Peter Pinne's musical theatre career reached a peak in 1995 when his and his longtime collaborator, Don Battye's musical Prisoner – Cell Block H The Musical opened a season at the Queen's Theatre, London and became a cult hit subsequently touring the UK in '96 and '97.
Prior to that he and Battye had written many musicals produced in Australia that included Caroline, A Bunch of Ratbags, Red White & Boogie, and Sweet Fanny Adams. Their musicals for children, The Emperor's New Clothes, The Little Tin Soldier, The Shoemaker & The Elves, Jack & The Beanstalk, Beauty & The Beast, Rumpelstiltskin and Billabong Bill have become a staple of the children's theatre scene since they were originally produced at the Alexander Theatre, Melbourne.
Peter Pinne's other musical collaborations include; A Bit O' Petticoat with Ray Kolle, Pyjamas In Paradise with John-Michael Howson, and Mavis Bramston – Reloaded and Suddenly Single with Paul Dellit.
He has also had a high profile career in television where he worked for the Grundy Organization on such iconic shows as Neighbours, Prisoner, Sons and Daughters, The Restless Years, The Young Doctors, and Secret Valley amongst others. He has also worked in the U.S., Latin America and Indonesia producing television drama, game shows and sitcoms for Pearson Television and Fremantlemedia.
From 1999 until the end of 2007 Mr Pinne was the owner and president of Bayview Recording Company, Los Angeles, USA, a boutique label who newly recorded and reissued CDs aimed at the show music market. These included over twenty recordings from New York Town Hall's concert series Broadway By The Year.
Apart from scripting television drama, he also wrote, with Battye, the theme song for the series Sons and Daughters. Other music credits include the score for the award winning movie A City's Child. He is the author of the discography Australian Performers, Australian Performances, and currently writes for On Stage and Stage Whispers.
In late 2019 he released The Australian Musical: from the beginning, a definitive history of Australian musical theatre, co-authored with Peter Wyllie Johnston, and published by Allen & Unwin in association with the Queensland Performing Arts Centre.
Zwar’s first credit for the fifties was for the company of four productions, The Lyric Revue, which opened a pre-London tour at Cardiff, Wales, 23 April 1951 (24p), then moved to the Lyric Hammersmith (134p), 24 May 1951, before transferring to the Globe Theatre, London on 26 September 1951 (317p). The cast included Dora Bryan, Ian Carmichael, Joan Heal, Graham Payne, George Benson, Roberta Huby, Jeremy Hawk and Myles Eason amongst others. Direction and choreography was by William Chappell, design by Louden Sainthill, and musical direction by Norman Hackforth. Music was by Graham Payne, Noel Coward, Richard Addinsall, Donald Swann and Zwar, whilst lyrics and sketches were by Gerald Bryant, Arthur MacRae, and Paul Dehn. There were skits on Sunset Boulevard; Peter Pan as Tennessee Williams might rewrite it; Cinderella revised by Freud; and Nancy Mitford on ‘Lady Robinson of Cruise’. Coward’s contribution was ‘Don’t Make Fun of the Fair’ which poked fun at the ‘joys’ of the Festival of Britain. Zwar and Bryant’s ‘Bar Aux Folies-Bergere’, about a pretty barmaid at the Folies Bergere was called ‘charming’ by the Times, whilst Theatre World gushed, ‘Topical comment, wittily concise … It has ideas, punch and personality.’
The Lyric Revue closed on 28 June 1952, and a second edition opened two days later at the Theatre Royal, Brighton, and transferred to the Globe on 10 July, 1952 under the title of The Globe Revue with mostly the same cast and Chappell and Hackforth still doing director, dance and musical direction duty. Zwar’s content remained the same. Sketches included; a satire on modern production styles with a staging of Madam Butterfly in ‘Modern Trends’, a bowler-hatted Carmichael miming undressing on a beach under a raincoat in a sketch called ‘Bank Holiday’, whilst Coward’s contribution this time was ‘Bad Times are Just Around the Corner’, delivered manically by Bryan, Payn, Heal and Carmichael as Morris dancers. The Times thought the best of Dehn’s lyrics ‘presents a cabaret girl seated on a piano. Figuratively as well as literally she can get round and out and in, but she cannot “Get Off”.’ They also liked Bryan and called her ‘an admirable little comedienne whose versatility gradually establishes her for the leading place in the revue’.
Laurier Lister’s Penny Plain (443p) was basically a successor to his earlier 1947 Tuppence Coloured with the same principal cast: Joyce Grenfell, Elisabeth Welch and Max Adrian. It opened at St Martin’s Theatre, 28 June 1951 and played a year closing on 19 July 1952. Zwar had one item in the show, ‘Good Day For Godiva’, which had a lyric by Michael Flanders, and was sung by Welch. Other sketches included Grenfell and Julian Orchard suggesting that Tennyson’s ‘Maud’ may have had good reason to be wary when invited to come into the garden, and Adrian scored as a very sick actor who would rather die onstage than allow his understudy to go on. Flanders and Swann’s ‘Surly Girls’ had the men in drag in a send-up of Ronald Searle’s St Trinian’s. The Times called it, ‘no more than a mildly amusing entertainment’, whilst Theatre World went with ‘although topicality abounds and there is much that scintillates, on the whole a slight disappointment’. Produced by Dare Clingberg, John K. Gibson and Prometheus Productions, direction was by Lister, dances by Bert Stimmel, and musical direction by John Pritchett. The cast also included Desmond Walter-Ellis, Rose Hill, Moyra Fraser, Jimmy Thompson and June Whitfield.
In 1951 Alan Melville had deserted revue and worked with Ivor Novello writing his last musical, the Cicely Courtneidge vehicle, Gay’s the Word. The following year he joined forces with Zwar to create the musical Bet Your Life (362p). Kenneth Leslie-Smith, who had credits for BBC radio musicals, one of which (Sweet Yesterday) ended up playing the West End in 1945, was co-composer of the score. It was written for comic Arthur Askey who played a jockey who whispers the names of girls in his sleep on his wedding night. His bride thinks he’s cheating on her until it is revealed they are the names of the winning horses at the next day’s meeting. The plot bore similarities to George Abbott and John Cecil Holme 1936 comedy Three Men on a Horse, itself musicalised in Eddie Cantor’s 1941 Banjo Eyes, and later by Jay Livingston and Ray Evans in 1961’s Let It Ride. Apart from Askey the show also starred Julie Wilson, fresh from her stint of playing Bianca in London’s Kiss Me Kate as the wife, and Sally Ann Howes as a racing journalist, Brian Reece, Tom Gill and Noele Gordon. The Jack Hylton production opened at the New Theatre, Oxford, 4 December 1951, where it played two weeks before an eight-week Christmas season at the Manchester Opera House. It arrived at London’s Hippodrome 18 February 1952, with direction by Richard Bird, staging by Alex Shanks, dances by George Carden, musical direction by Bretton Byrd and costumes by the impressively chic trio of Erté, Clere and Pierre Balmain. Zwar and Leslie-Smith provided a lively score, but Melville’s book was criticized as not being witty enough. Still, it had a healthy life. ‘Miss Wilson is her most colourful self, particularly in her big number “I Want a Great Big Hunk of Male” [Zwar]’ (Theatre World). Wilson stayed with the show for four months and then was replaced by Noelle Gordon, at which point the running-time was cut-down to two-hours and it played twice nightly closing 25 October 1952. It had the longest run of any Zwar musical.
Laurier Lister’s Airs on a Shoestring (772p) was a successor to Penny Plain produced and directed by Lister, with musical numbers staged by Alfred Rodrigues, and musical direction by John Pritchett. It re-opened the Royal Court Theatre as a public theatre. The theatre had closed due to bomb damage during the war, and had reopened as a ‘club’ theatre in 1952. It closed early in 1953 for renovation to bring it up to London County Council code. Max Adrian headed the cast with Moyra Fraser, Betty Marsden, Denis Quilley, Peter Reeves, Sally Rogers, Bernard Hunter and Charles Warren. Zwar wrote one number with Michael Flanders, ‘Sweet Memories’ performed by Adrian. Some items were repeated from Penny Plain but overall the material was new; ‘Guide To Britten’ (Flanders/Swann) performed by the five men, took a satirical swipe at Benjamin Britten; Adrian was a class-conscious fly feeding joyously on fresh salmon on a fishmongers slab (‘Fly Customers’ Richard Waring); and Marsden performed a monologue by Joyce Grenfell about a secretary in love with her unpleasant boss (‘Sir Edgar’). New sketches were added during the course of its lengthy run. After it closed in March 1955 it went on a provincial tour.
Zwar was back in the pit playing one of two pianos (the other ivory tickler was Arnold Mayne) and writing two items with lyricist Paul Dehn, ‘Tailor Made’, and ‘Riviera, Goodbye’. The show was H.M. Tennent’s At the Lyric which played a pre-London engagement at the Cambridge Arts Theatre 7-12 December 1953, before transferring to the Lyric Hammersmith, 23 December 1953 where it ran for 170p. The cast, which was headed by Hermione Baddeley and Dora Bryan, also included Eric Berry, Ian Carmichael, Rachel Roberts, Shirley Eaton and Myles Eason amongst others. It was written by Alan Melville with additional lyrics by Dehn and Michael Flanders, music by Kenneth Leslie-Smith, and direction by William Chappell. The Times said ‘it is a bright and boisterous show’, and thought Baddeley ‘had become almost the broadest of our revue comediennes’. They thought her ‘droll’ as a suburban housewife glued to the television though the sink is full of dishes and a tapioca pudding is burning in the oven. They also liked her as a bejeweled canasta player in a private hotel in Torquay, and as a cabaret star at the Casino de Paris. This was the revue that Bryan introduced her classic ‘Miss Manderson’(Melville) in which she was a psychotic patient confiding to her psychiatrist she has spent her life pushing her nearest and dearest over cliffs and is no sooner told by the doctor that she has dreamed these incidents that she pushes him through the window. The Times called her ‘admirably quiet and alarming’.
At The Lyric transferred to the St Martin’s Theatre 20 May 1954, with a new title, Going to Town (36p) The cast, content and writers basically remained the same, except that Vivienne Martin and John Walters joined the performers and some new material was added. ‘Trouble in the Far East’ (Melville/Leslie-Smith) lampooned The King and I and Teahouse of the August Moon with Eric Berry scoring laughs as Herbert Lom, whilst Baddeley and Bryan burlesqued a third-rate music-hall turn. Zwar added two new items to the running order, ‘Body Beautiful’ and ‘Deadline’. When the show closed on 17 July 1954 it went out on a short regional tour.
From Here and There (77p) was billed as an ‘Anglo-American’ revue and opened at the Royal Court Theatre, 29 June 1955. Themed around six prosperous American tourists in London and six not-so prosperous English tourists in New York, is was conceived and directed by Laurier Lister. Delores Claman was credited with music, lyrics and sketches were by Jack Gray and Jerry de Bono, décor by Stanley Moore, choreography by John Heawood, and musical direction by Zwar who alternated with Geoffrey Wright playing one of two pianos in the pit. Stanley Barrett was on the other. Betty Marsden and June Whitfield headed a cast that included Charlotte Mitchell, April Olrich, Michael Mason, Peter Mander, Dennis Betis and Peter Tuddenham, with guest American performers: Richard Tone, Myra De Groot, James MacColl and Ellen Martin. Two of the Americans had good Off-Broadway revue credits, Tone for two early Jerry Herman revues Parade and I Feel Wonderful, and English-born De Groot for Upstairs at the Downstairs. The Times carped that the material was mostly ‘commonplace’ and ‘sadly lacks a centre’. Zwar contributed six numbers to the show, amongst them ‘Liberty Belles’ (Zwar/Johnny Wilson) which found Marsden and Whitfield as two Wren officers with boys in every port. Marsden, dressed in a sarong and playing a ukulele, also scored in ‘Paradise Lost’, ‘Marsden appears as a clever comedienne when she is stranded on an island during nuclear weapon tests’ (Times). Tone and Whitfield were also noticed in ‘The Dancing Lesson’ (Zwar/Charlotte Mitchell). On 25 July Max Adrian replaced MacColl who had returned to America and played out the rest of the short run which ended 27 August 1955.
In 1959 Zwar turned to musical comedy again when he and Alan Melville adapted the lightweight period Scottish comedy Marigold into a musical. The original play by Allen Harker and F.J. Prior had been very successful in the West End during the late twenties running for three years from 1927 until 1929 at the Kingsway Theatre. Set in Peebles, Scotland in the 1840s, Marigold, the ward of Miss Pringle, finds true love in the arms of the handsome young Officer Archie Forsyth, but not before she turns down the hand of her betrothed, the dull turnip farmer James Payton, spends a forbidden day in Edinburgh, and accepts a dowry from her ‘real’ mother, French actress, Madame Marly. Seventeen-year-old Sally Smith was cast in the title role, with Sophie Stewart, who had played the ingénue in the original play, as Miss Pringle, William Dickie as the turnip farmer, and Jeremy Brett as the Officer. Jean Kent played Marigold’s mother Madame Marly. It was the first time Zwar and Kent’s paths had crossed since she debuted in the movie Hullo Fame. Stewart had also starred in a 1938 film version of the play. The Stage said ‘Mr Zwar’s music is fancy but soon forgotten’ whilst Plays and Players thought ‘Zwar’s music never quite reaches a peak but is pleasantly hummable and now and then (“Always Ask Your Heart” and “Princes Street”) hits the button.’ It was a gentle and charming piece, but in an era which had just seen the birth of rock ‘n’ roll and kitchen-sink musicals like, Fings Ain’t Wot They Used T’Be, Expresso Bongo, and The Crooked Mile, a light-romantic score in the Bless the Bride vein was not what audiences were looking for. Marigold played seasons in Aberdeen, Edinburgh and Glasgow, before opening at the Savoy Theatre, London 27 May 1959. It stayed at the Savoy for seven weeks before being evicted, but producer Stephen Mitchell found a new home for it at the Saville where it played another three weeks for a total run of 77p.
The failure of Marigold was a sobering experience for Zwar who immediately hot-footed it back to revue. Working with Alan Melville he wrote three numbers for And Another Thing … which opened at the Fortune Theatre, 6 October 1960 (244p). Produced by Anna Deere Wiman and Charles Ross, the show was written by Ted Dicks and Myles Rudge, with an additional items credit going to Lionel Bart, Barry Cryer, Robert Tanich, Christopher Dandy, and Melville and Zwar. Ross was the director, with Lionel Blair and Bob Stevenson handled choreography, whilst the twin pianos were in the hands of Ted Dicks and Charles Mallett. According to the critics, And Another Thing … was an inferior successor to Look Who’s Here! by Dicks and Ross. Bernard Cribbins and Anna Quayle headed the cast who also included Joyce and Lionel Blair, Donald Hewlett, Dennis Wood, and Anton Rodgers. The Times said ‘this is a traditional British revue, in the time-honoured manner, on the time honoured themes.’ Subject satirized included, drama critics, West End productions, Soho strip clubs, TV dance contests and Lolita. Zwar’s contributions were ‘Prayer’ performed by Cribbins, ‘Bleep’ by Wood and Rodgers, and ‘Princess and the Pea’ with Quayle. Cribbins was forced to play the early performances from a wheelchair due to a foot injury.
Zwar next contributed two songs ‘Sir Brewster’ (Zwar) and ‘The Connoisseur’ (Zwar-Dehn) to the H.M. Tennent Ltd., revue On the Avenue (14p), which opened at the Globe Theatre, 21 June 1961. Despite a starry pedigree the revue was withdrawn after a week and a half. Joan Heal, Beryl Reid and George Rose had above the title billing in the show directed by William Chappell, with décor and costumes by Peter Rice and a six-piece orchestra under the direction of Burt Rhodes. The cast also included: Marion Grimaldi, Melody O’Brien, Joanna Rigby, Michael Cole and Paula Edwards amongst others. The Times headlined their review ‘Topical but gentle wit’, whilst the Stage went for the jugular, ‘It is so dated you have the impression of seeing a revival of a show of fifteen or twenty years ago … All the girls and boys are going to be so witty, so bright and so devastating. They are not. They could not be, with such stale, puny material.’ But there were some bright spots according to the Times, ‘She [Reid] is at her wildest as a Spanish servant who despises her bourgeois employer’s lack of noble ancestry and throws an important dinner party into utter confusion’ (‘The Spanish Maid’ Dehn), whilst they said Heal ‘has several good songs and sketches to which she brings her special brand of Cockney humour.’
A month before On the Avenue opened Beyond the Fringe had swept through the West End like wildfire and revue was to never be the same again. A late-night Edinburgh Festival revue written by four recent university graduates, Jonathan Miller, Peter Cook, Alan Bennett and Dudley Moore, Beyond the Fringe, with its cutting-edge satire made shows like On the Avenue and their ilk look decidedly old-fashioned and passé. Eschewing sets, costumes, a chorus and musical numbers it changed the face of intimate revue. Its success led to the launch of the satirical magazine Private Eye (still being published to this day) and to weekly television satire with That Was the Week That Was with David Frost and Millicent Martin. At over 2200 performances it became the longest running revue in West End history.
But the old-guard did not go down without a fight. When Linnit and Dunfee’s All Square (92p) opened almost two years after Beyond the Fringe at the Vaudeville Theatre, 25 April 1963, it was back to the traditional form of revue, written by Alan Melville, with music by Zwar, design by Berkeley Sutcliffe, dances by George Carden, and direction by Charles Hickman. Charles Mallet and Harry Norman were on the twin pianos. Beryl Reid and Naunton Wayne headed the cast who also featured Nicky Henson, Anna Dawson, Robin Palmer and Joyce Blair. Despite a Daily Mirror rave, ‘had the audience laughing loud, long, almost non-stop’, and Harold Hobson (Christian Science Monitor) calling it an ‘excellent revue’, a number of the critics found the show desperately old-fashioned. Zwar and Melville wrote twelve numbers for it. Subjects skewered included: That Was the Week That Was, Rudolf Nureyev and his dash for asylum, a lady who found her lost love on This is Your Life, trade unions, debutants and erotic works of art. One sketch was based on plans to create a piazza in Piccadilly, predicting a London peopled with Italians and gondolas on the Thames.
Later in the year Zwar and Melville contributed material to Six of One (304p), billed as a revue musical in two-acts loosely based on the career (so far) of Dora Bryan. Devised by Frances Essex, it was directed by William Chappell, choreographed by Irving Davies, with Frank Horrox as musical director. The cast also included, Richard Wattis, Dennis Lotis, Amanda Barrie, John Hewer, Sheila O’Neill, David Toguri and others. The concept had Bryan appearing in mini-versions of a pantomime, a concert party, a revue, a musical comedy, a TV comedy and variety. The reviews were glowing: ‘It’s wonderful’ said Punch, ‘Immensely enjoyable’ chimed the Sunday Times, whilst the Times claimed it is, ‘cast in a rigidly artificial “showbiz” pattern, but taken sketch by sketch it brilliantly belies its intentions.’ Zwar and Melvile’s contribution was ‘Cosette’ or ‘Gentlemen Prefer Redheads’, a mock-Romberg musical-comedy with Bryan playing Cosette the Queen of Monmartre dressed in a red wig. The sketch had four musical numbers; ‘St Cyr’, ‘Mademoiselle Cosette’, ‘Not a Cloud in the Sky’, and ‘Cherish Your First Affair’.
In 1968 Zwar wrote the last of his four musicals, The Station Master’s Daughter, book and lyrics by Frank Harvey which played a four-week season out-of-town at the Yvonne Arnaud Theatre, Gilford, 11 April 1968. It was a topical story about a stationmaster and his fight to keep his station open, despite a plan by the Transport Minister to close it down. Rose Hill played the Transport Minister, with Sally Smith, who had been Marigold in Zwar’s previous London musical, as the stationmaster’s daughter.
After the inauguration of the Phillip Street Revue in 1953, Australia continually plundered West End revues for material to bolster their programs. Many Zwar and Melville pieces were recycled in, Metropolitan Merry-Go-Round, Around the Loop and Out On a Limb. Is Australia Really Necessary? starred Miriam Karlin and revisited ‘Vienna Lingers On’ from Sweeter and Lower which was retitled ‘Old Vienna’ and sung by Darlene Johnson and Donald McDonald. Likewise Melbourne’s Union Repertory Theatre Company (forerunner of Melbourne Theatre Company) featured Zwar material in Tram Stop, Brisbane saw it in Let’s Go, Roll Yer Socks Up, and Look No Eyebrows, Adelaide in Festival Faces, whilst Perth aired it in Airs and Graces, and At Your Convenience.
Hermione Gingold was granted permission from Parliament in 1950 (as was the process at the time), to travel to the United States. She specifically wanted to start her career in America in a revue which she did in It’s About Time in Cambridge, Massachusetts, in 1951. It incorporated some of her London material. John Murray Anderson saw her in the revue and offered her a part in his next Broadway revue Almanac (229p). Directed by Cyril Ritchard, with choreography by Donald Sadler, and musical direction by Buster Davis, it opened at the Imperial Theatre, New York, 10 December 1953. Gingold was top starred alongside Billy De Wolfe, and the cast also included Harry Belafonte, Orson Bean, Polly Bergen, Alice Pearce and Carlton Carpenter. Material was by newcomers Richard Adler and Jerry Ross with Jean Kerr as one of the scriptwriters, but Gingold found room for Zwar and Melville’s ‘Which Witch?’ She received the Donaldson Award for the best musical comedy debut.
Sticks and Stones opened at the John Drew Theatre, East Hampton, Long Island, 30 June 1956. It starred Gingold as well as Marti Stevens, Keir Dullea, Jack Fletcher and Louise Hoff amongst others. Gingold again recycled ‘Which Witch?’ and gave ‘Cello Solo’ (Zwar/Leslie Julian Jones) (in this instance just called ‘The Cello’), another outing. Zwar working with Myles Rudge on lyrics wrote a bizarre piece for Gingold called ‘Robert the Robot’, about a woman who falls in love with a robot.
From A to Z (21p) opened at the Plymouth Theatre (now Gerald Schonfeld Theatre), New York, 20 April 1960 after an out-of-town tryout at the Shubert Theatre, New Haven, Connecticut, 26 March 1960. Directed by Christopher Hewett, it starred Hermione Gingold, Stuart Damon, Virginia Vestoff, Elliot Reed, Bob Dishy and others. Many writers contributed to the revue including Jerry Herman, Fred Ebb, Mary Rodgers, Jay Thompson, Herbert Farjeon and Woody Allen, with Zwar and Melville’s ‘What’s Next’ recycled from Sweetest and Lowest to close the show. It was Herman, Ebb and Allen’s Broadway debuts. A 22-year-old Jonathon Tunick was co-orchestrator. Billboard claimed, ‘Gingold displayed much keen sense of comedy, but one bright artist cannot make the production.’
Although intimate revue had passed its use-by-date in the late sixties, the West End occasional found time to revisit the genre over the next few decades. Deja Revue, had a pre-London tryout at the Rex Theatre, Wilmslow, Cheshire, where it opened 9 December 1974 (6p). Devised by Olav Wyper and Alan Melville, directed by Victor Spinetti, it starred Sheila Hancock, George Cole, Anna Dawson and others. It transferred to the New London Theatre, London on 30 December 1974, and used a selection of items from revues of the 1930s to the 1960s. Four Zwar and Melville pieces were recycled including, ‘Restoration Piece’. Hancock was praised as being ‘brilliantly funny’, whilst the Stage said ‘Most of the items have lasted well; all were worth reviving.’
On the fiftieth anniversary of The Gate Revues Diana Morgan and Geoffrey Wright devised a compilation of material from the famous shows that virtually started the intimate revue genre, and cobbled it together as Meet Me at the Gate (40p). It opened at the King’s Head Theatre, Islington, 8 January 1985, with direction by Neil Lawford, choreography by Gillian Gregory, and musical direction by Courtney Kenny. Cast included Lynda Bellingham, Diana Martin, Robert Glenister, Graham Hoadly, Gaynor Sinclair and Billy Milton. The Times said ‘they are versatile performers exuberantly rehoning the edge on the material … a night to meet for unashamed nostalgia.’ Zwar and Oxford St John’s ‘Salome Wouldn’t Dance’ was one of the hits of the evening.
An earlier compilation of The Gate Revue material was called Swing Back the Gate and opened 21 May 1952 at the Irving Theatre, a small theatre near Leicester Square that was an Art Gallery by day and a theatre by night. It featured Michael Anthony who was an original member of the series, plus Maria Charles, Alec Grahame and Denis Martin, with different guest performances by original cast members each week. The opening week guest was Walter Crisham.
Zwar’s final credit was for Royal Shakespeare Company’s, The Shakespeare Revue which opened at the The Pit, Barbican Theatre, London, (4p) before transferring to the Vaudeville Theatre, 13 November 1995 (112p). Devised, directed and starring Christopher Luscombe and Malcolm McKee, with Janie Dee, Susie Blake and Martin O’Connor, it was a compilation of new and old songs and sketches with a Shakespeare connection. Zwar and Melville’s contribution was ‘Which Witch?’ sung by Blake.
Unfortunately Zwar did not live long enough to see his most-admired revue number amusing a new audience fifty-four years after it was written, having died aged 78 of emphysema at his home in Oxford 2 December 1989. Zwar met his second wife Diana Plunkett (1918-1992), a theatrical technician and manager at the Lyric Theatre, Hammersmith, when he was musical director of Sandy Wilson’s The Buccaneer. They were married in 1955 and their union produced a daughter, Mary-Jane.
Through the sixties Zwar regularly contributed to television (mostly with Alan Melville), A-Z, Before the Fringe, Melvillainy, Merely Melville, and That Was the Week That Was. In 1964 Zwar wrote the song, ‘It Went Straight to Her Head’ for Repertory Revue, which played the Playhouse, Salisbury, 4-15 February 1964. It was performed by Melville and June Watson. The same year Zwar scored the documentary film Eight Hundred Mile Voyage.
Zwar’s name is indelibly linked to intimate revue. In his obituary in the Times they said ‘for thirty years he was one of the leading figures of the West End’s heyday of revue.’ His biography reads like a Who’s Who of West End revue royalty. During the height of the genres success it produced some of the most biting and satirical humor of the times—short sharp songs and sketches which lampooned the establishment, sacred cows, and theatrical activities. Zwar was not only a contributor but one of its masters.
‘Bet Your Life’ (Chappell & Co)
‘I Want a Great Big Hunk of Male,’ ‘(I Love) Being in Love’, ‘Piano Selection’
‘Marigold’ (Chappell & Co)
‘Always Ask Your Heart’, ‘Love Can’t Be Learned’, ‘Princes Street’, ‘Wonderful View’, ‘Piano Selection’
Sweetest and Lowest (Samuel French)
‘What Next?’, ‘Amo Amas’, ‘Swing Bridge’, ‘Self Portrait’, ‘Film Foursome’, ‘Days of Dalys’, ‘Why Does a Cow Go Moo?’
A La Carte (Samuel French)
‘Dawn in Covent Garden’, ‘Ladies in Waiting’, ‘Self Analysis’, ‘Restoration Piece’, ‘Pale Hands I Hate’, ‘Wherefore Art thou Romany’, ‘And the Buffs’, ‘Lament’, ‘Old Girls’, ‘Romanos’
One, Two, Three (Samuel French)
‘The Orator’ (published under the title of ‘Mixed Foursome’)
Six of One (Chappell & Co)
‘Not a Cloud in the Sky’
Blue Mountain Melody
Bet Your Life
‘I Want a Great Big Hunk of Male’—Julie Wilson (Vocal) (Columbia DX 1825 78rpm 1952)
‘What Care I?’—Sally Ann Howes / ‘(I Love) Being in Love’—Brian Reece (Columbia DB 3048 78rpm 1952)
Bet Your Life Orchestral Selection George Melanchrino Orchestra (HMV C4170 12” 78rpm 1952)
Marigold—Original London Cast (HMV CLP1275/Reissue Must Close Saturday Records MCSR 3042 CD)
‘Marigold Piano Selection’ William Raynor (Piano) on the album I Wanted to See the World—Songs and Music from 1950’s British Musicals (Must Close Saturday Records MCSR 3005 CD)
John Murray Anderson’s Almanac—and other Broadway and London revues sung by Hermoine Gingold and Cyril Ritchard (DRG 19009) (1999)
Some of Zwar’s revue material can be found on the following:
Melvillainy—Alan Melville (Decca LK4394/reissue Must Close Saturday Records MCSR 3042 CD)
La Gingold—Hermoine Gingold (Dolphin 7)
The Shakespeare Revue (TER CDTEM2 1237 1995)
The Age (Melbourne), The Argus (Melbourne), The Catholic Weekly (Sydney), The Herald (Melbourne), Billboard (New York), Christian Science Monitor (London), Daily Mirror (London), Plays and Players (London), Punch (London), The Stage (London), The Sunday Times (London), The Times (London), Theatre World (London)
Gerald Boardman & Richard Norton, American Musical Theatre: a chronicle, Oxford
Peter Pinne & Peter Wyllie Johnston, The Australian Musical: from the beginning, Allen & Unwin
Kurt Ganzl, British Musical Theatre, volume 2, 1915-1984, Macmillan
Robert Seeley & Rex Bunnett, London Musical Shows on Record 1889-1989, Gramophone
Steven Suskin, Show Tunes, Oxford
Australian Variety Archive—Charles Zwar www.ozvta.com.au
Judy Harris, www.bestweb.net/~foosie/index.htm
On Stage magazine—Blue Mountain Melody www.theatreheritage.com.au
CHARLES ZWAR, THE YOUNGEST SON of Mr and Mrs Charles Zwar of Broadford, Victoria, Australia, was born on 10 April 1911. He was educated in the Melbourne suburb of Williamstown, where he attended North Williamstown State Primary and Williamstown High School. He got his nickname A.G. from his elder brother Adolphus Gordon, who with his older brother Richard, remained farmers on the family farm at Broadford, affectionately called ‘The Ranch’.
Zwar developed a passion for music and became a student of Mr G.W. McKeown where he studied piano and violin. After completing his education at Williamstown High he undertook a degree in Law and Arts at the University of Melbourne, becoming a resident at Trinity College from 1928 to 1932. During this period he began writing topical songs and mixing the latest jazz tunes with classical music. He also contributed to the student productions at the College and University both as a performer and musical director.
His first show credit was Stude Prunes (4p), a university revue that opened at the Comedy Theatre, Melbourne, 17 May 1933, which the Age thought was ‘Delightfully amusing’. The cast included Zwar who appeared on stage and also as musical director. His ‘crooning’ of his own song ‘You’re My One Wild Oat’ was claimed by the Herald as ‘the most appreciated item’.
In 1933 Zwar made his first appearance on radio being part of a 3AR program of dance music that was interspersed with singing by Ella Riddell and comedy by Johnny Marks. Zwar was billed as a ‘novelty entertainer’ and continued his radio gigs for the next few months. Later in the year he was called in as a show doctor writing the interpolated ‘They’re In Love’ for George Wallace (Dandy Dick) and Phyllis Baker (Sally) to sing in F.W. Thring’s commercial production of Varney Monk’s musical Collits’ Inn (122p Melbourne /71p Sydney) which opened at the Princess Theatre, Melbourne, 23 December 1933.
The next year, 1934, saw Zwar back at the Comedy Theatre (18 April 1934) in another university revue, Swot Next (4p). Again he wrote music and lyrics and was musical director. This time the Argus called his music ‘sophisticated’ and his lyrics once again ‘amusing’. Sketches included a send-up of the recent spate of Efftee film productions in Melbourne called, ‘On the Lot at Enbeegee Film Productions’, and a one-act comic opera, ‘Il Tanto Eruptio’, which featured Paul Fiddian and John Clements. Fiddian later appeared in Gilbert and Sullivan for J.C. Williamson’s, whilst Clements opened a record shop which became a Melbourne institution.
The year 1934 also saw Zwar composing and writing the first of four musicals Blue Mountain Melody (48p Sydney /54p Melbourne). Collaborating with J.C. Bancks (creator of the comic strip Ginger Meggs), who devised the book, with direction by Frederick Blackman, choreography by Ruby Morris, and musical direction by Andrew McCunn, the musical starred two of Australia’s most beloved performers, Madge Elliott and Cyril Ritchard. It was the first Australian musical produced by J.C. Williamson’s who staged it with their considerable resources and used a revolving stage for the first time in one of their productions.
Bancks’ original story was a love-triangle between a young painter and pugilist Jimmy Brady (Frank Leighton), an Australian squatter Peter Harley (Cyril Ritchard), and the object of their affection, song-and-dance girl Judy Trent (Madge Elliott). Zwar’s score was contemporary and akin to what the Gershwins, Cole Porter and Vincent Youmans were writing for Broadway. As the two principals were first and foremost dancers, the score was heavy on rhythm. Critics liked Elliott’s ‘I Can See a Picture’ with its twin violin accompaniment, and called the boxing ballet (‘Hard Knocks’) and shadow dance, (‘Shadows’) original. Not all of the score was new. Zwar recycled ‘Let’s Relax’ from Swot Next.
The following year saw Zwar back at the Comedy Theatre in another university revue, Hot Swots (4p) which opened on 1 May 1935 during a week of festivities celebrating King George V’s Silver Jubilee in London. The Age called it ‘excellent entertainment’, whilst the Argus thought it ‘novel and fresh’. With a cast of 130 the barbs ranged far and wide: a Grand Opera Season in 20 minutes to the strains of Orpheus, Carmen, La Traviata, Il Trovatore and others performed by the 70-member University Opera Society, and a pantomime burlesque ‘Citronella’ which featured Zwar in drag as Mrs Hotbothom.
Zwar left Australia for Britain on the same ship as Australian children’s author Isobel Shead. They later married in Surrey, England, in 1938. They originally met while Shead was working for the ABC between 1933 and 1936. Both were determined to pursue careers in London and both succeeded, with Shead going on to work in a number of high-profile positions with the BBC and Zwar consolidating a career as a composer and musical director for musical theatre and revues which lasted more than three decades. Unfortunately the marriage didn’t last long with them separating in the early fifties.
Zwar’s first West End credit was playing one of the duo pianos (with Ruby Duncan) for Norman Marshall’s The Gate Revue (449p) which played the Gate Theatre Studio, 16A Villiers Street, underneath the arches close to Charing Cross Station. Seating less than 100, it was a ‘Club’ theatre which meant you had to join and become a member to see the show. The content of ‘Club’ theatres was not subjected to censorship by the Lord Chamberlain so subjects that were frequently risqué or taboo were allowed to be presented so long as it was for ‘Club’ members only.
The show starred Hermione Gingold, Michael Wilding, Joan Swinstead and Walter Crisham amongst others. It opened 19 December 1938 and three months later on the 9 March 1939 moved to the West End where it played the Ambassadors Theatre. Some of the sketches which the Censor had permitted for a ‘Club’ audience were ruled unsuitable for general public consumption and were replaced with numbers that had mostly been performed in earlier revues at the Gate. The Times (10 March 1939) said, ‘The tunes have life in them; the fooling is never dull buffoonery; the jokes are, if anything, over-rather than under-civilized, which is a fault on the right side; above all, the words can be heard and, as revue songs go, are worth hearing.’ Although the hit song of the show was the sentimental, ‘Transatlantic Lullaby’ (Geoffrey Wright/Diana Morgan/Robert MacDermot) sung by Gabrielle Brun, it was Gingold who scored the laugh honors with ‘Only a Medium Medium’, a send-up of clairvoyance written by her then husband Eric Maschwitz, Geoffrey Wright and Charles Hickman. It became one of the staples of her repertoire. Other skits included ‘The Power Of the Press’ (Gerald Bryant/Wright) a satire on modern journalism and gossip magazines like the Tatler. The Gate Revue was the first of six revues Zwar and Gingold worked on together.
The revue closed by Government Order on the outbreak of war, but resumed in a new edition on 19 October 1939 playing twice daily at 2.30pm and 8.30pm. The second edition found writer (and Joyce Grenfell’s cousin) Nicholas Phipps joining the onstage performers, with Derek Farr replacing Wilding. This time out Zwar wrote three numbers, his first for the London stage: one with Gingold, ‘The Sewing Bee’, and two with Phipps, ‘The Night Is Warm’ and ‘Miss Swinstead’s Morceau’, a send-up of a classical music performance performed by Swinstead. By the time it closed 4 May 1940 it had played 449p.
The Gate Revue’s successor Swinging the Gate (125p) opened at the Ambassadors Theatre, 22 May 1940, but was forced to close early because of German bombing raids. Hermione Gingold once again headlined the cast that also featured Peter Ustinov and the debut of Blue Mountain Melody star Madge Elliott in intimate revue. Charles Hickman directed, William Chappell arranged the dances, and Ruby Duncan and Zwar played twin pianos. The bulk of the score was by Zwar and Geoffrey Wright, with lyrics supplied by Diana Morgan, Robert MacDermot and Gerard Bryant. The Times said the ‘new Gate Revue is as gay and as decorative as were the earlier editions’, but also noted ‘ideas were no longer plentiful’. Gingold appeared as an indomitable aging ‘Queen of Song’ (Maschwitz/Jack Strachey), as a Bacchante on her way to an orgy on Streatham Common, and as a grande amoureuse recording the names of her last lovers in a leather-bound volume. ‘Miss Gingold is at the top of her form, and everyone knows how good that can be’ (Theatre World). Zwar’s ‘Salome Wouldn’t Dance’ written with Oxford St John, also scored well. His ‘La Grande Amoureuse’ had a lyric by novelist/playwright Patrick White, one of the rare instances of him writing for revue. The second to last item on the program was Robert Helpman (later Helpmann) who according to The Stage ‘brings down the house’ with his wicked impersonations of fellow performers, Olivier, Gielgud, Margaret Rawlings and Margaret Rutherford.
Also in 1940 Zwar was credited with music and Gerard Bryant for lyrics for the 45 minute revue documentary Hullo Fame, one of British Films ‘Pathertone Parade’ series of religious and variety movies. It was directed by Andrew Buchanan, and featured the debut film performances of Peter Ustinov and Jean Carr (who later became Jean Kent). As well as Ustinov the film also featured another cast member from Swinging the Gate, Roberta Huby. It was thought that Ustinov performed skits he authored from Swinging the Gate.
In 1942 Zwar joined forces with Alan Melville for the first time and created his most famous revue number and one of Gingold’s favourites about an imperious grande-dame who, on being offered a small part in a touring production of Macbeth, inquires icily, ‘Which Witch?’ The show was Sky High (149p) produced by Tom Arnold and it starred both Hermiones, Gingold and Baddeley, plus Naunton Wayne, George Carden, Betty Hare, Elisabeth Welch and Walter Crisham who also directed. Harold Collins was musical director, with choreography by Lydia Sokolova. Playing a prostitute and a governess, The Times thought the two Hermione’s were at their best in ‘Park Meeting’ (Nina Warner Hooke) poignantly portraying ‘the inner sadness of a woman who has lived too gaily and a woman who has not lived gaily enough’. They also liked them as elderly ‘Mermaids’ on the look-out for naval prey calling it ‘the liveliest piece of fun’, and said ‘Elisabeth Welch succeeds brilliantly’ in ‘Broadway Slave’ which poked fun at pagan mythology.
During the Second World War Zwar served with the Royal Engineers, and later the Australian Imperial Force. In mid-1945 the AIF’s Army Cinema Section produced for the Directorate of Army Cinematography a half-hour documentary called The Australian Army at War, following the AIF’s campaigns in North Africa, Crete, Greece, Syria and New Guinea. Zwar wrote the documentary’s musical score.
On discharge from the Army he scored his first major success with Melville in Sweeter and Lower (870p), the second in a series that had begun with Sweet and Low in 1943. Produced by J.W. Pemberton and A.A. Dubens, it was directed by Charles Hickman and opened at the Ambassadors Theatre 17 February 1944 and ran for two years. Dances were arranged by George Carden and Clarry Ashton and Betty Robb were the pianists. Hermione Gingold starred alongside Henry Kendall, Christopher Hewett, Bonar Colleano, George Carden and Edna Wood. The subjects skewered according to the Times give a good cross-section of wartime London: ‘The prevalence of Spam in good restaurants, the startling disparity between the dinner and the bill, a ballet dancer’s Hamlet, the arrogance of hotel clerks, the American difficulty when confronted with the pantomime tradition, the educative experience of women omnibus conductors, and the expressiveness of Mr Lunt’s back.’ ‘Miss Gingold’s Advice to the Players’ (Zwar/Melville) sent up Robert Helpmann’s Hamlet, ‘Cello Solo’ (Zwar/Leslie Julian Jones) was Gingold playing a frustrated old cellist (‘a twang here-a twang there’) grateful for any instrument between her legs, ‘Low Down on Wittington’ (Melville) had Kendall in drag as a Duchess taking a U.S. soldier (Colleano) to his first pantomime, whilst ‘Vienna Lingers On’ (Zwar/Melville) was a parody of Ivor Novello’s The Dancing Years, with Gingold as Mitzi, the toast of Vienna. The Christian Science Monitor thought ‘Poison Ivy’ (Dennis Waldock) was ‘the best item in the show’, which saw Gingold and Kendall sitting at a table in London’s most talked of theatrical restaurant waspishly gossiping on all things theatrical. ‘Look,’ exclaims Mr Kendall, ‘there’s Florence Desmond doing her imitation of John Gielgud.’ Then he looks again and adds in surprised tones, ‘No, it is John Gielgud.’ The sketch had previously been seen in Sweet and Low. Also repeated from Sweet and Low was the Gingold classic ‘The Bogias are Having an Orgy’ (John Jowett/Robert Gordon) called in the program ‘Borgia Orgy’. Sweeter and Lower became the longest running intimate revue in London at the time of closing on 16 March 1946. Whilst it was still playing at the Ambassadors, George Lacy and Phyllis Monkman opened a touring version in Edinburgh in July 1945.
Elisabeth Kumm collection
The last in the series Sweetest and Lowest (791p) opened at the Ambassadors Theatre, 9 May 1946. It was just as successful as the previous edition and consolidated the names of Zwar and Melville as the West End’s foremost revue writers. Everyone was back for another bite of the cherry with Pemberton and Dubens producing, Melville on scripts, Zwar composing music, Hickman directing, Carden arranging the dances, and Clarrie Ashton sharing the twin pianos with Winifred Taylor. On stage Gingold led the return which also included Kendall, Hewitt, and Wood. The Times thought Gingold was ‘still stinging like a nettle’. She appeared as Picasso might have painted her with extra limbs (‘Self-Portrait’ Zwar/Melville), told of the legendary war-time services, public and secret, of Noel Coward (‘Noel, Noel’ Zwar/Melville), and lectured authoritatively on ‘Mother India’ (Gingold) after only spending a weekend in Bombay. Kendall got to repeat his drag turn as the Duchess introducing a U.S. serviceman to the pantomime (‘Pantomime—Return Visit’). Melville was particularly pleased with the reception of ‘Noel, Noel’ which he wrote trying to emulate the rhyming pattern of Cowards ‘Nina’.
A selection of material from the Sweet and Low series called Sweetest and Lowest—A Revue in Time, was produced at the Minerva Theatre, Sydney, 5 December 1947, with Max Oldaker, Fifi Banvard, Minnie Love, Wee Georgie Wood, Dolly Harmer and Gordon Chater making his first appearance in revue. The Catholic Weekly was brutally dismissive of it ‘weary, flat, unprofitable and stale’. ‘Sweetest and Lowest has been running in London for seven years. The Sydney version is scarcely crawling after three days.’ But the audience reaction to the show was enough to convince Scotsman William (Bill) Orr and his partner Eric Duckworth that Sydney could sustain a permanent revue company which led to the creation of the Phillip Street Theatre in 1953.
The same year (1947) Zwar was called in as a ‘show-doctor’ once again on a revival of The Dubarry (55p), writing with Melville the song ‘When You’re a Star’. Opening on 8 August 1947, at Princes Theatre, London, the operetta was produced by Arthur Lane, directed by Hugh Hiller, choreographed by Beatrice Appleyard, with musical direction by Walford Hyden. The cast was headed by Irene Manning with Frank Leighton, Ada Reeve, John Le Mesurier and Jerry Verno. The plot (loosely based on fact) of a young eighteenth century Parisian milliner who becomes King Louis XV mistress had music by Carl Millocker, a libretto by Paul Knepler and J. Willeminsky, and had originally played London in 1932 amassing a highly successful run of 397 performances. The revival did not fare as well running a mere six weeks. The Times review said, ‘The first night audience appeared well pleased with it all, but such revivals compare sadly enough with the vigorous new musical pieces imported from America.’ The reference was to the recently opened Oklahoma! and Annie Get Your Gun.
Oklahoma! and Annie were mercilessly sent-up in the opening number of the Binnie and Sonny Hale revue One, Two, Three (205p), which opened at the Duke of York’s Theatre, 10 September 1947. Produced by Hale Plays, direction was by W. Hastings Mann, choreography by Philip and Betty Buchel, with Van Phillips as musical director. Although the program credited Mischa Spoliansky with music and lyrics, and Loftus Wigram with book and additional lyrics, Zwar and Melville wrote the title song, ‘One, Two, Three, Go!’ which attacked the Americanisation of British Theatre. There had been much speculation about brother and sister, Sonnie and Binnie Hale appearing together in revue for the first time, but the material was tailored to their respective talents. It included a satire on the BBC and a conversation between the statues of Nelson and Liberty, plus a selection of songs associated with their solo careers. The Times called it ‘pleasing entertainment but [with] no hint of originality’, whilst the Stage claimed ‘with the best will in the world one looks in vain throughout the show for signs of inspiration that lift a good, competent job out of the rut and makes it really notable.’ The cast also included Charles Heslop, Anthony Hayes, Gail Kendall, Jimmy Cameron, Michael Lindon and Marie Sellar.
Four, Five, Six (323p) was a second edition of One, Two, Three and was supposed to open 4 March 1948 but Sonnie Hale collapsed the night before opening and was taken to hospital for an emergency operation. The opening took place one week later (12 March 1948) with Bobby Howes replacing Hale. Binnie Hale was still top starred but she was joined by Joyce Grenfell, Hermione Gingold and Vida Hope. Music and Lyrics were credited to Mischa Spoliansky and Norman Hackforth and once again direction was by W. Hastings Mann, choreography by Philip and Betty Buchel, and musical direction by Van Phillips. It was produced by R. Marleigh-Ludlow for the British Musical Guild in association with Frederick Piffard and Patrick Ide. Howes scored in a sketch about a fiery orator at Hyde Park Corner returning to his hen-packed suburban home (‘The Orator’ Zwar/Melville), and as a tipsy butler in ‘Dinner For One’ (Lauri Wylie) with Hale as the grande dame. Hale also did a well-received impression of Mistinguett, and together with Howes played a couple of public convenience cleaners about to unionise in the classic ‘They Also Serve’ (Melville). The Times said, ‘the burlesques of Miss Joyce Grenfell and Miss Hermione Gingold are, if not new, as fresh as ever’, and ‘the chorus dances always exhilaratingly, and at least once with true romantic charm’.
Á La Carte (244p) opened 15 January 1949, at the Savoy Theatre. Produced by Firth Shephard and directed by Norman Marshall (The Gate Revue), with music by Zwar, book and lyrics by Melville, it had décor, dresses and dances by William Chappell, and musical direction by Peter Yorke. Hermione Badderley and Henry Kendall headed a cast that featured Michael Anthony, Gordon Bell, Irlin Hall, Dick Henderson Jr, Joy O’Neill amongst others who included French singer Marcel Le Bon and dancers Capella and Patricia. Badderley and Kendall were Hamlet and Gertrude in a funny Hamlet skit ‘The Play’s the Thing,’ a riot as Lady Wanton Malpractice and Sir Solemnity Sourpuss in one of Melville’s cleverest sketches ‘Restoration Piece’ which was played ‘as originally written in 18th century style’ (where all the ‘s’ letters appeared as ‘f’), and they also had fun in a send-up of the play Edward, My Son. Kendall sang ‘I Remember Romano’s’ one of Zwar’s ‘best numbers’ according to the Times, whilst Badderley’s ‘Old Girls’ was highly praised; ‘her solitary performance as the three old school girls having their annual tea-party is the best thing of the evening, satirical burlesque, warm, genial, and accomplished.’
To be concluded in the next issue
The Age (Melbourne), The Argus (Melbourne), The Catholic Weekly (Sydney), The Herald (Melbourne), Billboard (New York), Christian Science Monitor (London), Daily Mirror (London), Plays and Players (London), Punch (London), The Stage (London), The Sunday Times (London), The Times (London), Theatre World (London)
Gerald Boardman & Richard Norton, American Musical Theatre: a chronicle, Oxford University Press, 4th edn, 2010
Peter Pinne & Peter Wyllie Johnston, The Australian Musical: from the beginning, Allen & Unwin, 2019
Kurt Ganzl, British Musical Theatre, volume 2, 1915-1984, Oxford University Press, 1987
Robert Seeley & Rex Bunnett, London Musical Shows on Record 1889-1989, Gramophone, 1989
Dudley jack glass was born on 24 September 1899 in North Adelaide, the only child of Philip Joseph Glass, waterproof garment manufacturer, and his wife Jeannie Glass, née Golda. He was the grandson of Barnett Glass, founder of the Barnett Glass Rubber Company.
Glass attended the Melbourne Church of England Grammar School, and studied composition with Fritz Hart at the Albert Street Conservatorium, East Melbourne, for two terms in 1918. He graduated Melbourne University with a Bachelor of Arts in 1920.
A prolific composer and lyricist since his teens, on 23 May 1925 soprano Elsa Stralia performed his anthem ‘Australia, Land of Ours’ at the Sydney Town Hall which received a standing ovation. Glass was present and he accompanied the soprano on piano when they encored the last verse of the song. It had premiered a few weeks before in Melbourne and was dedicated ‘To the Children—The Builders of Australia.’
In July 1925 he secured the performance of ‘Australia, Land of Ours’ in a pageant marking the visit to Australia of the United States Pacific Fleet. The song was published by the Victorian Education Department as a supplement to their School Paper for use in schools, and many years later on 28 March 1934 was adopted by the NSW Educational Authorities for the same purpose. In 1927 Vocalion released a 78 rpm recording of the anthem recorded at the Aeolian Hall, London, sung by a massed choir with pipe organ.
Later in 1925 Glass traveled to London, via New York, as the Herald and Weekly Times’ musical and dramatic correspondent. His reviews of London theatre and the arts were also carried by the Adelaide Advertiser, and later in the sixties by Everybody’s Weekly and the Irish Times.
Two years later, in 1927 at age 28, Glass joined forces with esteemed book and lyric writer Adrian Ross to compose a musical version of W.J. Locke’s 1906 novel The Beloved Vagabond. The book had previously been adapted for the stage by the author for Herbert Beerbohm Tree and had successfully played Her Majesty’s Theatre, London in 1908, with him opposite Evelyn Millard. Ross’s long list of London and Broadway credits included the English Adaptations of the Viennese operettas, The Merry Widow, Lilac Time, and The Count of Luxembourg, as well as the British musicals, Our Miss Gibbs, The Quaker Girl, and Theodore & Co.
Locke’s romantic tale is set in Paris in the late 1880s and follows Gaston Paragot and his love for his ‘English Princess’, Joanna. When she marries another, he returns to his roving Bohemian ways until he gets a second chance at pursuing her when she is widowed. He romances her again and is drawn back into polite Parisian society but realizes he has lost his zeal for this type of life. When he also realizes his thirst for a Bohemian lifestyle has passed, he decides to settle down to a domestic farm life in Normandy with Blanquette.
Produced by Charlton Mann (Parabond Ltd), it opened at the Duke of York’s Theatre, London, 1 September 1927 (56 performances), with direction by Dion Boucicault, choreography by Carlotta Mossetti, and musical direction by Philip Lewis. The cast featured Frederick Ranolow (Paragot), Lilian Davies (Joanna), Mabel Russell (Blanquette), Norman Macowan (Comte de Vernet), Frank Harvey (Denis Walters), Vera Robson (Marie), Leslie French (Asticot) and W.E. Stephens (Bringuet).
The Illustrated London News said ‘a composer with a neat turn for waltz refrains has been found in Mr Dudley Glass’, whilst The Times thought the music ‘characterless’, The Stage claimed it had ‘well-shaped and rounded melodies’. But The Times did acknowledge that Lilian Davies’ songs ‘appeared to give great pleasure’. The Aberdeen Press and Journal said the book and lyrics are ‘specially captivating’, and ‘all the songs and chorus items are tuneful and gay’. An excerpt from the second-act was broadcast live from the Duke of York’s Theatre on the BBC on 18 October 1927.
Glass and Ross’s score was in the fairly traditional light opera vein with a virile ‘song of the open road’ for the leading man, ‘The Vagabond Way’, a pretty ballad ‘The Lonely Princess’ for Joanna, with ‘You Again’ fulfilling the lovers’ love duet. A comic interlude saw Paragot and chorus render, ‘The Faithful Pig’, whilst ‘A Joyous Band of Brothers’ was a chorus for the Art Students, and ‘We Are The Charming Creatures’ a similar confection for the Models. There was also a Normandy Peasant Dance, Gypsy Dance, Can-Can, and ‘Boheme’ a salute to the Bohemian lifestyle. Ascherberg, Hopwood & Crew Ltd., published a ‘Vocal Score’ and two single sheets, ‘The Vagabond Way’, and ‘The Lonely Princess’.
After 56 performances at the Duke of York’s the production moved to the New Theatre but could only manage another 48 performances for a total run of 104 performances, despite the popularity of Ranalow and Davies. The musical fared much better when it was produced in Australia in 1934.
Entrepreneur and producer F.W. Thring thought The Beloved Vagabond would be an ideal vehicle for Gladys Moncrieff and Robert Chisholm following their acclaim in Collits’ Inn, his first venture into live theatre which had been an unqualified success. Opening at Melbourne’s Princess Theatre, 21 April 1934, The Beloved Vagabond proved to be a worthy successor to Collits’ Inn playing to larger audiences and running longer than it did in London.
Glass had originally written the role of Joanna with Moncrieff in mind and in fact she was in London when the production was mounted but unable to participate because of her commitments to The Blue Mazurka which she was appearing in at the time.
With Moncrieff as Joanna, Chisholm as Paragot, and George Wallace as Asticott, the cast also including, Byrl Walkley, and Marshall Crosby, with Claude Flemming in the director’s chair, Jennie Brennan as choreographer, and Fred Quintrell as musical director. It was beginning to look like the cast of Collits’ Inn had become Thring’s musical repertory company. The score underwent changes for the Australian production with ‘The Faithful Pig’, ‘Have the Band In’, and ‘We Are Charming Creatures’, dropped, and ‘What Altogether Beautiful Weather’ added. Wallace’s songs, ‘Parley Voo’, and ‘Napolean’ had lyrics by Glass and Jack Mcleod.
Table Talk called it ‘Pleasant, sentimental and tuneful music’, praising Moncrieff as Joanna, ‘a part that suits her far better that others she has had of late’, whilst Chisholm was called ‘first rate’ and ‘imparts to his role that romantic fervour calculated to set female hearts aflutter’. The production played 8 weeks (69 performances) in Melbourne, before moving to Sydney’s Tivoli Theatre, 24 August 1934, where it played another 7 weeks (55 performances). Critical reaction was just as good with the Sydney Morning Herald claiming ‘Miss Moncrieff’s voice has never sounded lovelier’, and ‘Mr. George Wallace has never been funnier’.
The Beloved Vagabond had an afterlife on radio. On the opening night of 21 April 1934 the first act of the musical was broadcast from the Princess Theatre on Melbourne radio 3KZ preceded by a description from the foyer by Norman Banks and also relayed interstate on the National Broadcasting Stations 5DN in Adelaide and 2GB in Sydney. During the Sydney season on the 12 September 1934, Glass accompanied Gwladys Evans and Cyril James on piano in a ‘pot-pourri of melodies’ from The Beloved Vagabond, on 2GB.
On 3 and 5 November 1936 the BBC broadcast a radio production of the musical during their Empire Radio Programme. It was produced by Walter MacLurg, adapted by Glass, with the BBC Chorus and BBC Empire Orchestra (leader Daniel Melsa) conducted by Eric Fogg. Later in 1952 the ABC in Australia produced their own radio version of the musical with Kathleen Goodall and Frank Taylor. It was broadcast on 3AR on 25 May.
In 1936 a British musical film version of W.J. Locke’s novel was released with Maurice Chevalier, Margaret Lockwood and Betty Stockfeld. The musical score was by Darius Milhaud. Although the film does feature some songs by Arthur Wimperis and Richard Heymann there are none from the Glass stage version.
Glass’ next London stage credit after The Beloved Vagabond, was for the revue This and That which opened at the Regent Theatre, King’s Cross, 23 December 1929 (10 performances). Produced by the London Repertory Company, it featured Harry Hemsley, Horace Custins, Bernard Lee, William Dewhurst, Harry Brunning, Jacqueline, and the Victoria Girls amongst others. Music and Lyrics were by Glass, direction by Ellis J. Preston, with musical direction by Neville Ravel. The Times thought it is ‘good enough to justify the short journey to King’s Cross, for any one in search of two hours of concentrated amusement’. They liked the comic Harry Brunning and said he had ‘an individual sense of fun’, Jacqueline, played the piano ‘pleasantly’, and Harry Hemsley, a comedian noted for his vocal impressions of children, for his ‘versatility’. ‘This and That may be classed as a venture which does not aim too high, but never falls into the slough of mediocrity.’
One year later Glass again had a musical treading the boards in London. Working with Adrian Ross on book and lyrics, they produced a musical treatment of Austin Strong’s 1907 play The Toymaker of Nuremburg. Opening at the Kingsway Theatre, 20 December 1930, the musical played twice daily until 24 January 1931 (54 performances).
Strong’s straight version had originally played the Garrick Theatre, New York, in 1907, and later London in 1910.
The comical plot concerns the Toymaker’s eldest son, Adolf, who returns from America just in time to stop his father from emigrating, from David and Greta from being separated, and the family dachshund from being forced to round-up cattle in the US to replenish the family fortunes.
Produced by Denis Heslam and Kenneth Hyde, with direction by Stephen Thomas, and choreography by Leslie French, the set and costume designs were by the renowned designer George Sheringham, whose commissions included redesigning the costumes for the 1929 season of the Gilbert and Sullivan operas staged by the D’Oyly Carte Opera Company.
Frederick Ranalow, who’d starred as Paragot in Glass’ The Beloved Vagabond, was back again to play the Toymaker in this latest trifle. His son Adolf was played by Alan Durai, with Leslie Holland (Handyman), Dewey Gibson (Sentry/Lamplighter), Lawrence Bascombe (Poet), Lewis Shaw (David), Anne Bolt (Greta), Roy Byford (Employer), and Alex Frizell (Wife), amongst a large cast of dancers and children.
The reviews were glowing with Glass and Sheringham’s contribution praised. James Agate in the Sunday Times said it was ‘an attractive entertainment in which the music of Dudley Glass and the scenery of George Sheringham compete for admiration’. He then went on to say it was ‘The Best English light opera for many a long year’. The Observer claimed it was ‘an enchanting tuneful masquerade upon a gaily-painted stage’, whilst The Stage noted that ‘this musical version of an old favourite was received cordially on opening night’.
Five songs: ‘The Toymaker’s Song’, ‘Gingerbread Man’, ‘The Road To Fairyland’, ‘Tick Tock’, and ‘Is It Love?’ were published as an Album of Songs, plus a Piano Selection, by Ascherberg, Hopwood & Crew Ltd.
The Toymaker of Nuremburg was not produced on stage in Australia, but in June 1947 the ABC broadcast a one-hour radio adaptation by Glass on Melbourne radio 3LO. The cast featured Maxwell Cohen (Toymaker), David Allen (Adolf), Bernard Manning (Employer), William Crougey (Friend), Charles Skase (Sergeant), and Katheen Goodall (Greta). Principal acting roles were taken by Walter Pym, Keith Hudson, John D’Arcy, Syd Hollister, Ruby May, and Helen Jacoby. The program was repeated on ABC regional stations 2 September 1947. Later the ‘Overture’ from the musical opened Hector Crawford’s ‘Music For The People’ programme on Sunday, 24 February 1952.
Eldorado was a project that had been kicking around the West End for a couple years in the late twenties and in that time going through eight writers. It was finally produced at Daly’s Theatre, 3 September 1930, starring Desiree Ellinger, Donald Mather, and Oscar Ashe who also handled direction. A Romeo and Juliet story set in Mexico amongst rival feuding families, the musical was spectacularly staged. Several songs by Glass were interpolated into the score after it opened (titles unknown). It played 93 performances in London before touring regionally in 1931.
Frederick Ranalow was back again to star in a third Glass musical in the West End. It was called Colour Blind and it opened at the Duke of York’s Theatre, 15 October 1930, (122 performances). Working with Fredrick Jackson who wrote the libretto, Glass provided a musical score that ran less than one-hour and featured Ranalow as Prospero, David Leslie (Dr. Nichols), Douglas [L.] Webster (Dobson), Margery Gordon (Pamela), and Erica Leslie (Marion), with Moray MacKay as musical director. The plot had a man’s colour blindness resulting in him attempting to kidnap the wrong woman. The Era said ‘Glass gives us a miniature musical score which contains a ballad, a waltz song of Viennese extraction, and a dance number in the brisk modern vein’. They also said ‘Mr. Frederick Ranalow sings magnificently and acts with a sense of comedy’.
In early 1934 just prior to the opening of The Beloved Vagabond, Glass was asked by producer F.W. Thring to write two songs for Gladys Moncrieff to strengthen her role in his recent London acquisition, the operetta, Jolly Roger which was about to open at Sydney’s Criterion Theatre, 23 February 1934. The songs were ‘Love is Calling’, and Ballad of the Western Sea’. Further interpolations into the score included an ‘Opening Ballet’ and a third act ‘Blue Ballet’ both composed by Glass and a second act ‘Pirate Ballet’, for which Glass arranged the music.
The show which was themed around pirates and their derring-do, was set in Jamaica, had book and lyrics by Scobie Mackenzie and V.C. Clinton-Badderley, and music by Walter Leigh, and had played the Savoy Theatre, London, from 1 March 1933 (199 performances). The cast included Gavin Gordon (Sir Roderick Vernon), Victor Orsini (Jolly Roger), George Robey (Bold Ben Blister), and Muriel Angelus (Amelia).
In Australia Gladys Moncrieff (Amelia) headed the cast which also featured Claude Flemming (Sir Roderick Vernon), Allan Priora (Jolly Roger), and George Wallace (Bold Ben Blister). The critics enthused saying Moncrieff’s role ‘gives her ample opportunity for the display of the strength and delicious purity of her voice … She was at her best last night—which is saying something—in ‘Ballad of the Western Sea’, one of Glass’s numbers. The musical played the Princess Theatre, Melbourne, from 3 November 1934 where the Glass numbers were noticed once again, ‘Miss Moncrieff’s songs are effective, notably those which Mr. Glass wrote for her’ (The Argus).
During a subsequent return season at the Criterion Theatre in Sydney, Jolly Roger was broadcast ‘live’ by radio 2FC on the evening of 8 March 1935, and on relay to other National Broadcasting Stations around Australia, including 2NC (Newcastle), 2CO (Canberra), 3LO (Melbourne), 5CL (Adelaide), 5CK (Crystal Brook, S.A.), 4QC (Brisbane), 4RK (Rockhampton) and 6WF (Perth). George Wallace was no longer with the show and his role (Bold Ben Blister) was taken by Alfred Frith.
A Night In Venice opened at the Cambridge Theatre, London, 24 May 1944. Although the work had been popular on the continent since 1883, this production was its British premiere. The music was by Johann Strauss ll, the libretto by F. Zell and Richard Genee, and the English adaptation by Lesley Storm, with lyrics by Glass. Directed by Leontine Sagan, with choreography by Freddie Carpenter, it starred Henry Wendon, Dennis Noble, Daria Bayan, Josephine Yorke, and Jerry Verno, in a farcical, romantic story that involved several cases of mistaken identity. The Times thought the ‘cheerfulness and sentiment’ in the plot only need a ‘little more stirring to come up as light as a soufflé’. Because of wartime air raids the production was withdrawn on 8 July. It was revived later in the year at the Phoenix Theatre, where it opened 28 November 1944. The BBC broadcast a live excerpt from the operetta on 15 December 1944.
The last musical that Glass wrote was the operetta, Drake of England, produced by the ABC in 1953 as part of the festivities to celebrate the coronation of Queen Elizabeth II. The world premiere took place on 3 June 1953. A dramatization of Louis N. Parker’s Elizabethan pageant play Drake, it recalled some of the inspiring events of the reign of the first Elizabeth and recreated some of the figures of the period—Queen Elizabeth, Sir Francis Drake, and Lord Burghley. As a romantic background to the days of the Armada and its defeat under Drake, there was a tender love story between Drake and Lady Elizabeth Sydneham.
The cast was headed by Alan Coad (Drake), Sybil Stroud (Queen Elizabeth I), Violet Harper (Lady Elizabeth Sydenham), Colin Crane (Tom Moone, Devon seaman and the right-hand man of Drake), Joy Youlden (Mother Moone (wife of Tom Moone, nurse to Lady Elizabeth), plus Mary Disney, Kenrick Hudson, Bettine Kauffman, and Douglas Kelly. Adaptation for radio was by Phil Darbyshire, direction was by Norman Shepherd, with musical direction by Frank Thorne conducting the ABC augmented singers and dance band.
Songs included: ‘Spinning Chorus’, ‘Drake’s Hymn’, ‘Thank You, Mr. Drake’, ‘Drake’s Drum’, ‘Sailorman’, ‘Heart Of England’, ‘Northern Star’, ‘Rise Sir Francis’, and ‘Devon O’Mine’.
Drake of England was repeated regionally on 17 January 1954, the same year that the BBC broadcast the ABC recording in its general overseas service, 21 April 1954.
‘This opera is naturally a national institution in Denmark but there is no reason to suppose that it will not travel now than an excellent English translation has been made’ said Robert Simpson reviewing the BBC’s production of Masquerade on Radio 3, Sunday 19 March 1972. Glass had provided an English version of the libretto for the comic opera by Carl Nielsen originally written in 1906.
Based on a comedy by Ludvig Holberg, the original libretto was by Vilhelm Andersen.
Set in spring 1723 in Copenhagen, the plot revolves around Leander and Leonora, two young people who meet fortuitously at a masquerade ball, and swear undying love for each other and exchange rings. Complications ensue when Leander is reminded he is betrothed to another until all is resolved in the last act to everyone’s satisfaction.
The BBC radio production featured, Norman Lumsden as the Professor, with a chorus of students, officers and young girls. Ernest Warburton was the producer, Bryden Thomson conducted the BBC Northern Symphony, with Stephen Wilkenson as chorus-master of the BBC Northern Singers.
Named one of Denmark’s twelve greatest musical works, it had enjoyed lasting success in that country, attributable to its many verse-repeating songs, its dances and its underlying ‘old Copenhagen’ atmosphere. Its first United States performance was by the St. Paul Opera in Minnesota, and its first New York performance by the Bronx Opera Company in 1983, both with Glass’s libretto.
On 29 March 1979 Glass was staying at the Stefan Hotel, Oslo, Norway, when he wrote to his cousin Nancy and told her of a possible production in Oslo of his opera Gerda: An Opera of the North, based on a poem by Madeline Mason. After working on it for fifty years it was finally finished, orchestration and all. The following year he received a letter from the Oslo Music Society with a program enclosed of a concert where excerpts of his opera had been presented. The first time an excerpt from the opera had been heard was at a recital in the Melbourne Town Hall, 4 June 1949, when dramatic soprano Marjorie Lawrence had sung ‘The Viking’s Bride’ (Huldra’s Aria). The opera has never been staged in its entirety.
In 1932 and 1933 Glass wrote music for two favourite children’s books, Songs From the Bad Child’s Book of Beasts by Hilaire Belloc, and Nonsense Songs by Edward Lear. Anona Winn performed them during the BBCs ‘The Children’s Hour’, 18 November 1932 and 17 August 1934, with Glass accompanying her on piano. In the same period he also wrote two children’s books, Round The World With the Red Head Twins, about the adventures that befell a brother and sister who began by meeting the Regent in Regents Park, which was illustrated by George Sheringham, who had designed The Toymaker of Nuremburg, and The Spanish Goldfish, in which a boy (Lorel) and a girl (Schrimp) have a holiday at Land’s End that includes a voyage round the world and a visit to Father Neptune and Davy Jones.
On 26 January 1937 Glass was master of ceremonies for a special BBC radio broadcast by four Australian celebrities, opera singer Evelyn Scotney, musical comedy star Dorothy Brunton, vaudevillian Albert Whelan, singer Albert McEachern. Scotney sang ‘Little House of Dreams’ from The Beloved Vagabond, and also sang with McEachern Glass’s anthem ‘Australia, Land of Ours’ which ended the programme. A recording of McEachern’s performance on the program was privately recorded and later released by EMI on a 3 LP box-set compilation album ‘Malcom McEachern—Basso Supreme’ in 1983.
Working with the renowned lyricist Clifford Grey, Glass composed the popular wartime song ‘The Empire Is Marching’ (1940), but his most recognizable tune is the jaunty ‘Will-O’The-Wisp’ which was used by BBC radio as a theme during ‘In Town Tonight’ for four years in the 1940s. The piece was originally written in 1928 and included on music publisher Chappell’s series of ‘Mood Music’ discs recorded by the Queens Hall Light Orchestra in 1943.
Glass also wrote The Songs of Peter Rabbit based on Beatrix Potter’s The Tale of Peter Rabbit, and a play version Peter Rabbit: A Musical Play For Children. Both were published separately. They were composed in 1951 and later recorded for the Canadian Broadcasting Company by Tracey Dahl in 2002.
Glass wrote and scored two documentary films during his career. The first was called Song of Australia which was produced by the Commonwealth Government Cinema and Photographic Branch in 1936. It looked at the early days of the gold rush and pastoral pioneering to the then present day. The second was a film of Tasmania, which embraced Hobart in 1952.
In 1937 Glass published two books about his extensive travel, The Book About the British Empire—With Two Hundred and Sixteen Illustrations (currently selling on ebay for US$850.00), and Australian Fantasy, a photographic essay capturing the essence of Australia.
Broadcasting and lecturing commitments became an integral part of his career, as did piano recitals. During the Second World War he gave more than 1000 performances in Britain as a pianist and speaker for the Army Education Corps. After the war he continually devoted his time to similar activities, making lecture tours of the United States and of Britain for the London County Council, the Imperial Institute, the Royal Empire Society, the Royal Academy of Music, and the Royal Society of Arts. He also regularly appeared on BBC and ABC radio.
Glass never married. He died at Lambeth, London, 29 November 1981 after being struck by a bus near the British Library, which he visited almost daily.
Fiercely Australian, he was an unofficial cultural ambassador throughout his life. This passion did not translate into his theatre work which had a distinctive European base. He did however write one Australian work, a musical version of Rolf Boldrewood’s classic bushranger novel Robbery Under Arms. Working with Frank Harvey, who wrote the libretto, in 1934 F.W. Thring expressed interest in producing it but died before the project could come to fruition. It remains un-produced.
Today Dudley Glass is barely remembered, if at all, not helped by the fact that very few of his compositions were recorded. The most recent reissue of his music was of his most popular and most remembered tune, ‘Will-O’-The Wisp’. It can be found on BBC Radio & TV Themes released in 2015. It gives a good indication of Glass’s style of music, a style that favoured the whimsical, the cheeky and the impudent. Although he wrote opera, he was more at home in the world of operetta and writing ditties for children as his canon of work reveals.
Listen to ‘Will-O’-The-Wisp’ - Dudley Glass on YouTube:
Dudley Glass Discography
Australia, Land of Ours:
*Massed Choir with Pipe Organ, recorded Aeolian Hall, London, Vocalion K05264 (78rpm)
*Malcolm McEachern – Vocal Quartet & Orchestra MSS Recording Company, London, at their receiving station, Richmond, from a BBC Australia Day Broadcast 26/1/1937 EMI MM-3 (1982)
Empire is Marching, The:
*Ivan Rixon Singers Regal G24370 (78rpm)
*Dennis Noble with Male Quartet and the Band of the Coldstream Guards conducted by Captain J.C. Windram Recorded Abbey Road 21 August 1940 HMV B9080
*Charles Williams and his Concert Orchestra Columbia DB2764 (78rpm) released 1950/CD EMI 80133 Released 1993
*Queen’s Hall Light Orchestra conducted by Sidney Torch Chappell Records (1943)/BBC Radio & TV Themes 1940s and 50s UPPM Records (2015)/Archive Music Revisited AMR054
Songs of Peter Rabbit:
*Rhymes, Reveries, Rimes – Tracey Dahl, Shannon Hiebert, Erica Goodman CBD1163 (2002)
Dudley Glass Publication—Music:
Ascherberg, Hopwood & Crew/Chappell & Co Ltd (1927) The Beloved Vagabond Vocal Score, The Vagabond Way’, ‘The Lonely Princess’
Ascherberg, Hopwood & Crew (1930) The Toymaker of Nuremburg ‘Album of Songs’ (‘The Toymaker’s Song’, ‘Gingerbread Man’, ‘The Road To Fairyland’, ‘Tick Tock’, ‘Is It Love?’), ‘Pianoforte Selection’
Duckworth, Ascherberg, Hopwood & Crew (1932) ‘Songs from the Bad Child’s Book of Beasts’ Verses by Hillaire Belloc, Pictures by BTB
Frederick Warne & Co Ltd (1982) ‘Songs of Peter Rabbit’
Frederick Warne & Co Ltd (1933) ‘Edward Lear’s Nonsense Songs’
Chappell & Co. Ltd ‘Australia, Land of Ours’ (1925), ‘Will-O’-The-Wisp’ (Danse Humoresque) (1928), ‘The Empire Is Marching’ (1940), ‘Will-O’-The-Wisp’ (1943)
Murdoch, Murdoch & Co (UK) ‘An Empire Cruise’ (1928), ‘In A Golden Boat’ (1925)
Shott & Co Ltd (UK) ‘From A Gipsy Caravan’ (1925), ‘In Realms Of Dance’ (1925)
Enoch & Sons (UK) ‘A Little Ghost Of Summertime’ (1927)
Elkin & Co (UK) ‘Little House Of Dreams’ (1936)
J.B. Cramer (UK) ‘My Country Love’ (1925)
Allan & Co ‘Over Here’ (From ‘Over There’)
Published in the UK but Publisher unknown:
‘A Carol of Bethlehem’ (1925), ‘The Land of Gold’ (1925), ‘Melody of Memories’ (1925), ‘Pan In Piccadilly’ (1937), ‘The Twilight People’ (1924), ‘Nocturne’, ‘Churches’, ‘Wicked Chinaman & Other Tales’
Dudley Glass Publication – Books:
Methuen Round The World With The Red Head Twins (1933)
Frederick Warne The Spanish Goldfish (1934), The Book About The British Empire (1937)
Hutchinson & Co Australian Fantasy (1937)
Webb & Vary (1915) Writing For the Press
Special thanks to Rob Morrison for his contribution to this article.
Acknowledgements: Australian Dictionary of Biography, Volume 17, (MUP), 2007 (Peter Campbell), Australian Musicals—From The Beginning (Allen & Unwin) Peter Pinne & Peter Wyllie Johnston, www.overthefoolights.co.uk, The ABC Weekly, Aberdeen Press and Journal, The Argus, The Era, Illustrated London News, The Observer, The Radio Times, The Stage, Sydney Morning Herald, Sunday Times, Table Talk, The Times, Trove, Wikipedia, The Wireless Weekly, and Frank Van Straten
Peter Pinne concludes his account of the landmark indigenous musical Bran Nue Dae and the career of its creator Jimmy Chi. Read Part 1 of this article»
In 2008, 24 years after Jimmy Chi had started work on the stage version of Bran Nue Dae, preparations began for a $6.5 million feature film version of the show. The cast included Geoffrey Rush (Father Benedictus), Ernie Dingo (Uncle Tadpole), Missy Higgins (Marijuana Annie), Jessica Mauboy (Rosie), Rocky McKenzie (Willie), Tom Budge (Slippery), Deborah Mailman (Roxanne), Josie Ningali Lawford (Theresa), Stephen ‘Baamba’ Albert (Pastor Flakkon), Dan Sultan (Lester) and Magda Szubanski (Roadhouse Betty).
The movie’s executive producers werey Christopher Mapp, Matthew Street and David Whealy, and it was produced by Robyn Kershaw and Graeme Isaac from a screenplay written by Chi, Reg Cribb and Rachel Perkins that adhered closely to Chi’s original musical. Rachel Perkins also directed.
Felicity Abbott was the production designer, Margot Wilson the costume designer, Stephen Page the choreographer, with cinematography by Andrew Lesnie. Cezary Skubiszewski wrote the music underscore. Finance was provided by Screen Australia, Ominilab Media, Screenwest, Film Victoria, the Australian Broadcasting Corporation, the Melbourne International Film Festival Premiere Fund and Robyn Kershaw Productions.
The film was shot on location in Western Australia. Most of the major songs from the stage production were included, plus interpolations of the country standard ‘Stand By Your Man’, Rolf Harris’s ‘Six White Boomers’ and ‘Zorba’s Dance’.
The film, like the stage show, was a joyous and uplifting celebration of Aboriginal culture, and wonderful feel-good entertainment. ‘Nothing I Would Rather Be (Than To Be An Aborigine)’ was given the full show-stopping tap-dancing treatment in the mission scene and reprised as the finale on the beach. The young performers McKenzie, Mauboy, Sultan and Higgins gave raw but endearing performances, and Dingo, repeating his stage turn, grounded the piece in reality. Rush, with an exaggerated German accent, was a stern but likeable Father Benedictus, with Szubanski and Mailman eating up the cameos of the sex-starved Roadhouse Betty and Roxanne. It was the acting debuts of Mauboy, a former Australian Idol runner-up, and Higgins, a pop performer with several hits to her credit.
The film debuted in Australia on the last night of the Melbourne International Film Festival, 8 August 2009, and internationally at the Toronto International Film Festival on 12 September 2009 in the Scotiabank Theatre. It picked up the Audience Award for Best Feature in Melbourne, and the People’s Choice Award in Toronto. It was also an ‘Official Selection’ in the Berlin and Dubai International Film Festivals, and was amongst the out-of-competition films to be screened at the 2010 Sundance Film Festival.
Its official Australian theatrical premiere was – appropriately – at the Sun Picture Gardens Cinema, Broome, on 8 December 2009, where the stars of the film walked a ‘red dirt’ carpet. A national release followed on 14 January 2010.
The film received generally mixed reviews, scoring a 6.5* out of 10: ‘An exuberant musical road movie’ (Sunday Mail), ‘Hilarious… A celebration! The next homegrown cinema classic’ (MTV Australia); but FilmInk said: ‘It falls short of its potential, with mediocre performances and dance sequences,’ which was mirrored in the review in Variety (US): ‘Blandly stereotypical characters in a trite road-trip narrative … There’s scant real dancing, mostly forgettable, showtune-type songs and no ethnic authenticity.’
But when the movie premiered in Los Angeles on 10 September 2010, critics were kinder. Kenneth Turan in the LA Times claimed: ‘Australia’s infectious Bran Nue Dae was the equivalent of a Bollywood musical set in the outback,’ whilst Win Kang (Orange County Examiner) gave it four stars and said ‘I loved this film’.
Domestically the film was released by Roadshow. It took $7 680 192 million at the box office. In the US, however, where it was released by Freestyle, the gross was a mere $133 568.
The movie soundtrack, released on 15 January 2010, reached a peak position of 29.14 on the Australian ARIA Albums Chart. The film was later released by Roadshow Entertainment on DVD (R1098139) and Blue Ray. A separate Special Music Edition Sing-Along was also released on DVD.
Jimmy Chi’s follow-up to Bran Nue Dae, also developed in Broome, was the eagerly awaited Corrugation Road. Like Bran Nue Dae, it was partly autobiographical. Following a breakdown while studying at university, Chi had spent time in a mental institution after he was diagnosed as schizophrenic. He struggled not only with his own cultural identity but with the legacy of some grim incidents in his early life, including sexual abuse and serious accidents. The musical was based on his experiences in mental institutions over a 20-year period.
Corrugation Road starts when Barry is arrested on Christmas Eve for spray painting ‘Merry Christmas’ on Perth’s London Court and he is committed to Graylands psychiatric hospital. From the bizarre world of the hospital ward we journey with Barry through his past, visiting his ‘local’ which undergoes transformations into a gay bar, a sleaze nightclub and a pleasure dome. Siamese twin doctors, Basketcase and Fruitcake argue their opposing views on psychiatry. Fed up with their conflict, the patients decide to operate and separate them. Liberated by their separation, Dr Basketcase leads the patients out of institutional care into the ‘real world’ – but the ‘real world’ proves inhospitable and the patients are found inhabiting an urban camp experiencing poverty, squalor and violence. Barry’s past again revisits him: he realizes he is in love with Fiona, the wife of Garry, his gay brother. Accompanied by Bob Two-Bob he journeys back to his country in the Kimberley, finally arriving at Fiona’s home, Sunday Island, where he is reconciled with his brother’s sexuality, and with Fiona. By story’s end Dr Fruitcake has arrived by helicopter to set up a Kimberley mental health service.
In Corrugation Road Chi posed questions about madness and sanity, child abuse, parenthood, sexuality and religion. As in Bran Nue Dae, the issues were presented with humour, a sense of the bizarre, and an over-riding optimism.
The score, composed by Chi, the Pigram Brothers and Duncan Campbell, followed the same country idiom as Bran Nue Dae, again with traces of blues, rock and Gospel. There were no character or plot-driven songs, although some did pay lip service to the subject matter: ‘Pop A Little Tablet’, ‘Modern Doctor Of Psychiatry’ and ‘Suicidal Blues’.
Corrugation Road played four preview performances at the Street Theatre, Canberra, 10-14 October 1996, before its premiere season at the Fairfax Studio, Victorian Arts Centre, 17-26 October 1996, for the Melbourne International Festival of the Arts.
The cast included Stephen ‘Baamba’ Albert (Bob Two-Bob), Josie Ningali Lawford (Fiona), Richard Mellick (Fruitcake), Michael Turkic (Basketcase), Becky Brown (Nurse/Siren), John M. Collard (Patient), Garry Cooper (Larry), Denise Cox (Patient), Trevor Jamison (Barry/Patient), Naomi Pigram (Child/Patient), Michael Smith (Patient) and Ali Torres (Patient).
The musical was produced by Black Swan Theatre Company. Ross directed the work, with set and costume design by Steve Nolan, choreography by Anna Mercer, and musical direction by Iain Grandage.
Critical reaction was mixed: ‘A truly Australian, often hilarious, frequently poignant, very professional, sensationally whacko show; a kind of cross between Hair and Cosi’ (Fiona Scott-Norman, Age); ‘A more ambitious project than Bran Nue Dae. But it’s only partially successful… there are too many songs in the show that just aren’t up to scratch or need further work’ (Steven Carroll, Sunday Age); ‘It is the joyful, energetic performances which carry the show, particularly Ningali Lawford, who brings a freshness to the role’ (Kate Herbert, Herald Sun).
Following the Melbourne season the show played the Subiaco Centre, Perth, from 4 November 1996. It was scheduled to close on 7 December, but due to popular demand the season was extended to 21 December. Erin McGrath in The Voice enthused: ‘Chi’s all-new musical, though containing a serious undercurrent, was as entertaining and lively as any musical of its kind that I have seen.’
According to Ron Banks (West Australian): ‘The biggest scene-stealer was John Collard as the drag queen, an appearance which snatches the initiative from Becky Brown’s very sexy nurse bump and grind routine.’
Two years later the largest single grant ever made by the Australian government to an Australian musical, enabled Corrugation Road to make a national tour. In Western Australia it played Perth (18 June-11 July), Mandurah (13-14 July), Bunbury (17-18 July), Karratha (21-22 July), Port Hedland (24-25 July) and Broome (28-31 July). In the Northern Territory it played Alice Springs (6-7 August).
The New South Wales component of the tour included Sydney (11-22 August), Newcastle (25-29 August), Lismore (1-2 September), Woolongong (4-5 September), and Gosford (8-12 September). In Victoria it was seen at the Alexander Theatre, Monash University (15-26 September), and in Warnambool (29-30 September), Geelong, Frankston and Warragul.
The original cast of the 1996 production recorded the score in Broome. It was released by Angoorrabin Records (AR-8). The CD booklet contains lyrics to the songs.
In 1991 Jimmy Chi received the Human Rights and Equal Opportunity Drama Award for Bran Nue Dae. In 1998 he was awarded the Deadly Sounds National Indigenous Music Award for excellence in Film or Theatre Score.
In 1997 Chi was presented with the Australia Council’s Red Ochre Award for Lifetime Achievement by an Indigenous Artist, and in 2004 he was acknowledged by the Western Australian Government as a State Living Treasure.
Chi’s songs have been recorded by Irish singer Mary Black and Aboriginal singer Archie Roach. The song ‘Child Of Glory’ has been featured at Broome’s Opera Under the Stars Festival and has been adopted as their theme song in tribute to the composer. Chi’s hymns are regularly sung at Aboriginal funerals in Broome.
Jimmy Chi’s achievement in bringing Bran Nue Dae to the stage was immense. He not only created the first Aboriginal musical, but one of the most successful Australian musicals ever. He gave a voice to indigenous culture which was joyous, uplifting and inspiring. Nothing can or will diminish his contribution to Australian musical theatre.
1. DVD Liner
3. Box Office Mojo website
Newspapers and magazines sourced
Adelaide Advertiser (SA), The Age (Melbourne, Vic), The Australian (Sydney, NSW), The Bulletin, Canberra Times (ACT), The Courier-Mail (Brisbane, Qld), The Daily Telegraph (Sydney, NSW), Daily Mirror (Sydney, NSW), The Financial Review, Green Left Weekly (Sydney, NSW), Herald Sun (Melbourne, Vic), Los Angeles Times (California), MTV Australia, Orange County Examiner, Sunday Age (Melbourne, Vic), Sunday Mail (Brisbane, Qld), The Sun-Herald (Sydney, NSW), The Sydney Morning Herald (NSW), Voice, West Australian (WA).
Heralded as Australia’s first indigenous musical, Bran Nue Dae was devised by Jimmy Chi and his band Knuckles in the 1980s. Since its premier at the Festival of Perth in 1990, it has toured Australia and was made into a highly successful film in 2009. With a new production celebrating the show’s thirtieth anniversary having opened in Parramatta in January 2020 ahead of a national tour, we reprint Part 1 of Peter Pinne’s article, first published in On Stage in Spring 2011, that looks at Bran Nue Dae and the career of its creator Jimmy Chi. Read Part 2 of this article»
Bran Nue Dae holds the distinction of being not only Australia’s first Aboriginal musical, but also the first hit Australian musical to be made into a major feature film. Yes, there had been two previous stage works committed to celluloid, Kenneth Cook’s Stockade (1971), which simply took Sydney’s Independent Theatre’s stage production and filmed it at the Colonial Australiana Village, Wilberforce, North of Sydney,  and Frank Howson’s What the Moon Saw (1990), which was based in part on his stage musical Sinbad the Sailor—The Last Adventure (1982),  but Bran Nue Dae was very different. Whereas Stockade had been seen only in Sydney, and Sinbad the Sailor in Melbourne, Bran Nue Dae had toured nationally and was a very well-known musical long before the cameras started rolling. As of 2010 the movie had grossed $7.6 million, and was one of the Top 50 Australian films of all time at the local box office. 
Bran Nue Dae had its origins in the 1980s when Jimmy Chi (1948-2019), a self-taught Aboriginal musician and composer based in the pearling port of Broome, Western Australia, wrote some songs which were performed by Kuckles, a local band. The first public viewing of the work as a piece of musical theatre took place in 1986 at a workshop produced by the Aboriginal Writers’ Oral Literature and Dramatists’ Association in Perth. 
The work received a positive reaction. Chi was encouraged to continue working on the piece by playwright and poet Jack Davis, Marita Darcy of Broome who persuaded him to get the songs down on paper, and Peter Bibby, editor of Magabala, the recently created Aboriginal publishing company in Broome. At this point the band Kuckles had also become involved in the project and had written some songs for it. Chi was a member of the group. 
Interest was shown by Robyn Kershaw, and later Duncan Ord of the Western Australian Theatre Company, Tasmania’s Salamanca Theatre, and the Aboriginal National Theatre Trust, which included the script in their National Playwrights’ Conference and Workshop in Sydney in 1989. 
Chi’s plot, set in the early 1970s and loosely based on his life story, opens in Broome, where Willie, an Aboriginal teenager, has his world turned on its head when his Auntie Theresa sends him to Perth for a Christian upbringing. At the Catholic mission Willie steals some food and is subject to harsh discipline metered out by Father Benedictus. Missing his girlfriend Rosie, he decides to run away back to Broome. Along the way he meets up with his Uncle Tadpole and two hippies, Marijuana Annie and Slippery. He also encounters police brutality, and has his first experience of sex. Father Benedictus pursues Willie and eventually they all meet up on the beach at Broome for a happy reunion and reconciliation when they discover they are all related to one another. 
The story opened with Willie and Rosie going to the movies at the Sun Picture Gardens Cinema in Broome, an open-air movie house with seating on canvas-backed chairs. The 80-year-old cinema still operates and is the last remaining open-air cinema in Australia.
The first commercial production of the musical took place at the Octagon Theatre, Perth, during the 1990 Festival of Perth, in a co-production between Bran Nue Dae Productions and the Western Australian Theatre Company. The work was credited to Chi and Kuckles, with the band providing the musical accompaniment and Stephen Pigram, one of its members, as musical director. Andrew Ross, a big supporter of the project, handled the direction, and Michael Leslie choreographed. Prior to opening, the company had rehearsed for eight weeks, six in Broome and two in Perth. 
The cast included Ernie Dingo (Uncle Tadpole), Michelle Torres-Hill (Rosie), John Moore (Willie), Bob Faggetter (Father Benedictus), Lynda Nutter (Marijuana Annie), Alan Charlton (Slippery), Stephen ‘Baamba’ Albert (Pastor Flakkon) and Maroochy Barambah (Auntie Theresa).
Critical reaction was unanimous. Ron Banks (The West Australian) headlined his review ‘Aborigines put on satirical side’, whilst Peter Ward (The Australian) called it a ‘boisterous sunrise of engaging charm’. The Financial Review claimed ‘the humour is direct and frequently outrageous. One of the most obscene—and wildly funny—songs ends with condoms being thrown into the audience.’
The Bulletin said, ‘Bran Nue Dae’s joyous effect on an audience was apparent as its message of universal humanity—helped by an immortal borrowing of “Ich Bin Ein Aborigine!”—struck home,’ whilst Jill Sykes in The Sydney Morning Herald enthused, ‘Once in a while, something very special emerges in Australian theatre—something like Bran Nue Dae.’
The actors were also praised: ‘There is an especially fine performance from Dingo, while Moore and Torres-Hill are appropriate matinee idols’ (Australian), though it was also noted that ‘Some of the lesser experienced cast members had trouble with vocal projection.’ (West Australian)
The Financial Review, whilst endorsing the show, did carp: ‘Aspects of the scripting, performance, direction and choreography, for example, are simply awful. But after a while you realize that this is not the point. There is an authenticity to Bran Nue Dae which heralds the arrival of, not only a new musical form, but—more importantly—a new form of black theatre.’
And he was right. Bran Nue Dae did have a ring of authenticity about it. Granted it was rough and raw, but it was also fresh, invigorating, irreverent, funny and uplifting. Although it touched on Aboriginal issues such as alcohol, drugs, and police harassment, its treatment of Aboriginal culture was light-hearted and positive.
Chi’s exuberant score set the tone of the piece. Drawing on Broome’s mix of Koepanger (pearl fishermen), Malay, Chinese, Japanese, European and Aboriginal cultures and his own background with a Scots/Bardi/Aboriginal mother and a Chinese/Japanese/Anglo-Australian father, the songs were a mix of country, rock, Gospel, reggae and musical comedy.
Audiences could not resist the infectious title tune with its insistent reggae beat, or the country sensibility of ‘Long Way Away From My Country’ and ‘(Feel Like) Going Back Home’. ‘All The Way Jesus’ and ‘Child of Glory’ were pure Gospel, but the showstopper was the satirical ‘Nothing I Would Rather Be (Than To Be An Aborigine)’ which never failed to bring thunderous applause.
The musical was the hit of the Festival and played 15 performances at the Octagon Theatre. Later, with minor cast changes (Rohanna Angus as Rosie, Sylvia Clarke as Auntie Theresa and Stephen Albert as Uncle Tadpole) it toured from 6 to 29 September 1990 to the Western Australian regional towns of Kununurra, Derby, Broome, Port Hedland and Karratha, with Darwin the last stop. 
In Broome the musical came full circle when it played five sold-out performances at the Sun Picture Gardens Cinema.
The production then played 6 performances at the Canberra Theatre, Canberra, 2-6 October 1990 (The Canberra Times called it ‘A joyous parody’) and 13 performances, 10-20 October 1990 at the Playhouse, Adelaide. The Advertiser’s Tim Lloyd was equally laudatory: ‘As simple as a road movie, often very funny, and complex and even disturbing at the same time.’
Ernie Dingo returned to the role of Uncle Tadpole when the production played 12 performances at the Lyric Theatre, Brisbane, from 12 December 1990. Peta Koch (Courier Mail) called it ‘a pearl of a play … theatre at its most captivating and heartwarming.’
Sydney critics went overboard when the same production became part of the Festival of Sydney, opening on 4 January 1991 at the Riverside Theatre, Parramatta: ‘Infectiously joyous, irreverent and life-affirming,’ (Sun-Herald); ‘Bran Nue Dae is in a world of its own … A great celebration and a wonderful experience to share’ (Bob Evans, Sydney Morning Herald); ‘Joyous, vibrant, wildly funny … sings with a voice unequivocal and unique’ (Frank Gauntlett, Daily Telegraph/Mirror).
The musical played 19 performances before transferring to the Seymour Centre’s York Theatre on 22 January 1991 for a further 22 performances, closing on 9 February 1991.
Melbourne was the only capital city not to see the show, but Leonard Radic did review a performance he attended at the York Theatre, Sydney, for The Age: ‘Bran Nue Dae stands out for its warmth and simplicity. It is a good-natured, unpretentious show which bounces along with engaging cheerfulness.’ He echoed these sentiments two years later when he again reviewed the musical when it finally reached Melbourne in a co-production between the Melbourne Theatre Company and Black Swan Theatre Company. It opened on 2 July 1993 at the Playhouse, Victorian Arts Centre, during the 1992/93 national tour.
The tour was produced by Black Swan Theatre Company, an organisation that evolved from discussions between Janet Holmes à Court, Andrew Ross, Duncan Ord and Will Queckett, following the premiere of the first production of the musical in 1991, with help from Minister for the Arts, David Parker. Their charter was to produce distinctive regional theatre.  Almost thirty years later, Black Swan is the major State-funded theatre company of Western Australia.
The cast for the tour included Leah Purcell (Marijuana Annie), Trevor Jamieson (Willie), Alice Haines (Rosie), Steve Kidd (Slippery), James Hancock (Father Benedictus), Stephen Albert (Uncle Tadpole), Sylvanna Doolan), Sylvia Clarke (Chorus), and Josie Ningali Lawford (Chorus). Andrew Ross was again the director, Michael Leslie the choreographer, design by Steve Nolan, with musical direction chores being shared by Stephen Pigram and Chong Lim. The production had also acquired Lindsay Field as vocal arranger. 
A cabaret version was devised to travel to Fiji and other places. 
In 1991 a documentary by Tom Zubrycki about the making of the musical and the life of Jimmy Chi, Bran Nue Dae, premiered at the State Film Theatre, Melbourne. Reviewing the film in Green Left Weekly, Peter Boyle said he wished he hadn’t missed the stage version, and called it ‘Jimmy Chi’s Magical Musical’.
In 1994 Josie Ningali Lawford created a one-woman show that traced her life from the Kimberleys to her stage career in Bran Nue Dae. Produced by Deckchair Theatre, it played the Courtyard Studio in Canberra, from 10 to 15 October 1994.
Later the Aboriginal Theatre Program of the Community Arts Centre of Newcastle mounted a production of the musical at the Newcastle Community Arts Centre, where it played from 8 to 16 December 1995.
The musical won the Sidney Myer Performing Arts Award in 1990. The following year the playscript with lead-lines of the songs was published by Currency Press and Magabala Books Aboriginal Corporation. It won the Special Award in the Western Australian Premier’s Book Awards.
The 1990 cast recorded the score in Broome. It was released on cassette (BND001) and was only available from the Broome Musicians’ Aboriginal Corporation, Broome. Later the 1992 Black Swan Theatre production was recorded and released on CD by Polydor (BNDCD001).
To be continued ...
1. Andrew Pike & Ross Cooper: Australian Film 1900-1977. Oxford, 1981, p.335
2. Scott Murray (editor), Australian Film 1978-1992. Oxford University Press, Melbourne, 1993, p. 307
4. Chi & Kuckles, Bran Nue Dae playscript, Currency Press, Sydney / Magabala Books, Broome WA., 1991
12. Philip Parsons (general editor), Companion to Theatre in Australia, Currency Press in association with Cambridge University Press, 1995, p. 97
Newspapers and magazines sourced
Adelaide Advertiser (SA), The Age (Melbourne, Vic), The Australian (Sydney, NSW), The Bulletin, Canberra Times (ACT), The Courier-Mail (Brisbane, Qld), The Daily Telegraph (Sydney, NSW), Daily Mirror (Sydney, NSW), The Financial Review, Green Left Weekly (Sydney, NSW), Herald Sun (Melbourne, Vic), Los Angeles Times (California), MTV Australia, Orange County Examiner, Sunday Age (Melbourne, Vic), Sunday Mail (Brisbane, Qld), The Sun-Herald (Sydney, NSW), The Sydney Morning Herald (NSW), Voice, West Australian (WA).
Australian ARIA Albums Chart
First published in On Stage in Spring 2009, Peter Pinne concludes his exploration of the musicalisation of Seven Little Australians by looking at the career of composer and arranger David Reeves.
Early in 1991, while the Queensland Theatre Company was mounting its production of David Reeves’ Seven Little Australians, Reeves himself was busy in Melbourne preparing for the opening of his new show, Favourite Son, originally called Once Upon a Time. This time Reeves was credited with music and concept, and Terry Stapleton with book and lyrics.
Stapleton had started writing and reviewing for The Bulletin in Adelaide in the 60s, and later became successful working in television for Crawfords, creating The Last of the Australians, Bobby Dazzler and This Man, This Woman. No stranger to theatre, his plays included Some Night in Julia Creek, Last Dance, A Few Close Friends and Say Goodbye.
Favourite Son’s plot involved a young man (Young Johnny) from the country who gets an offer from an American movie director (Sam) to go to the city to star in a film. The only problem is the director is a shark and the film turns out to be a jeans commercial.
Reeves was again the producer, Pamela French was director and choreographer, with design by Terry Ryan. The cast of 14 was headed by Terry Serio (Young Johnny), Reg Gorman (Big Johnny), Nadine Wells (Milah), Rod Anderson (Sam), Joseph Clements (Max) and Danielle Goullet (Julietta). Musical director Conrad Helfrich led a 7-piece pit band.
The show opened at the Comedy Theatre on Friday 28 December 1990. The notices were devastating. Peter Craven in The Australian (31 December 1990) called it an ‘inoffensive but undercooked piece of nonsense which has no serious claims on a city audience.’ He said ‘the score has some pleasing moments, even some memorable ones,’ and that Stapleton’s lyrics balance ‘corn and slickness,’ but the whole production seemed to have been put together by a ‘country town music master and performed by the local light opera company.’ The performers came out of it best of all. ‘Serio is about as convincing in the part of the young dolt in the city as the material allows. Goullet, as the girlfriend, sings and acts well in a Patti McGrath manner and Wells and Anderson make an engaging pair of scumbag Americans.’
If Craven’s notice wasn’t enough to sink the ship, then Leonard Radic’s in The Age (1 January 1991) certainly was. He wondered ‘how such a patently sub-standard piece of work ever found its way on to a major city stage.’ He went on to say, ‘The book and lyrics are knee-deep in clichés like “making it” and grabbing “the big chance” when it comes.’ He also thought the production had a provincial air about it, but acknowledged the chorus was ‘willing’ and the dance routines ‘snappy.’ He thought Serio was convincing in a role that was totally implausible, and that Gorman battled hard to make something of his part. He ended his notice by asking, ‘How did such an undernourished theatrical turkey ever make it to the post-Christmas table? How?’
The backers pulled their money and the show closed on Friday 4 January 1991. Its 5-night run lost $500,000. Reeves decided it was time to try his luck in London and moved his family there the following year.
Costume design by Terry Ryan for Favourite Son, 1990.
Normie Rowe as Cyrano, Cyrano in Concert, 1994.
With sponsorship from Allgas Energy Ltd, Queensland, Reeves’ version of Cyrano first saw the light of day as a ‘highlights’ album in 1992, released by EMI on cassette (HAD135) and CD (HA0135). The cast featured Normie Rowe, Penny Hay, Simon Gallaher, Kirri Adams, Neil Mason, Michael Leighton-Jones, Gregory Massingham, the Jones & Co. Chorus, and the Queensland Symphony Orchestra conducted by Tommy Tycho. Reeves was responsible for music, lyrics and orchestrations, with assistance on the latter from Tycho and Arthur Greenslade.
Recorded at Channel 9’s Starsound Studios in Brisbane, the album contained almost 70 minutes of the show’s score. It was an ambitious work with touches of Reeves’ favorite composers, Bach, Bernstein and Gilbert and Sullivan.10
Cyrano premiered in a concert version, with the CD cast, at the Suncorp Plaza, South Bank, Brisbane, 7 November 1992. Barbara Hebden in The Sunday Mail (8 November 1992) claimed: ‘Reeves could have a winner on his hands.’ She found the music ‘melodious’ with a ‘strong rhythmic pulse’, and particularly praised the recycled ‘About You’.
Two years later, a fully-costumed concert version of Cyrano, with basically the same cast, was presented at the Lyric Theatre, QPAC, Brisbane, from 11-15 October 1994, with Oscar-winning British actor Sir John Mills introducing and closing the performances. The show had undergone a major rewrite with Hal Shaper now being credited with book and lyrics.
Shaper, a South African, had major London credits writing lyrics for Jane Eyre (1961), Treasure Island (1973) and Great Expectations (1975), in which Mills had featured. Shaper also had success writing pop tunes, notably the Matt Monro hit ‘Softly as I Leave You’.
‘In embryonic form, Cyrano revealed easy-listening melodies sung engagingly,’ said Patricia Kelly (The Australian, 14 October 1994), adding that though Rowe was no Pavarotti, he had ‘plenty of heart and soul’. Peta Koch (Courier-Mail, 17 October 1994) was also laudatory of Rowe and singled out his songs ‘Journey to a Woman’s Heart’ and ‘Spirit Candles.’ She also liked Miranda Gehrke’s portrayal of Roxane, especially in ‘I Don’t Love You Anymore,’ and Kirri Adams as the Duenna with her show-stopper, ‘A Woman’s Work’. The use of Mills to introduce the show was criticized by reviewers as unnecessary, but there was no denying it provided a major publicity and promotional hook.
Several songs from the earlier version remained, albeit with different or revised and improved lyrics: ‘The Journey to a Woman’s Heart’. ‘What are You Talking About?’, ‘Roxane’, ‘Gascons Forever’, ‘In the King’s Service’ and ‘Drink a Little Wine with Me’, but the revision did not use ‘After You’. This new version was recorded and released on Castle (CDSGP 9800) in 1994. A third recording, reverting to the original 1992 version of the score, was issued in 2007 by English Gramophone (CD HA0136).
Reeves premiered his next show, Dorian, a musical version of Oscar Wilde’s The Picture of Dorian Gray, at the Arts Theatre, London. It opened on 25 September 1997 to universal pans: ‘An utter disaster that will undoubtedly die a deserved death’ (Warren Seamans, The London Theatre Guide Online, September 1997), ‘A flat, fatuous piece of writing with no subtlety, depth or wit whatsoever’ (Sarah Hemming, Financial Times) and ‘It takes a certain ingenuity to turn a 19th century literary masterpiece into a musical Penny Dreadful. Mehmet Ergen’s production makes it look like a piece of cake’ (James Christopher, The Times).
But if The Times hated Dorian, it loved Reeves’ next effort, Becket—The Kiss of Peace, hailing it ‘A masterpiece’ (Robert Thicknesse). An oratorio about the murder in 1170 of Thomas Becket, the Archbishop of Canterbury, and King Henry II’s direct or indirect involvement in it, the work was first performed on 21 October 2000 in Canterbury Cathedral, along with works by Aaron Copland (‘In The Beginning’) and Leonard Bernstein (‘Chichester Psalms’).
OzMade Musicals’ 2006 presentation of scenes from Reeves’ James and Maggie. Megan Holt as Maggie Moore and Jeremiah Tickell as J.C. Williamson.
Flyer for Grand Central, 2006.
There are two recordings of the score, a live version of the original cast on English Gramophone (EG 000421/2007), and a studio version, recorded prior to the world premiere, with the same cast except for Harvey Brink, who was replaced by James Kanagasooriam, on English Gramophone (EG 000157/1999).
The following year Reeves was commissioned by the Festival of Peace, Italy, to write another oratorio. The result, Planet Requiem, was performed as part of the 2002 Assisi Festival.
Four years later Reeves created Grand Central, a Latin love story set in New York in the 70s, about illegal immigrants and the stand-off between Cuba and the United States. The work was given a concert performance at the Civic Theatre, Newcastle, NSW, on 21 April 2006. Peter Wyllie Johnston said it was: ‘an original work with universal themes which Australians, accustomed to the challenges of immigration, can readily appreciate’.11
A ‘snapshot’ of two excerpts from James and Maggie, a musical about the tempestuous love affair between theatrical entrepreneur J.C. Williamson and his actress wife Maggie Moore, was included in Magnormos’ OzMade Musicals on 19 November 2006 at Theatreworks, St Kilda. The featured segments highlighted the first meeting of Williamson (Jeremiah Tickell) and Moore (Megan Holt) with the duet ‘Tell Me About Yourself’ and ‘I’ve Said Yes,’ where Moore tells her mother that she is going to marry Williamson. For James and Maggie, Reeves collaborated once more with Peter Yeldham, who created the book and lyrics. The musical was first drafted three years after the professional debut of Seven Little Australians. To date there has been no production of the full show.
Reeves continued to write musicals and in 2009 created Vox a musical from an original story about Americans returned from combat in Iraq, and in 2013 Hey! Hey!—(The Adventures of Tom Sawyer) a young people’s musical set to Mark Twain’s theatrical text. Both were published by DRM (David Reeves Publishing).
In 2019 Reeves compiled and arranged Stage Door Songbook—Songs from Australian Musicals which was published by Origin Theatrical. The songbook contained songs from nine musicals, including Reeves’ Seven Little Australians, Grand Central, and Cyrano de Bergerac, plus Lola Montez, Matilda, The Venetian Twins, Paris, Ned Kelly and The Boy From Oz. It was a unique publication being the first time a music publisher had ever published a collection of songs from Australian musicals. Reeves also wrote a brief snapshot of the genre as an introduction.
Program for Aunty, Armidale School, 1982.
Lyricist Jim Graham.
Prior to Reeves’ position at TAS, he was an acclaimed organist with seven organ albums to his credit. He performed regularly for the ABC and at the Sydney Town Hall, including Messiah from 1962 until 1978.
Like Edmond Samuels with The Highwayman and Albert Arlen with The Sentimental Bloke, David Reeves believed in his product, was passionate about getting it produced, and made it happen. Throughout his career he has continued to secure corporate finance for his projects. One has to admire his determination. His canon of work is certainly eclectic: four adaptations of famous literary works, one comic strip, five originals, and two oratorios. He has had his failures, yet he has also had his successes.
He hit the jackpot first time out with Seven Little Australians, but nothing he’s written since has equaled its popularity. It’s a skilled adaptation of Ethel Turner’s classic book with a very pleasant score. When it premiered in 1988 it did sound old-fashioned, but it was good old-fashioned – melodic and jaunty, schmaltzy in places, and it wore its heart on its sleeve. Audiences felt for the characters. It had heart. It was engaging, funny, and a very enjoyable evening in the theatre. One can’t ask for more than that.
Special thanks to: Malcolm Cooke, Paul Dellit, Reg Gorman, Jim Graham, Robyn Holmes (Music Department, National Library of Australia), Peter Wyllie Johnston, Margaret Leask (NIDA Oral History), David Mitchell, Dr Peter Orlovich (SBW/NIDA Archives), David Reeves, Judith Roberts, Frank Van Straten, Anne White (The Armidale School), Peter Yeldham.
Images courtesy of Peter Pinne.
The Adelaide Advertiser (SA), The Age (Melbourne, Vic), Armidale Express (NSW), The Australian (Melbourne, Vic), The Courier-Mail (Brisbane, Qld), Daily Mirror (Sydney, NSW), The Examiner (Launceston, Tas), The Financial Times (London), London Theatre Guide—Online, The Mercury (Hobart, Tas), The News (Hobart, Tas), On Stage (Melbourne, Vic), The Sun (Sydney, NSW), Sunday Mail (Brisbane, Qld), Sunday Telegraph (Sydney, NSW), The Sydney Morning Herald (NSW), The Times (London), LP and CD notes, theatre programs
Once again we dip into the archives of On Stage. First published in the Winter and Spring 2009 editions of the magazine, Peter Pinne explores the musicalisation of a much-loved children’s classic.
By 1988 Ethel Turner’s classic children’s book Seven Little Australians had sold more than 3 million copies since its first publication in 1894. It had been translated into more than ten languages, made into a stage play (1915), a feature film (1939),1. a radio series, a BBC television series (1953), and a highly successful 10-episode ABC television series (1973)2.—therefore it was no surprise that someone would come up with a musical version of the well-loved property.
Opening on 22 June 1988 at the Comedy Theatre, Melbourne, the show immediately captivated critics and audiences, and settled down for a four-month run. This was followed by seasons in Hobart, Launceston, Adelaide, and later Sydney and Brisbane, making it one of the most successful Australian musicals of recent times.
Turner’s book, set in the period in which it was written, was a funny, touching and romantic story of a hard-hearted military man, Captain Woolcot (Woolcott in the musical), with seven children, who marries a much younger woman, Esther, after his wife dies. The story hinges on the acceptance of Esther by the children, especially the eldest, Meg, who is almost the same age. The consequences of teenage rebelliousness and a softening of the father’s attitude are what give the story its heart. The tale does have an affinity with The Sound of Music, being about a stern Captain and his children, but there the similarity ends.
According to composer David Reeves, ‘the development of Seven Little Australians as a professional stage musical from my point of view started around 1984 when I approached Noel Ferrier of the Australian Elizabethan Theatre Trust (AETT). All previous attempts by others to attract a producer had come to nothing and director Rodney Fisher (brought in to help by Noel) stated to all involved at that time that “all that existed was an idea.” Noel encouraged me as a composer to take on the project in association with the AETT with a view to a major production.’
But the journey of the musical version of Seven Little Australians started long before the involvement of the AETT.
The program for the Melbourne premiere, Comedy Theatre, 22 June 1988.
Composer and arranger of the score, musical director and producer David Reeves.
In 1976 Jim Graham, history master at The Armidale School (TAS), an exclusive boys’ school in Armidale, NSW, secured the rights to turn Ethel Turner’s novel into a musical from her son, Sir Adrian Curlewis. The following year, David Reeves took up the position of Director of Music at TAS, and Graham asked him to collaborate on the show, with Graham writing book and lyrics, and Reeves composing the score. Graham had previously written and directed melodramas and plays for the school, as well as producing their annual dose of Gilbert and Sullivan.
Born in Sydney in 1943, Reeves was schooled at Sydney Church of England Grammar and started his professional career as an organist at the Garrison Church in The Rocks. He studied at the NSW Conservatorium of Music under Alexander Sverjensky, and won several scholarships. Later, in tandem with his career as a concert organist, he worked as a jazz pianist and wrote jingles and documentary film scores. He also wrote the all organ score for the Hanna-Barbera animated film Silent Night (1971) and a stage/ballet score for the ABC in 1972. Seven Little Australians was his first score for the musical theatre.
This first version of the show was co-produced by The Armidale School and the Drama Department of the University of New England at the University’s Arts Theatre on 21 April 1978. Graham was the director, with Reeves as Musical Director. The local Armidale Express called it ‘charming’, and said it was ‘bubbling with melody’. It played for five nights and then one month later, with the same cast, played for one night (27 May 1978) at the Everest Theatre, Seymour Centre, Sydney—a performance billed as the world premiere.
Following the Seymour Centre performance, producers Malcolm Cooke and Mike Walsh showed interest in the project, but wanted a rewrite of the book and lyrics. David Mitchell, Richard Wherrett and Rodney Fisher were brought in to work on the book at one time or another, but Cooke and Walsh thought there were still problems. Eleanor Witcombe, writer of the Seven Little Australians TV series, was then hired as a script doctor. They signed John Truscott to create the sets and costumes (according to David Mitchell, Truscott’s model for the house was ‘fabulous’), and booked Her Majesty’s Theatres in Sydney and Melbourne for the show.
Unsatisfied with the rewrites, Cooke and Walsh later bowed out, but not before they had a new score (unused) written by ex In Melbourne Tonight arranger Geoff Hales. The Best Little Whorehouse in Texas later filled the space in the theatres in Sydney and Melbourne.
Enter Sydney Festival director, Stephen Hall. He displayed an interest in the show and wanted to get it up as a commercial production. Operation Young Composer was an initiative that had begun in 1983 to assist up-and-coming young composers. In the early days, performances were given as part of the Sydney Festival, whose sponsors at that time were Air Canada and James Hardie Industries. It was Hall who brought James Hardie to the table. Eventually the firm agreed to invest $1 million in the musical,3. but the project stalled for some time, the relationship between Reeves and Graham soured, and Graham reluctantly bowed out.
Nevertheless, Reeves, an intensely driven man, was determined to see his dream of a musical version of Seven Little Australians reach the commercial stage. He seconded John Palmer, a lyricist and scriptwriter for animated children’s movies (Dot and the Kangaroo) to rewrite the book and lyrics, and then took it to Noel Ferrier at the AETT. Ferrier loved it and work-shopped it at the Trust’s warehouse, Dowling Street, Potts Point, Sydney, in 1985. Melissa Bickerton played the role of Judy.
The plan was for James Hardie Industries to fund a production by the AETT and Reeves. Over a period of eighteen months, because of management and internal difficulties within the Trust, the project languished, and eventually Hardie agreed to Reeves himself producing the work during the Bicentennial year. It was an unusual move for James Hardie which had previously sponsored the James Hardie 100 car race at Bathurst. According to Hardie executive Jim Kelso, ‘The Company always wanted to do something as a gesture to the Bicentennial that would be distinctly Australian.’4.
Three months before the Melbourne opening, Reeves enlisted the aid of noted author and scriptwriter Peter Yeldham (1915, The Alien Years, Captain James Cook) to further revise the book and lyrics. Yeldham had been Reeves’ original choice (before Palmer), to do this work, but Yeldham had been committed to the ABC-TV series Captain James Cook.
With James Hardie’s money in his pocket, Reeves set about finding a production team. Disagreements saw the early departure of feminist director, Chris Johnson, and set designers Ken Wilby and Mark Thompson.5.
Enter John O’May, an American actor, who at that time had been working professionally in Australia for 16 years. His performance credits had included Godspell, Company, The 20s and All That Jazz and Che in Evita, but he did have directing experience. Reeves hired him as the director, and also cast him in the leading role of the father, Captain Woolcott.
Kenneth Rowell, whose work in design had been acclaimed in opera and ballet, then came on board to do sets and costumes, and former TV dancer Pamela French was employed to handle choreography. Rowell’s set drawings were reminiscent of paintings by Tom Roberts and the Heidelberg School.6.
Alyce Platt as Esther, Comedy Theatre, 1988.
Alyce Platt, former hostess of TV’s Sale of the Century was cast as Esther. Platt was no Julie Andrews vocally, but her soprano was sweet and sure. Judith McGrath doubled as Martha and Miss Jolly, Judith Roberts was Miss Burton, and Noel Mitchell played Monsieur Marceau. Others in the adult cast included John Murphy (Mr Hassal/Colonel Bryant), Lisa O’Dea (Mrs Bryant/Aldith McCarthy), Dale Burridge (Alan Courtney) and Grant Dale (Andrew Courtney).
In the children’s roles, Melissa Bickerton was Judy (as she had been in the workshop), with Beven Addinsall (Pip), Michelle Pettigrew (Meg), Sean Delahunty and Murray Golding alternating the role of Bunty, Tamsin West and Caroline Graig doing likewise with Nell, Charmaine Gorman and Sheridan Compagnino sharing the part of Baby, and Janelle Fisher and Rebecca Mitchell taking turns as the Little General. The family aspect of the show carried over to the casting with Judith Roberts and her two daughters Charmaine and Kate Gorman all scoring parts in the show.
The orchestra, which was conducted by William (Bill) Motzing, numbered 22. Orchestrations were by Reeves.
Helen Thompson in The Australian (24 June 1988) called it ‘fresh, funny, pleasantly unassuming in style and perfect family entertainment’. She thought Platt was ‘sympathetic and winning’, McGrath’s comic skills were ‘superb’, but found O’May’s Captain ‘too engaging to be a convincing disciplinarian’. However Leonard Radic in The Age (24 June 1988) thought O’May caught the ‘right mix of sternness and humanity’, but found Platt’s role ‘colourless’. On two points they both agreed: Bickerton was ‘excellent’ as Judy, and five-year-old Rebecca Mitchell as the Little General ‘stole the show’.
Clark Forbes in The Sun (23 June 1988) called it a ‘good, old-fashioned show’, which was echoed by almost every other reviewer. The adaptation was faithful to the source material and Reeves and Palmer’s score was toe-tapping and bright. Some made references to possible echoes of songs from other musicals—Annie, The Sound of Music, Oklahoma!—but most agreed the big love ballad ‘Look for a Rainbow’ was a fine number that hit all the right emotional buttons. Other songs singled out included ‘Walking The Block,’ ‘The Academy of Monsieur Marceau’, ‘Can You Love Me’ and ‘The Boys from Yarrahappini.’ Only two songs survived from the 1978 Armidale production: ‘Discipline’ and ‘The Train Song’, retitled ‘Rattle the Track’.
Jim Graham’s involvement in the show was reduced to a ‘based on a concept by’ credit in the program.
Reeves’ belief in his material had been vindicated. He had a hit on his hands, which was endorsed by the public when the show played for 15 weeks, ending in October 1988. At that point it had become the most successful Australian musical to play the Comedy Theatre since The Sentimental Bloke’s five-month record in 1961-62.
Next up was a tour. The first stop was a short season at Australia’s oldest surviving theatre, Hobart’s historic Theatre Royal, from 8 October 1988. For the Hobart performances the roles of Baby and the Little General were recast with local children. According to John Unicomb, then the general manager of the Theatre Royal, it was ‘the biggest musical to come to the state in the past decade’.7.
Rosina Beaumont in The Mercury said it was ‘three hours of dinkum Aussie entertainment sure to please everyone from the littlies to grandma’. She liked the ‘energetic dancing of the chorus’, and thought O’May’s direction was ‘masterful’. The show played 8 performances. It closed on 15 October and moved to Launceston’s Princess Theatre, where it opened on 21 October and closed 26 October after 11 performances.
John Lorey in the Launceston Examiner labelled it, ‘Our own Sound of Music!’ and praised Platt for her ‘warmth and charm’, O’May for his ‘commanding stage presence and fine baritone voice’, Roberts and Mitchell in their various roles, and McGrath for her ‘droll’ playing of Martha.
A little over three weeks later, on 20 November 1988, the show berthed at the Adelaide Festival Centre just in time for the Christmas holidays. The cast remained the same except for the younger children’s roles which were again played by locals.
Tim Lloyd in The Advertiser (21 November 1988) said, ‘Thanks to Ethel Turner, it will warm many hearts in this country.’ He thought there were ‘two-and-a-half passably good songs and several enjoyable dance routines.’ He liked Platt, O’May and Bickerton, and called French’s choreography ‘the best thing about the production’. The News printed a review by a nine-year-old child. This was strongly condemned by Reeves in a Letter to the Editor (1 December); he claimed his was ‘not a children’s musical’, but a show ‘designed to appeal to a mass audience and to provide a good night’s entertainment’. Despite a lack of promotion, the show played a solid three-week season, closing on 10 December 1988.
It was to be almost nine months before the reached Sydney. It opened at the Footbridge Theatre on 16 September 1989. The producers and the production were identical, but the show had undergone some major cast changes. John O’May was back to direct and play Captain Woolcott, as was Melissa Bickerton (Judy). They were joined by newcomers Edwina Cox (Esther), Robert Berry (Monsieur Marceau), Judy Glen (Miss Burton), Shirley Cameron (Martha), Wayne Scott Kermond (Andrew Courtney), Marcia Gaye Snowden (Meg), Chris Dickson (Alan Courtney) and Dean McRae (Pip).
Script and score rewrites included moving ‘Parramatta River’ to the head of the show, cutting ‘Spring’, and ‘Children’, adding the new song ‘Back, Back to Sydney’, plus reinstating ‘Soldiers of the Lord’ and ‘Have a Hearty Meal’, which had originally been dropped in Melbourne. The orchestra had been reduced to nine. The program included the lyrics of all of the show’s songs, with O’May now credited for lyrics along with Reeves, Palmer and Yeldham. Graham’s ‘based on a concept by’ credit had disappeared.
Bob Evans in The Sydney Morning Herald (18 September 1989) said it was ‘a show that is brimming with sentiment and spiced with smiles. It is guaranteed to have you blinking back the tears’. Frank Gauntlett in the Daily Mirror headlined ‘Family show hits home’, and Bronwen Gora in the Sunday Telegraph called it an ‘Aussie musical made for the family’.
Scenes from the Melbourne production, 1988.
Scenes from the Melbourne production, 1988.
A scene from the Sydney season, Footbridge Theatre, 1989.
Bruce Dellit (with fiddle) in the Brisbane season, Suncorp Theatre, 1991.
All the critics loved Bickerton with the SMH saying she ‘gives one of the most dynamic and appealing performances seen on any Sydney stage this year’. They thought O’May played Woolcott to ‘perfection’, and that Cox’s performance was ‘exemplary’, along with Kermond, Berry, Glen and Cameron.
Eighteen months later a new production of the show was mounted by the Royal Queensland Theatre Company under the direction of Alan Edwards, using the revised Sydney script and score. It opened at the Suncorp Theatre on 21 February 1991.
The 22-strong cast included Simon Burvill-Holmes (Captain Woolcott), Susie French (Esther), Veronica Neave (Judy), Kevin Hides (Monsieur Marceau), Margery Forde (Miss Burton/Mrs Hassal), Sally McKenzie-Mee (Martha/Miss Jolly), Bill French (Mr Hassal/Colonel Bryant), Alinta Coady (Meg) and Matt Leighton (Pip). Musical direction was by Dale Ringland, with choreography by Graeme Watson.
Peta Koch was scathing in her review in The Courier Mail (23 February 1991), saying the show ‘had not been reworked enough to make its remounting worthwhile’. She said, ‘Reeves’ music and the script were not memorable and the plot is tenuous and laboured’. Her praise was reserved for Burvill-Holmes as Woolcott, French as Esther, Neave as Judy, and McKenzie-Mee as Martha and Miss Jolly.
Just as dismissive was Brett Debritz in the Brisbane Sun (22 February 1991): ‘[It’s] too long, too slow, and it lacks truly memorable tunes.’ Sue Gough in The Bulletin questioned why QTC couldn’t have found ‘something better than this pinchbeck G&S, this antipodean version of The Sound of Music’ to start its season.
Before the production opened at the Suncorp Theatre, the scheduled three-week season had been sold out, so it was decided to extend it by one week, to March 16. The bad notices killed the box office and for some nights of the extra week the show played to an audience of only 75.
To date, this was the last professional production of the work, although there have been several productions on the amateur circuit. In 1996 Reeves and British producer Dan Crawford went searching for finance for a projected London season. The show was to have had a name change to Judy, but to date British audiences have not been exposed to the tears and joys of the Woolcott family.8.
The show made money in Melbourne and Tasmania, lost in Adelaide and Sydney and despite the poor last week, did very well in Brisbane.
Reeves recorded the original cast and released it on cassette under his own label Bodemo (BOD 003). Later the album was picked up by EMI who reissued it on LP (EMC-791157) and CD (CDP 791157). It received an ARIA nomination for Best Original Soundtrack or Cast Album in 1989.9. Recorded two months after the show premiered in Melbourne, the album is missing ‘Have a Hearty Meal’, which was dropped after the opening. Two songs also have different titles: ‘Dear Miss Woolcott’ is listed as ‘Fall in Like with You’ and ‘Rattle the Track’ is titled ‘Catching the Central Express’. The album also includes ‘Soldiers of the Lord’.
EMI also released a 45rpm single of the ballad ‘Look for a Rainbow’ sung by Julie Anthony, with ‘Monsieur Marceau’ sung by The Seven Chorus on the flip side (EMI 2065). The Tommy Tycho Orchestra accompanied both tracks. During the 1988 Melbourne season, the entire cast made a TV appearance on The Mike Walsh Show, singing ‘The Boys from Yarrahappini’. An archival tape survives of this performance. Castle Music published the sheet music of ‘Look for a Rainbow’ with Julie Anthony on the cover, but there was no credit for the show.
A private original cast LP recording of the 1978 Armidale School production contains an Overture and Entr’acte, a title tune, plus 12 other songs, including the two songs, ‘Discipline’ and ‘The Train Song’, that ended up in the commercial production.
To be continued...
Special thanks to: Malcolm Cooke, Paul Dellit, Reg Gorman, Jim Graham, Robyn Holmes (Music Department, National Library of Australia), Peter Wyllie Johnston, Margaret Leask (NIDA Oral History), David Mitchell, Dr Peter Orlovich (SBW/NIDA Archives), David Reeves, Judith Roberts, Frank Van Straten, Anne White (The Armidale School), Peter Yeldham.
Images courtesy of Peter Pinne & Frank Van Straten.
The Adelaide Advertiser (SA), The Age (Melbourne, Vic), Armidale Express (NSW), The Australian (Melbourne, Vic), The Courier-Mail (Brisbane), Daily Mirror (Sydney, NSW), The Examiner (Launceston, Tas), The Financial Times (London), London Theatre Guide—Online, The Mercury (Hobart, Tas), The News (Hobart, Tas), On Stage (Melbourne, Vic), The Sun (Brisbane, Qld), The Sun (Melbourne, Vic), Sunday Mail (Brisbane, Qld), Sunday Telegraph (Sydney, NSW), The Sydney Morning Herald (NSW), The Times (London), LP and CD notes, theatre programs
Delving into the THA archives, we re-publish an article by Peter Pinne from the Summer and Winter 2010 issues of On Stage. Revised to include an important recent production, this is the second of a two-part article looking at Australia’s first ‘gay’ musical, Only Heaven Knows. Click here to read Part 1»
In his series of articles spotlighting important home-grown musicals, Peter Pinne concludes the story of Australia’s first gay musical and its creator, Alex Harding.
Alex Harding was born in England on 15 October 1949. His first credits appeared in 1975, after he became a founding member and musical director of Gay Sweatshop Theatre. The movement had its roots in the lunchtime theatre club ‘Ambience’, held at the Almost Free Theatre.
According to Harding: ‘Drew Griffiths, who was the backbone and founder of Gay Sweatshop, wanted to form a gay theatre company where we could present alternatives to audiences and help break down their fears and prejudices. What we had from TV and stupid West End farces was the stereotyped queen – which I don’t have an objection to because there are screaming queens out there – but at that time it was never balanced. You never actually saw any other images of gay men or lesbians on the stage to counterbalance the screaming queen and butch dyke – images like John Inman in Are You Being Served?’1
When Harding composed the title song for Only Heaven Knows in 1986, it was Drew Griffiths he was thinking of: ‘His pride and his passion was an inspiration to the original members of the company.’ Later, four people stabbed Griffiths to death in his house. They were never caught.2
As Time Goes By was first produced for the Campaign for Homosexual Equality Conference in Nottingham in 1977. It was written by Noel Grieg and Drew Griffiths, Harding composed original music, and it was in three parts – the first in 1896 after the Oscar Wilde trial, the second in Berlin in the 30s, and the third in 1969 when Gay Liberation was born.3
Harding’s next project was Double Exposure, a collaboration with Alan Pope, another founding member of Gay Sweatshop. Told in story and song, Exposure 1 is an everyday tale of growing up gay, whilst Exposure 2 is a satirical look at Britain’s foremost authority on TV and smutty stuff. Songs included the witty ‘There’s Nothing like a Fairy to make sure the Party’s Gay’, a direct descendent of Coward’s infamous ‘I’ve been to a Marvellous Party’. The show’s first performance was at the Oval House, London, 1978.
The following year Harding and Pope collaborated again on Point Blank, a cabaret that was directed by Martin Sherman (Bent). Songs included ‘Monogamy’ and ‘Boys’ Talk’. The show was recorded live, released on cassette, and sold at second-hand gay bookshops. The same year also produced The Dear Love of Comrades, a play by Noel Grieg, with music by Harding. It premiered at the Oval House Theatre, London, in March.4
Harding and Pope’s final collaboration was Layers, a musical that had a sell-out season at the ICA (Institute of Contemporary Arts) Theatre, London, in 1979. It starred a young Michael Cashman, who later played Colin, a gay character in EastEnders. One of the songs was ‘Is the Outlook Somewhat Brighter?’ It was Harding’s first attempt at a full-blown musical, and it worked. The play told a clever and very amusing story of conflicting relationships in modern gay life. The Guardian reviewer called it: ‘the only play I have ever seen that opens with three naked men in one bed …’
During Harding’s time with Gay Sweatshop, the company toured the UK, Berlin and Amsterdam, and performed at the Edinburgh Festival. In its early years Gay Sweatshop nurtured acting talents like Anthony Sher and Simon Callow.5
In 1980 Harding became a musical director of the Bloolips Theatre Company, a drag troupe that toured Europe, Vancouver and New York. It was during his time with Bloolips that Harding created his alter ego drag character ‘Dotty’, and sang the song ‘Drag Queen’. He performed with the Bloolips for two seasons.
Alex Harding migrated to Australia in 1984 and one year later became a citizen. His first Australian credit was Not Quite Sixty Minutes, a cabaret written and performed by him at the Midnight Shift, Sydney, during the 1985 Gay Mardi Gras. The following year saw him appear in, and contribute to, Love, Sex and Romance, an umbrella event during the Gay Mardi Gras at the same venue. Songs featured included ‘What’s a Queen to do Nowadays?’, ‘Love’ and ‘Safe Sex Song’, in which Harding appeared as ‘Nuda the Condom’. According to Harding, ‘an incredibly long monologue preceded the song [written by Denis Gallagher] and at the end I’d sing about the joys of safe sex. It was at the time of the ‘Rubba-Me’ campaign.6 It was a very rude song.’7 It was also outrageously funny.
The same year Harding also contributed to Acid ’n’ Tonic, another gay cabaret whose chief writer was Larry Galbraith. The show reunited Harding with Dennis Scott, one of the founders of Sydney Gay Theatre Company, who had just returned to Sydney. It also featured Rob Dallas and Robin Fellows, with Grant Ovenden on piano. Richard Turner was the director. It opened at the Paddington Green Hotel, Sydney, in September 1985.8
Harding followed Only Heaven Knows with the play Blood and Honor. Written in a style that was at times stream-of-consciousness and at others with dialogue that cut back and forth between past and present, the play was a powerful statement about racism, homophobia and living with AIDS. Margaret Davis was back in the director’s chair, as were two of the cast from Only Heaven Knows, Jacqy Phillips as the feminist Mother, and John Turnbull as her son Colin, who is HIV positive. The third member of the play’s triangle was Anthony Wong, as Michael, Colin’s Australian-born Asian lover.
The first play to be produced by the Sydney Gay and Lesbian Mardi Gras, Blood and Honor opened at Belvoir Street Theatre on 7 February 1990. Bob Evans (SMH, 12 February 1990) said it ‘is one of those rare works in Australian theatre which seeks to explore the links between sexual and racial intolerance in our society.’ He went on to say: ‘At its core, the play is an intensely personal response to the AIDS pandemic and to the questions which it poses for our society, pitting compassion and understanding against repression, guilt and punitive indifference.’ He said it wasn’t an easy night in the theatre and dramatically it was flawed, but ‘its manifest anger is a reminder these are not easy times.’
Rosemary Neill (Australian, 13 February 1990) concurred that the play was dramatically weak. Her criticism hinged on the fact that she thought Harding ‘attempts too vast a narrative and thematic territory: he raises a multiplicity of issues and gives insufficient attention to all of them’.
Of his work in Blood and Honor Harding says: ‘I had a lot of anger to get out in that play, because I hated the Liberal party. The person I was actually going for in that play was John Howard, but midway through they changed to Andrew Peacock. And also, the play was paralleling what I was going through in my own life. My lover at the time was dying. People called it an AIDS play, but it isn’t just about AIDS. It’s about racism. It’s about a political party that would not give a shit.’9 It is well-known that Harding’s lover of 15 years, David E. Thompson, died of AIDS five months after the premiere of Blood and Honor. The play was written for him and is dedicated to him.
In early drafts, the play was titled Two-Legged Pricks Down Under. Later, when Harding heard of a British neo-Nazi rock group called Blood and Honor, he decided to go with that because it fitted in with one of the themes of the play.10
Despite the play’s critics and a soft box office, it went on to win the 1990 UN Human Rights and Equal Opportunity Commission Award for Drama. It was published by Currency Press in 1996.
Harding was back at Belvoir Street Theatre the following year in a one-man musical, Beauty and the Beat, which was part of the 1991 Gay and Lesbian Arts Festival. Written and directed by Rex Lay, a former Harding collaborator from his Bloolips days, and with songs by Harding and Lay, the show is set in a public lavatory. Bruce, a bank teller, comes in to change into his beautiful drag costume for Mardi Gras, and is locked in. The show explores the two characters in one – Bruce and Beauty – which are the opposite sides of his personality.11 Songs included ‘If I were God’, ‘Perfect Stranger’, ‘Draughtsman’s Contract’ and ‘Fly Away’. The latter has lyrics by Harding and was written by him as a tribute to his lover, David E. Thompson, whilst ‘Perfect Stranger’ is a touching ballad every bit as good as the title song from Only Heaven Knows.
‘In this beat there is self-discovery, vignettes of delicious and camp delight, and music that ranges from the bitingly funny ‘If I Were God’ through to soft and tender ballads like ‘Perfect Stranger’… There are gags and glitter in glorious abundance in this public toilet’ (Sydney Star Observer, 22 February 1991). There was an opening night hiccup when ten seconds into the script Harding forgot his lines, so he went home, much to the dismay of the director and the audience. Later it was revealed there had not been enough time for a technical run or dress rehearsal in the theatre. It was subsequently re-scheduled and opened a few days later. It ran from 5 to 24 February 1991.
In 1992 Harding was commissioned by Playbox Theatre Company, Melbourne, to write The Life and Times of Hanky Bannister, a futuristic piece about an eccentric theatre troupe living and performing in an eerie desert. It featured dwarfs, ballerinas and lion-taming strong men, all led by a mad genius called Hanky who would send Porky (a dwarf dressed as a general with a huge pompadour wig) out into the real world and have him come back with reports of what corruption and thug trickery was going in government and elsewhere. Harding got the idea for Hanky’s name when he went to Liquorland and saw cheap Scotch whisky labelled Hanky Bannister. ‘I liked the name,’ he said, ‘and the play was written on a lot of that cheap Scotch’. In early drafts it was titled Earthly Possessions: A Comedy of Ill Manners. It remains unproduced.12
Sydney Theatre Company commissioned Harding to write the play Three. It was given a full-day workshop and an evening open reading under the auspices of STC’s research and development wing, New Stages, in the Wharf Studio, on 13 May 1993. The director was Michael Gow, assistant director Lex Biolos, and Hugo Weaving, Judi Farr and Les Wilson were the three-hander cast. The story had Walter, an elderly transvestite who lives in Darlinghurst, commentating on what was going on around him in his neighbourhood. He spoke of shopping at the deli, Betty’s soup kitchen and so on – real places, real times. In the same year, the show also had a reading at the Lookout Theatre, Woollahra, directed by Diana Denley. In early drafts it was called Surry Hills 2010. It has never had a full production.13
In 1993 Harding also worked as the pianist with a group called Body Tales in a piece called The Will. According to Leonard Radic (Age, 21 May 1993): ‘It is an amalgam of mime, music, dance and shadow play in which the performers exploit and satirize the techniques and conventions of the silent movie … The pianist Alex Harding goes at a steady beat throughout, working up to a fine frenzy in the final chase and rescue sequence.’ He was the only performer mentioned.
In 1994 Harding wrote a radio adaptation for ABC Radio National of Romeo and Juliet.
In the mid 90s Harding was commissioned by the Sydney Gay and Lesbian Mardi Gras to write and workshop a two-hander on the bushranger Captain Moonlite. Called Beloved, it was based on the death cell letters of Captain Scott (Moonlite) and his love for another man in the gang. Brett Partidge played Moonlite in a reading of the piece.14
Two of Harding’s one-act plays, The Reunion and Kaleidoscope, were mounted as part of the Queer Fringe by Lookout Theatre, in a program of four plays commencing on 5 February 1996. The other two, Shudder and Swellings, were by Alana Valentine. In The Reunion, a man, grieving over his dead lover, is visited by said lover who tells him to get on with his life. Dominic Chang played the man, and Anthony Cogin the lover. Stephen Dunne (SMH, 9 February 1996) said: ‘It’s a simple, affecting piece, emotionally poignant, wryly humorous, performed with coherency and depth. It’s also the best playlet of the night.’
In Kaleidoscope Harding took a selection of short monologues and two-handers from his play Three. ‘Unfortunately Harding has taken out the material connecting the various characters, leaving a whole lot of people who don’t seem to know each other and have no reason for sharing a stage,’ said Stephen Dunne (SMH, 9 February 1996).
On 18 February 1996 Harding premiered his one-man cabaret Just One More and Then I’ll Go at the Stables Theatre, Sydney. In the Sydney Morning Herald, Stephen Dunne called him a ‘legend’ and went on to say: ‘The songs, ranging from work for London’s Gay Sweatshop to his hit musical Only Heaven Knows, are wonderful, and Harding performs them, accompanying himself on piano, with superb phrasing, humour and passion.’
His remarks were echoed by other reviewers: ‘Highly recommended’ (Sydney Star Observer) and ‘The atmosphere is cabaretesque, the music enchanting, and Harding’s humour shifts from martini dry to fairly camp in nature’ (Beat).
The show, directed by Diana Denley, played until 10 March 1996, and was restaged for a benefit performance at the Luncheon Club on 17 April 1996. Harding recorded a CD (AH 196 CD) of the material; it features songs from Double Exposure, Love, Sex and Romance, Beauty and the Beat, Point Blank, Not Quite Sixty Minutes, Bloolips, Layers and Only Heaven Knows. Composers almost always perform their own material better than anyone else, and Harding is no exception. This is really a ‘best of’ collection and there’s no shortage of wit or melody.
Later in the year Harding teamed with Mary Haire for a series of Sunday afternoon cabaret shows at the Tilbury Hotel. They played on 3, 10, 17 and 24 November 1996, and earned a return season at Hugh and Phillips’ Vegetarian Café, Sydney, in January 1997. He followed this with Harding in the Soup, a Sunday night gig playing piano at Betty’s Soup Kitchen.
In 1999 Harding’s Family Secrets, Sheltered Worlds, was included along with No Secrets (Malcolm Frawley/Tony Harvey) and The Saturday Night Club (Linden Wilkinson) in a season of three short one-act plays at the Stables Theatre under the title of Hungry. A Playpen Theatre production, the plays were all performed by Angela Kennedy, Deborah Jones and Brett Partridge, with direction by Frawley. Family Secrets, Sheltered Worlds brought together two sisters and their brother at the funeral wake of their father, a Reverend, who we learn was anything but a loving Christian – sexual abuse of the son, the beatings of an adopted daughter, and neglect of the other one, all done in the guise of holy righteousness.15 The Sun-Herald (7 February 1999) called it ‘the meat in the sandwich’ of the three plays, and said, ‘It’s shocking and over the top and makes the director lift his game’. The season played for 16 performances, 4-28 February 1999.
Walk down the Avenue, a three-character musical, was to be a Sydney Mardi Gras production for 1999, but the cost was too great so it was pulled at the last minute. Set in the 60s and 70s, it was about a husband and wife lounge act who get a gig entertaining in Vietnam, and their young male protégée singer with whom the husband is in love. Jacqy Phillips was to have starred as the wife and Gary Scale as the husband, with direction by Dean Carey. There was to be a search to find the ‘star’ boy.16 Several songs from the show appear on Jason Stephenson’s CD Found (2000): ‘Dreams do come True’ (also done as a dance mix), ‘Whispered Words, Forgotten Dreams’, ‘New York ’69’, ‘Where is Home?’ and a title tune. The CD also includes two songs, ‘Draughtsman’s Contract’ and ‘Fly Away’, from Beauty and the Beat.
Harding returned to the UK in late 2000 and since then has fallen off the theatrical radar. He currently works as an Activities Co-Ordinator in an aged care facility outside of London.
Prior to living in Australia Harding had only ever written music and lyrics. As a dramatist he was a late starter, but he certainly made up for lost time, writing eight plays over a ten year period, two of them award winners.
Alex Harding lived his life as an out and proud gay man. It didn’t worry him that he was labelled a gay or queer writer. ‘There’s nothing that would bore me to tears more than to write for an exclusive heterosexual audience,’ he says. ‘I write for a gay audience because I’m gay. I’m coming from a gay experience, my experience’.17
Since Only Heaven Knows there have been many gay or gay-themed Australian musicals, but Only Heaven Knows was the first. It was groundbreaking, it broke down the barriers, and it put gay life centre stage. What’s more it did it with honesty, compassion and love. For that we have to thank Alex Harding, an Englishman who considered himself an ‘outsider looking in’. He gave us an Australian classic.18
Special thanks to: Scott Abrahams, Derek Bond, Paul Dellit, Denis Follington, Frank Ford, Alex Harding, Sam Harvey, Gary Jaynes (Australian Lesbian and Gay Archives), Ivan King (HMT Archives, Perth), Margaret Leask, Barry Lowe, Margaret Marshall (APAC), Andrew McNichol, Stephanie Power (WAAPA Archives), Ian Purcell, Peter Reardon, Rick Scarfone, Judith Seeff (STC Archives), Alana Valentine, Frank Van Straten – and, especially, to Alex Harding himself.
The Age, The Australian, The Bulletin, The Guardian (UK). The Mercury (Hobart), The Sydney Morning Herald, Sydney Star Observer, CD liner notes, theatre programs, playscripts
Delving into the THA archives, we re-publish an article by Peter Pinne from the Summer 2010 issue of On Stage. Revised to include an important recent production, this is the first of a two-part article looking at Australia’s first ‘gay’ musical, Only Heaven Knows. Click here to read Part 2»
On 13 March 1995 Stephen Dunn claimed in the Sydney Morning Herald: ‘Home-grown gay theatre has finally ascended to the temple of culture on Bennelong Point.’ He was speaking about the transfer of Alex Harding’s Only Heaven Knows, Australia’s first gay musical, to the Sydney Opera House. A sell-out season at the Stables Theatre, Sydney, had precipitated the move. It was just another crowning success in the story of this humble little musical that began back in 1988.
Only Heaven Knows was originally a Bicentennial commission. According to Alex Harding: ‘I sensed shock waves when some of the committee came along to a presentation work-in-progress. I think they were expecting an Australian Cabaret, a Sally Bowles equivalent with decadent heterosexuals at play, but were shocked to discover how seriously homosexual the piece was, hoping it would quietly disappear never to be seen or heard of again.’1 In his grant application Harding had cleverly omitted the word ‘gay’, and replaced it with ‘demimonde’.2
But it didn’t go away: it went on to be produced many times around the country to critical and audience acclaim. The playscript has been published twice, the cast recording of the 1995 Sydney production has been released internationally, and there are several versions of the show’s title tune available on record, making it the most recorded song from an Australian musical of recent times.
The show was inspired by Jon Rose’s book At The Cross: Growing Up in King’s Cross, Sydney’s Soho (Andre Deutsch, 1961). According to Robert Dessaix it was ‘one of the first post-war books for a general readership which described in positive tones what was in a sense a gay culture in Sydney during the Second World War.3
Only Heaven Knows is called a ‘Romantic Musical Comedy’ and is set in Sydney during the 1940s (Act 1) and ’50s (Act 2). Each act is top and tailed by the Ghost of Lea Sonia, Australia’s leading female impersonator of the ’40s. Based on a real character, Lea Sonia was actually an American who was caught in Australia, unable to return to America because of the war. Australian audiences loved him/her (‘… is she really a man?’) so convincing s/he was in women’s clothing. S/he was a huge star and often headlined at the Tivoli alongside Mo. S/he was murdered when she was bashed and pushed under a tram by a drunken American serviceman.4
Act One takes place in Sydney in 1944. Seventeen-year-old Tim has left home in Melbourne to try his luck as a writer in Sydney. He rents a room in a Kings Cross boarding house run by night-club singer Guinea Newbolt, who introduces him to her male friend, Lana. Cliff and Alan are former lovers in their late twenties who share a flat. They were both dishonorably discharged from the Army when they were discovered engaging in fellatio with each other. Tim gets a job in a deli, where Cliff spots him, and despite the differences in their ages they fall for each other. On New Year’s Eve the five friends go to the Artists’ Gala Drag and Drain Ball. It is raided by the police, but fortunately none of them is arrested.
Act Two is ten years later and Sydney has changed dramatically. Tim and Cliff are living together but are being discrete about being gay for fear of losing their accommodation which has happened many times. Tim is pretending to be Cliff’s cousin. Guinea and Lana are running a theatrical hire shop, and Alan has been persuaded to have electro-aversion therapy to ‘cure’ his homosexuality. Tim gets a dream job offer to go to England to work on the London production of Lawler’s Summer of the Seventeenth Doll, but it will mean leaving Cliff. After becoming violently ill with his treatment, Alan, with the help of Lana, moves towards self-acceptance. After much soul-searching, Tim accepts the London offer and although devastated, Cliff gives his blessing. As Tim boards the ship for London they refrain from showing affection for fear of being arrested, but then finally give in to their emotions and hug each other.
The first time the project saw the light of day was in a reading at the Rocks Theatre, Sydney, in 1987. Mary Haire read Guinea, direction was by Margaret Davis, with Harding on piano. Although the Bicentennial Committee was not impressed, others at the reading were. Harding then applied for and received a grant of $29 000 from the Performing Arts Board of the Australia Council. This enabled the musical to get up as a co-production with the Griffin Theatre Company.5
It opened at the Stables Theatre, Sydney, on 4 May 1988, with a cast including Steve Kidd (Tim), Paul Hunt (Cliff), James Bean (Alan), John Turnbull (Lea Sonia/Lana) and Jacqy Phillips (Guinea). Margaret Davis directed and choreographed the piece, with design by Judith Hoddinott, musical direction by Grant Ovenden (piano), and saxophone and clarinet by Amanda Jones.
The reviews were good. Bob Evans (SMH, 6 May 1988) said, ‘It is a much needed affirmation of love and community. There are moments of great humor and scenes of tenderness and tragedy, thrillingly played, especially by newcomer Steve Kidd, who catches the innocence, the energy and vulnerability of young Tim.’
Michael Morton-Evans (Australian, 6 May 1988), found: ‘It is very funny in parts, and in parts very touching,’ and called Harding a writer of ‘considerable skill and talent’. The Daily Telegraph said: ‘this is a brave and often poignant piece,’ and claimed there is ‘much pleasure in this heaven,’ whilst the Star Observer rejoiced, ‘at last a Bicentennial surprise.’
Only Heaven Knows has a strong contemporary theatre score. Tim is well served by the composer with three solos: ‘This Is It’, ‘Sydney, You’re Wonderful’ and the standout title tune, one of the best ballads ever written for an Australian musical. Guinea has a raucous moment with ‘Ain’t It A Shame That Your Itty-Bitty Mama’s Gone Fishin’ with Somebody Else’; Lea Sonia’s ‘Stealin’ It Every Way That I Can’ (later just called ‘Stealin’’), is a second act highlight; whilst Cliff’s ‘Without Him’ and Alan’s ‘Where Is The Love?’ are very effective emotional pleas. Two songs were cut before opening: ‘Dear Dorothy Dix’, in which Alan contemplates writing to the agony aunt for advice on his attraction to men, and ‘Lucky For You’, a song for Cliff and Tim.
The show also uses recordings to help recreate the period. It opens with the 40s pop song ‘Six Lessons From Madam La Zonga’. From a 1941 Lupe Velez movie of the same name, this was the real Lea Sonia’s signature tune. Other recordings included ‘Praise the Lord And Pass The Ammunition’ (replaced by ‘Moonlight Serenade’ in the 1995 production), ‘In The Mood’, ‘When You Wish Upon A Star’, Frank Sinatra’s version of ‘One For My Baby’, plus ‘God Save The King’ and ‘Auld Lang Syne’. When Lea Sonia returns at the end of Act One, ‘Everyone’s Gone To The Moon’ was played to denote the character was in a more contemporary place.
The show played Tuesday to Sunday and was so successful that the season had to be extended. It closed on 12 June 1988, after playing 35 performances.
The next production on this show’s ground-breaking journey was by the Playbox Theatre Company, at the Victorian Arts Centre’s Studio, where it opened on 6 February 1989. This time the role of Tim was played by Michael Pope, Guinea by Caroline Gillmer, with Alan Andrews (Lea Sonia/Lana), Robert Morgan (Cliff) and Kurt Geyer (Alan). Robert Meldrum was the director, Amanda Johnson the designer, with musical direction by Tyrone Landau on piano, and wind instruments played by Ken Schroder.
In the Bulletin (21 February 1989), Alison Croggon wrote: ‘The highlight of this production is undoubtedly the excellent acting…[it] makes all of Harding’s characters live and makes Only Heaven Knows as he intended, a celebration of their courage in appallingly difficult situations. While I never forgot I was watching a play centrally concerned with the issue of homosexuality, this was subsumed by the larger human issues it raises: the complexities of love and personal discovery in an often hostile society.’
Dennis Davison headlined his review in the Australian (6 February 1989) with ‘Sensitivity that’s neither gay abandon nor a drag.’ He called it a theatre piece which is a ‘mixture of cabaret, stand-up comedy, musical numbers, camp parody, drag-queen exhibitionism and serious drama.’ He thought Harding’s music ‘caught the flavour of the 1940s. The lyrics wisely refrained from trying to ape musical comedy big numbers and the men sang with feeling, if not with Glimmer’s expertise.’
Leonard Radic (Age, 7 February 1989) also praised Glimmer: ‘Unlike the men, she can sing. She also brings a warmth and naturalness to all her roles.’ He called it ‘a sympathetic study of gay living,’ and said, ‘Only Heaven Knows is a musical play with the strengths, but also the limitations of the genre. The blues and jazz music is atmospheric. But the plot itself is novelettish, and thin on both motivation and psychology.’
This time the show played Monday to Saturday, 7 performances each week, and once again, business was so good the season had to be extended until 11 March 1989. Like Sydney, it too clocked up 35 performances.
One year later The Old Nick Company presented the show at the University Studio Theatre, Hobart. It opened on 15 August 1990, and played a 10-night season, closing on 25 August. With direction by Glenn Braithwaite, who also played the role of Cliff, the cast included Andrew McNicol (Tim), Mark Weeding (Alan) and Amy Vogel (Guinea), with the roles of Lea Sonia and Lana being played by two separate actors, Cameron Hartley and Anthony Speed. Various other bit parts, which had been doubled in previous productions, were handled by Andrew Harper, Kate Johnson and Mimi Phoenix. This time the musical accompaniment was by Ben Sibson on piano and synthesizer, and Phillip Bywater on clarinet and saxophone. Production design was by Keith Bates.
‘This warm and, for the most part, gentle story of homosexual love is told with comedy and compassion,’ said Wal Eastman in his Mercury review (16 August 1990). It has ‘plenty of romance, rollicking humour, good tunes, a brief naked-lovers-in-bed-scene, and a plot with its fair share of misunderstandings and making up.’ He said Braithwaite ‘excels’ as Cliff, and McNicol matches him in a ‘sensitive performance as Tim.’
In 1991 a group of gay Adelaide actors presented a play reading of the first act. This resulted in them mounting a full production as a Fringe Festival attraction during the 1992 Adelaide Festival of Arts. Calling themselves Theatre Sagitta – The Theatre of the Times, they hired the Sheridan Theatre for a two week season of the show – 17-28 March 1992. Tom Maloney played Lea Sonia, and Paul Halton was Tim.
Next up was a new production of the show by Umbrella Productions for the 1995 Sydney Gay and Lesbian Mardi Gras. Again playing at the Stables Theatre, it opened on 3 February 1995. The cast included Gary Scale (Lea Sonia/Lana), Anthony Cogon (Cliff), Jason Longley (Alan) and newcomer David Campbell (Tim). Jacqy Phillips was back again to play Guinea as she had done in the original 1988 production.
Les Solomon handled direction, Jason Langley did set design, and Michael Huxley was musical director. The production used Judith Hoddinott’s Sydney Habour Bridge backdrop design from the 1988 production. A reduced version of ‘Lucky For You’ was reinserted in Act Two, and Guinea’s Act One song was now listed as ‘Itty Bitty Momma’. It was later retitled ‘Ain’t it a Shame’. ‘Everyone’s Gone To The Moon’ had been dropped from the end of the first act, and an epilogue had been added for Lea Sonia in Act Two.
‘Campbell is absolutely terrific as the young Tim, all fresh-faced with a sweet voice to match,’ raved James Waites (SMH, 7 February 1995). ‘Gary Scale, of Tilbury Hotel fame, offers us his Lea Sonia, and a hilariously prune-faced Lana.’ He also liked Cogon, Langley, and said Phillips as Guinea was ‘total class’. Solomon came in for his share of accolades: ‘It takes good old-fashioned professionalism to make a show like this work and that’s what Les Solomon’s production has in bucket-loads.’
Bryce Hallett (Australian, 17 February 1995) said Harding has ‘fashioned an intelligent and immensely appealing gay musical that evokes Sydney, or more specifically King’s Cross bohemia in the 40s and 50s.’ He called the production ‘a timely, life-affirming theatrical occasion,’ and went on to praise Scale for his ‘humour and warmth’ and Phillips for her ‘knockabout experience and a slightly unhinged madness.’
The praise was also echoed by the Sun Herald (19 February 1995): ‘Harding tells his story through words, action and, perhaps most emphatically, music – songs that haunt: that raunch. This company delivers his story with lots of flash and zing.’
The production won the Sydney Gay and Lesbian Mardi Gras Award for Outstanding Performing Arts Event, 1995.
The show played 30 sellout performances at the Stables until it closed 5 April 1995. It moved immediately to the Playhouse at the Sydney Opera House, opening on 11 April and playing another 37 full-houses until it closed on 13 May.
For the Opera House season Paul Hunt replaced Anthony Cogon as Cliff. Stephen Dunne (SMH, 13 April 1995) headlined: ‘Quirky charmer still joy to watch,’ also saying the production had survived the shift from the intimate Stables venue to the larger Playhouse with the loss of intimacy made up for by more ‘settled performances’. Scale, Phillips and Langley still received plaudits, with Hunt giving Cliff a ‘nicely down-played blokey realism,’ and Campbell ‘dramatically fine but somewhat vocally tenuous.’
It was David Campbell’s breakout role. He was nominated for a ‘Mo’ award for ‘Best Musical Theatre Performer’ of 1995, and later moved to New York where he made a name in cabaret and starred in Stephen Sondheim’s Saturday Night and the Encores production of Rodgers and Hart’s Babes in Arms.
In October 1996, an off-campus play-reading of the show was given by Music Theatre students from the Western Australian Academy of Performing Arts. Presented during Gay Pride week, the reading was directed by John Milson, with Denis Follington as musical director.
It featured a cast of performers on the brink of their careers. Tyran Parke played Tim, Kane McErvale (he later changed his name to Kane Alexander) was Alan, with Nathan Carter (Cliff), Larissa Gallagher (Guinea) and Peter Cathie White (Lea Sonia). Other roles were filled by Peter Eyers, Sharon Wisniewski and Mathew Dale.
Parke remembers: ‘I really loved doing that show – mind you I think we only did three or four performances – but it was really, really well received. People felt very moved by the piece. I think the atmosphere of the Blue Room in Perth really added – it was very intimate.’
Since 1996, Only Heaven Knows has been revived twice in Melbourne. During the 1998 Midsumma Festival it played the David Williamson Theatre, Prahran, from 22 January to 14 February. The cast included Luke Gallagher, Larry Hunter-Stewart, Kurt Kansley, Catherine Rutten and Michael Smallwood, with Nigel Ubrihien on piano. Midsumma Festival was also responsible for a later production directed by Adrian Barnes at Chapel Off Chapel, 17 January–3 February, 2001.
Sydney has also experienced two revivals, both at the New Theatre. The first ran from 7 November to 19 December 1998. It featured Paul Flynn (Tim), Mark Fuller (Cliff), Lloyd King (Alan), with Benjamin O’Reilly (Lea Sonia), Alice Livingstone (Guinea), George Hoad (Lana) and Mary Lindsay, Don Ferguson and Karren Lewis. Direction was by Pete Nettell, with John Short as musical director. The second was a One-Off Moved play-reading on 4 December 2002, with basically the same cast and director. Musical direction was handled by Andrew Davidson. An unofficial video of the complete 1988 production survives.
In 2017 the Hayes Theatre, Sydney, produced a new professional production of the musical with Tim Draxl as Cliff, Hayden Tee as Lea Sonia and Lana, West Australian Academy of Performing Arts (WAAPA) graduate Ben Hall as Tim, Matthew Backer as Alan and Blazey Best as Guinea. David Spicer in Stage Whispers claimed it was "Stylish, humorous and as relevant as when it was written." It played 43 performances.
The show has not been without controversy. According to Harding, one reviewer of the initial season, failing totally to see the politics of the piece, couldn’t get past the fact that Only Heaven Knows is a love story between two men – and whilst he was quite correct, he nevertheless felt obliged to demand that there be some sort of warning on the poster in order to alert potential theatregoers! A similar thing was to occur during the Opera House season. A group of American tourists walked out declaring that ‘… if this play and these actors ever come to Milwaukee, we’ll shoot them!’ And in Melbourne at the Arts Centre a booking clerk was advising people who wanted to see the show ‘… oh, you won’t like that, it’s about two poofters!’ An internal hunt to expose said booking clerk failed, but gave the show added publicity. And the work wasn’t without its gay critics. Outrage magazine complained that the show was ‘all white’ – i.e. there were no Aborigines in it.6
The show has been published twice by Currency Press. The first version appeared in 1989 and a second revised edition in 1996. Festival Music published a single sheet of the title song in 1988.
The 1995 Stables Theatre cast recorded the complete score (OHK95). It contains a ‘Prologue’, ‘This Is It’, ‘Night-Time In The City’, ‘Sydney You’re Wonderful’, ‘Would You Like That Too?, ‘Ain’t It A Shame’, ‘Asking Me Questions’ ‘Act 1 Scene 15’, ‘Act 2 Scene 1’, ‘Lucky For You’, ‘Where Is The Love?’, ‘Stealin’’, ‘Without Him’, ‘Only Heaven Knows’ and an ‘Epilogue’.
In 2000 this cast recording was reissued in the US and distributed in the UK on Bayview Records (RNBW005) with 6 bonus tracks by the composer: ‘Sydney You’re Wonderful’, ‘Stealin’’, ‘Where Is The Love?’, ‘Only Heaven Knows’, the cut ‘Dear Dorothy Dix’ and a full version of ‘Lucky For You’. The US and UK reviewers enthused: ‘The score is excellent, a lovely blend of poignant and witty songs…’ (Mike Gibb, Masquerade); ‘…the disc does boast as leading man David Campbell, who is excellent.’ (Ken Mandelbaum, broadway.com); and ‘Alex Harding’s music and lyrics are pop hook-laden enough to hold interest.’ (Jonathan Padget, GLAA Metro Weekly).
The title tune has been recorded by David Campbell on his album Yesterday Is Now (Philips 532 714-2), and No.1 Musicals Album (Polygram 539-736), by the Sydney Gay and Lesbian Choir on Something to Sing About (ABC LRF 295, 1993), and Sydney Gay & Lesbian Choir (Larrikin LRF-481, 1997), Les Ms on Les Ms – Therapy (L-M, 1998), and by Jason Stephenson on Found (2000). This album also contains a version of ‘Where Is The Love?’. Harding’s version also turns up on Musicals From The Land Of Oz (Bayview RNBW 012), Just One More And Then I’ll Go (AH 196 CD, 1996), which also has ‘Sydney You’re Wonderful’, ‘Stealin’’, and ‘Where Is The Love?’ on it, and on a cassette released for the Australian AIDS Memorial Quilt Project. There are two tracks on the cassette, the other being ‘Fly Away’, which was used in the cabaret Beauty and the Beat (1991). Mark Fuller, who played Cliff in the 1998 New Theatre production, also features ‘Lucky For You’ and ‘Stealin’ on his live album Mark Fuller – Songs about Adam (Pride 010LPD, 1996).
To be continued.
The Age, The Australian, Bulletin, Guardian, (UK), Hobart Mercury, Sydney Morning Herald, Sydney Star Observer, Stage Whispers
CD Liner notes
Delving into the THA archives, we re-publish an article by Peter Pinne from the Summer 2008 issue of On Stage written to commemorate the fiftieth anniversary of the Australian musical Lola Montez. This article has now been brought up to date by Peter and includes by way of illustration some newly revealed costume designs by Hermia Boyd.
When Lola Montez opened on 19 February 1958, a breath of fresh air blew across the Australian musical theatre landscape. Here, at last, was a show the critics thought could hold its own against the American and British imports of the day. The composer, lyricist and writer were young and unknown, but the quality of their work promised a bright future for all three. The show and its score have since been recognized as the landmark that they were, and fifty years later Lola is still kicking up her heels on Australian stages.
Peter Stannard (b. 1931) composer, Peter Benjamin (b. 1930) lyricist, and Alan Burke (1923-2007) book writer, met in 1951 at the Intervarsity Drama Festival, Sydney. They all shared an interest in musicals, and talk revolved around them writing one together. The subject of Lola Montez and her four-day visit to the Ballarat goldfields in 1856 was a story the trio thought had potential.
The colourful Lola was working-class Irish who improved her station by marrying an army officer. When he was posted to India, she walked out on him, later dancing her provocative ‘spider dance’ for the crowned heads of Europe. For a time she was mistress to Ludwig I of Bavaria (and others), but eventually she fled to America. Gold-rich Australia soon beckoned. She gave performances in Sydney and Melbourne and, of course, Ballarat – where she infamously publicly horsewhipped the editor of the Ballarat Times for daring to give her a bad review.
Stannard began writing music in his teens, sending his efforts to such radio programs as Search for a Song. Later, while studying Arts at Sydney University, he produced, scripted and appeared in student revues. During a stint working for an advertising agency in Brisbane in 1956, he produced, directed, wrote and performed in the revue Heaven’s Above – The Sky’s The Limit (14 March 1956), which was mostly recycled material that he’d written for the Sydney University Revue of 1954. Benjamin also studied Arts at Sydney University, where he majored in Maths. During his time there his clever facility with words found him also contributing to the annual student revues.
Burke, who graduated from Melbourne University, began his career working with Brett Randall at the Little Theatre in South Yarra. In 1952, he was appointed administrator of Canberra Repertory. He followed that with a three-year London stint, working with BBC television courtesy of a UNESCO fellowship. On his return to Australia in 1956 he spent two years working with the Australian Elizabethan Theatre Trust, before joining ABC TV.
Correspondence about a Lola musical continued between the trio throughout 1953 and 1954. Eventually they gathered under one roof and between Boxing Day 1956 and New Year’s Day 1957, they completed the first draft of the book, music and lyrics.
The Australian Elizabethan Theatre Trust agreed to fund a tryout production of the work by the Union Theatre Repertory Company (now MTC), at the Union Theatre at the University of Melbourne. John Sumner was to have directed the show, but during rehearsals he fell ill, so Alan Burke took over. It wasn’t the last time he would direct Lola. The show was cast from the then current group of repertory players, many of whom later went to local and international fame; Frank Gatliff, Hugh McDermott, Patricia Conolly, Neil Fitzpatrick, Robin Ramsay, Monica Maughan, Alan Hopgood, and George Ogilvy. Justine Rettick, an operetta comedienne, was recruited to play Lola. Glen Balmford, also cast from outside the ranks, played the young love interest, Jane Oliver.
The musical’s story centred around Lola’s four-day visit to the Ballarat goldfields, where the miners in appreciation of her performance threw gold nuggets to her on the stage, and her subsequent infamous Editor horsewhipping episode. A sub-plot was a sweet little love story that had an Irishman travelling halfway around the world to find the girl who nursed him in the Crimean War. As for the score, the opening song, ‘Southerly Buster’, was a hearty and memorable men’s chorus, and ‘Let Me Sing! Let Me Dance’ was an appropriate and effective big number for the lead. ‘Partner, Name Your Poison’ and ‘Maria, Dolores, Eliza, Rosanna’, were clever duets for Lola and her manager Sam Vanderburg, and there were two ballads that stood out, ‘I Alone’ and the pretty waltz that had hit potential, ‘Saturday Girl’.
The Bulletin (26 February 1958) said: ‘Lola Montez was a definite success, and looks likely to continue for some time.’ It praised Justine Rettick, ‘the most accomplished singer and an energetic actress,’ Neil Fitzpatrick for playing ‘a sufficiently naïve and Irish, Daniel Brady,’ and said ‘Frank Gatliff was an amusing and swaggering American Sam Vanderberg.’ Others to be noticed were Glen Balmford and Hugh McDermott. Although the Bulletin carped that, ‘Some of the best songs have overseas big brothers,’ the score was generally liked. Howard Palmer’s headline in The Sun (20 February 1958) called Lola Montez ‘a show to see’. He went on to say that he thought it would sell abroad. The Herald’s Harry Standish (20 February 1958) said, ‘there are good choruses and songs with world class lyrics and catchy enough tunes.’ But he thought Lola lacked fire: ‘Lola herself is the disappointment of the show. However much past her prime, she should be a dancer, with fire to stir the diggers to throw nuggets. Justine Rettick doesn’t get near it.’
The public responded positively to the notices, which resulted in the season being extended. On opening night, Hugh Hunt, executive director of the Elizabethan Trust, announced that the Trust would mount a full-scale production later in the year.
The Trust came good on its word. It scheduled its production of Lola Montez to open at Her Majesty’s Theatre, Brisbane, on 1 October 1958, to be followed by a transfer to its Elizabethan Theatre in the Sydney suburb of Newtown. Top-starred as Lola was English dancer Mary Preston, whose previous London credits included playing a ‘starlet’ in Grab Me a Gondola. Frank Wilson, who had spent some time in London appearing in Call Me Madam (1952), Paint Your Wagon (1953), and had a stint as Nathan Detroit in Guys and Dolls (1954), was cast as Lola’s American manager, Sam, with Jane Martin and Michael Cole as the young lovers, Jane and Daniel. Others in the cast included John Auld, Bernard Shine, Doreen Oakshott, Ron Pinnell and Alan Hopgood, who was the only cast member retained from the tryout season in Melbourne.
Direction and choreography were in the hands of expatriate Australian George Carden, who returned from London for the assignment. His London credits included dance direction of the Arthur Askey–Julie Wilson musical Bet Your Life, which had a score by another expatriate Australian, Charles Zwar. Leo Packer was assigned as musical director, and orchestrations were by Verdon Williams. Between the Union Theatre season and Brisbane, the second act song, ‘She Was Like the Gold’ was cut and replaced with a reprise of ‘I Alone’.
In the Courier Mail (2 October 1958) Roger Covell called the show a ‘genuine home-hewn nugget,’ and went on to praise George Carden’s choreography, ‘some of the most supple and inventive dancing seen here,’ as well as the sets: ‘Hermia Boyd’s warmly coloured scenery waltzed round in spectacular fashion.’ The score also found favour; ‘Peter Stannard has thought up some excellent tunes in the current Broadway style. “Be My Saturday Girl”, “I Alone” and “I’m the Man” should find their way about without any trouble. Peter Benjamin’s lyrics alternated wit and sentiment judiciously, and probably came over best in “The Wages of Sin,” one of the hit scenes of the show.’ Covell’s criticism of the cast was reserved for Mary Preston, who ‘made us sit up and take notice,’ and Frank Wilson, ‘who clinched every scene in which he appeared – a truly masterful performance.’
But a good notice in the most important paper in town was not enough. Brisbane was unaccustomed to tryouts of any musical, let alone a local one, and with little pre-show publicity, audiences were sparse for its brief run.
By the time the Sydney season opened on 25 October 1958, Eric Thornton had replaced Michael Cole as Daniel, and Lola’s second act solo, ‘A Lady Finds Love’ had been cut. The press was again positive. L.B. in the Sydney Morning Herald (24 October 1958), thought, ‘there was still plenty of Gold in Ballarat,’ and that the Trust had ‘dug up a rich nugget of it,’ and that it had ‘zest, pace and colour.’ Stannard’s score was called ‘crisp and racy,’ and Benjamin’s lyrics ‘danced with verbal fun.’ But they did complain the show was not particularly Australian and could easily have been called, ‘Annie Get My Fair Damned Okladoon Game,’ for it was never less than a skilful synthesis of oft-proven New York tricks.’ They thought it ‘needed a bigger and more forceful personality than soubrettish little Mary Preston’ in the title role, that Eric Thornton ‘sang well,’ but ‘the finest singing came from the rugged men’s choruses, most of all in the unaccompanied little folk ballad of the second act [‘Ballad of a Tree’].’ Alan Burke’s book was said to rely too often for laughs on ‘copious bloodys and raucous insults about trollops and “dingoes” and such.’
But the writing was on the wall. Audience response was dismal and the show closed at a loss of £31,581. A few weeks later EMI, in a first for Australian theatre, released an original cast LP. It had been recorded in Sydney by Ron Wills, on 19, 23, 24, 25 September with the Brisbane cast, in between the Brisbane and Sydney seasons. It was the first stereo recording ever produced in Australia. Two songs, ‘There’s Gold in Them There Hills’ and ‘Ballad of a Tree’, were dropped from the score for the LP release. There is no doubt it is this historic recording that has kept the show alive for the past fifty years.
The following January, on Australia Day, the ABC broadcast a condensed radio version of the show with the Elizabethan Theatre Trust cast. Three years later ABC TV produced it for television. Both versions were directed by Alan Burke. The television cast featured New Zealand actress Brigid Lenihan as Lola, pop-singer Johnny Rohan as Daniel, Patsy Hemingway as Jane, Campbell Copelin as Seekamp, and two original Trust cast members, Frank Wilson as Sam and Alan Hopgood as Smith. Lenihan was ‘superb’ according to The Televiewer in the Age (3 May 1962), and they also liked Frank Wilson and Johnny Rohan. Their major criticism however was for the absence of any close-ups of the legendary whipping scene. Hopgood was the only actor to appear in all four productions, the original Union tryout, plus the Trust, radio and TV versions.
Thirty years after its first production, the show had a major revival in Canberra (3 December 1988) for the1988 bicentennial. Using a slightly revised script, it was again directed by Alan Burke, and featured Kate Peters as Lola. W.L. Hoffman in the Canberra Times (4 December 1988) said it ‘offers a pleasantly entertaining evening of music-theatre.’
At the time of the show’s major production in 1958, Chappell and Co. published a Piano Selection of the score with lyrics, which included the songs ‘Southerly Buster’, ‘A Lady Finds Love’, ‘The Wages of Sin’, ‘I Alone’, ‘I’m the Man’ and ‘He’s Mine’ and ‘Saturday Girl’. The latter two were also published as single sheets.
Apart from the EMI cast recording, which was produced in stereo and mono, there was also a medley released on LP from the Bobby Limb Sound of Music TV series. This was sung by Rosalind Keene, Bill Newman and Darryl Stewart with Bob Gibson’s orchestra. It featured the songs ‘Southerly Buster,’ ‘I’m the Man,’ ‘Saturday Girl’ and ‘I Can See a Town’. Stewart Harvey released ‘I’m The Man’ as a single in 1958, and several artists through the years have recorded ‘Saturday Girl’ – Johnny O’Connor, Tony Bonner, Philip Gould, David Campbell, and an orchestral version with Brian May and the ABC Melbourne Show Band. In 2000 the Bayview (US) CD reissue of the Original Trust Cast album restored the two songs that had been dropped from the LP. ‘There’s Gold in Them There Hills’ was taken from a radio program of the show, and the unaccompanied ‘Ballad of a Tree’ was specially recorded for the reissue.
Although Lola finished in the red, it certainly put the names of Stannard, Benjamin and Burke on the map. They were next commissioned by ATN 7, Sydney, and Shell, to write an Australian musical for family television which resulted in the trio creating Pardon Miss Westcott, which was broadcast live at 9.30pm, 12 December 1959 and repeated two weeks later on Christmas Day at 5pm. It was the most ambitious and costly project ever undertaken by ATN 7 at the time, and was the first original Australian television musical.
This time the authors again chose to work in period, and set their show in Sydney in 1809 after Governor Bligh’s departure and before Governor Macquarie’s arrival. It told the story of Elizabeth Westcott, a young woman transported from England who slyly arranges her own ticket-of-leave and opens an inn with the help of the colonel who runs the colony. It starred Wendy Blacklock in the title role, with Michael Cole, Queenie Ashton, Nigel Lovell, Chris Christensen, Nat Levison and Michael Walshe. David Cahill directed the show, which had orchestrations by Julian Lee and Tommy Tycho and musical direction by Tycho.
As with the score of Lola Montez, there were a couple of rousing male choruses, ‘Heigh Ho, You’ll Never Go Back’, and ‘Grog Song’, two feisty numbers for Wendy Blacklock, ‘Send For Me’ and ‘I’m On My Way’ and two solid ballads for Michael Cole, ‘You Walk By’, and ‘Sometimes’. One of the highlights was Queenie Ashton in her character number, ‘Our Own Bare Hands’.
The television critics enthused: ‘…an entertaining and beguiling tuneful premiere…Nine numbers in a 75-minute show is pretty fair value and the Stannard–Benjamin tunes and lyrics were fluent, neatly turned and literate.’ (SMH, 15 December 1959), ‘As a musical I liked Pardon Miss Westcott even better than Lola Montez written by the same team of Peter Stannard and Peter Benjamin’ (Sun-Herald, December 1959). ‘Diminutive Wendy Blacklock, as the Miss Westcott of the title, had difficulty in reaching some of the high notes,’ said the Sun’s TV Topics (18 December 1959), but thought, ‘Nigel Lovell as Colonel Patterson, the Acting Governor of NSW, was outstanding in the supporting cast.’
The show was recorded for LP by Peggy Mortimer, Neil Williams, Stewart Harvey, James Harris, Alan Light and the Claire Poole Singers, with Tommy Tycho conducting the ATN Concert Orchestra. Queenie Ashton was the only member of the original TV cast to repeat her performance on the disc. On the release of the album a year later, the reviewers were impressed. ‘ATN stars Peggy Mortimer and Neil Williams skip through the light Stannard and Benjamin numbers with grace and humour, and Queenie Ashton is… well, Queenie Ashton’ (Sun, 24 November 1960).
In 1965 the trio wrote their most ambitious work yet, a light opera version of Ruth Park’s much-loved, working-class novel, Harp in the South. Burke had already directed a play based on the book for BBC TV in London, and was keen to bring it to the stage. To this day the work remains unproduced. The reasons are probably cost. In 1965 no producer was prepared to gamble on a local work that required a large cast, a big orchestra, and expensive sets, but there’s no denying the piece contains some of Stannard and Benjamin’s finest work, as this excerpt from the lyric of ‘The Red Shawl’ testifies:
ROIE: (SINGS) Mumma, I wanted to touch it, hold it,
And it just had to be mine –
Silky and shiny and bright as a ruby,
So filmy and fancy and fine.
Mumma, you mustn’t be angry. Mumma?
Couldn’t you please understand?
Would you believe you could hold so much beauty
And not feel its weight in your hand?
Shimmering there in the breeze
The red flashed in my eye.
Oh, the fringes were flying
And so was I –
When there’s Irish in you,
Whether you’re faded or fair,
How can you feel like a queen in a palace
And not have a crown in your hair?
Stannard and Benjamin began working on a fourth musical, Hot X Line, an original idea that was based on a joke. In the 1960s Australia’s population was around 12 million. The premise for the show was that the country would be sold for 12 million and each member of the population would receive one million each, which they could use to move and live anywhere they wanted to in the world. The tag of course was that nobody wanted to move. The show was never completed, but one of the songs from the score, ‘Nothing’s Going to Stop Me Now’, survives on a recording by Dawn Dixon with Tommy Tycho’s Orchestra.
Hot X Line was the end of the line for the partnership. Although continuing to write music, Stannard focused his career on advertising, while Benjamin went into his family’s retail department store business. In 1995 Benjamin surfaced as the creator of the ‘Oxford Street Medley’ in Jeannie Little’s cabaret act, writing parody lyrics to three Cole Porter Tunes, ‘I Get a Kick Out of You’, ‘Anything Goes’ and ‘You’re the Top’.
Stannard went on to compose some serious works, notably “Capriccietto” (1998) for flute and piano, and “The Entheon Concertino” (1999). He returned to musical theatre with Rosie in 2005. With music by Stannard and book and lyrics by Frank Hatherley, Rosie premiered at the Independent Theatre, Sydney, (6 August 2005) with Geraldine Turner in the title role, and a cast that included Angela Toohey, Rodney Dobson, Jillian O’Dowd, Hilton Bonner, Tyran Parke, Jeannie Kelso, Rohan Seinor, Nick Simpson-Deeks and Alexander Lewis.
The show was inspired by Rose Shaw, a Martin Place flower seller, who dreamt of one day becoming an opera star, but instead ended up a Sydney icon. Stannard’s score was old-fashioned, but still highly melodic. Hatherley’s lyrics, while not as felicitous and lyrical as Peter Benjamin’s, were nevertheless workmanlike. The title character had several good songs, ‘My Name is Rosie’, ‘I Came Here to Sing’, ‘You Can Take It From Rosie’, and there was one exceptional male ballad, ‘Never Wait Until Tomorrow’, but there were also some clunkers, ‘The Things You See in a Big City’ and ‘Hi There, Sydney!’
Critics called the show old-fashioned, which it was, but praised the cast. ‘Turner is convincing as the larger-than-life, warm-hearted and charismatic Rose … In “Never Wait Until Tomorrow”, Dobson touchingly renders the show’s finest song.’ Audiences were hard to come by, and the show limped along until it closed on 1 October. A theatre that was frequently dark was no help. No commercial recordings were released of the music, although a three-track promo CD of instrumental versions of ‘The Gumboot’, ‘Hi There, Sydney’ and ‘High Time’ was sold with the souvenir program. Agent David Spicer, who controls the performing rights, also included a vocal version of ‘My Name is Rosie’ sung by Jillian O’Dowd (who as young Rosie sang it in the show), on his promo CD Musical Spice 2.
Peter Stannard and Peter Benjamin are to be proud of Lola Montez. It’s not the best show in the world, but it is entertaining. Part of the problem is that the title character is not really a starring role. In the original production Lola’s entrance was 45 minutes into the first act. (The script has since been revised and now she enters 15 minutes after the show starts). She has one major number to sing, ‘Let Me Sing! Let Me Dance!’ two duets with her manager, ‘Maria, Dolores, Eliza, Rosanna’ and ‘Partner Name Your Poison’, and one comic ballet in the ‘Spider Dance’. It’s not enough. In contrast, the character of Charity, in Sweet Charity, a major singing and dancing role, has seven numbers either with chorus or solo. But the score of Lola Montez still ranks as one of the best written for an Australian musical; it was even endorsed by Broadway critic Ken Mandelbaum on the CD reissue of the EMI Cast Recording: ‘wildly tuneful with half a dozen terrific numbers.’ And it is. When it was written it might not have seemed very Australian, and it does have echoes of Broadway shows of the period, but fifty years later, as Frank Van Straten said reviewing the CD reissue, the score still ‘sparkles’.
Special thanks in the preparation of the article go to Peter Stannard, Peter Benjamin, Gay Laurance-Daniel and Frank Van Straten.
Lyrics of ‘The Red Shawl’ are used by kind permission of Peter Benjamin.
UTRC photo courtesy of Justine Rettick. AETT production photos by Fred Carew.
Hermia Boyd’s costume designs reproduced by permission of Lucina and Cassandra Boyd, and Arts Centre Melbourne, Australian Performing Arts Collection.
Books and newspapers sourced for this article include:
Philip Parsons, Companion to Theatre in Australia, Currency Press, 1995
Peter Pinne, Australian Performers, Australian Performances, Performing Arts Museum, 1987
Liner notes for Bayview CD reissue of the original cast recording, 2000
Sydney Morning Herald, Bulletin, Age, Courier Mail, Canberra Times, Sun, Sun-Herald.