THE NEW THEATRE ROYAL. (1872, November 7)., The Argus, National Library of Australia, 7 November 1872, 6
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The Opening of the Protestant Hall Sydney, Evening News, 9 November 1877, 3
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The Opera House, The Brisbane Courier, Qld., 29 May 1896, 4
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The opera season opens tonight, Barrier Miner, 28 July 1953, 6
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The outsider, The Age Monthly Review, 16 March 1999
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THE ABORIGINALS.—We have had a good, sprinkling of blackfellows and their lubras amongst us for the last week or so. On Saturday Mr. Coles kindly sold them a few opossum rugs—thus making them acquainted with some of the advantages of this species of sale, as their rugs fetched on an average 15/ to 16/ each. In the evening these sable visitors held a corroboree in the yard of the Sir John Franklin Hotel, at which there was a large gathering of spectators..
The Overland Telegraph, Kapunda Herald and Northern Intelligencer (SA : 1864 - 1878), National Library of Australia, 26 March 1872, 2
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The Overlanding Motorists, The Advertiser, 9 December 1907, 8
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The Pack of Women, Sun Herald, 27 November 1983, 87
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The Pack of Women, Sydney Morning Herald, 28 November 1983, 11
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The Pack of Women, The Australian, 12 May 1983, 10
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The Pack of Women, The Australian, 19 May 1983, 12
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The Pack of Women, The Times, 12 November 1981, 11
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The Painfully Obvious, The West Australian, 27 November 1982, 11
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The Pantomime Company, The Brisbane Courier, Qld, 13 January 1898, 4
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The Passing of Leigh House, The Worker, 17 July 1929, 14
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The Performing Arts Collection goes digital, On Stage, 13, 2, 2012, 25
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The Petersburg Times and Northern Advertiser. Maritana., The Petersburg Times, SA, 24 November 1899, 4
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The Phillip to have changes, Sun Herald, 7 March 1971, 120
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The Pianist, Melbourne Times, 13 April 1983, 12
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The Pied Piper of Hamelin, Sydney Morning Herald, 26 July 1934, 9
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The Pink Lady, The Age, 11 June 1917, 9
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The Pioneer Pastor, The Advertiser, 6 October 1910, 12
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The Pioneer Players. At the Playhouse, Table Talk, 25 May 1922, 21
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The Piper, Sydney Morning Herald, 23 July 1934, 4
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The Pirate and the Pearl, The West Australian, 14 January 1983, 11
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The Plague. New infected areas in Sydney., National Advocate, The, 6 March 1902, 2
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The play star was a pug, The Age, 3 November 1969, 2
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The Playbox. An unlicenced theatre. Lessee fined., The Sun (NSW), 28 May 1929, 10
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THE PLAYER'S CLUB
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The Players' Club, Sydney Morning Herald, 13 June 1902
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The Players' Club, Sydney Morning Herald, 8 April 1931, 6.
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The Players' Club, The Daily Telegraph, 13 June 1902
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The Players' Festival of Drama, The Examiner, National Library of Australia, 6 June 1947, 3
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The Players, The Examiner, National Gallery of Australia, 12 December 1941, 7
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The Playgoer, Melbourne Punch, 28 February 1889, 9
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The Playgoer. (1907, May 2)., Melbourne Punch, 2 May 1907, 32
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The Playhouse: Miss Hunter-Watts: The Psychology of Colour, The Mercury (Hobart, Tas. : 1860 - 1954), 5 January 1928, 3
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The Plaza, The Examiner, National Library of Australia, 16 May 1932, 5
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The Point Macleay Mission, The Advertiser, 13 August 1900, 6
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The Point Macleay Singers, The Advertiser, 14 August 1900, 5
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The Point Mcleay Native Mission, The South Australian Register, National Library of Australia, 12 December 1895, 6
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The Pomare explosion, Elizabethan Trust News, The Australian Elizabethan Theatre Trust, Number One, December 1971, 5
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The Port Pirie Recorder. The Kate Howarde Opera Company., Port Pirie Recorder and North Western Mail, SA, 11 November 1899, 2
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The Port Pirie Recorder. The Kate Howarde Opera Company., Port Pirie Recorder and North Western Mail, SA, 2
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The Preston Post, 2 October 1968
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The Price of Peace, The Age, 11 May 1903, 9
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The Prime Minister changes the itinerary, Entertaining Australia: An Illustrated History, 1991, 284-5
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The Princes Departure, The South Australian Register, 20 June 1881, 6
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The Princess Theatre, The Examiner, National Library of Australia, 3 June 1914, 6
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The Princess's Theatre, The Argus, 22 April 1857, 4
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The Procession, Sydney Morning Herald, 27 March 1896, 5
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The Prodigal Daughter, Table Talk, 6 September 1895, 4
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The Promised Women, Metro, 11 May 2001, 15
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The Prompter's Box, The Herald, 2 August 1916, 3
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The Queanbeyan Age, 10 May 1991, 1
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The Queanbeyan Age, 12 October 1988
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The Queanbeyan Age, 13 May 1991, 0
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The Queanbeyan Age, 14 August 1987, 11
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The Queanbeyan Age, 14 November 1984, 21
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The Queanbeyan Age, 15 September 1993, 19
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The Queanbeyan Age, 20 April 1988
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The Queanbeyan Age, 23 April 1993
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The Queanbeyan Age, 28 October 1988, 21
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The Queanbeyan Age, 30 November 1988, 18
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The Queanbeyan Age, 8 May 1991, 0
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The Queen's Birthday, The Moreton Bay Courier, 26 May 1860, 4
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THIS theatre was opened on Monday evening; The play was Othello. Previous to the commencement of the piece the national anthem was sung by the whole of the company, at the con- clusion of which Mr Arabin, of the Sydney theatre, stepped forward and delivered the fol lowing opening address:— Ladies and Gentlemen—This little box To-night an adventurer unlocks; Nor opes it vainly—for this light presents A graceful exhibition of contents. SOLOMON said, " Urge to our friends my plea"— " I Urge !" said I-"bless you, they'll laugh at me; Yet, if you wish it, be my efforts tried, Your cause my spur—their service all my pride." The bow of gratitude before you made— Having this smiling generous range surveyed— Care has been his this labor to complete, Which makes magnificence and comfort meet— Anxious that multitudes may sit at ease, And scantier numbers in no desert freeze— That ample space may mark the liberal plan, But never strain the eyes or ears of man. Look round and judge. His efforts are all waste Unless you stamp them as a work of taste. He pleads for favor, only if his due, He pleads for justice, and he pleads to you [applause]. So much for visual sense.—What follows next Is chiefly on the histrionic text— And our adventurer has toiled to store His list of favorites with some favorites more. The universal cry is--- Something new; And to obey this call we trust to-night Some pleasing novelties may greet your right [applause]. New is the house—these boards too—this & certain— - New are the dresses—new the scenes and curtain— New also are our hopes, in this new cause, That we may meet and merit your applause— Rich the repast, and may we trust ensure The custom of the scenic epicure. "What our pretence ? What all the world pursues— To please for praise—for profit to amuse. I don't despair—your looks imply no danger, And John Bull ever patronised the stranger [applause]. E'en I, although amongst the last and least, May pass, perhaps, as garnish to the feast. We hope to please, &ad as we're dull or clever You patronise or damn the same as ever! And tee, who long tost on dramatic seas, The sport, alas! of many a shifting breeze. Have still contrived our shattered bark to steer, Now furl our sails and drop our anchor here, Happy indeed if, all our labors past, A friendly harbour we have found at last [applause].
The theatre was well filled in every part—the dress circle particularly was crowded with the 'beauty and fashion' of Adelaide. Hie house is very comfortably arranged and elegantly fitted up, the decorations altogether reflecting great credit on the abilities and taste of the artist—Mr Opie we believe. It would at present be premature to speak of the general merits or demerits of the company, or of any particular member of it, this being the first opportunity we have had of seeing them perform. Two or three of them only have we seen before—the remainder are entire strangers. Mr Lazar's Othello was upon the whole good. At times his utterance was too rapid, and consequently rather indistinct; and once or twice he gave more scope to his voice than was necessary; but taking the part as a whole, it was very creditably gone throngh, and drew from the audience repeated expressions of applause. Mr Arabin, as logo, decidedly sustained his character better than any one on the stage; lie indeed played the plausible and Wily villain to the life. Mr Allan, who played Roderigo, appeared to be quite out of his line, and endeavoured to amuse the audience at the expence of the tragedy. In the afterpiece he seemed more in bis element Mrs Cameron was well received by the audience, and promises to take the lead among the female part of the company. Mrs Arabin too, we.doubt not is a very useful actress, and seems almost equally at home in comedy and tragedy. We must not omit to mention Miss Lazar's dancing, which no- one present could help admiring. Of the other performers we cannot' speak till we" bave fartber opportunities of seeing them. Mr Solomon-has certainly shown great public spirit in erecting such a building as the Queen's Theatre—a building which equals in every respect, most of the English provincial and second- rate London Theatres—and we trust he will not be a loser by his speculation
The Queen's Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 13 January 1841, 3
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The Queen's Theatre, Southern Australian, National Library of Australia, 12 January 1841, 1
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The Queen's Theatre, Southern Australian, National Library of Australia, 9 September 1842, 2
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The Queen's Theatre, The Age, 2 January 1856, 2
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The Queen's Theatre, The Argus, 3 January 1856, 5
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The members of the Masonic Craft patronised the Theatre on Tuesday evening last, for the benefit of the Infirmary; the whole of the proceeds over and above the expences going to that institution, which accordingly drew a very full house. The pieces produced were Shakespere's Taming of the Shrew, the Crown Prince, and The Turned Head. We have not space to notice the per- formers particularly, but the universal ap- plause sufficiently testified the satisfaction of the audience.
The Queen's Theatre, The South Australian Register, National Library of Australia, 17 April 1841, 3
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On Thursday evening the second amateur performance took place to a respectable audience. The dress circle was crowded. The comedy or farce of the Heir at Law, followed by the Merry Monarch, constituted the entertainments of the evening. It would be impossible to criticise minutely the acting of the different gentlemen who have so good-humouredly taken so much pains and gone to such expense to amuse the public. But we may safely say, that batling those unavoidable defects which only "stage practice" can remove, their preformances were creditable, and in many scenes effective. We are glad to notice an improvement in the orchestral department. A portion of the overture to Zamna, in particular, was played with brilliancy and spirit. It would be desirable, however, that some more moderation should be observed in the accompani- ments. Mr Charles Campbell's amusing song was actually drowned by the noisy fiddling. The fol- lowing Prologue, written by Mr Mann for the occasion, was spoken by Mr Hamilton:— In good Queen Ross's days, as legents tell, England from every nation bore the bell. Sage in her councils, foremost in the fight, The haughty Spaniard quailed before her might O'er the Pacific's wave of liquid gold. Full on the breeze the red cross banner roll'd; And where the storm tost billows fret, and foam On Albion's cliffs, her navies found a home. Council and battle past, in hall and bower} Noble and peasant hailed the festive hour,} And iron manhood bent to woman's power:} Valour and beauty graced the gorgeous scene, And lent a glory to the Tudor Queen. 'Twas tehn the drama rose—and Shakspere's name Hallowed the age with an immortal's fame. Each passion language found, and humorous thought, And sparkling wit, their ready tribute brought With sceptre'd pomp the tragic muse swept by. And mirth and laughter crown'd our comedy. That age has past—but still its works remain To grace the triumphs of Victoria's reign. Our ships and sailors still are hearts of oak— Still the vexed ocean bears Britannia's yoke. Still are our soldiers foremost in the war } Witness Barrossa witness Trafalgar } Our Nelson's glorious death, and Douro's ducal star. } Has beauty lost its power? Nay, sceptic, gaze, If gaze thou can'st, on yonder living blaze. Be like the eagle, face that sunny ray Or with the Persian, bend and own its sway. No sceptics we dear woman's power we own, And willing captives bend before her throne; Suppliants—but suppliants for a just applause Suppliants for favor in the drama's cause. That cause is yours—by him whose [?] Pierced to the inmost depths of [woman?] And in each character his pencil drew, } Still kept to woman and to nature true. } By Shakespere's honor'd manees, we call on you } And to your triumphs, still one triumph more, And rear the Drama on Australia's shore.
The Queen's Theatre, The South Australian Register, National Library of Australia, 20 February 1841, 3
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This Theatre opens on Monday evening with every prospect of suc-cess. The boxes, we understand, have been nearly all taken, and it seems determined to give the spirited proprietor a fair opportunity of realizing his intention of making the Theatre and its entertainments such as the respectable classes of Adelaide may resort to with propriety.
The Queen's Theatre, The South Australian Register, National Library of Australia, 9 January 1841, 3
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The Queen's Theatre, The South Australian Register, National Library of Australia, 9 January 1841, 3
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WE should be wanting in our duty to Mr. Solomon, were we not thus publicly to compliment him, upon his spirit of enterprise, and upon the taste he has displayed, in planning, arranging, and fitting up the above very creditable erection, but, without entering into an expression of opinion as to what has been termed the legiti- mate drama, he must bear with us, when we avow our conviction, that neither the resources of Adelaide, nor the present public taste of its inhabi- tants, will justify him in devoting this building to the purposes of a theatre, unless he is prepared to sustain a heavy pecuniary loss. Of course, we naturally feel a deli- cacy in interfering with private enter- prise, through the medium of the pub- lic press, nor should we now attempt it, but from the conviction that we are uttering the sentiments of a large body of the public, and with the hope of pointing out a way in which Mr. Solomon's speculation may be made a source of sure and extensive commer- cial profit. At present, it is well known, that no Assembly Room, no Concert Room, no public Exchange, no Town Hall, no place suitable for the meetings of the Chamber of Com- merce, and no place adequate to the wants of the Mechanics' Institute, and other bodies, for their public purposes, exists in Adelaide, and that the want of such a place is beginning to be deeply and seriously felt. To what purpose, then, could the Queen's Thea- tre be appropriated? And from what other source could Mr. Solomon hope to realise so large and so certain an amount of profit? The theatres at present existing in Adelaide are known in every respect to have turned out complete failures, nor are we able to withhold our conviction, that the same fate will befal the Queen's Theatre, should the experiment be ultimately and finally determined upon. This, in our opinion, is neither to be traced to the want of respectability on the part of the performers at the other theatres, nor to the want of public spirit on the part of the inhabitants of Adelaide, but to the simple fact, that the sympathies of by far the largest portion of our fellow citizens flow in quite an oppo- site direction. Take the population of Adelaide at six thousand, for instance, or even at somewhat mote than that number. Out of these we will venture to affirm, that not more than one half are theatre-going people ; and even of this latter proportion, it may fairly be presumed, that the majority will prove but very occasional attendants upon the drama. The character of our population, and the objects with which parties have come hither, justify us in such an assumption, without any sup- posed personal knowledge of the par- ties of whom we write. Under these circumstances - so much at variance with those existing at home in towns of equal dimensions - and where the failure of the drama to interest the public has been incontestibly proved - how is Mr. Solomon to realise from theatrical amusements, such an amount as will pay a fair and equitable interest upon his very large outlay? Commer- cially speaking, nothing, in our opinion, would be more detrimental to the interests of Mr. Solomon, and we sin- cerely hope, therefore, that he will be led to abandon his original intention. We have thrown these remarks some- what hurriedly together, it being foreign to our present purpose, either to discuss the moral bearings of the question, or to enter into any details as to the best manner in which our suggestions can be carried out ; but the question is now fairly before the public, and by them, we hope, it will speedily betaken up. It would not, however, be considered presumptuous, perhaps, to hint at the probability, that a rental of from £50 to £150 per annum might he realised for several of the purposes stated above, besides such sources of profit as might arise from its occasional occupancy for more evanescent purposes. But as we shall probably return to the subject, we leave it now in the hands of the proprietor and the public.
The Queen's Theatre., Southern Australian, 29 December 1840, 3
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The Quick and the Dead, Sydney Morning Herald, 24 August 1935, 8
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The Quick and the Dead, Sydney Morning Herald, 31 August 1935, 14
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THE RACES. (1830, October 9), The Sydney Gazette and New South Wales Advertiser, 9 October 1830, 2
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The Radio. 'These People are England', Kilmore Free Press, 3 April 1931, 1.
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The Railway Demonstration at Geelong, Sydney Morning Herald, 2 September 1858, 8
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The Railway Demonstration at Geelong, The Age, 28 August 1858, 5
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The Railway Demonstration at Geelong, The Moreton Bay Courier, 18 September 1858, 2
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The Railway Demonstration, The Age, 21 August 1858, 5
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The Railway Demonstration, The Age, 25 August 1858, 6
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The Railway Fares, The Zeehan and Dundas Herald, Tas., 31 October 1900, 2
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The Range News, 15 April 2004, 10
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The Real Estate and Community Times, 14 October 1988, 9
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The Real Estate and Community Times, 28 April 1989, 1
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The Real Estate and Community Times, 4 November 1988
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The Real Estate Times, 14 August 1987, 1
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The Real Estate Times, 18 March 1988, 2
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The Real Estate Times, 23 October 1987, 13
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The Real Estate Times, 31 July 1987
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The Real Estate Times, 4 September 1987
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The Redcliffe and Bayside Herald, 14 August 2002, 12
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The Register, The Merry Widow, The University of Adelaide, Library Special Collections
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The Reparation, Sydney Morning Herald, National Library of Australia, 25 May 1940, 8
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The Repertory Movement: Gregan McMahon's Fine Work, The Sydney Mail, 8 February 1922, 9
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The report of the Protector of Abo rigines for the, quarter ending March 31st has just been published. It con tains no particular points of interest : but its general tenor confhms that of pre vious reports as to the gradual wasting away of the native tribes. The various statements from deputy-protector3 and others in the country districts bear out what has been so frequently remarked in reference to the inoffensive character Of the people. A few offences are charged upon them ; but in a greater number of instances they seem to have been the sufferers, and may be considered as more sinned against than sinning. Both in town and at the Onkaparinga the natives have been supplied with an immoderate quantity of intoxicating liquors. At Kensington they have on several occasions behaved very boister ously.^ This is chiefly traceable to the corroborees which they have frequently held, encouraged thereto by liberal dona tions in money, and by supplies of strong drink most reprehensibly furnished them. The races last month were a famous attraction, the wild mpn having as keen a, relish for the excitement of the turf. as his more favoured brethren of Europe. It is somewhat amusing to read in a grave and formal report, that ' eleven families returned from the interior to the city in March, in order to be present at the races in April ;' and it is equally entertaining to note that 'they do not intend, to winter here.' These fashion able arrivals, however, contrived to keep clear of the Police Courts, for there was no case against any of them. From the Northern districts, Mr. Min chin reports that the most favourable accounts reach him from every quarter. But these 'favourable accounts' refer only to the quiescence of the natives. The same witness deposes to ' an un usual amount of sickness,' adding that, although he attended the natives in their illness, he gave no medicines, being en tirely ignorant of their diseases. The want of fresh water is severely felt in this locality, every newly-sunk well ' roducing the same unpalatable brackish water. ...Continued...
The Report Of The Protector Of Aborigines, The South Australian Register, 28 May 1855, 2
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The Representative Principle, The Maitland Mercury, National Library of Australia, 7 June 1856, 2
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The Residence Ball and Corroboree, Northern Territory Times and Gazette, 10 April 1891, 2
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The Reso Tour, The Register, 18 August 1927, 13
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—"The. Patawalonga ; Creek has been the scene of many aboriginal tribal battles and corroborees. To old residents the traditions of the creek are as numerous 'as tbey are, interesting. But a few wurlies now adorn the neighborhood in • which -in pioneering days hundreds of blacks were at times encamped. On Tuesday evening some old-time memories were awakened by the discordant strains which were heard in the vicinity of the aboriginals' camp. Although there were only one or two old' warriors' in camp the noise created was as- hearty
The Rev. J. Day Thompson on Gambling, The Express and Telegraph, National Library of Australia, 13 October 1897, 2
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The Revue Was Hell, On Dit, The University of Adelaide, Library Special Collections, 21, 10, 12 August 1953, 4
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The Roaring Days!, Barrier Miner, 29 October 1964, 14
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The Roaring Days: Premiere on Oct. 31 at the Playhouse, Barrier Miner, 16 October 1964, 13
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The Royal - Woman and Wine, Evening News, 4 June 1900
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The Royal Museum. Distributed. Royalty at a Discount., Evening News, 23 April 1890, 5
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The Royal Princes at Strathalbyn, en route to Melbourne, The Southern Argus, 23 June 1881, 3
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The Royal Princes, Bendigo Advertiser, 20 June 1881, 2
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The Royal Princes, Sydney Morning Herald, 23 June 1881, 5
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The Royal Princes, The South Australian Register, 21 June 1881, 5
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The Royal Princes, The South Australian Register, 23 June 1881, 4, 5
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The Royal Princes, The South Australian Register, 6 July 1881, 1
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The Royal Standard Theatre, Sydney Morning Herald, 19 March 1887, 15
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The Royal Standard Theatre, The Sydney Mail and New South Wales Advertiser, 29 May 1886, 1128
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The Royal Tour., The Mercury (Hobart, Tas. : 1860 - 1954), 11 April 1927, 7
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The Royal Tour., The West Australian, 11 April 1927, 8
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This house was re -opened last night by Messrs. Troy Knight and Gouge for a week's performances with one of the most efficient companies we have had the pleasure of seeing on the Adelaide board for some time....
The Royal Victoria Theatre, The South Australian Register, National Library of Australia, 13 July 1852, 3
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The Royal Visit To The Lakes, The South Australian Register, 11 November 1867, 3
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The Royal Visit, Inquirer and Commercial News, 2 October 1867, 3
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The Ruling Class, The Advertiser, The University of Adelaide, Library Special Collections, 1982
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The Runaway Man, Courier Mail, 28 January 1981, 2
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The running battle of being Bob Ellis, The National Times, The University of Adelaide, Library Special Collections, 25 November 1978, 18
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The S.A. Parliamentary Visit to the Northern Territory, The South Australian Register, 5 May 1882, 5, 6
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The Samoans Extend Season, Barrier Miner, 8 December 1956, 6
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The See Ministry, The Riverine Grazier, Hay, NSW, 12 April 1901, 2
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The Sentimental Bloke, Courier Mail, 12 May 1981, 2
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The Shell is not a Shell, Sunday Times, 17 August 1919, 25
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The Shifting Heart, Newcastle Herald, 7 October 1982, 5
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The Shifting Heart, The Australian, 21 July 1983, 8
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The Shoemaker and the Elves, Courier Mail, 7 March 1980, 16
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The show goes on, The Herald Sun, 8 October 2001, 87
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Royal Australian Equestrian Circus. — This new entertainment continues to increase in favour with the public, and it is evident from the good attendance, that it has more merit than the mere novelty of the performances. As we expected, the performers here improved by practice, and the interest of their several parts increased accordingly. After having the course toherself for several weeks, poor May Fairy has found that she has got a rival, and Black Bess promises to be as docile and clever a pupil as ever bowed to an audience. As she is not yet perfectly trained, being only in a transition state, some allowance must be made for her wishing to get up when she ought to remain down, &c. ; but all these little errors, must be ascribed to the unenlightened manner in which her youth was spent, and no doubt under the sedulous moral training of Messrs. La Rosiere, &c., she will soon learn to conduct herself like a wise and sensible animal The concluding pantomime of " The Invisible Cooper" is a good "lark," and the awful and unaccountable disappearance of one of those respectable tradesmen opened the eyes of the youngsters in amazement.
The Signs of the Times, 23 November 1850, 5
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The Silver Lining opens tonight, Barrier Miner, 18 November 1942, 2
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The Sketch, 12 September 1917, xii
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The Sketch, 27 November 1918, 266
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The Sketch, 27 September 1916, 3
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The Sketch, 31 January 1917, 0
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The Sketch, 7 February 1917, 2
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The Sleeping Prince, The Australian Women's Weekly, 27 April 1955, 15
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The Song of Australia, The Age, 28 February 1983, 14
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The Sorcerer, The Age, 4 October 1941, 12
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The South Australian Expedition to the Northern Territory, Sydney Morning Herald, 2 March 1882, 5
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The Southside Chronicle, 1 August 2006, 21
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The Southside Chronicle, 1 August 2006, 21
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The Southside Chronicle, 1 August 2006, 22
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The Southside Chronicle, 1 August 2006, 23
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The Southside Chronicle, 1 August 2006, 23
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The Southside Chronicle, 1 February 2005, 19
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The Southside Chronicle, 1 July 2003, 23
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The Southside Chronicle, 1 June 2004, 27
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The Southside Chronicle, 1 March 2005, 23
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The Southside Chronicle, 1 November 2005, 27
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The Southside Chronicle, 10 January 2006, 21
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The Southside Chronicle, 10 May 2005, 23
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The Southside Chronicle, 10 May 2005, 25
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The Southside Chronicle, 10 May 2005, 3
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The Southside Chronicle, 10 September 2002, 21
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The Southside Chronicle, 11 July 2006, 23
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The Southside Chronicle, 11 July 2006, 25
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The Southside Chronicle, 11 July 2006, 25
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The Southside Chronicle, 11 July 2006, 25
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The Southside Chronicle, 11 June 2002, 19
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The Southside Chronicle, 11 June 2002, 19
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The Southside Chronicle, 11 May 2004, 25
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The Southside Chronicle, 11 November 2003, 27
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The Southside Chronicle, 11 October 2005, 23
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The Southside Chronicle, 11 October 2005, 24
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The Southside Chronicle, 12 April 2005, 21
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The Southside Chronicle, 12 December 2006, 31
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The Southside Chronicle, 12 February 2002, 28
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The Southside Chronicle, 12 July 2005, 23
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The Southside Chronicle, 12 June 2007, 25
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The Southside Chronicle, 13 April 2004, 23
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The Southside Chronicle, 13 April 2004, 24
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The Southside Chronicle, 13 April 2004, 25
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The Southside Chronicle, 13 January 2004, 19
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The Southside Chronicle, 13 July 2004, 23
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The Southside Chronicle, 13 March 2007, 22
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The Southside Chronicle, 14 February 2006, 25
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The Southside Chronicle, 14 February 2006, 27
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The Southside Chronicle, 14 February 2006, 40
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The Southside Chronicle, 14 June 2005, 27
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The Southside Chronicle, 14 March 2006, 23
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The Southside Chronicle, 15 August 2006, 25
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The Southside Chronicle, 15 June 2004, 25
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The Southside Chronicle, 15 March 2005, 25
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The Southside Chronicle, 16 April 2002, 23
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The Southside Chronicle, 16 July 2002, 25
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The Southside Chronicle, 16 July 2002, 26
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The Southside Chronicle, 16 March 2004, 23
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The Southside Chronicle, 16 March 2004, 25
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The Southside Chronicle, 16 May 2006, 23
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The Southside Chronicle, 16 May 2006, 25
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The Southside Chronicle, 17 August 2004, 23
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The Southside Chronicle, 17 January 2005, 25
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The Southside Chronicle, 17 July 2001, 32
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The Southside Chronicle, 17 July 2001, 32
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The Southside Chronicle, 17 June 2003, 24
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The Southside Chronicle, 17 May 2005, 21
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The Southside Chronicle, 17 May 2005, 23
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The Southside Chronicle, 18 April 2006, 19
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The Southside Chronicle, 18 April 2006, 19
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The Southside Chronicle, 18 May 2004, 21
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The Southside Chronicle, 18 October 2005, 27
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The Southside Chronicle, 18 October 2005, 27
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The Southside Chronicle, 19 August 2003, 25
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The Southside Chronicle, 2 December 2003, 27
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The Southside Chronicle, 2 March 2004, 21
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The Southside Chronicle, 2 November 2004, 23
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The Southside Chronicle, 2 November 2004, 23
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The Southside Chronicle, 20 April 2004, 23
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The Southside Chronicle, 20 April 2004, 24
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The Southside Chronicle, 20 April 2004, 25
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The Southside Chronicle, 20 January 2004, 0
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The Southside Chronicle, 20 July 2004, 0
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The Southside Chronicle, 20 September 2005, 29
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The Southside Chronicle, 21 June 2005, 23
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The Southside Chronicle, 21 June 2005, 25
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The Southside Chronicle, 21 June 2005, 9
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The Southside Chronicle, 21 March 2006, 21
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The Southside Chronicle, 21 March 2006, 21
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The Southside Chronicle, 21 March 2006, 23
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The Southside Chronicle, 21 November 2006, 10
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The Southside Chronicle, 21 November 2006, 27
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The Southside Chronicle, 22 April 2003, 23
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The Southside Chronicle, 22 February 2005, 25
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The Southside Chronicle, 22 July 2003, 24
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The Southside Chronicle, 22 June 2004, 27
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The Southside Chronicle, 22 June 2004, 29
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The Southside Chronicle, 22 November 2005, 29
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The Southside Chronicle, 23 December 2003, 19
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The Southside Chronicle, 23 January 2007, 25
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The Southside Chronicle, 23 July 2002, 25
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The Southside Chronicle, 23 March 2003, 17
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The Southside Chronicle, 23 May 2006, 23
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The Southside Chronicle, 23 May 2006, 25
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The Southside Chronicle, 23 September 2003, 29
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The Southside Chronicle, 24 April 2001, 29
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The Southside Chronicle, 24 January 2006, 25
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The Southside Chronicle, 24 June 2003, 20
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The Southside Chronicle, 24 May 2005, 23
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The Southside Chronicle, 24 May 2005, 23
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The Southside Chronicle, 25 May 2006, 25
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The Southside Chronicle, 25 October 2005, 27
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The Southside Chronicle, 26 April 2005, 23
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The Southside Chronicle, 26 June 2001, 30
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The Southside Chronicle, 26 June 2001, 35
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The Southside Chronicle, 26 June 2007, 25
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The Southside Chronicle, 27 February 2007, 21
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The Southside Chronicle, 27 February 2007, 22
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The Southside Chronicle, 27 February 2007, 23
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The Southside Chronicle, 27 September 2005, 23
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The Southside Chronicle, 28 August 2001, 29
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The Southside Chronicle, 28 March 2006, 21
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The Southside Chronicle, 28 May 2002, 28
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The Southside Chronicle, 28 November 2006, 25
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The Southside Chronicle, 28 October 2003, 27
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The Southside Chronicle, 29 July 2003, 25
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The Southside Chronicle, 29 March 2005, 19
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The Southside Chronicle, 29 March 2005, 21
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The Southside Chronicle, 29 May 2007, 23
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The Southside Chronicle, 29 May 2007, 25
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The Southside Chronicle, 29 May 2007, 25
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The Southside Chronicle, 29 November 2005, 28
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The Southside Chronicle, 29 November 2005, 29
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The Southside Chronicle, 3 August 2004, 23
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The Southside Chronicle, 3 June 2003, 25
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The Southside Chronicle, 3 May 2005, 25
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The Southside Chronicle, 30 August 2005, 23
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The Southside Chronicle, 30 March 2004, 25
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The Southside Chronicle, 30 September 2003, 25
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The Southside Chronicle, 31 January 2006, 23
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The Southside Chronicle, 31 May 2005, 23
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The Southside Chronicle, 4 July 2006, 23
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The Southside Chronicle, 4 July 2006, 25
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The Southside Chronicle, 4 May 2004, 16
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The Southside Chronicle, 4 May 2004, 27
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The Southside Chronicle, 4 November 2003, 25
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The Southside Chronicle, 4 October 2005, 23
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The Southside Chronicle, 5 April 2005, 25
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The Southside Chronicle, 5 August 2003, 23
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The Southside Chronicle, 5 August 2003, 23
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The Southside Chronicle, 5 December 2006, 27
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The Southside Chronicle, 6 April 2004, 21
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The Southside Chronicle, 6 April 2004, 23
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The Southside Chronicle, 6 December 2005, 23
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The Southside Chronicle, 6 June 2006, 23
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The Southside Chronicle, 6 September 2005, 27
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The Southside Chronicle, 6 September 2005, 29
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The Southside Chronicle, 7 February 2006, 27
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The Southside Chronicle, 7 June 2005, 21
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The Southside Chronicle, 7 June 2005, 23
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The Southside Chronicle, 7 March 2006, 24
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The Southside Chronicle, 7 March 2006, 25
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The Southside Chronicle, 7 November 2006, 25
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The Southside Chronicle, 8 August 2006, 22
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The Southside Chronicle, 8 February 2005, 23
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The Southside Chronicle, 8 June 2004, 29
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The Southside Chronicle, 8 June 2004, 31
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The Southside Chronicle, 9 January 2007, 0
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The Southside Chronicle, 9 January 2007, 17
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The Southside Chronicle, 9 November 2003, 23
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The Southside Chronicle, 9 September 2001, 23
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The Southside Chronicle, 9 September 2003, 25
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The Spectacular experience, City News (Canberra), 3 April 2008, 22
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Our Alice Springs correspondent, tele- graphed as follows on Tuesday:-"Pro- fessor Baldwin Sjiencer and ]Ur. F. J. Gillen have completed their anthropological studies here. During their stay tome on the residents were afforded an opportunity of seeing many interesting phase» of native life not previously displayed to them. Per- haps one of the most effective and exciting was the war dance performed by 60 adults, who went through atseries of evolutionary movements, first with spears and shields, land aßterwlirdls witlh boomerangs, working ?tihemstelves into ?a. frenzy of excitement. Re cently natives went north to avenge the death of a tribal brotiher. Photographs* were taken of the departing avengers and of their return after killing a man. Numerous valuable cinematographic and photographic pictures were secured of corroborées", dances, and sacred ceremonies. The ethno- logists were highly gratified with the re- sults obtained here. The expedition left on(Saturday, northwards, all being well'
The Spencer Gillen Expedition, The Advertiser, National Library of Australia, 29 May 1901, 4
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THE BLACKS OF THE INTERIOR. [By Professor Baldwin Spencer, in the Melbourne 'Age.' I ? A day or two after our arrival at Alice Springs the natives began one of their ordi nary corroborees. The Arnnta name for these is Altherta. and each one usual lasts night alter night tor perhaps a fort night or three weeks. For hours during the day time the men are decorating each other with down which they gather from the seed cases of a Portulaca; this is : either rubbed in gypsum to make it white, or in red ochre to make it red. The men sit down in a group with nil their materials ready. These are comparatively simple, red oehiv and gypsui-», witii stone.-t on which to grind them, little, heaps of down, twigs of some bush, such as a cassia, and then, when all is ready, some of them tie a hair strimr tightly round their arms, and with a sharp Hake cut one of tlie veins, and allow the blood to pour down into the hole in a shield made for the hand, or into the concavity of a spear-thrower. Then first of all each performer has his hair tied up- with cassia twigs bound round with human hair string, which he undoes from his hair girdle. When this is over a little brush i» made out of a twig with string wound round one end, and with this some of the congealed blood is smeared over the parts where the down- has to be put on, and gradually the design characteristic of the special corroboree being performed is drawn npon the body. Singing of the corroboree song goes on all the time, the notes alternately rising and falling, while one or two men keep time with tho chang ing of their boomerangs. Towards sun down all is readyj and at dusk fires are lighted on the corroboree ground, and the women and children come and group them selves in 'front of the dancer.--, together with the men who arc not performing, the nien singing, and all of the audience keep ing time with sticks and boomerangs. The first corroboree which they started after onr arrival at Alice Springs was one called Chichingalla. It was jnst about as monotonous as most corroborecs are. The men danced sometimes with staves in their hand*, sometimes with a cleft stick rest ing on their shoulders, advancing out of the darkness into the light of the fire? with leafy twigs tied round their ankles, and stamping upon the ground. At times the performers, who varied from six to 32 in number, would divide into two parties, one passing to one side, and one to the other, and then skipping across much as if they were changing sides in a square dance. After watehih- this and listening to the monotonous singing and clanging of boomerangs on the part of the audience, which never seemed to weary, we usually took advantage of the interval, when the women, at a given signal, retired a little distance away to allow of the men. having a spell and quiet chat, and left them to continue with the second part of tiie pro gramme, which was never completed until the early hours of the morning. So as to enable us to secure some records of ono of these characteristic dances, they rehearsed some of the scenes— a full dress rehearsal, of course, except so far as the size r.f the audience was concerned— as soon as they 4wd finished decorating themselves before sundown. The only reafly interest ing part was tlie very end, when, unlike most of the ordinary corroblwrees, one man was crtpccially decorated with birds' down. The lir.st part «l the performance consisted of the usual uninteresting dance, but after a short pause all of the dancer*, 12 in number on this occasion, rangid theinsulves in front of a little lxiHgh wurley, which had been built at- the beginning of the corroborec, while the audieirce, wnristing of about 100 men. women, and children, stood up, all of them evidently nnietb excited. l-own from a low rise two men can*; creeping, tlie leader carrying a shield in front of him, as if to prevent the man U-hJnd from being seen. This man was elaborately de corated with lines down all over his head and the upper part ot Ins body, anu had a circlet of white and pink feaiier tufts radiuins from his head like the points of a irreat tiara. Suddenly he leaned forward, and hddinc a fcpear tipped with a. bunch of feathers in both hands, charged the dancers who were standing in front of his wurley. Amidst the loud shouting of the men and women, Uie latter all as it ?were warding him off with extended arms, he kept charg ing and recharging tlie performers, who ran sideways, backwards, and forward's in front of the wurley, shouting and prancing about wildly. Suddenly an old man came out of tlie audience and set fire to a-sreat heap of shrubs placed on one .fide. The excifte ment on the part of tlxc audience became more intense, and grew still greater when the decorated man. having forced his way through the dnneerF, die litter ranged up behind him, following him as he danced wildly round and round. Tin's was the signal for the women and children to rc tjre, which they did precipitately. No sooner Wd they gone ihnn, amidst the loud yells of the men and the clashing of boom crangp, the wurley was sot on fire, vlie dancers stamping and jumping upon it until it was one mass of flames, which lighted up the thin scrub all around and shone weirdly on tire bodies of the men who were still dancing madly with excitement. Gradually ii subsided until only a heap of glowing ash remained, the outlines of the hills and trees and the bodies of the natives grew indistinct, and the corroborec was aver. It is a strange fact that the words of the owroboree song liave no meaning to the performers. They are nanded on from group to group along with the dance itself, and doubtless undergo sinme ciituipe as they pass from a. tribe speaking one dialect to another speaking quite a different one. Simple in many ways and monotonous though they are, still the various movements must re quire a good deal of careful thinking ont on the part of the originators and a good deal of receptive capacity on the part of those to whom they are handed on if they are to bz correctly performed. Curiously enough every corroborce in this part of the continent appears to have been received from the north. This particular one, for example, is evidently identical with the Molonca dance described by Dr. Roth in his work on tlie Queensland natives, and has come down to the Aranta tribe from tiieir north-western neighbours, the Upirm tribe, Who doubtless received il from tlie Waagai tribe, which extends away again still further to the norcn-west into Queens land. No sooner was thia over than the very next day the natives started a second cor roborce called Illionpa, in which, apart from the slight difference in the movements and die fact that in one scene a man was represented in ihe act of what, is called giving 'mania' to a sleeping man, there was little of interest. This giving 'of ''ma- nia*' consisted in one cftlie decorated men advancing quietly towards the spot where another of tiie performers was lying on the ground and touching the foot of the Lutter with his own. The pnisai was supposed to be contained in a minute piece of stone, which had been sung over and thus en dowed with evil magic, and in mis form is supposed to be very potent. Information. — She — 'What, does this mam about all just government deriving its authority from the consent of the govern ed?'' Ho— 'It means that when a man gets married he practically agrees to take the consequences'.'
The Spencer Gillen Expedition, The Register, National Library of Australia, 5 August 1901, 6
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The Squadron, Kangaroo Drive at Wellington, Australian Town and Country Journal, 13 August 1881, 14
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The stage is in the audience, Pix, 9 July 1960, 34-39
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The Stage Will Never Die, The Sun (NSW), 11 August 1938, 23
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The Stage, 22 April 1999, 1
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The Stage, 25 May 1918, 12
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The Stage, 5 July 2001
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The Stage, 6 September 1917, 13
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The Stonehams at the Mechanics' Hall, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 19 April 1872, 3
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The Stonehams, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 3 April 1872, 3
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The Stripper, Sun Herald, 29 August 1982, 99
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The Studio: onwards and upwards, RealTime Arts, 50, August 2002, 40
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The Sun (NSW), 16 March 1935
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The Sun (NSW), 23 May 1974
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The Sun (NSW), 26 September 1963
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The Sun (NSW), 28 September 1973, 0
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The Sun (NSW), 7 December 1975
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The Sunday Age, 2 March 1997, 10
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The Sunday Age, 23 October 2005, 22
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The Sunday Age, 5 April 1998
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The Sunny South, The Lorgnette, 20 March 1883, 4
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The Sydney Amateur Concert, The Australian, 21 June 1826, 3
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The Sydney Morning Herald, Sydney's Talking About, Sydney Morning Herald, 21 September 1950
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The T
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The Tablelands Times, 2 October 1984
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The Telegraph (Brisbane), 3 September 1940, 0
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The Temple of Concord, National Library of Australia, 11 April 1855, 2
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The Tenterfield Show, Warwick Examiner and Times, 3 March 1894, 2
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The Terf, Barrier Miner, 5 December 1898, 2
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THE THEATRE. - On Saturday, the melodrama of "Timour the Tartar" was introduced for the first time in this colony, and the manner in which the scenery and dresses were got up was highly creditable to the managers. The house was crowded to excess, and many persons were forced to leave on account of the oppressive heat. Groves as Timour was rather too tame for the hot blooded Tartar, but in some of the scenes his expression was good, and if he would throw a little more fire into the character without the ranting that is too generally mistaken for spirit, his delineation of the character would be good. Simmons's Kerim and Mackay's' Samballat were well sustained, and the combat to decide the possession of the captive Selima was ably contested. Had we a voice we should cast Simmons for Timour, if another could be selected to fill the character of Kerim, possessing the skill in fencing that Simmons does. Knowles made a decided hit in Oglan, and evinced considerable comic humour. Abdalla (Lee) is a sort of a supernumerary character, excepting in the last scene where he severally engages with and slays Kerim and Samballat, in which he evinced great tact and activity in the broad sword exercise. Mrs. Taylor's Zorilda was stately and in the scene where she is discovered by Timour. when effecting the escape of her child, the thrilling anxiety for his escape, the almost unsupportable agony of his being discovered and arrested in his flight, and the undisguised capture when his safety is communicated by Oglan, were finely portrayed. Miss Winstanley was properly cast for Selima, and appeared extremely interesting in the young captive, which she sustained well. Mrs. Jones did all that could be done. in the character of Liska, which is not a character of any peculiar feeling or point. On the whole, the effect was good and the trouble and expense which it must have cost in getting up, evinces a desire on the part of the managers to please the public, which we hope will be duly appreciated and acknowledged. Fitzgerald danced a comic dance, and was recompensed by having to dance a hornpipe. Simmons gave Beggars and Ballad Singers, with his drollery, and was encored. Lillie Jones and Miss Ann Winstanley sung Polly Hopkins, and were also encored. The afterpiece was the farce of "Mr. and Mrs. Pringle," which occasioned much laughter, and the night's performance, as a Christmas introduction, when the juvenile portion of the audience require relaxation and amusement in the vacation, was creditable to the colony. The house will be open every night during the Christmas vacation.
The Theatre , G. Howe , Sydney, NSW., National Library of Australia, XXXIII, 2752, 29 December 1835, 3
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THE THEATRE.
The managers appear to have engaged the
services of Mr. and Mrs. Cameron, as they
have both played occasionally during the
past week or twelve days; but whether they
have been permanently engaged we are not
informed. Mr. Cameron played Iago tole-
rably well on Tuesday night. In the first
part of the tragedy he seemed ill at ease, and
to play without spirit ; but as the piece drew
to a conclusion and he became warmed with
the applause, he brightened up, and managed
the remainder of his part much more effective-
ly. On Saturday evening, Mrs. Cameron
played Clari. This character, as well as the
one in which she made her debut (Mrs. Hal-
ler,) have been played with no inconsiderable
success by other ladies now on the Sydney
stage; and Mrs. Cameron therefore makes
her appearance under those circumstances
under some disadvantage. Her style is how
ever so different, that without instituting
"odious" comparisons we may commend and
admire both herself and them at the same
time. In Clari she impresses the idea that
she really feels all that her impassioned lan-
guage describes; which of course gives ad-
ditional value to her acting. Mr. Knowles
played Rolamo the broken hearted father with
great talent and emotion ; and Mrs. Taylor
the character of Vesirina with all tlie vivacity
for which she is distinguished. If the corps
was a hundred strong/those two parts could
scarcely be assigned to two performers more
admirably calculated for them. The Bravo
of Venice was the after piece, and was rather
bungled in some of the scenes, in consequence .
of a few not being "well up''- to their parts.
The Bravo (Rugantino) from the changes of
character in it as described by us last week,
is ii difficult part and one well qualified to
shew on Mr. Knowles' versatility of talent.
His bearing in Rugantino is bold and daunt- less, and his manner in Flodoardo is refined and graceful. Miss Winstanley in Rosabella is somewhat incommoded with a long train,
which fashion probably dictated for ladies of
rank with the mischievous purpose of dis- covering how their native grace would ex- tricate their persons from the embarass- ment of such an ill-contrived garment. She
manages the part cleverly, and in the. last
scene is very energetic. Mrs. Larra is very
amusing in Camilla. Mr. Lane looks a res- pectable old Duke enough and would play it
decently if he would leave off exasperating
that inoffensive letter which 'is whispered
in Heaven and muttered in Hell' Dr. John
son and Sheridan, should old Charon ever
skull them across the Styx, in order to their
witnessing Theatricals at the Antipodes of
this other world, would be horrified, and
look in vain for precedents in their Dictionaries
when they heard the dread language now and
then perpetrated. Memmo's fears call forth many a laugh ; it is a part which Mr. Buck- ingham always plays with humour. The
other characters have no distinguishing points
to comment on. On Saturday evening the Stranger was
again requested, with the afterpiece of
Is he Jealous? in which Mr. and Mrs.
Cameron personated the parts of Mr. Bel-
mour and Harriett. The admirable perform-
ance of Mrs. C. kept the house in continual
laughter. We were glad to see the house
was well attended.
The Theatre , The Australian, George Williams , Sydney, NSW., National Library of Australia, IV, 346, 4 November 1836, 2
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The Theatre , The Australian, George Williams, Sydney, NSW., National Library of Australia, IV, 380, 3 March 1837, 2
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THE THEATRE.
The Drama of Tekeli has been re-produced since our last publication. Mr. Mackay has bought it advisable to seek his fortunes in mother land. He was a very valuable member of the corps, from the versatility of his talents, as well as from the advantage of a clear voice and general good appearance. As he is now absent we will not speak of his faults. His place will be advantageously (as it is said) supplied by a Mr. who has been engaged by the manager; and who is to make his debut in Richard III. In the acknowledged difficult part of Richard. Our paper goes to press too early on a Thursday evening to report the Theatricals on that night, or we should have afforded our readers a description of Blue Beard, which was announced for last night in terms which lead us to augur much for its attractions, In Tuesday's Australian it will, however, appear. The two Farces, Lovers' Quarrels and Mrs. Wiggins are in themselves particularly amusing, but they are carried off with considerable esprit. In the former, Mrs. Jones as Jacintha, enacts the malapert, intriguing lady's maid to the life, and by her sprightly sallies keeps the audience in a 'perpetual grin.' These characters, and all coquettish parts, are admirably suited to her style. [text missing…] Buckingham as Sancho, in his philosophical disquisition upon women, delivered himself with a volubility really surprising. The ' gods' were dying to encore the edifying essay. Lopes by Mr. Dyball was dressed in highly quizzical fashion. In Mrs. Wiggins, Mr. Knowles as Old Wiggins is the soul of the farce; his appearance is ludicrous to the last degree; and he supports the character so naturally throughout, that the illusion in the mind of the spectator is never dispelled. Mr. Peat would really improve himself much by casting off that affectation of manner and voice, with which he deems it necessary to clothe young men's characters. Young Wiggins is undoubtedly a profligate and a spendthrift, but there appears no urgent necessity for constituting him a puppy likewise. Mr. Simes as Trim was very entertaining; he makes a transcendent valet. After witnessing the affray between Mrs.Chloe Wiggins by Mrs. Downes, and Mrs. Tom Wiggins by Miss Winstanley, it would be a crying sin to excite their feelings of jealousy, so fearfully displayed, by commenting particularly upon their respective performance; we will therefore speak of them and Mrs. Larra as Old Mrs. Wiggins, en masse. Their consciences may be satisfied that the farce suffered naught in effect and spirit from their exertions. Among other pieces the Overture to Figaro was played in excellent time and style by the Orchestra; and wo arc convinced that frequenters of the Theatre will always be more gratified with similar overtures than with such exhibitions as we felt it desirable on a late occasion to condemn.
The Theatre , The Australian, George Williams, Syndey, NSW. , National Library of Australia, IV, 326, 26 August 1836, 2
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On Satuiday evening last, the performances were distinguished by the first appearance in this Colony of a very beautiful and affecting melodrama, called ' The Gambler's Fate,' which is without exception one of the best pieces ever yet produced on the Tasmanian stage. As, in all melodramas, the dialogue possesses no peculiar merit of itself; but there are expressions used throughout this piece, which coupled with the incidents related and represented, cannot fail to sink deeply into the hearts of even the most hardened hearer. The train of dreadful evils (brought upon him-self by this pernicious vice ) which befall the Gambler, Albeit, are natural find well conceived ; but there appears to be something wanting to explain the success and career of Henry, who is merely introduced, and murdered without being allowed to account for himself. Either the author has omitted a scene which ought to have been rendered extremely effective, and which in fact was necessary, or Mr. Cameron must have have cut something out for want of strength and materiel. We suspect, however, that the emission lies with the author, as writers of this class of plays think nothing of consistency so long as they can produce effect. But as we have said before, the piece, as a whole, is entitled to rank among the best melodramatic productions of the English stage, and is not inferior to Clari the Maid of Milan. It was, however, seen on Saturday to great disadvantage. The scenery was for the most part ill adapted, the stage is far too small, and the actors all unpractised in their parts. The introduction of a party of the military on the stage had an excellent effect ; only we noticed that the men did not exactly see the beauty of the new drill they were put through ; and accordingly were not so ready at the word of their Theatrical Captain (Jacobs) as we have seen them on the military parade ground. Still the effect' was good. Mr. Cameron in Albert was, as he usually is in all his characters, well received, as was the Julia of his accomplished and esteemed lady, and Fenton, in the villain Malcour, was more than respectable. Of the rest (if we except Jordan's Baalcomb, we cannot say much that' complimentary. Indeed, they had little to do, and a depression of spirits, which appeared to prevail with all the company prevented their doing that little so well as we know they can do it. In this re-mark of course we do not include the two amateurs—the interesting little girl who played Rose, and Mr. Austin. Their assistance deserves our acknowledge- ments, and had they even placed ill, which they did not, they are entitled to escape the censure of the Press. The last two scenes of the piece were better sustained than the former part ; but here was a miserable deficiency of scenery and properties ; and the same depression and want of fire was evinced even by Mrs. Cameron. And can we feel surprised at it when we say that there was not sufficient people in the house to pay expenses? Is it to be wondered at that Mr. & Mrs. Cameron, after having been induced by the glowing promises of public support to locate themselves, and bury their talents in Van Diemen's Land, and moreover, to sink their whole capital in fitting up a respectable Theatre, at the call of the public, should feel dispirited and dejected on finding night after night that their exertions are not encouraged ? Certainly not ; and that their company, a better than which we have no right to expect, nor can we desire, in Van Diemen's Land, should participate in that dejection is not at all surprising. Thus is the writer disarmed of his severity - his gall-dipped pen drops from his fingers, as he contemplates such an instance of unmerited public neglect. Had Mr. Cameron thrust himself upon the people, the case would have been widely different ; but he was sought for, courted, entreated, persuaded, and is now neglected — in a fair way of being ruined ! This is a reproach to the Colonial public. Will they continue to lie under it ? - -We hope not. After the Play, the Musical Entertainment of Inkle and Yarico followed Spencer, in Inkle, evinced signs of improvement ; but Jacobs was not so good as usual in Medium. Fenton, as Sir Christopher Curry, in the scene with Inkle, where the latter offers to sell Yarico, was excellent ; and Jordan's Fudge was also good. Collins, in Campley, was as flat as dead small beer ; nor was Miss Morris, in Nerissa, a bit better. Miss Rhudelhoff, in Wowsky, made a mighty plump ' Nigger ' ; of Mrs. Cameron's Yarico, we scarcely know what to say ; certainly it is not her favourite character, although in some of the simple expressions of ardent and unsophisticated affection, she was all that could move a man to love and pity. Before we leave this notice, we must complain of the dreadful time suffered to elapse between the acts. In the Gamber's Fate it was announced that twenty years are supposed to intervene between the first and second acts, and really we were inclined to think that such a lapse in reality was to take place.
The Theatre , The True Colonist Van Diemen's Land Political Despatch, and, 5 January 1835, 2
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On Monday evening the Melo-Drama of the Gambler's Fate was repeated to a much better house, and in much better style ; from which it is evident, that the deficiencies, observable on the occasion of its first production, arose, not from any incapacity on the part of the performers, but from the causes assigned by us, viz. the neglect of the public, and being unaccustomed to melo-dramatic acting. On the last representation of the piece, all the actors were far more perfect, and thus the piece appeared to greater advantage. Several additional dresses were introduced, which rendered the acting more effective. One prodigy we must not again omit to notice, which was the acting of Master Earle, A child only four years of age ! which on both evenings elicited thunders of applause. As the little fellow, who is a very interesting child, tripped over the stage with unerring precision to the beautiful symphony of Haydn from the Surprise, the admiration of the audience burst forth in peals of well deserved applause. To see a child so young possess so true an idea of musical time and stage effect, is a something nearly approaching to a colonial prodigy. This child is not new to the public, having sung the song of ' Nice Young Maidens' at Mr. Mackay's Theatre, at Roxboro' House, (by which by the way, we regret to say, this justly favourite and enterprising actor sustained a severe loss while endeavouring to cater for the public amusement in the absence of Mr. Cameron), where he was well received. It was an omission on our part not to notice this little fellow before ; but we feel convinced that his precocious talent will not be the less duly appreciated by the public. Of the other performers having already noticed, we need say no more than that they were all far more perfect, and all played considerably better than on the first night.
The Theatre , The True Colonist Van Diemen's Land Political Despatch, and, 7 January 1835, 3
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The Theatre and ts People. By One of Them., Table Talk, 30 December 1920, 21-25
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The theatre of images, March 1979
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The news of the impending demolition of the Theatre Royal must have come as a shock to all old Melbourne playgoers. With a history stretching right back to the days of the diggings the theatre has been associated in its time with every class of theatrical production. It has housed a circus, it has been used as a stadium for wrestling matches; and within its walls more than one fervent evangelist has preached to crowded congregations.
Its first projector was John Black, who had amassed wealth by carting goods to the goldfields at a time when fabulous prices were being paid for the transport of supplies over unmade roads. Mr Black began the erection of the first Theatre Royal in 1854. By Christmas time he had the front portion so far completed that he was able to arrange for a series of popular concerts in the long entrance hall, or vestibule, leading to the theatre proper. The opening of the theatre was delayed until July 16, 1855, when Sheridan's "School for Scandal" was played to a crowded house, with Mrs Poole and Mr G H Rogers, "the Australian comedian," in the leading roles. An added attraction was the illumination of the building by gas, then a novelty in Melbourne, from a plant installed at the theatre itself. The press was enthusiastic in praise of the new undertaking. But even at the outset Black, notwithstanding his initial resources, found himself in financial difficulties and although he presented to the public grand opera with such "stars" as the favourite Catherine Hayes and Madame Carandini, following this by the dubious attractions of the notorious Lola Montes, and even producing the Royal's first pantomime, he was unable to retain control of the theatre and before the middle of 1856 it had passed into other hands.
No name is more conspicuously associated with the early history of the Melbourne stage than that of George Selth Coppin. Making his first appearance before the public here at the old Queen's Theatre in June, 1845, he had prospered and had returned to Great Britain to seek fresh attractions for Australian theatre-goers. Early in 1855 he returned with an eminent tragedian, Gustavus Vaughan Brooke, bringing also the materials for an iron theatre, which he proceeded to erect in Exhibition street. When it became evident that the more eligible and centrally situated Theatre Royal would be on the market he and Brooke entered into partnership, and on June 9, 1856, the Royal was opened under the new management with "She Stoops to Conquer." For about two and a half years Brooke and Coppin carried on together. Then In February, 1859, they dissolved partnership and Brooke became sole manager of the Royal. In after years the Brooke era was looked back upon as "the golden time of the Victorian drama" - using the term “Victorian" with a more limited connotation than it has today, but, however great he may have been as an actor, Brooke was a poor financier. In December, 1860, he was glad to grasp the helping hand held out by Coppin to extricate him from his difficulties, and on May 23 following he bade farewell to the Melbourne public, whom he was destined never to face again. In January, 1866, setting out on another voyage to Australia, he was drowned in the English Channel in the wreck of the steamship London.
Lyster's Opera
Important episodes in the history of the Royal during the 'sixties were the advent of the opera company controlled by William Saurín Lyster in 1861 and the three years reign as manager of Barry Sullivan the Shakespearian actor from 1863 to 1866. Lyster arrived at a time when there was some enthusiasm for vocal music in Melbourne and he had no trouble in supplementing his chorus with volunteers from the ranks of the Musical Union. Sullivan renovated and improved the theatre reducing the number of seats in the dress circle so as to provide room for the most expansive of crinolines and he reduced the charge for admittance to pit and gallery respectively to the popular prices of 1/ and 6d. A description of the first theatre building in these balmy days speaks of the stage with its gilt pilasters of open columns and panelled proscenium surmounted by the Royal Arms, the three tiers of boxes in white and gold and the grand celling with its dancing muses. The Royal play bills of the sixties announced many interpreters of Shakespeare such as Clarence Holt and William Hoskins, Walter Montgomery and Bandmann, the German actor. In the earlier part of the decade we find Sir William and Lady Don and in the latter Eloise Juno a young Scottish actress from Edinburgh destined to become well known to the Melbourne public. Toward the end of this period the management of the Royal passed into the hands of a firm the names of whose members are even now almost household words. George Coppin was at its head and with him were H R Harwood Richard Stewart the father of Nellie and John Hennings the scenic artist. The stage manager was J R Greville well known as comedian and fisherman. Under these auspices Mr and Mrs Charles Matthews were appearing in comedy in 1870 but in the following year the partners seem to have separated leaving Mr Coppin as sole lessee and manager. The last play which he produced in the old Theatre Royal was entitled “The Streets of New York.” It included a realistic fire scene, a bad omen apparently for about midnight between March 19 and 20, 1872 a real fire broke out in the building and completely gutted it, although the Bourke street frontage on which stood the Cafe de Paris at one lime tenanted by the famous firm of Spiers and Pond was untouched. This fire was the culmination of a series of theatrical disasters. The Olympic - disused for some time as a theatre and converted into Turkish baths - had been burnt down in 1866, the Varieties had gone in 1870 and the Duke of Edinburgh (or Haymarket) Theatre In 1871 and two of these buildings still remained in ruins, although the first Opera House was rising on the site of the Varieties. The destruction of the Royal was a severe blow to Mr Coppin but he enlisted the aid of his former partners and in three months he had completed arrangements for rebuilding. The contract price is stated to have been £18,000. On June 15, 1872 a foundation stone was laid with the usual bottle containing relics in its cavity. The souvenirs on this occasion included autographs of members of the theatrical profession and a Chinese lottery ticket. One wonders whether any traces of them will be found when the building Is pulled down. In five months the new Royal was ready for occupation. The Bourke street front had been rebuilt raising it to the present three stories. The auditorium in which probably some of the materials of the old theatre were used was provided with three galleries and its decoration owed a good deal to the capable hands of John Hennings. The stage had the remarkable depth of 110ft Wednesday November 5 1872 was the opening night - rather a hurried opening it is true to catch the Cup season, for Mr Coppin had to apologise to his audience for the incompleteness of some of the interior arrangements; but everything was soon going and a note-worthy first appearance before the end of the year was that of Harry Rickards, the man who was destined to play an important part in building up the vaudeville business in Australia. Other important newcomers to Melbourne about this time were Mr and Mrs J C Williamson who appeared at the Royal on August 1, 1874, and laid the foundations of their theatrical fortunes by the instant success of the comedy "Struck Oil," which they had brought from San Francisco. Shakespearian traditions were well maintained in the 'seventies by Alfred Dampier, George Rignold - "handsome George" and Mrs Scott Siddons. A somewhat exceptional appearance in 1876 was that of Eduardo Majeroni, an Italian opera singer, who had studied English and who blossomed out as a tragedian. Mr and Miss Lingard were playing in drama in 1879. In the following year Louise Pomeroy was appearing with William Hoskins, and in 1881 we find the name of Grattan Riggs, a favourite Irish comedian.
The First Night of "Patience."
In 1882 Mr Coppin decided to retire from the management of the Royal, and the lease was taken over by Williamson, Garner, and Musgrove, a new firm composed of three theatrical producers. On July 1, 1882, they opened with Gilbert and Sullivan's “Patience." "So great a gathering," savs "The Argus" describing that first night, "was never yet seen in any Melbourne theatre." October, 1883, saw the first production of "The Silver King," with George S Titheradge as Wilfred Denver, and on April 1, 1884, John F Sheridan made his first bow to Melbourne as the Widow O'Brien in "Fun on the Bristol." Geneviève Ward as Lady Macbeth, and Wybert Reeve in "comedy drama" belonging to this period, nor must one forget to mention such important first productions as "Iolanthe," on May 9, 1885, with Mr and Mrs Robert Brough in the cast, and "The Mikado," on February 20, 1886, with Howard Vernon as Koko and Nellie Stewart as Yum Yum. In 1887 came Martin Simonsen's Italian Opera Company, in 1888 Charles Warner as Coupeau in "Drink", and later in the same year, Carrie Swain in "Uncle Tom's Cabin," with a "river of real water" on the stage.
These were the booming times of the 'eighties, but in 1891 there were changes. Messrs Williamson and Garner - Musgrove having previously dropped out - dissolved partnership in July, and the Royal was taken over by the Australian Theatrical Management Company, with Mr George Coppin again at the head of affairs. In November Walter Bentley made his first appearance in "Rob Roy," supported by Eloise Juno and Anne Beaumont. In the middle of 1892 Bland Holt was producing "A Run of Luck," and the history of the theatre for the next few years is largely linked with his name. The son of Clarence Holt, the Shakespearian actor of a generation earlier, he had first won favour with Melbourne audiences in the pantomimes of the 'seventies. Then he formed a company of his own touring Australia and New Zealand. Ultimately he succeeded Mr Coppin, who had passed the Biblical limit of three score and ten, as lessee of the Royal. Now he, in his turn, is enjoying a green old age among us, with Mrs Holt, who shared his popularity in those days when, turning the stage into a racecourse, he hung his back cloth right out in Little Bourke street, and had real horses and jockeys galloping up the ramp and out again into the lane at the side,
In 1904, when William Anderson was sub-lessee of the Royal, it was decided to remodel the inside of the theatre and remove one of the galleries. The last performance under old conditions was given on September 3, 1904.
THE THEATRE ROYAL EIGHTY YEARS OF THE DRAMA, The Argus, 4 November 1933, 10
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The Theatre Royal. Kate Howarde Opera Co., The Mercury, Hobart, Tas., 27 June 1898, 2
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As this magnificent Temple of the Drama is announced to be opened for the first time on Monday evening next, a narrative embodying the history of the edifice, and a description in detail of what has already been affected may be interesting. We accordingly now present to our readers the whole of the particulars with respect to the subject which have come under our notice, and which we confidently expect will be considered by all who have read in these columns our statements from time to time in relation to the progress of the extensive undertaking, as a full and sufficient warranty for our previous remarks.
The idea of erecting a large theatre in Melbourne originated with Mr John Black, who, notwithstanding many impediments which have periodically opposed themselves to the work he took in hand, has now the satisfaction of seeing his design practically carried out. The magnitude of such an undertaking, the immense outlay of capital involved, and the difficulty of obtaining a sufficient supply of skilled labor, would have deterred many from entering into a speculation the profits to arise from which could not be immediately depended upon, had not the loss of interest, and, indeed, the great risks attending the investment, been sufficiently calculated to operate in that direction. But Mr Black had already signaled himself by his erection of the fine building known as Tattersalls, and the energy of character which he is known to possess no doubt prompted him to undertake a work which it is certain would have been immensely profitable had it been completed in the time originally intended, or had not the pecuniary circumstances of the colonists experienced so marked a change during the last twelve months. The rest was, however, incurred and it will now remain with the public to decide whether the £60,000 spent for their advantage in the erection of the Theatre Royal has been fruitlessly laid out. Our particular business at this moment is to lay before them a statement showing how far Mr. Black’s enterprise merits their support.
The site of the new theatre was a fortunate selection, being, perhaps, the very best that could have been made, as it is central, and has the additional advantage of abutting on the most populous street of our city. The premises have a frontage of 91 feet to Bourke street, and extend through the allotment to Little Bourke Street, the depth being a little over 313 feet. The buildings cover an area of upwards of half an acre. The architectural peculiarities of the front elevation are massive and elegant. It is in the Corinthian order, and the entablature and pediment are supported by four nobly-proportioned columns: the former is continued to the side walls, and additionally upheld by elegant pilasters. This portion of the theatre is designed with much artistic skill, and when plastered will be one of the handsomest edifices in Melbourne. The archway beneath the pediment forms the principal entrance into the building, and conducts, through a lofty covered way, to the spacious and beautiful hall which was for some months used as a concert-room. The lower portion of this hall is built in the Ionic order, the entablature being supported by twenty-one pilasters of which the upper are of the Corinthian Order. The doors to the east of the archway lead to the refreshment rooms, and the private apartments belonging to the hotel, and the entrance to the dress circle, are also in that direction. The arrangement with respect to the approach to this circle has been admirably contrived, as the entrance is distinctly separated from any other portion of the building, and leads to no other division of it. The rooms over the bar on the hotel on one side, and the restaurant department on the other, will be appropriated to the use of the visitors to the dress and upper circles, that to the right being for the former, while that to the left will be laid out as a refreshment saloon, communicating with the latter. The façade of the theatre is at the northern extremity of the hall, directly opposite the covered archway. It is recognised by the words “Theatre Royal” engraved on the frieze and is embellished by a well-executed piece of Relieve work, placed over the Corinthian entablature, and representing the “Triumph of the Muses,” who are depicted according to their several attributes. The facade to the entrance hall has three large doorways, of which the centre one leads to the pit; that on the right, to the stalls; and that on the left, to the upper circle. The last is reached by a handsome winding staircase, and on the first landing there is an opening which communicates with the saloon. The entrance to the dress circle we have already stated to be from a distinct building at the eastern extremity of the front of the theatre. The staircase extends 100 feet, and the visitor to this part of the house has the extra accommodation of a waiting room. There are also two apartments in which cloaks and other outer apparel can be left, and they will have communication with the principal saloon. Both of these upper saloons have been decorated in the most expansive style, and every attention appears to have been paid to ensure the visitors comfort, as well as to please his eye.
The interior of this magnificent theatre even surpasses the anticipations of the person who has only seen the outside, and marked the admirable taste and ingenuity displayed in the arrangements of the various approaches. Its dimensions as well be seen by the measurements which we subjoin, even exceeds in many particulars, the great theatrical establishments of Covent Garden and Drury Lane. But the comprehensive beauty of the arrangement of the auditory in every part of the house strikes the visitor at once, especially when looking from the stage, as of no ordinary character, and reminds him at once of the interior of Covent Garden Theatre since its reconstruction. The admirable proportions of every part, and the adaptation of the position of the seats in the boxes, the flooring of which has a gradual inclination towards the stage, for a complete view of what takes place thereon, are at once remarkable, and testify to the skill of the architect and his thorough acquaintance with the kind of operations entrusted to him. In extent of depth the theatre is, altogether, 212 feet, counting from the extremity facing the entrance hall to the back of the stage. The audience portion of the building comprises three ranges of galleries, the two lower being the dress and upper circles, and the third the gallery proper. The sides of the last are partitioned off for slips with which the upper circle communicates. The parterre divided into the pit and stalls is extremely large, extending the whole length of the building and carried under the boxes round the house. The stalls consist of the first seven seats counting from the orchestra. The dress circle is well arranged, the seats having stuffed backs and cushions. There are seven private boxes in this tier, some of which have accommodation for four and others for six persons. They are constructed upon a novel principle, being placed at the rear of the first unenclosed seats. The upper circle has two private boxes on either side, exclusive of those in the proscenium, to which we shall presently refer. The gallery has seated capacity for 700 persons, and also appears well adapted for sight. The accommodation is altogether adapted for 3300 persons.
The proscenium is of remarkably handsome construction. On each side, rising from the base formed by the flooring of the stage, are two demi columns, of the Corinthian order, and the fluting and capitals of which are richly gilded. These support an entablature, of which the medallions are beautifully picked out with gold. Over the centre of the proscenium arch, which is of the best model, is the Royal arms, in alto relievo, with the supporters couchant, and elaborately decorated in burnished gold. The wings of the proscenium contain three private boxes on each side, which will, it is said, be finished in the most elegant manner.
The principal ceiling is constituted by a vast circle, including two lesser, the latter being subdivided into numerous panelled compartments, having borderings ornamenting it with floral clusters, encircled by amulets. The large spaces are adorned with objects of classical design, the whole radiating from a superb centre of Papier Mache, and carrying out the design of a halo or glory. The carved ceiling over the proscenium is a continuation of the grand roof of the auditory.
The fasciae of the box tiers bulge or swell outwards in the graceful manner observable in Covent Garden Theatre, and will be decorated with rosette and wreaths in running patterns, the prevailing colors being cerulean blue and light pink. The back and sides of the dress and upper circles are covered with a handsome papering of a dark crimson; in the slips, the prevalent color is marone, while the walls of the pit are covered with a representation of oak panelling. To the gallery and upper circles are attached sixteen handsome brackets, suspending highly wrought chandeliers, modeled in Papier Mache in Louis Quatorze. These are exceedingly handsome and have been fabricated on the premises; they are richly gilt. Each chandelier has five burners.
The act-drop is a clever adaptation of Turners celebrated picture of Ancient Rome. The view is surrounded , as if enclosed in a frame, by a well-executed border, upon which is depicted sportive Cupids, so, the effect of the whole being heightened by the points being marked out with gold. The principal artist engaged upon this extensive work is a Mr Horne, who has certainly as far as the effect of the picture can be judged of by daylight, admirably succeeded in transferring to his own canvas the magnificent style of the great English master. Mr Horne appears of have received efficient aid from Mr Holmes, and other assistants, of whose names we are ignorant. The weight of this scene, with the roller and necessary adjuncts, is about 800 lbs.
In order to give the public an idea of the extent of this remarkable edifice we place before them a comparative statement of its dimensions with those of Covent Garden and Drury Lane Theatres, the first column of figures referring to our Melbourne Theatre Royal, and the second and third respectively to Covent Garden and Drury Lane:-
(Measurements in feet)
From curtain to back of boxes 76, 75, 78
Width across boxes 64, 65, 70
Width of proscenium 45, 42, 46
Width of curtain 38, 34, 35
Extent from curtain to orchestra 12, 13, 12
Extent of stage 100, 68, 96
Depth from upper floor to mezzanine Floor 8, 8, 10
Height of flats or transverse scenes 21, 21, 21
Width of ditto 14, 14, 14
Height of wings 21, 21, 21
Width of ditto 8, 8, 8
The extent of the accommodation is as follows:- dress circle 450, stalls 200, upper circle 600, slips 150, pit 1100, gallery 700, 15 private boxes 90. Total seated capacity for 3300 persons.
The theatre throughout has been erected with every regard to the proper conveyance of sound – the circle at the rear of the boxes being constructed of solid brickwork, and the whole plastered. Great care has been especially taken to avoid sharp angles. The magnificent sweep of the stage will, of course, afford the means of producing spectacles with a splendour of mise-en-scene hitherto unknown in these colonies. At the back of the stage are the green-room, managers office, and the dressing-rooms, and wardrobe depository. The stage floor has been laid down in accordance with the latest improvements, being pierced in all directions for traps and the raising and descent of machinery. There is splendid cellarage accommodation which extends beneath the entire stage. The tires over the stage, and which are technically known as the ‘Flies” are set in two stories which are supported by the side walls and by trusses from the roof, and upon these the windlasses and machinery for raising or lowering the curtain, act-drop, and upper scenery are stationed.
In the rear of the building extensive gas works are in course of erection, and are to be finished by the opening day. An immense tank has been sunk, of 25 feet in diameter, and which holding capacity for 38,000 gallons of water. The gasometer will contain 7000 cubic feet of coal gas. The gas will be supplied from six retorts of large size, and the purifying and condensing apparatus is on the same extensive scale. The works have been erected by Messrs Laurie Layton, and CO., of this city, at an immense expense. The works are calculated to supply 600 burners.
Our inquiries having also extended to the nature of the foundations, we find that they have been laid upon a thick stratum of clay and are in several places ten feet deep. The walls to the height of twenty feet, are built with fire-brick, and these were allowed to rest for several months before finally built upon, so that it would appear that there is no chance of settlement. The roof has been constructed from a design furnished by Mr Merritt, the architect of the Victorian Exhibition building; and the building has from the very commencement been under the immediate superintendence of Mr Black, whose own experience in the conduct of extensive building operations has been combined with that of Mr Powell, of this city, from whom he has received the most effective assistance. For a list of the company, we must refer our readers to the advertisement in another column, by which it would seem that every attention has been paid to the securing of all the available histrionic and instrumental talent in the colonies. A great proportion of the members of the company have not hitherto made their appearance in Melbourne, but from the professional reputation of many of them, high expectations of excellence are held out. The stage will be under the direction of Mr Charles Poole, whose lady has been retained for what is designated leading business. Mrs Poole made her debut in Sydney about two months back, with considerable success, and we have heard several competent judges express a most favourable opinion.
The band is also the most effective one certainly that could be collected in Victoria. It will be conducted by Mr E. Thom, whose high attainments in his profession are acknowledged in England, as well as here. The principal scenic artists are Messer’s Horne and Holmes, Opie and Fry.
In order to ensure the complete respectability of the audience on the opening night, as well as to prevent an overcrowded attendance, the prices on that occasion will be raised beyond what is intended to be the scale for subsequent adoption. The opening address will be delivered by Mr Black, the proprietor: and the dramatic performances on the first night have been arranged to include Sheridan’s “School for Scandal”, a ballet divertissement, and the farce of the “actress of all work”; in the latter of which the celebrated infant actress, Miss Anna Marie Quinn, will make her debut.
Our attention has been directed to an [illegible] restriction which at present is imposed by the Governor in granting licences for dramatic entertainments – we allude to the prohibition of performances on Saturday evenings. In referring to this we do not wish it to be implied that it requires the opening of a large establishment like the Theatre Royal to attract our notice to this manifest absurdity. Some time back Mr Coppin endeavored to get up a memorial in favour of the theatres of Melbourne being, in respect to Saturday Night performances, placed on the same footing as those in Sydney: but he was not supported by some of the proprietors of the establishments which then only existed. The ridiculous notion that theatrical performances ought expressly to be forbidden on Saturday nights, when musical entertainments, including performances of vaudevilles, such as were played by the Nelson Family, and others, were allowed ought surely to be apparent in this day. Casinos and public houses are permitted to be open, and indeed it would almost appear that the sapient individual, whoever he was, from whom this nonsensical but oppressive restriction originally emanated, was so far blinded by his bigotry as to forget that his prohibition was in fact tantamount to forcing the public to the low dancing saloons and concert rooms for amusement, to the discouragement of a rational and improving entertainment such as the stage affords. We are informed that there is, in fact, no law under which the prohibition of theatrical performances on Saturday evenings can be maintained; and we therefor trust that his Excellency will at once see the necessity for dispensing with the annoying qualification contained in the present form of license, and which not only operates to the great disadvantage of the theatrical manager, but is decidedly an undue interference with the amusements of the public.
THE THEATRE ROYAL. (1855, July 10)., The Argus, 10 July 1855, 5
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We are sorry that want of space has compelled us to omit making mention of the establishment of a theatre in our colony. We have paid several visits to it and are highly pleased with the manner in which Mr. Cameron, the proprietor, conducts his establishment. The Pieces that have been represented have been got up in a creditable manner. Mr. We must not omit to mention Mr. Bonnar, whose representation of Baillie Nevil Jarvie, in the operatic play of Rob Roy, is most excellent. Mrs. Purnell, the principal actress, evidently takes much pains, and we predict that if she pursues the course she has hitherto followed, she will, ere long, take a high stand in her profession. The scenery and decorations are executed by Mr. Opie, and reflect great credit on that clever young artist. We trust that Mr, Cameron will be suc- cessful in his undertaking.
The Theatre, Adelaide Chronicle and South Australian Advertiser, 24 December 1836, 3
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The Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 10 March 1841, 3
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The Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 10 March 1841, 3
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THE THEATRE.—This place of amusement, "we are glad to see, still continues to draw tolerable, houses, though frequently not so good as we would wish to see. Mr Lazar continues. as indefatigable as ever in catering for the public entertainment. The pieces produced are generally of a light and amusing nature, which give more satisfaction than if heavy dramas were introduced. We trust soon to see better times, when Mr Lazar may expect his visitors to become more numerous.
The Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 10 November 1841, 3
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The Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 24 February 1841, 3
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We have scarcely vain glory sufficient to impress ourselves with the idea that our remarks last week have occasioned a better attendance at the Theatre than before; certain it is, however, that the last three nigbts have presented better filled houses tban for some previous. We are glad to note the improvement, and shall be pleased to see a still better attendance.
The Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 3 March 1841, 3
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The Theatre, Adelaide Observer, National Library of Australia, 28 December 1850, 3
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The Theatre, Adelaide Times, National Library of Australia, 17 October 1851, 3
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The Theatre, Adelaide Times, National Library of Australia, 18 October 1851, 3
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It is with great regret we observe that the Theatre is about to close, inconsequence of the small support which has met the energetic endeavours of the management. The theatrical year of 1851 commenced under the most favourable auspices. A new theatre, in dimensions equal to most of the minor London establishments, and decorated at an expense of two thousand pounds, was opened. An entirely new wardrobe, complete in every particit ar, and the scenic department under the manage ment of the first landscape painter in the colonies (Mr Opie) and a band headed by Messrs Moore and Wallace, and comprising our chief instrumen talists, offered such a prestige in favor of the Near Royal Victoria Theatre, that it was universally pre* dicted for once in the annals of theatrical specula tion that it must pay. But the addition of the great talents of Mr Coppin, who now joined the management, known and appreciated as they were [...] whether pioneers or new comers appeared to render assurance doubly sure; and the receipt of the first few nights certainly did not lessen the likelihood of the realization of such expeditions ...
The Theatre, Adelaide Times, National Library of Australia, 18 October 1851, 3
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The Theatre, Port Phillip Gazette, (Autumn), 1956, 34-38
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The Theatre, South Australian Gazette and Mining Journal (Adelaide, SA :, National Library of Australia, 21 August 1851, 3
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The Theatre, South Australian Gazette and Mining Journal (Adelaide, SA :, National Library of Australia, 24 January 1850, 3
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The Theatre, Southern Australian, National Library of Australia, 5 February 1841, 3
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The Theatre, The South Australian Register, National Library of Australia, 12 June 1841, 3
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The Chambers family continue deservedly to attract full and fashionable audiences, the vote nan skill and agility of the parent being all but eclipsed by tho dramatic powers of his son and the winning grace of his little daughter, who seems a veritable ' fairy from Fairyland ;' both presenting in their finished performances an epitome of the various excellencies of all ' Who in the dance sported merry toes, Taglionis and Ellslers, Duvernays and Ceritns.' Master Chambers advances other claims to popularity than that of an accomplished dancer. In his' performance on Saturday evening he exhibited comic powers of no mean class ; indeed, our old stagers, with few exceptions, might take lessons in pantomime from -either of these talented cliildren. As the short engagement of ' the Chambers family' will speedily terminate, we would remind those who desire to witness a display of dancing immeasurably superior to anything heretofore produced on our stage' that they have no time to lose!
The Theatre, The South Australian Register, National Library of Australia, 12 May 1851, 3
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The Theatre, The South Australian Register, National Library of Australia, 19 August 1851, 3
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The Theatre, The South Australian Register, National Library of Australia, 20 June 1851, 2
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THE THEATRE.—The general dulness of the town seems to have operated on our play going folks during the present week, the Theatre not being so well attended as usual; but we are happy to see it has not dampen the ardour of the manager—a succession of new pieces (or attrac- tive ones) having been produced, and the performers strive by every means to please. An amusing drama under the title of the Crown Prince was performed on Monday last, which was well received. Mr Lazar's personification of the Watch- man's son was admirable—his whimsical em- barrassment on being taken for the Crown Prince excited bursts of laughter; as did the exchange of dress from the Prince to the Watchman. There are some witty allusions in reference to the ministry, which told remarkable well, and the audience appeared to join in the [?] the little piece displayed. The [?] [?] of the Irish Trator followed, in which Mr J. Solomon sustained the part of Terry O'Rourke with great
The Theatre, The South Australian Register, National Library of Australia, 27 March 1841, 3
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The Theatre, The South Australian Register, National Library of Australia, 6 February 1841, 3
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Mr. Morton King made his bow last evening in the new theatre as Hamlet. The house was crowded, and all who were attracted by a previous acquain tance with Mr. King's ability as an actor, as well as those who had for the first time an opportunity to compare his performance with his reputation, had the satisfaction to find his nowers unimpaired, and that he enjoyed no exaggerated credit as a tragedian. The play was remarkably well got up...
The Theatre, The South Australian Register, National Library of Australia, 7 March 1851, 3
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By our advertising columns of to-day we find Mr Lazar, the enterprising manager of the Queen's Theatre, takes his Benefit on Monday next. Those who have watched the progress of the season, will admit that no pains have been spared on his part to secure for the proprietors good houses, and, for the public, rational and amusing entertainments. His exertions, both as actor and manager, deserve the highest praise, and we trust will be duly appreciated on his approaching benefit ; for our own part we have no doubt of seeing the most crowded house of the season. Mr Edwards (whose vocal talent is well-known and justly admired) gives his valuable services on the occasion ; also a gentleman amateur, of whom report speaks in very high terms; and the Bill of Fare throughout promises one of the most at- tractive evenings of the season. We can only repeat our wish to see a full house.
The Theatre. - Mr Lazar's Benefit, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 5 May 1841, 3
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The Theatre. Low Standard in Art. Judge Beeby's Views., Sydney Morning Herald, 12 December 1923, 17
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The Theatres, &c, The Australasian, 14 February 1880, 18
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The Theatres, Sunday Times, 28 June 1903, 2
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The Theatres, The Age, 2 November 1868
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The Theatres, Weekly Times, 28 May 1892, 17
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We understand that Mr Cameron has taken the store lately occupied by Mr Nemans, in North Terrace, which he intends to enlarge considerably, and fit up in a neat and handsome style. The theatre will open with "The Stranger" the character of the Stranger by Mr. Cameron, who was the original performer of that character in the neighbouring colonies. We learn also that Mrs Cameron, the O'Neill of the colonies, may be exported here shortly after the closing of the Sydney season.
The Theatricals, The South Australian Register, 9 November 1839, 5
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The Theft of Sita: A new wizard of Oz, The Independent, 24 October 2001
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THE THIRTY-EIGHT THEATRE, Sydney Morning Herald, 22 October 1938, 6
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The Times, 1 September 1920, 8
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The Times, 11 December 1930, 14
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The Times, 11 June 1997, 10
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The Times, 11 May 1992, 6
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The Times, 15 June 1997, 11
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The Times, 16 July 1997, 6
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The Times, 16 October 1964, 16
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The Times, 17 October 1919, 10
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The Times, 20 July 1991, 21
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The Times, 23 July 1921, 8
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The Torch Theatre for Adelaide, The News, 29 January 1934, 6
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The Trip To The Lakes, Launceston Examiner, 3 December 1867, 2
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The Trumpet Call, The Telegraph (Brisbane), 8 October 1892, 2
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The Trust's First Musical. The Boy Friend, Australian Elizabethan Trust, Sydney, 1956, 25-26
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The Twenties and All that Jazz, The Australian, 7 June 1983, 10
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The Ugly Duckling, The Register, 19 September 1922, 9
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The Union Jack, The Herald, 15 March 1889, 4
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The Union Recorder, 14 October 1971
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The Valley View, 26 June 2001, 10
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The Valley View, 27 January 1993, 15
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The Valley View, 29 June 1994
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The Valley View, 3 November 1993, 15
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The Vegetarian and the Hunter Arrive, The Age, 24 May 1965, 5
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The Vice-Regal Party, Barrier Miner, 26 June 1923, 1
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The Vice-Regal Tour, The West Australian, 14 June 1904, 5
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The Vice-Regal Visit, Sydney Morning Herald, 5 June 1905, 8
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The Village Festival, Sydney Morning Herald, 13 November 1886, 12
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The Voice of the Turtle, Sydney Morning Herald, 10 April 1945, 5
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Native Encamphent.—On Saturdry afterncon a few aborigines who have been seen abaut town of late pitched their wurieys on the banks of the Torrens, just to the north, of the Frorne Bridge. In the evening they treated a large number of persons who had been attracted to the spot with an exhibition of the "corrobboree.*' This dance, in consequence of the scattered state of the Adelaide tribes of blacks, is rarely seen in the city, and even when performed is devoid of much of that uaeartldy appearance which is natural to it, and which in the early days of the colony was a somewhat coveted sight. On Sunday the wurleys were visited by many persons, including a large number of boys, who were frequently more up roarious than the performers. It is said that some of these blacks are adepts in card-playing, and would be rather dangerous opponents to many of their white-faced brethren.
The Week's News, Adelaide Observer, National Library of Australia, 17 May 1862, 4
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The Week, Charles Mills, for the Telegraph Newspaper Company, [1876-1, Brisbane, 1 January 1876
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The Week, Chronicle, 11 July 1896, 9, 10
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The Week, South Australian Weekly Chronicle, 1 April 1882, 11, 12
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The Week, The South Australian Chronicle and Weekly Mail., 20 April 1895, 11
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The West (Fremantle) Province, Inquirer and Commercial News, (Perth, WA : 1855 - 1901), 6 July 1894, 17
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The West Australian Natural History Society, The West Australian, 6 October 1892, 2
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The West Australian, 2 November 1996, 10
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The West Australian, A Three Act Play, National Library of Australia, 15 January 1971
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The Western Liedertafel, Western Mail, 1 November 1890, 7
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On 4th September the Liedertafel gave a subscription concert at the Town Hall, being kindly assisted by the Fremantle Orchestral Society. This concert was a great success and resulted in a small credit balanoe to the funds after all expenses had been defrayed. It has also been decided, by the committee to provide silver lyres to be worn by performers at concerts, and a golden one for the use of the conductor. On September 23rd thirteen members of the society gave an entertainment to the inmates of the Fremantle Asylum, and were warmly thanked by the staff for their efforts towards brightening the lot of those poor people.
The Western Liedertafel, Western Mail, 30 July 1892, 4
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The Widowhood of Suzanne, Table Talk, 11 October 1928, 56
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The Winter of the 17th Doll, Sydney Morning Herald, 24 January 1958
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The word on the Melbourne Festival, RealTime Arts, 50, August 2002
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The Word, April 2006, 0
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The Word, December 2006, 0
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The Word, December 2006, 0
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The Word, February 2006, 0
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The Word, February 2006, 0
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The Word, July 2006, 0
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The Word, July 2006, 0
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The Word, June 2005, 0
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The Word, June 2006, 0
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The Word, March 2006, 0
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The Word, May 2005, 1
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The Word, November 2006, 0
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The Word, September 2005, 0
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The Word, September 2005, 0
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The Workers' Weekly, 12 March 1937, 3
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The Workers' Weekly, 12 May 1933, 2
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The Workers' Weekly, 14 April 1933, 2
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The Workers' Weekly, 20 April 1937, 3
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The Workers' Weekly, 24 March 1936, 4
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The Workers' Weekly, 28 April 1933, 2
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The Workers' Weekly, 29 October 1935, 2
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The Workers' Weekly, 9 February 1937, 3
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The Workers' Weekly, 9 February 1937, 3
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The World's Verdict, The Wagga Wagga Express, NSW, 22 August 1901, 2
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The World, 21 November 1916, 867
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The World, 4 September 1917, 231
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The Writer Behind Errol Flynn, Theatre Australia, The University of Adelaide, Library Special Collections, September 1979, 9
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The Yarrabah Concert, Morning Post (Cairns), 15 May 1908, 5
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The Yass Tribune, 24 October 1983, 0
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The Yeomen of the Guard, The University of Adelaide, Library Special Collections, 1936
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The Young Witness, 16 November 1953, 1
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The Young Witness, 20 November 1953, 2
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Thea Williams, The Australian, 15 September 2002, 4
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Theater Royal run for "Sarsaparilla", Sydney Morning Herald, 24 April 1963, 8
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The first night's representation of the 'Gambler's fate' and " Inkle and Yarico, was so favourable as to engage our attention on Friday night last, to see the repetition of these pieces. We were much disappointed, on finding the exertions of Mr. Cameron, to a very numerous and respectable audience so frustrated by the negligence and absence of several of his performers.
Theatre , Morning Star and Commercial Advertiser (Hobart Town, Tas. :, 16 January 1835
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BLUE BEARD
THOSE who have seen certain pieces performed in London, and afterwards see them here, witness the colonial representation at a disadvantage. Thirty-two years ago, we saw 'Blue Beard' in the old Theatre of Drury Lane; Palmer in 'Blue Beard,' Suett in 'Ibrahim,' Bannister in ' Shacabac.' Mrs. Bland in ' Beda,' Kelly in ' Selim.' The impression this gorgeous spectacle made, is well fixed in our memory. And after saying this, we must admit, that 'Blue Beard' has been got up by Knowles admirably. Had we seen other shewy pieces at the same are, we might have been equally impressed. Yet there, are reasons why ' Blue Beard' was pre-eminent above ' Cinderella' and other splendid Pantomimes founded on the nursery tales of the famous ' Mother Goose.' ' Blue Beard was the first of the many attempts to dramatise the old lady. The music of 'Blue Beard' has rarely been exceled for true harmony; that which touches the heart without breaking in on the feelings by a vulgar mechanical execution "of difficult passages." And the circumstance of 'Blue Beard' being announced by our Sydney Thespians, as it has been, with a sort of pomp, and as a piece of unusual merit, shows, that there is in this Turkish Romance something unusually imposing. The first scene, in which the incomparable march called "Blue Beard's March" is introduced, with a grand Turkish procession, was well managed; the new scene itself excellent. The charming duet between Fatima and Selim had to be omitted for though Miss Winstanley can sing, Peat cannot. The famous duet of "Tink a Tink," which was ground on the hand organs for years afterwards in the streets of London, and then relinquished with regret to give way to novelties, was capitally executed by Mrs. Jones, and got through tolerably by Buckingham, who, like Peat, is no singer, yet sang. Mrs. Bland's style of singing ballads was unique, and has, like Incledin's, never been equalled since. But if she sang "Tink a Tink" better than Mrs. Jones, she did not dance so well, for she was a little dumpling of a cherry-checked milk-maid in appearance. Miss Winstanley "would" have sung "When pensive" well, but for two things-first, she was frightened out of her wits, being a novice in singing in public; and next, she pronounced the words with too homely an accent. But for these faults, both easily remedied, she would have sung this beautiful air well. The dance between Mrs. Jones and Mr. Fitzgerald was well executed. Mrs. Jones's movements were singularly graceful, without anything to offend; which cannot be said of the Opera at home. Mrs. Downes sang "Love is a mischievous Boy" with great spirit and correctness. With practice, and aided by Mrs. Chester, these three actresses would get through a comic opera with éclat. They have the latent capacity. The dresses of Mrs. Downes, Mrs. Jones, and Miss Winstanley, were superb.
Theatre , The Sydney Monitor, Edward Smith Hall, Sydney, NSW., National Library of Australia, XI, 928, 27 August 1836, 2
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Theatre Accommodation in Sydney, Australian Town and Country Journal, 30 August 1879, 17
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Theatre Australia, October 1979, 24
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Theatre company overcomes problems to record $21,000 profit, Newcastle Herald, 10 April 1989
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Theatre fire, but show goes on, The Age, 25 February 1960, 3
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Theatre for Wollongong..., Theatre Australia, 5, 1, August 1980, 6
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Theatre Guild Has Big Plans, The Sun (NSW), 10 April 1946, 12
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Theatre Guild Play, Sydney Morning Herald, 6 March 1945, 4
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Theatre highspots from Adelaide Arts Festival, Australian Theatregoer, 1/1, Winter, 1960, 8-13
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Theatre in a Tent. Mrs. Sorlie's Twenty Years on Tour, Sydney Morning Herald, 11 December 1939, 9
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Theatre Incident, Evening News, 4 September 1902, 5
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Theatre is for actors, The Age, 1 June 1972, 19
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Theatre Lease Accepted For "Bless Bride", Newcastle Morning Herald and Miners' Advocate, 2 February 1951, 4
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Theatre Lecture To-night, The Canberra Times, National Library of Australia, 8 January 1954, 2
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Theatre lover had way with words, Sydney Morning Herald, 1 September 2012
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Theatre News, Illawarra Mercury, Theatre and Dance Platform, 26 May 2011, 26
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Theatre Owners Agree To Sell, The Mercury (Hobart, Tas. : 1860 - 1954), National Library of Australia, 8 November 1952, 7
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THEATRE ROYAL (1907, April 15)., The Herald, 15 April 1907, 5
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Theatre Royal - London Day by Day, The Age, 13 June 1892, 6
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Theatre Royal - Marmondelle the Moor, Sydney Morning Herald, 24 July 1893, 5
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Theatre Royal - The Trumpet Call, The Age, 4 July 1892, 6
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Theatre Royal, Brisbane Courier, Qld, 25 May 1900, 7
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Theatre Royal, Champion, 17 April 1897, 3
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Theatre Royal, George Street, Commercial Journal and Advertiser, 24 March 1838, 2
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Theatre Royal, Sydney Morning Herald, 13 August 1900, 3
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Theatre Royal, Sydney Morning Herald, 17 February 1877, 4, 5
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Theatre Royal, Table Talk, 16 May 1901
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Theatre Royal, Table Talk, 8 November 1900, 12
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Theatre Royal, The Advertiser, 2 October 1901, 7
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Theatre Royal, The Argus, 10 November 1866, 5
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Theatre Royal, The Argus, 14 June 1880, 6
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Theatre Royal, The Argus, 18 May 1903, 9
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Theatre Royal, The Argus, 21 October 1867, 5
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Theatre Royal, The Argus, 4 July 1892, 7
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Theatre Royal, The Argus, 5 November 1900, 7
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Theatre Royal, The Argus, 7 June 1897, 6
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Theatre Royal, The Grafton Argus and Clarence River General Advertiser, NSW, 17 July 1899, 2
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Theatre Royal, The Gympie Times and Mary River Mining Gazette, Qld, 14 June 1900, 3
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Theatre Royal, The Herald, 11 January 1897, 3
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Theatre Royal, The Herald, 13 May 1901
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Theatre Royal, The Herald, 15 February 1897, 2 - 3
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Theatre Royal, The Herald, 19 August 1899, 3
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Theatre Royal, The Herald, 25 January 1897, 2
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Theatre Royal, The Herald, 5 June 1897, 3
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Theatre Royal, The Herald, 5 November 1900, 3
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Theatre Royal, The Herald, 7 August 1899, 3
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Theatre Royal, The Mercury (Hobart, Tas. : 1860 - 1954), 2 January 1894, 4
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Theatre Royal, The Mercury (Hobart, Tas. : 1860 - 1954), 25 July 1870, 2
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Theatre Royal, The Mercury (Hobart, Tas. : 1860 - 1954), 4 January 1894, 3
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Theatre Royal, The Mercury (Hobart, Tas. : 1860 - 1954), Hobart, Tasmania, 14 October 1891, 2
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Theatre Royal, The Mercury, Hobart, Tas., 20 October 1900, 3
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Theatre Royal, The Mercury, Hobart, Tas., 23 October 1900, 3
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Theatre Royal, The Mercury, Hobart, Tas., 25 October 1900, 3
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Theatre Royal, The Telegraph, Brisbane, Qld, 12 August 1898, 4
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Theatre Royal, The Telegraph, Brisbane, Qld, 17 December 1897, 5
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Theatre Royal. "Girofle-Girofla"., The Telegraph, Brisbane. Qld, 11 August 1898, 4
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Theatre Royal. "Maritana", The Telegraph, Brisbane. Qld, 13 August 1898, 6
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Theatre Royal. "Sins of a City", The Tasmanian News, Hobart, Tas., 15 October 1900, 2
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Theatre Royal. "Sins of a City", The Tasmanian News, Hobart, Tas., 17 October 1900, 2
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Theatre Royal. "Sins of a City"., The Mercury, Hobart, Tas., 17 October 1900, 2
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Theatre Royal. "The Christian", The Grafton Argus and Clarence River General Advertiser, NSW, 25 March 1901, 2
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“La Sonnambula” was repeated last evening for the third time, to a well-filled house, and the applause was as hearty as it was occasionally undiscriminating. On Monday night, Mr. John Black takes a complimentary benefit, under the immediate patronage of Sir Charles Hotham.
THEATRE ROYAL. (1855, October 27), The Age, 27 October 1855, 5
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During the last week, the interior of the Theatre Royal has undergone such a thorough transformation that it was scarcely recognisable under its new aspect when opened for promenade concerts on Saturday evening. These entertainments are, we believe, the joint enterprise of Mr W. S. Lyster and of Messers, Spiers and Pond, and they have been got up with a liberality of expenditure, and are conducted in a spirit, which entitle them to the success achieved by the first of the series. The pit of the theatre has been boarded over on a level with the stage, and as the whole depth of the latter has been thrown open, an immense area is thus secured for promenading. An elevated orchestra has been constructed immediately beneath the proscenium, and is occupied by a band which includes most of the best instrumentalists in Victoria, under the conduct of Mr. A Rolff. The stage itself presents the appearance of an elegant pavilion, decorated with shrubs, and brilliantly illuminated, and the general effort is light and cheerful, and reflects great credit on Mr. Hennings, who has superintended its metamorphosis. Where the wings need to be on either side, four spacious alcoves have been erected, furnished with lounges and marble tables, the walls being ornamented with fluted drapery of various colours; the unsightly flies are concealed from sight by folds of particoloured cambric; and at the extremity of the stage the roof of the pavilion slopes down to what resembles a balcony, looking out upon a view of the Bay of Naples, from the expert pencil of Mr. Hennings. Along this balcony is ranged a refreshment bar, in the arrangement of which a good deal of taste has been displayed. We should also mention that the Vestibule has been redecorated and renovated, and constituted a sort of smoking saloon, as this practice is rigidly interdicted in the theatre; nor was there any attempt to resort to it on Saturday evening on the part of the promenaders, amongst whom the utmost decorum prevailed. Between 2000 and 3000 persons were present, notwithstanding the unfavourable condition of the weather; and the house presented a really brilliant aspect, whether viewed from the boxes or the promenade, recalling to recollection the appearance of Drury Lane when Jullien used to wield his baton, with so much affectation and effect, in an orchestra which has contributed two or three of its best soloists to that of the theatre royal.
It is unnecessary to say that as the principal vocalists presented themselves to take part in the concert they were greeted with acclamations, and that the appearance of each of them was a signal for the promenaders to gather in a compact mass round the centre of attraction. The programme was judiciously selected, for while the works of the best composers were not neglected in it, it comprehended some of those Jullienesque polkas and quadrilles which are so popular with a mixed audience; and the vocal pieces embraced familiar ballads, as well as selections from choice operas. Madam Lucy Ascott was in excellent voice, and sang the “Robert, toi que j’aime” splendidly; and great praise must also be awarded to Mr Henry Squires for his beautiful execution of “Come into the garden, Maud.” In the famous old ballad of “Sally in our Alley” he was vehemently encored, and a similar compliment was awarded to Mr Farqhuarson for his spirited delivery of the descriptive scenes of the “Ship on Fire.”
Among the instrumental selection given on Saturday evening, special mention must be made of a clever pot pourri, arranged by Mr. Reiff; and the “Carnival of Venice,” with variations for a number of instruments, arranged by Herr Siede, whose solos on the flute were as admirable as those on the flageolet and cornet a-piston by Mr. Kohler, who rivals his former colleague, Herr Koenig.
Altogether the performance was extraordinary, when we take into consideration that the price of admission to all parts of the house, except the dress circle, was only a shilling. A few years ago, people in Melbourne would have cheerfully paid half a guinea admission to an entertainment of a far inferior character, and it is not surprising, therefore, to find so large a concourse of persons flocking to the Theatre Royal on Saturday evening, in spite of the rain, and mud, and cold, to listen to what we must characterise as the cheapest and pleasantest popular concert ever given in this city.
THEATRE ROYAL. (1862, May 26)., The Argus, National Library of Australia, 26 May 1862, 5
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THEATRE ROYAL. (1903, December 17)., Table Talk, 17 December 1903, 15
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THEATRE ROYAL. (1904, March 14)., The Herald, 14 March 1904, 3
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THEATRE ROYAL. (1907, April 8), The Herald, 8 April 1907, 5
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THEATRE ROYAL. (1907, October 7)., The Herald, 7 October 1907, 5
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Theatre Royal. Criterion Burlesque Company, The Morning Bulletin, Rockhampton, 27 March 1896, 3
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Theatre Royal. Criterion Burlesque Company. "Aladdin, or the Wonderful Scamp", Morning Bulletin, Rockhampton, Qld, 26 February 1898, 5
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Theatre Royal. Criterion Burlesque Company. "Fra Diavolo"., The Morning Bulletin, Rockhampton, Qld., 27 March 1896, 4
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Theatre Royal. Criterion Burlesque Company. "Sinbad the Sailor"., Morning Bulletin, Rockhampton, Qld, 24 February 1898, 5
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Theatre Royal. Kate Howard Vaudeville Co., The Gympie Times and Manning River Mining Gazette, Qld, 7 June 1900, 3
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Theatre Royal. Kate Howarde Dramatic Company. "A Midnight Mystery", The Morning Bulletin, Rockhampton, 7 March 1903, 5
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Theatre Royal. Kate Howarde Dramatic Company. "The Silver King", The Morning Bulletin, Rockhampton, 6 March 1903, 5
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Theatre Royal. Kate Howarde Opera Company., The Telegraph, Brisbane. Qld, 15 August 1898, 5
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Theatre Royal. Miss Howarde's Season, The Brisbane Courier, Qld, 29 January 1903, 5
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Theatre Royal. Miss Kate Howarde's Company., Brisbane Courier, Qld, 21 May 1900, 5
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Theatre Royal. The Howarde Company., The Mercury, Hobart, Tas., 24 October 1900, 2
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Theatre Royal. When London Wakes., The Tasmanian News, Hobart, Tas., 19 October 1900, 2
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We were glad that our vaticination as to there being a crowded house on the occasion of the complimentary benefit to Mr John Black, as the originator of the Theatre Royal, was in every respect fulfilled last evening. Every part of the theatre was crammed, and the ladies of Melbourne, by their attendance in considerable numbers, satisfactorily proved that the appreciation of Mr Black’s efforts was not confined to the citizens of the other sex. His Excellency had announced his intention of patronising the performances; and in consequence of the non-arrival of the vice-regal party until nearly half an hour after the time advertised for the commencement of the evenings entertainment, a delay to that extent was occasioned. This arose out of the custom (“More honoured in the breach than the observance”, since the etiquette does not appear to be reciprocated) of inaugurating proceedings by the performance of the National Anthem on the Governor’s entering his box. The delay caused considerable dissatisfaction, and no doubt will account for the large proportion of hisses which characterised the reception of the Vice-Regal party on their entering of the theatre. At this time the appearance of the audience part of the house was brilliant in the extreme, the dress circle being completely occupied, and the gorgeous attire of the ladies mingling with the handsome uniform’s and dress-appendages of the officers of the garrison and the Rifle Corps, presenting a very splendid Coup d’oeil.
The curtain at length having been raised, the following address, written expressly for the occasion, was spoken by the author R. H. Horn, Esq., author of “Orion” &c,’ President of the Melbourne Garrick Club:-‘
How many centuries have slowly roll’d
Their great events o’er our maternal lands:
Lands we may well regard as nations old
While we are infants – but with giants hands:
Men’s heads, and their experience here, are young;
Their working powers have grown too fast and strong.
Hence have their vigorous hands too much essayed:
Accomplished mighty things against time and tide,
Then stagger’d ‘neath the conquests they have made,
O’er leaped their sells – and “fall’n o’the other side;”
While adverse winds, changed times, bad luck, bad weather,
None could foresee, came howling on together.
Men speak in this not only for themselves;
Merchants, mechanics, tradesmen, stockmen, sailors,
Land-owners, speculators – cunning elves –
Rich jewellers, drapers, publicans and tailors;
Nay, millionaires, with all their golden bobbery,
Have burned their fingers with the cleverest jobbery.
Grant some men built too fast, - imprudent, wrong, -
Would prudent men have given you such a house?
You have Black’s work, may you enjoy it long;
His tenure here at best is hazardous;
Lessees and managers are like new plays;
None can predict the number of their days.
But though great loss is all their present mead,
You would not in the first act see them die?
Help them once more to take the field and bleed:
They have fought bravely in their infancy.
You will not suffer, as their final gains,
A falling room to crush them for their pains?
The shadows of the night are but the nurse
Of flowers, fruit, foliage, ere the sun arise:
No spirit lies with in you creeping hearse –
It soareth upward to the opening skies!
Nor doth it need romance or poet’s verse
To tell how art my droop – it never dies;
So shall the drama live through cloudiest nights –
Here strike its roots and teach while it delights.
The opera of “La Sonambula” preceded by Flotow’s fine overture to “Stradella” was repeated for the fourth time, and achieved, as on the previous occasions of its performance, the most unqualified success. Miss Hayes was in magnificent voice, and threw great vigour into her acting. Madam Carandini was also most successful in her impersonation of Elvino. At the conclusion of the opera Mr. Black was loudly called for, and at length appeared in front of the curtain. Addressing the audience he said that he thanked them for the manner in which they had evinced their sympathy with his reverses and their approval of his enterprise. “He had, like others, been blamed for what he could not avoid, but he would ask these self-appointed accusers, whether, in the event of their having sustained the losses that he found accrued from the speculation, they would not have left the theatre a heap of ruins rather than have risked their all by finishing it. He wished particularly to thank Miss Catherine Hayes and the company attached to the theatre, who had given their gratuitous services that evening; and , in conclusion, begged to thank the company for their countenance that evening, which sufficiently proved to him that he preserved the esteem of the public, notwithstanding the reverses which had overtaken him.
The remainder of the entertainments, consisting of the performance by Miss Sara Flower (who was evidently suffering from severe indisposition) of the celebrated romance “Robert, toi que j’aime,) and the ballet of “La Giselle”, were scarcely so successful with the audience as the opera. With regard to the ballet, we must suggest an alteration in the ladies dresses, especially in the second act; for, with respect to this species of performance, it is absolutely absurd for the corps de ballet to appear in long dresses, or rather robes, such as were worn last evening.
THEATRE ROYAL.—MR. BLACK'S BENEFIT. (1855, October 30)., The Argus, 30 October 1955, 5
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Theatre scene thrives: Launceston boasts a flourishing arts culture, thanks to rival groups working together to bring the city a high standard of entertainment, The Examiner, 18 July 2011, 6-7
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Theatre Stars Share Joke, The Telegraph (Brisbane), 14 November 1949, 7
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Theatre Stars' Wardrobe, The West Australian, 3 September 1949, 14
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Theatre to Close: Fire Threat, Sydney Morning Herald, 3 April 1959, 7
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Theatre Week, 5 December 1988, 18
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Theatre's Brave Presentation of Ned Kelly, Sydney Morning Herald, National Library of Australia, 21 March 1947
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THEATRE - A Mr. Spencer, recently arrived from Hobart Town, made his debut on Monday evening in the character of Gloster, in Richard III., probably, with one exception, the most difficult character that was ever conceived by a performer, and one with which most playgoers are familiar. Mr. Spencer was well received on his first appearance, but had hardly got through his soliloquy before evident marks of disapprobation were shown; indeed, from the hurry to hiss, which was evident, it appeared as if a few persons were determined that Mr. S. should not have a fair trial, but they gained "nothing by the motion," for this evident desire to depress Mr. S. had the effect of making the other portion of the audience rather warm in his defence, so that at least it may be said that "the Ayes had it." Mr. Spencer, by his dress and general manners on the stage, showed that he will be an acquisition to the Sydney Theatre; but what could induce him to make choice of such an arduous character as Gloster, for his first appearance it is hard to conceive, as he must have been aware that he could hardly make a hit, when had he come out in any minor character he would have been sure to please the public. From the manner in which he played in the fifth Act, we should imagine that melo-drama rather than tragedy could be Mr. S's. forte, for his action was certainly not very tragic. Mr. Spencer gave the public what they seldom enjoy the benefit of in Sydney, the words of the author from first to last. Although Mr. S. will probably be permanently engaged by the Managers, it is not likely that he will again appear in Richard, and in any character of a common description he will be almost sure of succeeding. The other characters were mostly […] played; Knowles’s Buckingham, Simmons’ Richmond and Master Jones’ Duke of York being well supported. Mrs. Downes, as the Duchess of York, looked like anything but a Lady of fourscore. Mrs. Taylor played Lady Anne with no spirit; indeed, tragedy is out of her line. On Mrs. Jones' Queen Elizabeth it would not be fair to pass any remarks, as she had but a very short notice to play the character, which was intended for Miss Winstanley, who in consequence of a quarrel with the manager, has left the stage. The visitors of the Theatre will be sorry to hear this; for although Miss W. had little versatility of talent, yet her pleasing, unaffected demeanour, while on the stage, had rendered her a great favourite. Mrs Jones was to have played the Prince of Whales, a character which was assumed by a little girl (a sister, we believe to Master Jones) who went through the part with the same tone of voice, and with much the same gestures that children repeat poetry at school. The house was very full, every portion being crowded, a proof that however ill it is played, the public are and will be admirers of what is properly called legitimate drama.
Theatre, Edward Smith Hall , Sydney, NSW., National Library of Australia, XI, 869, 3 February 1836, 2
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We attended the Theatre on Saturday night last, and were highly gratified with the performance, for. notwithstanding, the house was so poorly attended, there was no want of exertion on the performers' parts, to please. Greet praise is due to Mr. and Mrs. Cameron, who have been at a heavy expense, in affording the public a proper, selection and concentration of talent. We really wish our townsfolk would dispel the gloom and apathy that seem to pervade them ; and lessen that apparent distaste, by patronising, as far as their means will afford, this pleasing and instructive source of amusement. No fault what ever, can be found now. with the comfort and convenience intended for the audience, as the greatest decorum was observable in the upper seats, where we saw many old faces, who formerly visited the rooms, in their chaotic state, and who show their sense of Theatrical improvement, under its present directors, by the most orderly behaviour. We say, without fear of contradiction, that the most modest and affected may safely visit the Theatre, without fear of offence or insult. The Gambler's Fate, a new drama here, was performed in a very respectable and interesting manner. " Mr. Camerons "' performance of the deluded " Albert,'' was studious, chaste, and void of those exaggerations so prevalent in Melo Dramas. We should be deficient. Indeed, did we not praise Mrs. Cameron's finished and touching delineation of the distressed, broken hearted, and motherly " Julie.'' Mr. Grenville's declamation was far from pleasing ; but his manner and action were very expressive of the distressed feelings of an unhappy and disappointed parent. Mr. Fenton's " Malcour," was a masterly piece of finished villainy ; and however despicable the real character, the performer's delineation merited great praise. Mr. Mackay, as usual, was perfect and masterly, in " Dumont ;" if there is one declaimer superior to another in the company, it is he. Old Jacobs was at home, but certainty bore more than usual the appearance of " Major Sturgeon," and acted more like Bombastes Furioso, than a French officer. The trifling, yet interesting character, of "Henry," was attempted by a new candidate, who was smartly trimmed, as a young officer should be ; but his deficiency of physical powers and strength, united to his inexperience of the art, rendered him totally incompetent to represent those transient changes of nature, incidental to such characters. He must therefore have failed, had he not been so powerfully assisted by Mrs. Cameron as a mother, in the most exciting part of the piece. We do not wish to offend him, but must observe that his person appears too well fitted for the costume of a light company man ; and however his vanity may exceed his conception, we never expect to see him a tragic hero equal to " Alexander the Great." For reasons so powerful, we advise him to try to dispel his Theatrical mania, and renew his more profitable and stenographic avocation. The other characters were generally respectably supported ; and the whole company, throughout the performance, did great credit to the laborious instructions they must have received from the Managers.The evening's amusement closed with that very amusing and pleasing piece, Inkle and Yarito. Mr. Spencer is generally much too volatile. We hope that frivolous, fripperish manner, in which he indulges too much, is occasioned by his anxious precipitance to please ; to effect that he must act less. Mr. Jacobs, if he will exercise his common sense and discrimination, will use less of that extravagant mimicking elasticity, as such outstrips nature, in such characters as Medium ; and which savors so much of buffoonery,—he should recollect he is not playing the mountebank, nor to a Bartholomew Fair audience. Mr. Fenton's " Sir Christopher Curry," was admirably seasoned, and wanted not for cayenne. The little remonstrative dialogue between him and Inkle, was very respectably maintained. Mrs. Cameron's Yarico, although considered a very trifling character, was a specimen of characteristic, wild elegance, rarely to be seen. The whole evening's performance, considering the disadvantages under which the Manager labors, was very respectable ; and not at all inferior to the productions of many of our provincial Theatres in England. In a general point of view, it could not fail to gratify the most fastidious observer. We understand the Theatre will be opened three nights a week, and as The Gambler's Fate, which is an instructive lesson to youth, will be repeated, we hope its interest will increase, and draw good Houses.
Theatre, Morning Star and Commercial Advertiser (Hobart Town, Tas. :, 6 January 1835, 2
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Last week was closed the first season of the performance of the legitimate drama in Van Diemen's land. When the curtain dropped Mr. Cameron came forward and addressed the audience in the following terms:— Ladies and Gentlemen,— As the first season of the first theatre in Van Diemen's Land has drawn to a close, it is with the deepest feelings of gratitude that I present myself before you to return my most sincere thanks for the warm support you have been pleased to bestow upon our exertions, and believe me those exertions will never cease till I render the drama in this part of the world still more worthy your approbation and sup- port. But I have farther to thank you for the pa- tience and indulgence with which you have overlooked the many deficiencies attendant up- on a first attempt. I have also to return the heartfelt thanks of Mrs. Cameron and the members of the com- pany generally for the cheering favor with which you have invariably received their en- deavour to please. And now ladies and Gentlemen, till I have the pleasure of meeting you in a more com- modious edifice, which the spontaneous kind- ness of the public is now preparing for me, I respectfully bid you farewell. On Monday the whole of Mr. Cameron's company, with all the scenery, dresses, and decorations proceeded across to Launceston. The room engaged there is far more spacious and convenient for the purpose than that at the Freemason's Tavern, in which Mr. Ca- meron has so successfully commenced dramatic exhibitions in Van Diemen's Land. If carried on in the orderly and prudent manner in which it has hitherto been conducted, he cannot fail to succeed and give much public satisfaction
Theatre, The Hobart Town Courier, National Library of Australia, 30 May 1834, 4
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Theatre, The Sydney Gazette and New South Wales Advertiser, 2 October 1834, 2
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THEATRE.—The celebrated spectacle of "Blue Beard" was brought out on Thursday evening, in a style that, taking into consideration the smallness of the house and other disadvantages, may be justly called surprising. The dresses were splendid and appropriate; and the scenery and decorations generally, were of a description far superior to anything before produced in the Colony. The piece opens with a view of Ibrahim's cottage, with a mountainous country in the back ground, over which the grand procession of Blue Beard, who is on his way to the cottage for the purpose of taking Fatima to the castle, is seen advancing. This scene was well managed, and the view of the procession on the hill, with the distant music, had a very good effect. The procession looked splendid; and the supernumeraries had evidently been well drilled. The chambers in Blue Beard's castle (especially the blue chamber) were very well painted,—indeed he new scene painter appears to under- stand his business. The view of the exterior of Blue Beard's palace, with the gardens, was also very good ; and, on the whole, the piece was got up in a manner that we hope will draw such houses as will remunerate the proprietor. The marches and other music were appropriate and well played. Abmelique (Blue Beard) was well played by Knowles, who looked the character admirably; Simes, as Ibrahim, displaced some humour, although rather out of his line when playing an old man ; Buckingham's Shacabac was very middling, we have seen him play a comic character better ; in his part in the duet of "Tink a Tink," he sang but very poorly, but he made a much better attempt at his comic song. Miss Winstanley was an interesting Fatima, and made a very good attempt at singing "While pensive I thought of my Love," although her excessive timidity (a fault not often chargeable to Miss W.) prevented her giving herself fair play ; Mrs. Downes, as Irene, displayed considerable vivacity and tact, and introduced the song of " Love was a mischievous Boy," which she sang with much taste; Beda was remarkably well played by Mrs. Jones, who (with Mr. Fitzgerald) went through a very graceful dance in the garden scene. It would be doing injustice to Messdames Winstanley, Downes, and Jones, not to mention the elegant and characteristic manner in which they were dressed. From the manner in which the piece was received on Thursday, there is no doubt of its being a favourite. This evening, a gentleman, who has played at several of the London theatres, will make his debut on the Sydney stage as Richard III.
Theatre, The Sydney Herald, Ward Stephens and others. , Sydney, NSW., National Library of Australia, VI, 505, 29 August 1836, 2
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Theatre, Trumpeter General, 24 October 1834, 2
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THEATRES AND ENTERTAINMENTS., The Argus, 14 June 1897, 7
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THEATRES AND ENTERTAINMENTS., The Argus, 3 October 1891, 11
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Theatres and Theatricals, The Sydney Gazette and New South Wales Advertiser, 4 December 1841, 2
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Theatres from Wagga Wagga's Past, Riverina Weekender, 12 January 2013, 12
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Theatrette for B.H. Repertory Society, Barrier Miner, 4 August 1962, 3
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Theatrical Big Wig Slated, Truth, 9 June 1940, 16
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Theatrical bonanzac, The Bulletin, 12 April 1961, 3
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From the first of next month an important change will be made in theatrical management, not only in Victoria but also in the other colonies, which must have a potent effect in determining whether or not the stage, as an influence on the community, is to be more of less powerful than it has been in the past. For many years Mr Coppin, associated with gentlemen whose names have been before the Victorian public for a long time, has been at the heed of theatrical affairs as far as Melbourne is concerned, and during that time the management of the Theatre Royal can fairly claim that not only has the pleasure of their patrons been studied, but that commendable efforts have been made to advance the interests of the drama. The limits of this notice would not suffice to enumerate a very small number of the artists who from time to time have graced the boards; but it is sufficient to say that we have had amongst us men who have acquired a reputation that is worldwide, a result due to the enterprise of those who have catered for the public amusement. Mr Coppin and his confreres have grown grey in management and having reached the age when rest is desirable have transferred the management to other and younger men. On the 1st of July next Messers Williamson, Garner and Musgrove become the lessees of the Theatre Royal, Melbourne and Sydney, The Princess’s Theatre, Melbourne, and the opera House; and we also understand that they are connected with Mrs Allison, the lessee of the principal theatre in Adelaide. Each of these gentlemen has had a lengthened experience of the requirements of the colonial stage. Mr Williamson is an actor who in his peculiar line occupied a foremost position on the stage. Mr Garner was a member of the finest comedy company that had ever visited Australia and has since had a very long experience as a manager in Sydney; while Mr Musgrove, a nephew of the late Mr W S Lyster, made a brilliant success of his first managerial venture when he brought out the Tambour Major company that recently created such a furore at the Opera House. This is a combination of business and dramatic talent that cannot be excelled in the Australian colonies, and must result not only to the satisfaction of the public, but to the pecuniary benefit of those immediately concerned. The new managers propose to produce in rapid succession the latest and best dramatic and musical pieces, with that attention to detail which distinguishes the best English and Continental theatre, and which goes so far to insure the success of a piece, Messers Hennings and Gordon, whose reputation as scene painters is as high, if not higher, than any other two men in the profession, have been specially retained for this important branch of the art, and from the fact that the management intend to keep their theatres always open it is certain that actors will not have the slightest difficulty in obtaining engagements. Mr S French, one of the leading dramatic agents in London, has received carte blanche to forward any new pieces that may be produced in the old world irrespective of cost, and each will be given in exactly the same manner as it is in London or Paris. Orders involving large sums of money have been sent home to augment the wardrobes and scenic accessories of the various theatres, and with the amount of capital that has been put into the concern, it is certain that success will be deserved and is sure to follow, as the Australian public readily appreciate every effort that is made for their amusement. The first performance under the new management will be Patience at the Theatre Royal. This comic opera is said to be the most successful of the many comic operas that Messers. Gilbert and Sullivan have written, and will be produced with an exceptionally strong cast, backed by all the assistance that scenic effect and stage mechanism of the highest order can give. The company will probably include misses Alice Ross, Beaumont, Verdi, Vernon and Ford, besides others of lesser face, assisted by a capable chorus, and an orchestra under Mr Van Ghele, which is sufficient guarantee for its excellence. Patience will be succeeded by La Mascotte, a French opera bouffe of something the same character as Madame Favart, and which has been a great success in London and Paris. La Mascotte will be followed by Billie Taylor, and this in its turn, will give way to a dramatic season, which will commence with The Lights of London, Mr Rignold and the company which recently played Youth being the dramatis personae. Other novelties will follow, and the dramatic season will continue up to Christmas, when some new comic operas will succeed. On the 9th July Miss Emilie Melville, who was a great and deserved favourite when she last appeared before a Melbourne audience, will open at the Opera House in La Perichole with a strong company, but for obvious reasons the names at present are not given. She will continue the season until the time when Messrs. Wallace and Dunning’s occupancy commences. These gentlemen are now in England, and according to recent advices are engaging a strong company, and securing some novelties with which to commence their season in November next. At the Prince’s the Grasshopper will be succeeded by a farcical comedy entitled Where’s the Cat, which has been a wonderful success at the Criterion Theatre, London, and on its withdrawal Miss Jennie Lee’s company will probably go to Sydney, and Miss Melville will appear at the Princess’s. The companies of the three theatres will visit Sydney at intervals, and the whole of the houses under the presented management will be improved and redecorated before any representation is given. Altogether a new order of things is promised, and if it is carried out, as we have no doubt it will be, not only the public, but the profession, will be the gainers.
Theatrical Changes, The Age, National Library of Australia, 24 June 1882, 3
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Theatrical Gossip, The Newsletter: an Australian Paper for Australian People, 3 July 1909, 2
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Theatrical happening, The Age, 29 January 1970, 20
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Theatrical Hatchery, The Sun (NSW), 11 September 1950, 13
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Theatrical Identity. W. Newton-Carroll, Glen Innes Examiner, 17 July 1934, 6
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Theatrical Law Suit, Newcastle Morning Herald and Miners' Advocate, 2 April 1896, 5
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Theatrical Notes, Sunday Times, 15 January 1899, 6
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Theatrical Notes, West Australian Sunday Times, Perth, WA, 31 December 1899, 4
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Theatrical Wedding at St Marys, The Sun (NSW), 26 January 1940, 9
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Theatrical, Sunday Times, (Perth, WA : 1897 - 1902) , 2 December 1900, 12
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Theatricals , The Australian, George Williams, Sydney, NSW., National Library of Australia, II, 134, 4 November 1834, 2
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Theatricals and Music, Bell's Life in Victoria and Sporting Chronicle, 18 September 1858, 2
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WE some time ago predicted that the state of public feeling in Adelaide was not of such a nature as to afford a rea- sonable prospect of support to a public place of amusement of such an extent as the Queen's Theatre, and we ven- tured at the time to suggest to Mr. Solomon, that, even as a money specu- lation, his new erection was better likely to pay if devoted to some general public purposes. The trial of a single season has convinced Mr. Solomon that we were right, and, on Saturday last, he dismissed the whole company, and on Monday commenced taking up the benches in the pit, with the view of throwing open the whole premises to the public. What definite plan Mr. Solomon intends to adopt, we have not yet heard ; but, as for Theatricals, this is to be considered as another abortive and unsuccessful attempt to establish them in the colony.
Theatricals in Adelaide, Southern Australian, National Library of Australia, 27 August 1841
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Mr. Jacobs had a full benefit at the Theatre on Tuesday night; and we learn that his brother actors intend giving him another night on Fri- day. Jacob is a good actor, has exerted himself a great deal, and being embarrassed in his pecuniary concerns, we shall be glad to hear that his second benefit is a bumper. Mr. Cameron, the Manager of theTheatre, pro- ceeds, we hear, to Sydney, on a theatrical mission; his duties during his absence being undertaken by Mrs. Cameron, whose abilities in this department we believe to be unquestionable; but who would feel herself in a very trying situation, but that we are cer- tain every assistance will be rendered her by the com- pany during the absence of her husband. The patron- age, indeed, which the Theatre has received at Launceston is such as to command the undiminished exertions of every actor possessed of proper feeling. An active and efficient Stage Manager has been en- gaged.
Theatricals, Launceston Advertiser (Tas. : 1829 - 1846), National Library of Australia, 11 September 1834, 3
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Theatricals, Launceston Advertiser (Tas. : 1829 - 1846), National Library of Australia, 11 September 1834, 3
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Theatricals, The Australian, 13 July 1832, 3
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Theatricals, The Australian, 13 July 1832, 3
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Theatricals, The Maitland Mercury, National Library of Australia, 12 July 1845
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Theatricals, The Maitland Mercury, National Library of Australia, 20 March 1847, 2
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We are pleased to observe from an advertisement elsewhere that Mr Cameron, from Sydney, is about to give a series of dramatic entertainments to our co- lonists. Such a thing is much wanted here— the absence of public amusement hitherto having been much felt. Mr. Cameron may, we think, calculate on having flowing houses, provided he is careful in his selections; and, from what we have heard of him, we have no doubt but he will pay due attention on this point, and make his theatre a place where a few hour's pleasant amusement may be had during our long evenings.
Theatricals, The South Australian Register, 26 October 1839, 5
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THEATRICALS. (1835, February 13)., The Australian, 13 February 1835, 2
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THEATRICALS. (1835, February 20)., The Australian, 20 February 1835, 2
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Their Enthusiasm Made Theatre From Warehouse, Sydney Morning Herald, 20 October 1959, 9
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Their own critics soon, The Sun (NSW), 19 February 1959
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Amateur dramatic company in Adelaide, founded in 1931 by Kester Baruch and Alan Harkness. Closed 1935. venues North Terrace. King William Street South. first production Demon's Mask translated by Arthur Waley, 23 December 1931. Cast: Alan Harness, Kester Baruch. Choroegraphy: Mina Bauer. landmark productions The Poetasters of Ispahan by Clifford Bax and Suilven and the Eagle by Gordon Bottomley, July 1934.
During the Great Depression Alan Harkness and Kester Baruch founded Ab Intra – Latin meaning ‘from within’ – and gave a new visual emphasis to theatrical production in Adelaide. Harness, an actor, had been trained as a painter and he believed in visual communication with an audience. Baruch was a writer and lighting designer. They also improvised living quarters and a workshop. In a larger space on the ground floor, coffee was served during intervals. Baruch devised lighting and scenic effects, and Harkness was designer and director. Both men also acted. Other actors included Agnes Dobson, Patricia Hackett and Robert Helpmann. There were also dancers – Mina Bauer, Walter Dasborough and Joan Joske from Melbourne. Ab Intra, operating as a club, mostly presented one-act plays or dramatisations of poems by European writers. Its first production, Demon’s Mask, was a one-act Japanese noh play. In August 1931 they presented another, The Robe of Yama, after a year’s preparation. It had music especially written by Spruhan Kennedy, and created an appropriate sensation. Douglas Loan wrote in Town Topics magazine that in its Oriental splendour and visual symbolism the production’s ‘sheer plunge into the icy waters of unorthodoxy’ left him breathless. ‘Every movement of the finger is a lyric poem in itself’, he write. ‘Ab Intra is not a hothouse of fanatics…whatever be its faults – and there are many – it cannot be fairly accused on being a stunt.’
Much of the company’s work included dance and mime, sometimes to the accompaniment of poetry. There is a vivid account of the style in Lilias Gordon’s down-to-earth review in Adelaide Truth: ‘How on earth Kester Baruch and Alan Harkness achieve their lightning effects with the aid of ingenuity and jam tins, would earn then positions with any electric power company. Joan Joske makes up her dances as she goes. There are time when she looked like an Egyptian traffic cop, and there are others when she appears like an underwater shot of Undine. There is something strange and almost terrifying in her lean brown hands and arms, that are as sinuous as a Javenese dancer’s…’.
Ab Intra’s repertoire had a strong symbolist bias. It included plays by Leonid Andreyev, Clifford Bax, Jacques Copeau, Nikolai Evreinov, Luigi Pirandello, August Strindberg and Thornton Wilder. Late in 1934 Ab Intra and Patricia Hackett’s Torch Theatre joined in a season of short classics. In 1934 Ab Intra produced two long plays, The House into Which We Are Born by Copeau and Martine by Jean-Jacques Bernard. In March 1935 Baruch and Harkness gave two benefit performances in the home of the Lady Mayoress, Mrs J.L. Bonython, and then left for England.
Thelma Afford, Ab Intra Studio Theatre, Companion To Theatre In Australia, 1995, 11
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Thelma Afford, Ab-Intra Studio Theatre in Adelaide 1931 - 35, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 12/13, 1988, 167 - 180
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Thelma Afford, Adelaide Repertory Theatre, Companion To Theatre In Australia, 1995, 32
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Thelma Afford, Adelaide University Theatre Guild, Companion To Theatre In Australia, 1995, 33
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Thelma Herring, Maenads and Goat-Song: the plays of Patrick White, Southerly, v. 25, n. 4, 1965, 219
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There's a laugh in it, too ..., The Sun (NSW), 10 January 1959
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These Weird and Wonderful Headdresses.., The Australian Women's Weekly, 11 August 1934
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Thespian Dramatic Productions, Sydney Morning Herald, 3 April 1937, 12
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They always ask the Hair tribe about THAT scene, The Age, 14 May 1971, 3
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They are just home girls at heart, The Australian Women's Weekly, 2 July 1952, 25
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They Attend Titania, The West Australian, National Library of Australia, 10 September 1952, 8
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They Came to a City, The Argus, 10 December 1945, 6
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They Came to a City, The Argus, 20 June 1944, 8
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They stake all on a 'deal', The Age, 28 September 1965, 5
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They won't be empty for long, The Age, 7 August 1969, 2
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They'll show that play in private, The Age, 8 August 1968, 9
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They're giving Juno a lilt, The Age, 26 April 1977, 13
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They're key men in HSV live drama, The Sun (NSW), 2 January 1959
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They're Playing Our Song, Theatre Australia, 5, 1, August 1980, 4
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Things Theatrical, The Herald, 27 November 1888, 5
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Thinking about our past and futrue, The Canberra Times, 20 September 2003, 7
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This act was 'too gruesome' for Perth, The Mirror, 16 July 1955, 13
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This is What's Wrong With the A.B.C., Smith's Weekly, 14 February 1948, 5
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This play is the scoop of the year, The Age, 14 July 1971, 14
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This Week in Canberra, 2 December 1988, 3
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This Week in Canberra, July 1994, 4
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Thomas Jones, Untrained; a physical experiment, Australian Times, Theatre and Dance Platform, 29 May 2013
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Thomas Meyer, Der Mythos von der Mondgöttin, Tages-Anzieger, 24 August 2002
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Thomas Stuart Gurr, The Wireless Weekly, 16 June 1934, 11
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Thornton McCamish, The Sunday Age, 16 November 2003, 0
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Those Aboriginals, The Northern Miner, 23 November 1901, 6
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Those Aboriginals, The Northern Miner, 25 November 1901, 7
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Three boys with one ambition, The Age, 22 July 1966, 16
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Three Drama Festival Plays, The Examiner, National Library of Australia, 5 March 1949, 5
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Three Glass Menageries, The Age, 15 June 1963, 8
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Three Healthy Pieces, Theatre Australia, 5, 1, August 1980, 5
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Thriller's world premiere, The Australian Women's Weekly, 28 April 1951, 15
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Thring collapses during School for Scandal, The Age, 2 May 1977, 2
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Throw it out!, The News, The University of Adelaide, Library Special Collections, 17 November 1977
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Thrusday, April 11, 1901, Kilmore Free Press, 11 April 1901, 2
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Thrusday, September 13, 1860, The Argus, 13 September 1860, 4
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Thursday, April 25, 1889., The Northern Miner, 25 April 1889, 3
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Thursday, April 4, 1867, The Argus, 4 April 1867, 4, 5
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Thursday, April 9, 1868, The Argus, 9 April 1868, 5
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Thursday, February 16, 1893, The Argus, 16 February 1893, 4, 5
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Thursday, June 23, 1881, The Argus, 23 June 1881, 4, 5
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Thursday, June 4, 1885, South Australian Advertiser, 4 June 1885, 4, 5
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Thursday, March 7, 1867, The Argus, 7 March 1867, 4, 5
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Thuy On, Inpress, 5 June 1998
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Thuy On, Inpress, 6 May 1998
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Thuy On, Inpress, 6 May 1998
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Thuy On, The Australian, 14 October 2004, 14
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Thuy On, The Australian, 6 April 2004, 14
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Tierri Abraham, Lorraine has 'dream' role, The Manly Daily, 28 April 1989
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Tierri Abraham, Seeking after reality, The Manly Daily, 17 June 1988
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Tiffany O'Callaghan, Pushing the body's boundaries, New Scientist, 2822, 23 July 2011, 44
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Tim Benzie, Mardi Gras diary, Sydney Star Observer, 13 February 2003, 23
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Tim Benzie, Sydney Star Observer, 24 July 2003, 16
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Tim Benzie, Sydney Star Observer, 24 June 2004, 14
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Tim Benzie, Sydney Star Observer, 24 October 2002, 19
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Tim Benzie, Sydney Star Observer, 3 March 2005, 7
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Tim Benzie, Sydney Star Observer, 5 August 2004, 14
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Tim Bottams, Play brings First Nations perspective, Ballarat Times, 13 June 2022
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Tim Dare, Performers from China like our quiet city, Sydney Morning Herald, 24 March 1983, 11
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Tim Dick, Metro, 19 September 2003, 16
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Tim Dick, Metro, 19 September 2003, 16
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Tim Dick, Sydney Morning Herald, 30 August 2003, 10
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Tim Dodd, My Style: John Bell, Sydney Morning Herald, The University of Adelaide, Library Special Collections, 2 May 1985
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Tim Douglas, Everyman leaps into untrained territory, The Australian, Theatre and Dance Platform, 7 June 2012
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Tim Douglas, Theatre puts real faces to a city's graphs and pie charts, The Australian, 4 May 2012, 14
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Tim Isles, [A Rare Jewel], Newcastle Herald, 15 November 1993
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Tim Lloyd, Adelaide Now, 31 January 2007, 0
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Tim Lloyd, Chequebooks fly at arts buyfest, The Advertiser, Theatre and Dance Platform, 19 March 1998
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Tim Lloyd, Day of reckoning, The Advertiser, 20 August 2001, 86
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Tim Lloyd, Exploring some theories about sexual deviation, The Advertiser, 31 August 1990, 0
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Tim Lloyd, Fame after Flute, The Advertiser, 8 August 1992, 10
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Tim Lloyd, Govt cuts funding in real terms to SA performing arts, The Advertiser, 14 August 1987, 13
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Tim Lloyd, In step with New York, The Advertiser, Theatre and Dance Platform, 25 June 1999
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Tim Lloyd, Jonah Lives Again, The Advertiser, 3 August 1991, 107
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Tim Lloyd, Lawson story to hit the stage, The Advertiser, The University of Adelaide, Library Special Collections, 17 August 1992
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Tim Lloyd, Mythology of two cultures, The Advertiser Review, 13 September 2008, 7
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Tim Lloyd, The Advertiser, 1 December 2004, 0
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Tim Lloyd, The Advertiser, 10 September 1987
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Tim Lloyd, The Advertiser, 11 July 1988
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Tim Lloyd, The Advertiser, 12 October 1987
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Tim Lloyd, The Advertiser, 15 April 1988
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Tim Lloyd, The Advertiser, 15 July 1988
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Tim Lloyd, The Advertiser, 16 July 1987
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Tim Lloyd, The Advertiser, 16 November 1987
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Tim Lloyd, The Advertiser, 18 February 1988
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Tim Lloyd, The Advertiser, 18 November 2004, 40
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Tim Lloyd, The Advertiser, 22 July 2000, 12
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Tim Lloyd, The Advertiser, 25 March 1988
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Tim Lloyd, The Advertiser, 26 October 1987
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Tim Lloyd, The Advertiser, 6 August 2000
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Tim Lloyd, The Advertiser, 7 January 1988
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Tim Lloyd, Theatre's rescue plan 'a work in progress'., The Advertiser, The University of Adelaide, Library Special Collections, 2 February 2002
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Tim Reeves, Celebrating the swimmers of the deep, The Galah, May 1990, 30
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Times out, 10 June 2004, 4
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Times out, 10 May 2001, 11
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Times out, 26 April 2001, -1
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Times2, 7 June 2005, 9
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Tina Giannoukos, Happy Young Horrors, The Herald Sun, 30 January 2007, 0
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Tivoli Circuit Australia (1934-44), Australian Variety Theatre Archive, 1934
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Tivoli closes in April, The Age, 16 March 1966, 5
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Tivoli concert tomorrow night, Barrier Miner, 19 September 1942, 3
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Tivoli Show, Barrier Miner, 1 April 1949, 10
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Tivoli Shows Carry On. Arrangements Made By Late Mr. Neil, The Sun (NSW), 2 January 1940, 8
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Tivoli Sunday Show, Barrier Miner, 26 June 1942, 8
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Tivoli Theatre destroyed in midnight blaze, Barrier Miner, 15 December 1952, 2
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Tivoli Theatre Quiz Show, Barrier Miner, 7 May 1942, 2
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Tivoli Theatre sale, Barrier Miner, 4 September 1952, 11
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Tivoli Theatre Vaudeville, Barrier Miner, 18 June 1942, 2
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Tivoli Theatre, Barrier Miner, 12 June 1942, 8
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Tivoli Theatre, The Argus, 19 March 1945, 5
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Tivoli Theatre, The Register, National Library of Australia, 21 June 1901, 6
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Tivoli Theatre. The Kate Howarde Company. "The Kelly Gang"., The Coolgardie Miner, WA, 24 January 1905, 2
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Tivoli Vaudeville, Barrier Miner, 9 July 1942, 7
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TNT: The News and Travel information, 13 November 1995, 6
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To Correspondents, Chronicle, 24 November 1900, 26
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To Japan and Back, Australian Town and Country Journal, 3 August 1889, 30, 31
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TO MAJOR GENERAL RALPH DARLING, LATE GOVERNOR OF NEW SOUTH WALES AND ITS DEPENDENCIES, &c. &c. &c., The Sydney Monitor, 13 March 1833, 4
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To Play in 'Interval', The Telegraph (Brisbane), 22 February 1940, 15
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To play lead - Miss Dorothy Dunckley - W.A. woman returns, The West Australian, 14 March 1947, 19
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To Play Portia, The Sun (NSW), 21 June 1938, 11
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To the Editor of the Sydney Gazette, The Sydney Gazette and New South Wales Advertiser, 21 July 1825, 4
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To the Editor of the Sydney Gazette. (1836, July 7)., The Sydney Gazette and New South Wales Advertiser, 6 July 1836, 3
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Sir,— It having been basely insinuated, particularly in Hobart Town, that Mr. Cameron has incurred his present difficulties through extravagance on his part, and not through disappointments, permit me in your Newspaper to contradict the representations. Mr. Cameron has been misled and disappointed as to the time the Theatre in Hobart Town would have been completed; to which source alone are to be attributed his present embarrassments. When the new Theatre was first mentioned, it was promised, by manv in Hobart Town, to be ready at the conclusion of the first season in Laun- ceston — nearly ten months ago; and which induced Mr. Cameron to incur many expenses to enable him to open his season in Hobart Town with the most efficient com- pany he could possibly obtain. The Theatre was not ready as promised; which caused many other expenses we otherwise could have avoided. I am sure that both Mr. Cameron and myself have done everything in our power to maintain the Theatre, on both sides of the Island, in the highest state of respecta- bility; and it is too bad that any evil disposed persons should be allowed to misrepresent his affairs to his preju- dice with his supporters, and even to the annoyance of our domestic circle. He is now suffering for part of those expenses, which, if time is given, (as it ought to be,) he will ever feel himself bound to liquidate; but he is too proud to benefit himself by any Act, if even he could obtain his freedom immediately. By inserting the above you will confer a favor. I remain, Sir, Your obedient servant. CORDELIA CAMERON.
To The Editor, Launceston Advertiser (Tas. : 1829 - 1846), 22 October 1835, 3
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To The Editors Od The South Australian Register, The South Australian Register, National Library of Australia, 1 January 1842, 3
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To The Far North, The Advertiser, 6 September 1910, 8
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To Tour in the Barber, The Age, 31 January 1959, 7
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To West Australia By Car, The Brisbane Courier, 17 November 1926, 8
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To-Day's Programme, The Advertiser, 5 May 1927, 15
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To-Day's Topics, Newcastle Morning Herald and Miners' Advocate, 15 November 1951, 2
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To-Day's Topics, Newcastle Morning Herald and Miners' Advocate, 16 May 1951, 2
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To-Day, Sydney Morning Herald, 26 January 1895, 9
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To-Day, The Northern Miner, 23 November 1901, 4
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To-Day, Tuesday, December 13, The Morning Bulletin, 13 December 1892, 5
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To-Day, Wednesday, July 6, The Morning Bulletin, 6 July 1892, 4, 5
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To-Morrow, Sunday, July 10, The Morning Bulletin, 9 July 1892, 5
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Tobacco Road At Minerva, Sydney Morning Herald, 20 December 1943, 7
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Tobias Foskett, Muse, October 2002, 3
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Toby Walker, Dancing about the fourth state, Inpress, Theatre and Dance Platform, 21 July 2010
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Today's Arrivals On the Moldavia, The News, 29 April 1933, 1
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Today's Topics, Newcastle Morning Herald and Miners' Advocate, 24 May 1950, 2
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Tom Burvill, Adios Cha Cha and Sidetrack's theatre for the people, Aspect: Art and Literature, No. 32 -33, 1985, 49-58
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Tom Burvill, Naturalism and seriousness in Australian drama today, The Literary Criterion, 15, 3-4, 1980, 117-130
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Tom Burvill, Report: The Havana Forum for Cultural identity and Development, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 14, April 1989, 103 - 112
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Tom Burvill, The politics of the popular in contemporary Australian Theatre, Australasian Drama Studies, Australasian Drama Studies c/- Department of English, Unive, St. Lucia, Queensland, 1, 2, April 1983, 19 - 32
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Tom Crystal, Newcastle Herald, 17 July 1998, 0
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Tom Gutteridge, A well-kept secret, On Stage, 12, 1, 2011, 16
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Tom O'Regan, 'The historical relations between theatre and film: the Summer of the Seventeenth Doll', Continuum: Journal of Media and Cultural Studies, 28 March 2001
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Tom Sankey, Opera-Opera, December 2004, 1
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Tom Sankey, Opera-Opera, November 2004, 1
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Tom Wright, Review, 17 September 2005, 16
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Tom Wright, Telling tales, Currents, September 2007, 0
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Tom, Sydney Morning Herald, 13 September 1983, 10
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Tom, The Australian, 8 November 1983, 10
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Tommy's Creditors won't knock the rock - yet, The Age, 14 August 1973, 16
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Tonight's Play, The West Australian, 8 October 1938, 22
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Tons of Money, The Examiner, National Library of Australia, 9 July 1934, 5
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Tony Barclay, Little to remark on, Theatre Australia, October 1978, 28
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Tony Barclay, Over serious about slight piece, Theatre Australia, 5, 1, August 1980, 52
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Tony Barclay, Take a long time to get going, Theatre Australia, The University of Adelaide, Library Special Collections, June 1979, 22
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Tony Davis, Metro, 29 November 2002
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Tony McNamara, Tony means business, Sydney Morning Herald, 13 May 1996, 17
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Tony Mills, Bracy, Henry (1841–1917), Australian Dictionary of Biography Online
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Tony Mitchell, 'High Art' and 'Low Purse'; Adelaide Ristori tours Australia 22 July - 4 December 1875 Part Two, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 27, October 1995, 123 - 141
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Tony Mitchell, Doppio: a trilingual touring theatre for Australia, New Theatre Quarterly, 8, 29 (February), 1992, 70-75
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Tony Mitchell, Italo-Australian theatre: multiculturalism and neo-colonialism, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 10, October 1986, 30 - 48
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Tony Mitchell, Italo-Australian theatre: multiculturalism and neo-colonialism, part one, Australasian Drama Studies, 10 (April), 1987, 30-48
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Tony Mitchell, Italo-Australian theatre: multiculturalism and neo-colonialism, part two, Australasian Drama Studies, 11, October 1987, 37-46
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Tony Mitchell, Through Anglo lenses: Italians in Australian television drama, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 22, April 1993, 20 - 32
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Tony Mitchell, Wogs still out of work: Australian television comedy as colonial discourse, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 20, April 1992, 119 - 133
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Tony Raggatt, Factiva Licensed Content Dance prizes open doors worldwide, Townsville Bulletin, 28 July 2017, 33
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Tony Reck, Future indefinite, RealTime Arts, 80, August 2007
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Tony Sheldon, Musical Theatre in Australia, Theatre Australia, 2, September 1977, 9-12
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Tony Squires, Abstract distractions, Sydney Morning Herald, Metro, 3 November 1989, 3s
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Tony Squires, Bearing witness, Spectrum, 26 August 1995, 8A
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Tony Squires, Newcastle Herald, 29 July 1983, 0
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Tony Squires, Newcastle Herald, 3 September 1982, 0
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Tony Squires, The Inner Child, Sydney Morning Herald, The University of Adelaide, Library Special Collections, 27 July 1996, 9s
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Tony Squires, Two talents return, Newcastle Herald, 2 September 1983
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Tony Stephens, At this stage Leo gets to play Leo, Sydney Morning Herald, 17 September 1991, 3
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Tony Stephens, Good Weekend, 11 November 2006, 4
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Tony Tassell, Sunday Mail, 19 April 1987
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Tony Tassell, The News, 1 March 1988
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Tony Tassell, The News, 2 March 1987
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Tony Tassell, The News, 4 March 1988
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Tony Tassell, The News, 7 April 1987
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Tony Wright, Oz-Style Welcome for Chinese Acrobats, The Border Mail, Theatre and Dance Platform, November 1983
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Tonya Turner, Find out why they reign in Spain, Courier Mail, 6 November 2007, 13
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Tonya Turner, Getting into Festive Spirit, Courier Mail, 6 December 2007, 43
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Tonya Turner, Step Into Phantom's Big Shoes, Courier Mail, 5 March 2008, 47
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Top 100 (Culture): Lucy Guerin, The Age, Theatre and Dance Platform, 20 December 2007
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Top Australian Drama, The West Australian, 24 August 1982, 12
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Topical Talk, The Clarence and Richmond Examiner, Grafton, NSW, 6 July 1901, 5
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Topics Of The Day, South Australian Advertiser, 9 October 1865, 3
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In compliance with an advertisement in the Express, a blaekfellow*' eorrbhoree was held on the North Park Lands on Tuesday even ing. Some eight men, daubed over with whiten ing paste, danced to the monotonous chant of four lubras. There was a laige number of spec tators, and the blacks seemed to get a good many coppers. The exertion appeared rather violent for this weather, and the part of the spectators—or those of them who were te> wind ward—was decidedly the most agreeable.
Topics of the Day, South Australian Advertiser, National Library of Australia, 6 March 1872, 2
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Topics of the Week, The Herald, The Herald (Fremantle, WA : 1867 - 1886), 9 March 1872, 2
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Topics, The Areas' Express, Booyoolee, SA, 1 December 1899, 3
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Torch Theatre Plays, The News, 10 May 1934, 11
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Torch Theatre to Stage "Salome" First, The News, 29 March 1934, 6
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Total Abstinence Tea Party, The Maitland Mercury, 18 January 1851, 2
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Total Abstinence Tea Party, The Maitland Mercury, National Library of Australia, 20 March 1847, 2
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Total Abstinence Tea Party, The Maitland Mercury, National Library of Australia, 23 April 1851, 2
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Total Abstinence Tea Party, The Maitland Mercury, National Library of Australia, 26 June 1847, 2
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Total Abstinence Tea Party, The Maitland Mercury, National Library of Australia, 27 June 1849, 2
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Total Abstinence Tea Party, The Maitland Mercury, National Library of Australia, 29 December 1849, 2
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Total Abstinence Tea Party, The Maitland Mercury, National Library of Australia, 30 January 1847, 2
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Total Abstinence Tea Party, The Maitland Mercury, National Library of Australia, 30 January 1847, 2
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Total Commitment - an interview with Colin George, Theatrescope, The Australian Elizabethan Theatre Trust, Number Three, December 1976, 20-21
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It is seldom in the history of the world, let alone the history of so young a colony as this, that in so short a space the chroniclers of the time have been called on to record the destruction of three theatres. The Royal stood yesterday the last of three of the finest theatres in the Australasian group. It is now a heap of charred and smouldering ruins, the only vestige left being the bare walls, within which, in times gone by, so many tragic scenes have been rehearsed and enacted. Coming so directly after the destruction of the Prince of Wales Theatre at Sydney, this disaster is a terrible blow to the profession. Read by the light of facts, it means simply to almost numberless families ruin. This is the more to be regretted as there seems no scope of the outlet of the talent now pent up in Melbourne in any direction. Nor is it reassuring to remember that the theatre has been destroyed on the very threshold of one of those seasons during which actors, as a rule, look to a fair accession of profits to recoup them for their losses during other and duller parts of the year. We can dwell with a melancholy remembrance on the history of the place which now is to be known no more amongst us except as a name. how the company first formed to erect it, of which Mr. Black was the managing and moving man, came to untimely grief; how it afterwards fell into the hands of Messrs. Brooke and Coppin; how then there were some glorious revivals of the Shakespearian drama; how they didn’t pay; how it fell then into a state of comparative destitution, and was not one of the favourite resorts of Melbourne amusement seekers, till Mr. Sullivan stepped in and restored it to all its old glory by the revival of Shakespeare, with a sheen of scenery never before equalled in the colony; how, after Mr. Sullivan’s departure, the establishment fell into the hands of Messrs Vincent, Lambert, Harwood, Stewart, Hennings, and Bellair; how the latter soon retired from the firm, and Mr. Vincent was summoned by the grim serjeant just at the time when the wind seemed set in the sail of the ship which had surmounted so many buffetings; how Mr. Lambert retired to a life of ease, and the other lessees were brought out by Mr. Coppin, is matter of history, and we may now content ourselves with saying that, on the expiration of his lease, the theatre would have been gutted to meet the demands of the Government. One strange fact may be mentioned. Not a week ago Mr Coppin mentioned to the writer of this his complete satisfaction at the success of his season, and said that the only thing which could prevent him from retiring from the lesseeship of the Theatre Royal with a large sum to his credit would be a fire. That has come to him in a moment when he was preparing vigorously for his Easter piece, and when he had in preparation many novelties of which the Melbourne public would no doubt have been entirely appreciative. It is strange that the calamity should have come at this particular juncture, when Sydney is destitute of a theatre, and when Melbourne is bound to operate for at least some months. As we have said, the professionals in Mr Coppins employ will really be the greatest losers by the fire. Some of them have lost their all; most the them are unable to withstand the necessities of a long period of non-employment. In the name of common fairness, they who have given so much in their day to the charities of Melbourne can now ask from the people of the country for a return. Eastertide is nearly here, and Easter should not pass without a spontaneous demonstration on behalf of the poor actor.
Let us tell the history of the fire:- Two men named William Goulding and John English were sleeping on the premises, English being on the stage and Goulding in the green-room. English first gave the alarm of fire. Its first appearance was through a wall behind a frame on which the scenes were painted. English describes it as having been like a “handful of fire.” It caught the partition between the painting room and the property room, and at once spread to great proportions. The dressing rooms were speedily attacked by the flames, which reached the stage almost at a leap, and obtained such a hold on the scenery and the “flies” as made their extinction an impossibility. The fire brigade was on the spot, under the command of Mr Hoad, as smartly as possible, but hardly anything could be done, through the manner on which the spot where the fire raged, the auditorium of the theatre, was hemmed in. All was speedily in a blaze, and terrible was the sight as the great body of fire and sparks rolled up. The town was illuminated as by the electric light, and in the dense throngs which assembled along the neighbouring street faces could be distinguished over the way as if the sun was shining. The whole of the interior of the theatre is destroyed, and it lies gutted just like the Haymarket. The crowds at the back and front could hear the galleries come down one after another, like the booming of great guns. A quantity of mimic fire had been stored in a room at the back of the theatre, which is, or was, of corrugated iron. While this was in flame, and peeling off like paper, the stage fire, stowed away in parcels, also caught and sputtered away in blue and red in a highly picturesque manner.
The value of the property lost on the theatre can hardly be estimated at present. The management have lost the stock of scenery, properties, and the wardrobe belonging to the theatre. Nearly all the performers have also lost valuable portions of their private wardrobes. In this way the private loss will vary from £10 to £50, at least, per individual. Our visitor Mr Carden, is, fortunately for himself, among the lightest sufferers in this way. Besides all their loss on the way of dresses and other effects, a great number of performers and other person attached to the theatre will be thrown out of employment. Altogether there will be about 150 with their means of livelihood thus struck away, at least temporarily. The list includes actors and actresses, machinists, check-takers, and a crowd of other busy people, of whose necessary avocations in the carrying on of a theatre the outside public have no conception of.
The performance of the Streets of New York, which, by the way, included a sensational fire scene, terminated at a little after eleven, and many of the audience were in their beds when the conflagration broke out. How many of them thought, as the sham fire was represented on the stage, with the mock tocsin, the flames seen through the painted canvas, and the great effect of the burning house fronts falling with a crash upon the stage, that the actual scene was so soon to be enacted with the very theatre itself? The reflection immediately suggests itself, as it does after (the burning of every theatre we had almost said) every fire at a closed theatre what if it had occurred a little earlier? Suppose the conflagration in this case had begun an hour and a half earlier, just when the stage fire was going in, and we may wonder in which way the question of the sufficiency of the fire escape doors would have been solved. Had the fire broken out not where it did, while the audience were in the main theatre, the first impulse would be to prevent a panic. The audience would not be told at first. But the fire seems to have spread with a rapidity which would have made all efforts futile to stop it on the part of those behind the scenes. The whole theatre was wrapt in flames half an hour after the “handful of fire” was seen by English. That handful was, perhaps, smouldering away, like a grim demon, even while the actors were playing with their harmless fire at the front, before a delighted audience. We are not aware that there is any reason to connect the stage fire with the actual catastrophe. There are vague fears that it is the work of some incendiary.
No doubt thousands will visit the ruins today, and those who were at the performance last night will hardly look on the scene without a shudder. Nothing is left of the old house. The stage, with its gilt pilasters of open columns and panelled proscenium surrounded by the Royal arms, the three tiers of boxes in white and gold and the grand ceiling with its dancing muses – all,. All, have vanished; and
Like an insubstantial pageant faded
Left not a wrack behind.
There is not even a picture of our old Drury to bring its existence to the memory. Like the triumphs of the great actors who have trod its boards, it must live only in the recollection of the playgoer. No doubt a new, and perhaps a grander house will spring, like a phoenix, from its ashes, but it will not be the old Royal! No memories of Brooke, of Sullivan, of Jefferson, of long Sir William Don, of Walter Montgomery, of Charles Mathews, will haunt the new Royal. Probably it will be an opera house. But there is no time now for these reflections, and plenty of time to mourn. Old recollections and old stories about the national playhouse, round which so many fond memories cling, will doubtless well up ever and anon.
At two o’clock the fire had begun to sink, and thenceforward it died away slowly. In another hours’ time there was only a black and smouldering mess, over which the water jets went hissing, and sending up clouds of steam from the ruins. The fire had wreaked out its full force, almost without let or hindrance, so far as the theatre was concerned.
The disaster unfortunately was not confined to the Theatre Royal alone. The adjacent buildings suffered to some extent also. Not from the process of the conflagration so much as from the attempts made by well-meaning but injudicious persons to save the property contained in them. The fire ignited the roof to St Georges hall, and at one time it was feared that this also would be destroyed. The flames were extinguished more than once, but the roof again caught, and it was only by a steady and well-directed stream of water being kept constantly flowing on the building that all danger was at length averted. The damage done to the upper hall is very slight, and from £20 and £30 is the extent of the loss. The roof at the farther end is partially burnt, and the flies and stage appurtenances are damaged by water. It is anticipated that the troupe of comiques will be able to continue their performance, at any rate in a date or two, notwithstanding the fire. This is the more to be desired on their part as the rent of the ensuing week had just been paid. The damage done to the lower hall, occupied by Mr Pain’s exhibition of Australian and Polynesian curiosities, is, however, much more extensive. Very soon after the commencement of the fire, this place was opened, and an attempt made to save some of the articles. Packages and cases were bundled out in the street, being considerably damaged in the transit; but the more valuable portions of the museum were so fragile that they could scarcely be removed without being destroyed. The cases of insects, birds eggs, and the pictures, were irretrievably injured. The large model of Ballarat was too unwieldy to remove, and was allowed to remain in the hall, the solitary wreck of an exhibition which it had taken Mr Pain twenty years of toil and unceasing labour to collect. General commiseration must be felt for Mr Pain. He was dragged from his bed to learn the heavy blow which had befallen him, and which robbed him of the fruits of his lifetime. He estimates the value of the collection at £8000, but his loss it is at present impossible to calculate until he can go over the remains of his property. He was not insured for one penny, as the insurance offices refused to accept the risk.
The progress of the flames was arrested before two o’clock, and the conflagration confined to the theatre itself. The pit of the theatre was like a burning hell, and the streams of water poured upon it from all available points produced but little apparent effect. Clouds of steam were the only result visible, and the fire in that quarter would evidently last from some hours. All danger of its spreading however was averted. The front portion of the building, the Café de Paris, was not injured very appreciably except from water, and the damage inseparable from a fire of that magnitude. The dress circle bar was flooded, the hose being carried through it; but beyond this there was nothing injured. The stock was thrown into some confusion, and a few bottles of spirits might have been taken. The billiard room was not damaged at all. The vestibule was also uninjured and, in this portion of the building, the fire did not extend beyond the limits of the theatre itself. While the fire was at its height and the water was being directed into the theatre from the dress circle door, some little alarm was occasioned by a portion of the ceiling above tumbling on the head of the person beneath. A rush was made to get away, but it was discovered that the fall was slight, and work was again proceeded with. The entrance up to the dress circle has not been burnt, and the warning placard that the free list had been entirely suspended, except the press, still hung there. The warning, however, is useless now, and even members of the press are not likely to exercise their privilege of entering. In addition to the Metropolitan Fire Brigade there were present also the brigades from most of the surrounding boroughs – Sandridge, Hotham, Emerald-hill, and East Collingwood were all noticed there, and did good service. A rumour was prevalent that about the time the fire broke out, so as to be observable in the streets, a man was seen on top of the roof, the suspicion of course being that he was an incendiary. His presence, however, in that position may be explained. The man was passing at the rear of the theatre, and he observed smoke issuing from it. He dashed open the doors and climbed upon the roof, with the object of extinguishing the fire. He found the task too much for his energies, and had to descend.
It is believed that very little of the property in the Theatre Royal is insured. Mr Coppin says that there is a £1000 policy on some of the ground landlord’s property. But Mr Coppin, who had power to get the theatre at the end of his lease, is the greatest loser. Among the property destroyed is Mr. Flemming’s latest panorama of the overland route, and a whole host of collections of his finest paintings.
For more than half an hour there seemed every probability of the fire extending to the Chinese quarters, and the tenements between the east wall of the Theatre and Davis-lane, a right of way which runs from Bourke street to little Bourke street, was a scene of indescribable confusion. The frail tenements were like rabbit hutches, both in their construction and the living swarm which they held. Every house contained an almost incredible number of Chinamen, and it was difficult to get them to understand their danger, or to arouse them from the stupor into which many of them had fellen. Between opium and stupidity many of them would have remained in their houses but for the exertions of the police and the bystanders. But when once they were thoroughly alive to the risk they were running, they got to work vigorously; and in a few moments the street was full of Chinese furniture, knick-knacks, and the usual Celestial paraphernalia, including several half-caste children and a large number of women. It was not too soon, for one of the houses in Davis-lane, at a distance of at least a hundred feet from the theatre, was in flames, and the attention of the firemen being directed to the theatre, it looked as if the whole quarter would take fire. Fortunately a small supply of water was obtained from the taps, and with the aid of a few buckets the further progress was stayed. Beyond a considerable amount of injury sustained by hasty removal no loss was sustained by the Chinese.
Unfortunately the damage was not confined to the persons mainly engaged in the “show business”. Mr M’Donald’s, the well-known photographer, was in extremis. They naturally thought, and rightly too, from the appearance of the fire, that their turn would come next, and an effort was made to clear out the premises. Several persons rushed in, and before many minutes had elapsed the place was quickly denuded, though there was a difficulty in getting down the heavier portion of the furniture. Many thousand negatives of old colonists, said not to be in other galleries, were hurried pell-mell into boxes or carried into the street. A few valuable photographs – amongst others that of Sir James Martin and other colonial celebrities were – destroyed. What was one of the best galleries in the city is now a ruin.
TOTAL DESTRUCTION OF THE THEATRE ROYAL BY FIRE (1872, March 20)., The Age, 20 March 1872, 3
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Toto steals the show at awards night, The Canberra Times, 26 February 2008, 12
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Tough race for awards, The Southside Chronicle, 19 February 2008, 13
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Town & District Tit-Bits, The Gundagai Times and Tumut, Adelong and Murrumbidgee Dist, Gundagai, NSW, 6 July 1909, 2
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Town and District News of the Week, The Gundagai Times and Tumut, Adelong and Murrumbidgee Dist, NSW, 14 October 1898, 2
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THE QUEEN'S THEATRE.—The attendance at the Theatre during the present week will, we presume, lead the proprietor to look forward with some hope. The Jewess was repeated on Thurs- day evening, and as before, admirably performed; Tom Noddy's Secret was the farce, in which Mr Lazar, as the eccentric schoolmaster, and Mr Arabin, as his usher, kept the house in a constant roar of laughter. We observe that the entertain- ment, by request of the Masonic Fraternity, will certainly take place on Tuesday next; and we doubt not, that the bill of fare, together with such respectable patronage, will draw the fullest house of the season. Mr Solomon's liberality in pre- senting the surplus over and above the actual expences of the night to the Hospital, deserve the highest praise; and we hope the public generally will appreciate his good feeling, by giving him a bumper in return on some other night.
Town Council Proceedings, The South Australian Register, National Library of Australia, 10 April 1841, 5
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Town Hall concert charges. New tax on music., Sydney Morning Herald, 15 July 1904, 3
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Town Talk And Table Chat, The Cornwall Chronicle, 9 March 1867, 4
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Town Tattle, National Advocate, The, 21 May 1927, 7
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Town Topics, Kate Howarde Co., The Gundagai Independent and Pastoral, Agricultural and Min, 26 August 1905, 2
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Townsville, The Brisbane Courier, 5 November 1923, 8
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Tracey Jambor, Sunday Sun, 10 May 1987
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Tracey Jambor, Sunday Sun, 13 September 1987
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Tracey Jambor, Sunday Sun, 15 March 1987
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Tracey Jambor, Sunday Sun, 17 April 1988
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Tracey Jambor, Sunday Sun, 29 May 1988
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Tracey Jambor, Sunday Sun, 31 January 1988
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Tracey Jambor, Sunday Sun, 31 May 1987
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Tracey Jambor, Sunday Sun, 5 July 1987
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Tractor theme in 4-act play, The Beverley Times, 17 July 1958, 1
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Tracy Heffernan, bma (bands music action) , 27 March 2003, 10
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Tracy Heffernan, bma (bands music action) , March 2002, 33
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Tracy Maurer, The Bulletin, 15 September 1987
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Tracy Maurer, The Bulletin, 24 November 1987
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Tracy Maurer, The Bulletin, 9 August 1988
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Tracy Maurer, The Bulletin, 9 August 1988
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Tracy Maurer, The Bulletin, 9 August 1988
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Tracy Maurer, The Bulletin, 9 August 1988
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Tracy Ryan, Courier Mail, 2 April 1987
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Tracy Ryan, Courier Mail, 22 June 1988
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Tracy Ryan, Courier Mail, 31 August 1987
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Tracy Ryan, Courier Mail, 6 May 1988
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Trader Faulkner, A playwright ahead of his time, Theatre Australia, The University of Adelaide, Library Special Collections, August 1977, 66-69
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Tragi-comedy is 'wowing' new audiences, Armidale Express, 6 May 1985
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Tragic death of Mr Peter Edwards; great worker for charities, Barrier Miner, 31 March 1945, 8
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Transformation of old Crystal Theatre, Barrier Miner, 6 August 1940, 1
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Transportation for Tasmania, The Courier, 13 March 1863, 3
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Transported, The Canberra Times, 13 May 1983, 13
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Travellers in the Moldavia - Mr and Mrs Jack Kellaway, The Daily News, 23 April 1933, 2
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Trea Wiltshire, Western Mail, 31 January 1987
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Treatment, Muse, 18 December 1981, 32
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Treatment, Muse, 6 August 1982, 27
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Treatment, The Canberra Times, 14 June 1982, 6
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Trevina Hall, Townsville Bulletin, 29 October 1987
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Trevor Jones, Musical theatre and Australian leading ladies - legacies of the past and current challenges: 'How lucky we are to be alive right now', Australasian Drama Studies, 75, December 2019, 287-315
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Triangle Drama at Minerva, Sydney Morning Herald, 27 February 1945, 4
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Tribune, 18 November 1953, 5
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Tribune, 27 January 1954, 27
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Tribune, 28 July 1954, 7
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Tribune, 6 January 1944, 3
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Tricia Hopton, Identity construction in Candian and Australian multicultural theatre, Australasian Drama Studies, 59, October 2011, 172-187
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Tricks, Sun Herald, 7 February 1982, 87
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Trim Acting At Minerva, Sydney Morning Herald, 21 August 1945, 5
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Trip Round the World, Barrier Miner, 2 July 1942, 7
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Trip To Milang, The Advertiser, 12 August 1914, 13
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Trip To Milang, The Register, 12 August 1914, 14
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Triumph of Culture Told in Pageantry. The University Masque, The Sun (NSW), 22 April 1928, 3
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Troopships in convoy were introduction to Australia for them, The University of Adelaide, Library Special Collections
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Troupe at new stage, Melbourne Yarra Leader, Theatre and Dance Platform, 25 July 2007
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Troy Lennon, Lewis makes 'em laugh for good cause, The Daily Telegraph, 21 September 2009, 52
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Truth (Qld Edition), 25 July 1954
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Tuesday Night's Engagements, The West Australian, 29 December 1909, 2
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Tuesday, April 20, 1897, The Argus, 20 April 1897, 4
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Tuesday, January 3, 1865, The Argus, 3 January 1865, 4, 5
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Tuesday, July 3, 1866, The Brisbane Courier, 3 July 1866, 2
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Tuesday, June 15, 1880, The Morning Bulletin, 15 June 1880, 2
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Tuesday, March 13, 1866, The Argus, 13 March 1866, 4, 5
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Tuggeranong Valley View, 16 November 1988
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Tumbarumba Inspired Musical, The Canberra Times, 12 March 1960, 2
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Tumut, February 9, Sydney Morning Herald, 18 February 1857, 8
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Tumut, February 9, The Empire, 17 February 1857, 3
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Tumut, Goulburn Herald and County of Argyle Advertiser, 14 February 1857, 4
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Tumut, The Adelong and Tumut Express and Tumbarumba Post, NSW, 19 February 1904, 3
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Tumut, The Adelong and Tumut Express and Tumburumba Post, NSW, 9 October 1903, 3
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Tutti Fruiti, Courier Mail, 25 June 1983, 16
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Tutti Fruiti, The Australian, 24 June 1983, 10
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TV dancer 'ran into equipment', The Canberra Times, 14 March 1968, 9
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TV plays to be made by HSV-GTV, Listener In , 29 November 1958, 3
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TV Scene, 24 November 1979
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TV Week, 27 September 1975, 22
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Tv's comedy of cultures, New Idea, 19 August 1989
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Twang! It's a hit again by the pinball-playing playwright, The Herald, The University of Adelaide, Library Special Collections, 3 May 1975
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Twelfth Night Wins, The Examiner, National Library of Australia, 9 June 1947, 3
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Two firsts for Hunter Valley Theatre Company, Newcastle Herald, 1 April 1993
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Two halves of a one-man show, The Age, 10 February 1975, 3
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Two plays in a week for Irene Mitchell, Listener In , 27 October 1961
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Two Seamen's Journey, The Brisbane Courier, 14 April 1926, 9
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Two-State Tour, The Age, 4 May 1963, 8
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U.S. Actor For Australia, Sydney Morning Herald, 22 January 1955, 3
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Ulmarra, The Clarence and Richmond Examiner, Grafton, NSW, 14 April 1899, 5
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Ulmarra. Kate Howarde Dramatic Company, Clarence and Richmond Examiner, Grafton, NSW, 10 January 1899, 8
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Ulmarra. The Kate Howarde Co., Clarence and Richmond Examiner, Grafton, NSW, 15 April 1899, 5
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Ulverstone, The North Western Advocate and the Emu Bay Times, Tas, 19 May 1904, 2
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Under 17 Award to 7LA Players, The Examiner, State Library of Tasmania, Launceston Reference Library, 22 June 1961, 2
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Union Theatres - Waddington's Dissolution, Everyones, 4, 198, 19 December 1923
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Unitarian Church destroyed by fire, Sydney Morning Herald, 7 November 1936, 18
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Unitarian Church destroyed by fire, Sydney Morning Herald, 7 November 1936, 18
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University Drama, Honi Soit, 7 May 1930, 2
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University Dramatic Society [Dance], Sydney Morning Herald, 15 August 1929, 5
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UNIVERSITY PLAYERS, Northern Star, Lismore, 16 November 1929, 15
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Unpredictable, funny, unusual: Lucy Guerin's Untrained, Southbank Centre, Theatre and Dance Platform, 8 May 2013
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Untitled Play, The Canberra Times, 22 June 1982, 18
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Untrained local stars take to The Capital stage, Bendigo Advertiser, Theatre and Dance Platform, 15 July 2011
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Up to his neck in it. Ian whistles up memories of Broadway, The Age, 1 September 1971, 20
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Uplifting experience for Robin, The Age, 21 March 1973, 2
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Ursula Beaumont, Once upon a Midnight, The Great Leap Forward, 1 October 2008, 0
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Ursula Felix, Sinks slowly and inevitably, Theatre Australia, 5, 1, August 1980, 54
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US award for choregrapher Lucy Guerin, RealTime Arts, Theatre and Dance Platform, 21, November 1997, 13
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Val Buchanan, The Daily News, 13 November 1987
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Val Buchanan, The Daily News, 20 November 1987
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Val Buchanan, The Daily News, 5 February 1988
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Valedictory To The Rev. Thos. Bird, The Daily News, (Perth, WA : 1882 - 1950) , 15 April 1893, 2
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Valerie Gladstone, Women under the Influence, Newsday, Theatre and Dance Platform, 8 August 1999
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Valerie Lawson, Australian Financial Review, 3 March 2001
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Valerie Lawson, Blown away, at full speed, Sydney Morning Herald, 20 March 2008, 18
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Valerie Lawson, Dance of the complicated storyteller, Sydney Morning Herald, 28 April 2008, 12
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Valerie Lawson, Fairytale beginning for boy ballet dancer, Sydney Morning Herald, 28 November 2007, 18
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Valerie Lawson, One great writer, two stars, and a lot of talking to do, Sydney Morning Herald, 25 September 2007, 7
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Valerie Lawson, Sparkling boy loses its nerve, Financial Review, 14 March 1998, 11
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Valerie Lawson, Spectrum, 15 July 2006, 8
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Valerie Lawson, Spectrum, 19 May 2007, 18
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Valerie Lawson, Spectrum, 25 November 2006, 18
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Valerie Lawson, Spectrum, 4 June 2005, 34
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Valerie Lawson, Spectrum, 6 October 2007, 4-5
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Valerie Lawson, Sydney Festival Diary: A few hiccups cannot dampen high spirits, Sydney Morning Herald, Theatre and Dance Platform, 10 January 2007
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Valerie Lawson, Sydney Morning Herald, 12 January 2007, 5
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Valerie Lawson, Sydney Morning Herald, 15 January 2007, 5
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Valerie Lawson, Sydney Morning Herald, 15 March 2006, 15
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Valerie Lawson, Sydney Morning Herald, 16 May 2005, 16
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Valerie Lawson, Sydney Morning Herald, 17 January 2004, 0
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Valerie Lawson, Sydney Morning Herald, 18 April 2007, 11
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Valerie Lawson, Sydney Morning Herald, 18 January 2006, 13
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Valerie Lawson, Sydney Morning Herald, 18 January 2007, 5
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Valerie Lawson, Sydney Morning Herald, 20 December 2006, 23
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Valerie Lawson, Sydney Morning Herald, 21 July 2007, 4
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Valerie Lawson, Sydney Morning Herald, 22 February 2007, 3
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Valerie Lawson, Sydney Morning Herald, 22 January 2007, 6
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Valerie Lawson, Sydney Morning Herald, 27 June 2007, 9
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Valerie Lawson, Sydney Morning Herald, 29 November 2006, 11
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Valerie Lawson, Sydney Morning Herald, 3 April 2007, 9
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Valerie Lawson, Sydney Morning Herald, 3 May 2006, 14
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Valerie Lawson, Sydney Morning Herald, 30 March 2007, 18
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Valerie Lawson, Sydney Morning Herald, 30 May 2007, 12
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Valerie Lawson, Sydney Morning Herald, 6 January 2007, 5
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Valerie Lawson, Sydney Morning Herald, 7 July 2006, 9
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Valerie Lawson, Sydney Morning Herald, 8 July 2005, 16
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Valerie Lawson, Sydney Morning Herald, 8 November 2006, 14
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Valerie Lawson, Sydney Morning Herald, 9 August 2006, 18
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Valerie Lawson, Sydney Morning Herald, 9 November 2005, 15
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Valerie Lawson, The Australian, 3 March 2002, 68
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LUCY Guerin sits curled and comfortable with her body as a little girl and speaks in that light voice of a dancer.
"I am starting to worry more. In the beginning, the worry was `I am not going to be a choreographer'. Got over that. Now the worry is, `will this piece be good?'"
Yet Gideon Obarzanek wants to work with her, she has just won a dance award for her Two Lies in New York, and the dance fund of the Australia Council has given her almost $29,000 to develop a full evening work. Still she is worried. Of course she is worried. Tonight is the premiere at the Seymour Centre of her new dance work, Remote - on the surface about the way we respond to TV, but underneath, what all Guerin's work is about, the double nature of all things.
Back home after seven years in New York, Guerin, 36, is yet really to land. She planned to settle in Melbourne, but as soon as she arrived, Guerin bounced right back, on tours to New York, London, Rotterdam and Paris, then up to Sydney for Remote, commissioned by the One Extra Company.
While she retains her Australian accent, her spiritual home seems to be Greenwich Village's contemporary dance circuit, from the Joyce Theatre to the Kitchen, where her Two Lies and Robbery Waitress on Bail were performed last April. Village Voice dance critic Deborah Jowitt found them "beautiful, thoughtful work".
She lived in the Village but did she ever go uptown? "No never! We downtown dancers never went above 14th Street. That's the joke, but it's like that. I do miss the [New York] dance community, but the climate there is getting so harsh and difficult. I couldn't see anyone going anywhere as a role model and it's so hard for choreographers and dancers financially. I could stay there for another 10 years and still wait tables."
Instead she survives on Australian government grants and commissions from companies such as One Extra and Obarzanek's Chunky Move.
Guerin also returned home to be closer to her parents in South Australia. Her father, a retired civil engineer, in mid-life decided to yank the family from Adelaide to a remote sheep station, Courtabie, where little Lucy's impressionable mind absorbed the brutally short life and death of farm animals.
For her parents, the sheep farm didn't work out, but those days inspired Geurin's Two Lies, originally titled Courtabie 1966.
Back in Adelaide, Guerin was an honours student at ballet school, though not the teacher's favourite. "I think I was too vague." After school she was accepted by Adelaide's Centre for Performing Arts. Her first piece of choreography was Sweet Dreams, in 1989. Her 10th, Remote, is a departure. It's the first time she's worked with male dancers as well as female, and she is not dancing in it herself.
"I like that. It's great. It's too much to be worried about the inside and outside."
Remote, part of a One Extra double bill with Garry Stewart's Fugly, is about "how we interact with TV, the way we watch it, about channel surfing, the contrast between watching TV and what you see on TV . . . and how that can be a replacement for experience.
"I am very interested in duality. Most of my pieces have two aspects, two points of view. My new work for Gideon will be about sleep. Sleep is one of my favourite things because it suggests alternative realities."
When she choreographs "there are two lines of thought - one going on in front of my mind and one from the back, which is much more instinctive. Once I've organised the framework, I can trust to let the unconscious work. That's where the movement vocabulary comes from, the prehistoric side, the back brain, the brain stem. You never know what's in there," she says. And Guerin does not look worried at all, but intrigued at the mystery of what lies in that cave.
Valerie Lawson, The Double Life Of Lucy, Sydney Morning Herald, 24 October 1997, 19
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Valerie Lawson, The magic and madness of an eternal swan, Sydney Morning Herald, 1 April 2008, 16
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Valley Voice, 10 May 2002, 7
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Valley Voice, 22 July 2003, 7
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Van Diemne's Land, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 24 November 1841, 2
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Vanessa Bates, Metro, 6 October 2006, 15
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Vanessa Keys, Struggle to stay of the relentless news cycle, The Daily Telegraph, 25 August 2011, 59
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Vanessa Wilson, Metro, 15 August 2003, 28
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Vanessa Wilson, Metro, 20 June 2003, 24
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Vanessa Wilson, Metro, 5 December 2003, 4
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Variations, The National Times, 12 December 1982, 27, 28
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Variety at State Theatre, The Argus, 10 May 1929, 12
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Variety concert, Barrier Miner, 11 March 1955, 6
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Variety Entertainment For Crystal Theatre, Barrier Daily Truth, 4 November 1949, 8
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Variety for Majestic, The Advertiser, 1 August 1956, 10
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Variety Revue Activities, Barrier Miner, 16 May 1950, 6
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Variety Revue Activities, Barrier Miner, 28 September 1950, 3
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Variety Show, Barrier Miner, 22 August 1946, 7
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Variety(USA), 26 September 1962, 0
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Varisity Revue Comeback, On Dit, The University of Adelaide, Library Special Collections, 21, 12, 23 September 1953, 2
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Varnya Bromilow, A woman at the top of her game, The West Australian, Theatre and Dance Platform, 2 February 2011, 6
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Varsity Amateurs - The Shoemaker's Holiday, Sydney Morning Herald, 17 September 1926, 10
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Varsity Biologists Return, The Morning Bulletin, 5 June 1925, 8
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Vaudeville at Tatler entertaining, Sydney Morning Herald, 24 June 1950, 14
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Vaudeville at Tivoli, Barrier Miner, 20 October 1934, 9
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Vaudeville Co. Leaves, Barrier Miner, 23 May 1950, 8
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Vaudeville for the Civic, The Sun (NSW), 14 April 1935, 13
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Vaudeville season for Crystal, Barrier Miner, 29 August 1940, 2
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Vaudeville Show, Barrier Miner, 18 April 1950, 7
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Vaudeville, Barrier Miner, 13 September 1951, 8
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Venus Bay, The DTW New(s) in Revue, Theatre and Dance Platform, XXXI, 2, 1996, 3
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Veronica Hannon, AX National, July 2007, 18
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Veronica Hannon, SX news, 17 August 2006, 33
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Veronica Hannon, SX news, 24 November 2005, 20
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Veronica Jory, bma (bands music action) , 9 February 2006, 17
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Veronica Kelly, 'Un Sans Culotte': The Bulletin's early theatre criticism and the masculine bohemian masquerade, Australian Literary Studies, 19, 3 (May), 2000, 254-268
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Veronica Kelly, A mirror for Australia: Louis Nowra's emblematic theatre, Southerly, 41/4, December, 1981, 431-458
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Veronica Kelly, Alfred Dampier as performer of late colonial Australian masculinities, Modern Drama, 43, 3, 2000, 469
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Veronica Kelly, Apocalypse and after: historical visions in some recent Australian drama, Kunapipi, 9, 3, 1987, 68-78
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The most successful colonial pantomime to use Australian characters and topics in a fantasia based on the conventions of the form was Australia Felix. Garnet Walch reworked his own 1871 Sydney pantomime Trookulentos, the Tempter for the plot and his literary model appears to have been W. M. Akhurst's 1869 Melbourne pantomime The House that Jack Built. Australia Felix involves rivalry between Mirth and Mischief for the rule of Australia, supervised by the Demon King Kantankeros, who wishes to import English gloom. Young Australia Felix is given a magic cricket bat to play for a Victorian XVIII against W.G. Grace’s all England XI. The real match – which the Victorian’s won – began on the very day of the of the pantomime's premiere, and Walch includes it in the offstage action. Felix gambles away the bat but it is recovered through the agency of a kookaburra and other helpful characters, and Kantakeros is defeated. The Australasian praised the ‘ingenious consistency’ of the piece on 27 December 1873. The local points were harmoniously brought in and the allegorical character was well preserved, it said. The Leader on 3 January 1874 found ‘a dramatic unity and completeness in the pantomime that fixes the attention and excites the interest’.
Veronica Kelly, Australia Felix, Companion To Theatre In Australia, 1995, 70-71
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Veronica Kelly, Australia's Svengali: Gaston Mervale in Theatre and Film, Australasian Drama Studies, 58, April 2011, 107-125
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Veronica Kelly, Come Over Here! The Local Hybridisation of International Ragtime Revues in Australia, 2013
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Veronica Kelly, David N. Martin and the Post-War "Acts and Actors" of Australian Variety, Australasian Drama Studies, Department of Arts and Critical Enquiry at La Trobe Univers, 67, October 2015, 131 - 154
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Veronica Kelly, Falling between stools: the theatre of Janis Balodis, Ariel, 23, 1 (January), 1992, 115-132
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Veronica Kelly, Falling Between Stools: The Theatre of Janis Balodis, Ariel, Calgary, Canada, 23, 1, 1992
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Veronica Kelly, Garnet Walch in Sydney, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 9, October 1986, 92 - 109
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Veronica Kelly, Gutsiness and inspiration, Theatre Australia, 5, 1, August 1980, 53
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Veronica Kelly, J.C. Williamson Produces Parsifal, or the Redemption of Kundry: Wagnerism, Religion and Sexuality, Theatre History Studies, 15, 1995, 161
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Veronica Kelly, Melodrama, an Australian Pantomime, and the Theatrical Constructions of Colonial History?, Journal of Australian Studies, 38, 1993, 51-61
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Veronica Kelly, Orientalism in early Australian theatre, New Literatures Review, 26 (Winter South), 1993, 32-45
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Veronica Kelly, Review: Eric Irvin, Dictionary of Australian Theatre 1888 - 1914, Australasian Drama Studies, c/- Dept. of English, University of Queensland, St. Lucia, , 8, April 1986, 134 - 138
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Veronica Kelly, Shakespeare in Settler-built Spaces: Oscar Asche's 'Recitals' of Julius Caeser in the Melbourne and Sydney Town Halls, Contemporary Theatre Review, 19, 3, 2009, 353-366
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Veronica Kelly, Smashing temples: cultural symptoms of the 1980s in Australian mainstage comedy and farce, Modern Drama, 38, 1 (Spring), 1995, 97-108
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Veronica Kelly, The Australian, 10 December 1997
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Veronica Kelly, The Australian, 14 November 1997
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Veronica Kelly, The Australian, 2 September 1997
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Veronica Kelly, The Australian, 20 April 1998
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Veronica Kelly, The Australian, 24 April 1998
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Veronica Kelly, The Australian, 30 April 1998
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Veronica Kelly, The Australian, 6 March 1998
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Veronica Kelly, The Australian, 7 April 1998
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Veronica Kelly, The Australian, 7 November 1997
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Veronica Kelly, The banning of Marcus Clarke's 'The Happy Land": stage, press and parliament, Australasian Drama Studies, Australasian Drama Studies c/- Department of English, Unive, St. Lucia, Queensland, 2, 1, October 1983, 70 - 111
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Veronica Kelly, The globalized and the local: theatre in Australian and Aotearoa/New Zealand enters the new millenium, Theatre Research International, 26, 1 (March), 2001, 1-13
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Veronica Kelly, The melodrama of defeat: political patterns in some colonial and contemporary Australian plays, Southerly, 50, 2 (June), 1990, 131-143
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Veronica Kelly, W. M. Akhurst, Companion To Theatre In Australia, 1995, 35
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Veronica Matheson, The Sunday Herald Sun, 15 June 1997
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Veronica Matheson, The Sunday Herald Sun, 19 April 1998
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Veronica Matheson, The Sunday Herald Sun, 19 April 1998
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Veronica Matheson, The Sunday Herald Sun, 22 June 1997
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Veronica Matheson, The Sunday Herald Sun, 3 May 1998
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Veronica Matheson, The Sunday Herald Sun, 31 May 1998
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Veronica Matheson, The Sunday Herald Sun, 5 April 1998
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Veronica Neville, Stage Whispers, 1 March 2001
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Veronica Neville, Stage Whispers, 1 March 2001
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Versatile Aborigines, Sydney Morning Herald, 25 May 1908, 6
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Versatile Aborigines, The Burrowa News, 29 May 1908, 2
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Verse Drama. Anderson's Winterset., The West Australian, 11 July 1946, 11
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Verse Drama. Success of Winterset., The West Australian, 17 July 1946, 9
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Verticle ballet, Sunday Telegraph, 13 October 2002, 119
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Veteran Actor. Death of Mr Titheradge. Tragedian who turned to comedy., Sydney Morning Herald, 24 June 1916, 10
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Veteran work-horses pack the stalls, The Age, 20 October 1975, 2
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Vic Lloyd, Dymphna Cusack's Morning Sacrifice, Australasian Drama Studies, Australasian Drama Studies, c/- Department of English, Univ, 10, October 1986, 67 - 77
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Vice squad hurrah, The Age, 19 August 1968, 5
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Vice-squad report on actor, The Age, 3 July 1969, 2
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Viceregal Party In The North, The Advertiser, 3 July 1896, 6
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Victor Courtney, National Theatre News, December 1958, 4
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Victor Emeljanow, Unrepentant Australian, The National Times, The University of Adelaide, Library Special Collections, 23 December 1978, 44
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Victor Harbor, February 1., Chronicle, 10 February 1900, 13, 14
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Victor Swoboda, Embracing an uncertain forecast for our future, Montreal Gazette, Theatre and Dance Platform, 18 October 2013
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Victor Violante, Fly, 17 November 2005, 4
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Victor Violante, Times2, 26 August 2005, 4
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Victoria Chance, Australian Writers' Guild, Companion To Theatre In Australia, 1995, 75-76
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Victoria Chance, Oscar Asche, Companion To Theatre In Australia, 1995, 61-62
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Victoria Hall, The Newsletter: an Australian Paper for Australian People, 25 May 1907
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Victoria Haskins, To touch the infinity of a far horizon: a transnational history of transcultural appropriation in Beth Dean's Corroboree (1954), Australasian Drama Studies, 59, October 2011, 23-28
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Victoria Laurie, A flawless journey of aching loss, The Australian, 13 February 2009, 29
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Victoria Laurie, A flawless journey of aching loss, The Australian, 13 February 2009, 29
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Victoria Laurie, Black stars risen in the west, The Bulletin, The University of Adelaide, Library Special Collections, 18 February 1992, 90-91
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Victoria Laurie, City of the black swan comes of age, The Australian, Theatre and Dance Platform, 14 February 2011
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Victoria Laurie, Curtain rises on new cultural stage, The Australian, Theatre and Dance Platform, 31 January 2011
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Victoria Laurie, Review, 15 May 2004, 16
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Victoria Laurie, Review, 17 March 2007, 3
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Victoria Laurie, The Australian, 19 June 2006, 7
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Victoria Laurie, The Australian, 26 August 2008, 0
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Victoria Laurie, The Australian, 27 January 2006, 14
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Victoria Laurie, The Australian, 27 September 2005, 14
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Victoria Laurie, The Bulletin, 13 May 1997, 70
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Victoria Laurie, White on the outside, The Bulletin, 26 May 1998, 76-77
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VICTORIA PARK TOWN HALL.
LAYING THE FOUNDATION
STONE.
(SEE ILLUSTRATIONS.)
The ceremony of laying the foundation
stone of the new town hall in Victoria GROUP AT THE LAYING OF THE VICTORIA PARK FOUNDATION STONE. Park took place on Saturday afternoon.
The inclement weather interfered with the attendance to a considerable extent, but there were a large number of residents of the municipality present. Amongst those who attended the ceremony were the Rev. D. J. Garland, Mr. J. W. Hackett, M.L.C., Mr. Lyall Hall, M.L.A., Mr. W. G. Brookman, and representatives of suburban municipalities. The proceedings opened with a short address by Cr. Hutchinson, describing the progress that had been made by the Victoria Park Municipality since he came there a few years ago, Cr. Hutchinson pointed out, however, that it was essential to the prosperity of the township that the tram line should be extended to it. With the advent of that line he anticipated that a large number of persons in business positions in Perth would make their suburban home in Victoria Park. Mr. G. Joachim, of the firm of Joachim and Ruck, the architects for the building, followed with a few remarks, at the conclusion of which he presented a silver trowel to the Mayoress of Victoria Park, Mrs. A. G. Russell, who, amid applause, declared the foundation stone of the building well and truly laid. The Rev. D. J. Garland afterwards addressed the gathering on matters of interest to the municipality, referring to the duty of the council to provide a recreation ground for the youthful members of the community, and concurring with those who objected to the purchase of the small block at the back of the hall, which he described as a backyard. He suggested, amid applause, that application should be made for part of the South Perth commonage, which lay within a gunshot of where they were standing. Mr. Garland congratulated those present on the work on which they were engaged, and complimented the municipality on the energy and public spirit it had displayed. The Mayor (Mr. A. G. Russell), who also spoke, referred to the great advance the municipality had made in the last few years. Mr. Lyall Hall apologised for the absence of the Mayor and his brother councillors of Perth, whom other engagements had kept away that day. Afternoon tea was then partaken of. On the invitation of the Mayor (Mr. A. G. Russell), an adjournment was afterwards made to the council chambers, where several toasts were honoured. Mr. Lyall Hall proposed the toast, "Prosperity to the Victoria Park Municipality." Mr. Russell said it gave him much pleasure to respond on behalf of the Victoria Park Municipality, of which any man might well be proud to be mayor. He referred to the harmonious nature of the council meetings, so different in this respect from those of some neighbouring towns. In connection with the electric lighting of the Causeway the Perth City Council had agreed to defray one-third of the expenditure, but had afterwards informed them that to pay this sum would be an illegal action on their part. The Perth citizens obtained as much benefit from this work as they in Victoria Park did, and he considered that they should contribute something towards its cost. lt was, he added, the intention of the council to spend several hundred pounds in draining the low-lying land in the municipality, and, in conclusion, he expressed the opinion that Victoria Park would in time be the leading suburb of Perth. The toast of "The Perth and Suburban Municipalities " was proposed by the Mayor. Mr. Lyall Hall, replying on behalf of Perth, said that the Perth City Council had promised to pay a portion of the cost of lighting the Causeway, but the City Solicitor advised them that it would be illegal to do so. He felt perfectly sure that if the Perth City Council could see their way clear to fulfilling their obligation they would so. (Applause.) Cr. Wallace, the acting mayor of Leederville ; Mr. J. W.'Johnson, town clerk of Leederville (on [behalf of Subiaco), and Mr. J. H. Hunt (on behalf [of Claremont), also spoke in acknowledgment of the toast. Several other toasts were honoured before the gathering dispersed. The site of the hall is at the corner of Albany-road and Kingston-road. An expenditure of £2,000 is contemplated, but it is at present only intended to proceed with a portion of the complete design, the outlay which has been authorised for this part being £500. The first portion of the hall will be completed in about nine weeks. We are indebted to Mr.. Kent, the Town Clerk of Victoria Park, for a description of the design. The front portion is to he of two storeys, the lower floor being devoted to Town Clerk's office, 24ft. Cin. x 16ft.; reading: room, 17ft. x 14ft.; surveyor's office, 16ft. x 13ft. 6in.; with strong-room, lavatories, and cloak rooms ; also two shops, which are to be independent of the other portion. The main entrance is to face Alba.iy-road, with a corridor 9tt. wide leading to a vestibule, 19ft. x 13ft., from which a broad flight of stairs gives access to the upper rooms, consisting of a council chamber, 42ft. x 26ft.; mayor's parlour, 17ft. x 14ft. The Jarge hall is placed at the rear of the ground floor, and is 80ft. x 38ft., with gallery at back, the whole being capable of accommodating 600 peojile. The building is to be erected in stone and brick, with cemented dressings, and the style of architecture adopted is Italian rennaissance. The architects are Messrs. G. Joachim and Edwin J. Buck, of Colonial Mutual Buildings, St. George's-terrace, whose plans were selected by the council from the competitive designs sent in.
Victoria Park Town Hall, Western Mail, (Perth, WA : 1885 - 1954), 9 June 1899, 35
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Victoria Theatre, Newcastle Morning Herald and Miners' Advocate, 22 May 1888, 5
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Victoria Theatre, Newcastle Morning Herald and Miners' Advocate, 25 May 1888, 8
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Victoria Theatre, Sydney Morning Herald, 17 February 1877, 4, 5
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Victoria Theatre, Sydney Morning Herald, 26 April 1880, 6
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Victoria Theatre, Sydney Morning Herald, 27 December 1878, 3
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Victoria Theatre, The Newcastle Morning Herald and Miners' Advocate, NSW, 18 December 1900, 4
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Victoria Theatre, The Newcastle Morning Herald and Miners' Advocate, NSW, 18 October 1904, 5
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Victoria Theatre, The Newcastle Morning Herald and Miners' Advocate, NSW, 19 December 1900, 4
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Victoria Theatre, The Newcastle Morning Herald and Miners' Advocate, NSW, 20 October 1904, 6
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Victoria Theatre, The Newcastle Morning Herald and Miners' Advocate, NSW, 25 October 1901, 6
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Victoria Theatre. "A Midnight Mystery"., The Newcastle Herald and Miners' Advocate, NSW, 30 June 1902, 5
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Victoria Theatre. "Dinna Forget"., The Newcastle Herald and Miners' Advocate, NSW, 2 July 1902, 5
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Victoria Theatre. "East Lynne"., The Newcastle Herald and Miners' Advocate, NSW, 4 July 1902, 6
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Victoria Theatre. "My Sweetheart"., The Newcastle Morning Herald and Miners' Advocate, NSW, 21 October 1904, 6
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Victoria Theatre. "The Brand of Cain", The Newcastle Morning Herald and Miners' Advocate, NSW, 19 October 1904, 6
-
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Victoria, Sydney Morning Herald, 7 January 1865, 4
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Victoria, The Courier, 2 September 1858, 2
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-
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-
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-
Virginia Cook, Good Times, 17 April 1986
-
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-
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-
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Virginia Trioli, If you fling enough, it sticks, The Age, Theatre and Dance Platform, 26 July 1990, E3
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Vivid display of dramatic dance, Standard & Guardian (UK), 29 April 2004, 36
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Wendy Blacklock, The long, happy haul: touring The Theft of Sita, RealTime Arts, 47, 2002
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William Halliwell, The Richmond Times, 9 June 1987
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-
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-
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-
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-
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Corroboree At Tennant Creek Only 'Half-Hearted' TENNANT CREEK. August 9. The £100,000 gold production cele brations at Tennant Creek were con tinued by a few hardy spirits almost until dawn yesterday. The town during the night presented a scene reminiscent of stories of earlier days on the goldfields elsewhere. Dur ing the night some exuberant prac tical jokers exploded several home gelignite bombs, which resulted in the shattering of one or two windows. The celebrations were continued yes terday afternoon with a corroboree by the blacks at the old telegraph station, seven miles from the town. For the last two weeks there has been a steady stream of aborigines from the bush into the station, called together by that system of communication which still remains an enigma to the ?white. The aborigines had been preparing for the entertainment all day, daubing then bodies with kopi, blood, and feathers in fantastic designs. Many of them were half-wild myalls, and when tbp time came for the corroboree and a large crowd from the town had gath ered at the ground, they took fright and ran away. Only about a dozen of the more sophisticated workers at the sta tion remained and performed ln a half-hearted manner, to the disap pointment of the crowd. The others gathered in groups some distance away, talking and gesticulating excitedly. The celebrations ceased last night with a dance, and tomorrow many of the men will return to their claims.
£100,000 Gold Celebrations, The Advertiser, National Library of Australia, 10 August 1936, 17
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£1500 tax fines for Tatler proprietor, The Sun (NSW), 2 April 1950
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£2,000 Tiara For Chorus Girl, The Mail (Adelaide, SA : 1912 - 1954), National Library of Australia, 4 March 1939
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