Surely recognised as one of Australia's most loved couples in the showbusiness, Jill Perryman and Kevan Johnston hail as true theatrical royalty. Not only loved and respected for their monumental careers in the entertainment industry, both individually and as a team, but also as two of the most down to earth, engaging and generous people anyone could hope to meet.
Jill & Kevan photographed in 1966 by Victor Johnston
State Library of New South Wales, Sydney
Jill was born on 30 May 1933 into a theatrical family, her father being Melbourne born actor-singer and radio announcer, William Perryman and her mother, the Adelaide actress-singer Dorothy Eileen Duval. William was in an extraordinary number of productions at The Tivoli, Theatre Royal and Her Majesty's in Melbourne, Sydney and Adelaide from 1919 until the late 30s, productions as varied as Faust, Lucia di Lammermoor, Madame Butterfly, Carmen, The Mikado, The Gondoliers, The Merry Widow, Lilac Time, Florodora, Maid of the Mountains and Hit the Deck to name just a few. Both being regular performers with the great J.C. Williamson Theatres Ltd, Dorothy appeared in shows such as Lilac Time, The Merry Widow, Bitter Sweet, The Arcadians, often appearing alongside her husband. The Perrymans were proud parents of daughters Jill and Diana Perryman, Diana, a veteran of the stage working extensively for The Independent Theatre, Minerva Theatre and Phillip Street Theatre in Sydney as well as in radio and television.
Jill Perryman, aged four
Jill's father, William, third from the left, in an unknown musical
Jill's first stage appearance was at the tender age of two in a circus tent production of White Horse Inn, in which her parents and big sister were appearing. Wandering onto the stage wearing nothing but a nappy, she was such a hit that she was actually written into the show and was credited in the program as "Baby Perryman". However, the end of the tour also saw the end of Little Miss Perryman's stage career! So much for a life on the stage. Well, for now anyway!
While working as a shop assistant in 1952 at the age of just nineteen, Jill received a phone call asking her to attend the open auditions for the chorus in the 1953 J. C. Williamson original production Call Me Madam. This would be a phone call that was to change the course of her life and begin her journey to become one of the brightest and most loved stars of the Australian stage. Not only was she a great asset to the chorus, but she was also made understudy to the leading lady, Miss Evie Hayes! Another important member of the chorus was the handsome young dancer, Kevan Johnston! Remember that name and watch this space! Call Me Madam would be the start of a long association with JCW and also with the company's choreographer, and later casting director, the legendary Betty Pounder. Pounder, as she was known in theatrical circles, spotted Jill's talent right away, drawing more and more out of her with every production. Pounder and Jill would become and remain life-long friends.
Jill as one of the Mormons in Paint Your Wagon, 1954
Jill in Can-Can, 1956
South Pacific followed and then Paint Your Wagon in 1955 in a featured role as one of the three Mormans, Jill having her own featured photo and biography in the program in just her second show. Next came Can-Can in 1955-56 where she, again, understudied the female lead role, taking it over when Sheila Arnaud's contract ran out. In 1957 Williamson's bought the rights to The Pajama Game and American Director Fred Hebert and Betty Pounder and JCW General Manager John McCallum were convinced we had the right performers for all of the lead roles right here in Australia, rather than use imports which was the usual practice. An all Australian, top-rate cast was assembled which included Toni Lamond, William Newman, Tikki Taylor, Frank Sheldon, Keith Petersen and, there's that name to remember again, Kevan Johnston! Jill was cast, and padded out for the role, as Mabel.
Jill as Mabel in The Pajama Game, 1957
Wedding bells rang for Jill and Kevan in 1959, the start of a life of love and devotion and more theatre partnerships. Together they had two children, Tod and Trudy; Tod a singer, songwriter with his band, Tod Johnston & PeaceLove, a producer, television host, radio announcer, Master of Ceremonies and corporate host, and Trudy an actress, theatre director and teacher. The theatre bug continues in the family with Trudy's daughter, Mackenzie Dunn, making a name for herself in principal roles in Jersey Boys, Grease, Hairspray, Annie and Waitress. Mackenzie's sister, Cassidy is continuing the performing family-line with her own career on the stage, television and film and Jill and Kevan could not be prouder of their children and grandchildren. Family has always been everything to them and the balance of work and family was always their top consideration.
Jill with Jack Goode in Hello, Dolly!, 1965
Jill and Kevan in Carnival, 1962
State Library Victoria, Melbourne
Carnival was the next show to come along for both Jill and Kevan in 1962 where Kevan played the role of the magician, Marco the Magnificent, and Jill as his assistant, The Incomparable Rosalie. Eight shows a week Jill would climb into a small box, through which Kevan would proceed to insert a number of long swords! Thankfully Jill was always safe and unharmed and ready for the next performance! Hello, Dolly! came up for her in 1965 where she played Irene Molloy and once again had the chance to understudy the star, the great Carole Cook, in the lead role of Dolly Levi. Miss Cook would admit, during a videotaped presentation to Jill years later, that she faked being sick a few times, knowing Jill had what it took to play the role, and to give her the chance to go on. Thirty years later she would play Dolly once again, this time eight shows a week. Also in 1965, Jill had the lead in a made-for-television musical The Good Oil. Jill and Kevan got to sing a couple of numbers together, and Kevan, as well as having a starring role, was also the show's choreographer.
"Hello, gorgeous", Funny Girl, 1966
State Library New South Wales, Sydney
Jill as Private Schwartz in "Rat-Tat-Tat-Tat", Funny Girl, 1966
State Library New South Wales, Sydney
1966 saw JCW buy the rights to Funny Girl, the American producers insisting the role of Fanny Brice must be played by an American. Betty Pounder auditioned over one hundred American girls but kept coming back to one thought. Jill Perryman. Betty won the fight and Jill shot to stardom. Betty would say in an interview years later, "That opening night of Funny Girl in Sydney was one of the greatest and if anyone has star quality, it's Jill!" She would win an Erik Award for her performance in the show, and the song "People" would become one of Jill's standards. In fact, during rehearsals, Betty Pounder quite often had her sing the song a number of times over and when Jill asked if there was a problem that she needed to work on with the song, Betty told her, "No, I just love listening to you sing it." On 18 October 1990, Jill performed the song at the fundraising event, A Night on Broadway, for The Performing Arts Museum in the ANZ Pavillion at the Victorian Arts Centre with Bartholomew John as her co-star. Accompanied by Kevin Hocking at the piano, Jill started the number with, "This is for Miss Betty Pounder." Producing the event, Betty would pass away just one and half months later.
In between engagements with J.C. Williamson's, Jill appeared many times during the late 50s and 60s at The Phillip Street Theatre in Sydney in a wide variety of reviews, again earning critical acclaim.
The Esler family, from left, Gail, Mrs Renee Esler, and Geraldene, they are looking at the program for Funny Girl, which stars their cousin, Jill Perryman
State Library Victoria, Melbourne
Jill with Stephen Douglas in I Do, I Do, 1969
I Do, I Do in 1969 saw Jill doing something she had no idea she could actually do! She played the violin! On Betty Pounder's episode of This Is Your Life in 1980, Jill, being one of the guests, would say, "Pounder has guided, cajoled, spoon fed and shoved me, on occasion when needed, through twelve musicals. You've made me do things I didn't know I could do. I didn't know I could do a dance routine, I didn't know I could play the violin! I did a show called I Do, I Do, in which the star had to play sixteen bars with the orchestra, and of course Betty said, "Oh yes, she can play the violin!" Nothing is impossible to this lady and for this I am so very, very grateful."
Jill with Paul Wallace in No, No, Nanette, 1972
Australian Performing Arts Collection, Arts Centre Melbourne
Jill with David Gilchrist in A Little Night Music, 1973
Australian Performing Arts Collection, Arts Centre Melbourne
The Two of Us followed in 1971 and the following year, the superb revival of No, No, Nanette in 1972 with Jill, once again perfectly cast, as Lucille Early, the role and performance which would win her another Erik Award. When her leading man, American Paul Wallace, left the show at the end of this contract, the role of Billy Early was taken over by Kevan, and the couple got the chance to perform together again in a big show, their Act 2 number "You Can Dance with Any Girl at All" stopping the show each night. A Little Night Music was next in 1973 with Jill's performance as the Countess being a highlight. This was the final show Jill did for Williamson's in the company's original form before it closed its doors in 1976. Williamson's had a second life for a short time as J.C. Williamson Productions Limited and Jill, along with cousin-in-law Geraldene Morrow, Bartholomew John and John Laws, wowed 'em in the compilation musical Side By Side By Sondheim. Next, in 1978, Jill was cast as the formidable Miss Hannigan in Annie, Kevan and Jill sharing the stage once again with Kevan cast as Rooster! Their song, "Easy Street", performed with great friend Nancye Hayes, would later be sung by Jill and Kevan's grand-daughter Mackenzie Dunn in the 2025 revival.
Reminiscing about her time with Williamson's, Jill said, "Working for J.C. Williamson's was probably the greatest thing that ever happened to me. I loved Williamson's, funnily enough, before their theatres were tarted up, because I loved the grottiness backstage. As you opened the Stage Door there used to be an onrush of the smell of size, which was the glue they used for the sets and the backdrops and everything. It was awful, but to me it was like Chanel No. 5. I think I'd have been happy in the chorus for the rest of my life. I just loved being there. The rest of my career that evolved was a total shock."
Album cover for I Feel a Song Coming On, 1974
State Library of Western Australia, Perth
Jill in Perryman on Parade, 1973
Australian Performing Arts Collection, Arts Centre Melbourne
The 1973 ABC television variety series Perryman on Parade showcased Jill's talents brilliantly, recreating numbers from some of her most famous stage roles and for this she would win a Penguin Award from the Television Society of Australia for the Best Variety Performer. Further awards came through when she won her second Penguin Award for the Best Single Performance by an Actress for Palace of Dreams. Jill also won the Best Supporting Actress from the Australian Film Institute for her outstanding performance in the movie Maybe This Time. The ABC television special, JILL was produced in 1975 with another television special An Evening with Jill Perryman in 1977. She would also make two LP recordings! I Feel a Song Coming On in 1974 and Leading Lady in 1975.
Jill's episode of This Is Your Life with her mentor, Betty Pounder and Mike Willisee, 1976
Australian Performing Arts Collection, Arts Centre Melbourne
While taping a television special in 1976, Jill was suddenly surprised when someone walked up behind her and interrupted her song. It was Mike Willesee. "Oh, it's not that program!", she said! Yes, it was! Jill was the guest of honour on This Is Your Life. A host of friends and colleagues paid tribute to her with Kevan by her side and, later, their children Tod and Trudy joining them. The program finished with Jill singing, appropriately enough, "People" from Funny Girl.
Noises Off in 1983, Brighton Beach Memoirs in 1984, Nine in 1987 when she took over the role of Liliane La Fleur from Nancye Hayes who was committed to another production for a short time, Chicago followed with Jill as Matron Mama Morton in 1988, Company for the West Australian Theatre Company, Summer of the Seventeenth Doll in the same year, 'night Mother playing opposite June Salter, Wallflowering, Legend '94 were just some of the shows that followed. At Sydney's Music Loft Restaurant, and later Melbourne's St Martin's Theatre, she played to packed houses in a show that was created especially for her entitled, Leading Lady. In 1987 Jill was asked by the West Australian Ballet Company to be the narrator for their work, the Brecht-Weill production, Seven Deadly Sins, an experience she regards as one of her working highlights. The following year she appeared as Ma Rudd opposite Kevan as Pa in On Our Selection, once again with daughter Trudy also in the cast. 1990 saw mother and daughter, Jill and Trudy team up for the West Australian Theatre Company's Dinkum Assorted playing aunty and niece!
Jill and Kevan in Wallflowering, 1990
State Library of Western Australia, Perth
In between theatre engagements Jill worked on such television shows as, in both on-going and guest roles, Bellbird, Home Sweet Home, Dynasty, A Country Practice, Homicide, The Flying Doctors and Changi giving a remarkable performance opposite Bud Tingwell. Jill also acted in the movies Maybe This Time, Windrider, The Swan, Love in Limbo and Hidden Creatures.
In 1993 Jill took part in the acclaimed production Follies in Concert, directed by Tony Sheldon. Jill was a powerful Phyllis and the show featured just about every leading lady and man in Australia, her co-stars included long time great friends and colleagues, Toni Lamond, Nancye Hayes, Lewis Fiander, Jeff Warren, Margaret Haggart, Reg Livermore, Maggie Fitzgibbon, Sheila Bradley, Peter Adams, Glenda Raymond, Fred Parslow and June Salter! That production is still talked about in theatre circles.
After a fifteen-year absence from the stage in a long-running show, in 1994 John Frost managed to sweet talk Jill into playing Dolly Levi in the Gordon-Frost production of Hello, Dolly! And yes, she really WAS back where she belonged! For her performance, Jill won the Sidney Myer Performing Arts Award for the Best Musical Theatre Performance.
Jill with June Salter in 'night Mother
Jill as Peter Allen's mother in The Boy From Oz, 1998
Coming out of retirement in 1998, Miss Perryman shone, yet again, creating the role of Marion, Peter Allen's mother, in the original production of The Boy from Oz, her solo "Don't Cry Out Loud", being an incredibly poignant moment in the show. Even in retirement the odd offer would come along that Jill found too good to turn down, one being acting in Death of a Salesman in 2002 for the Hole In The Wall theatre company in WA, and how could she possibly have turned down the chance to appear with her own son at the Mandurah Performing Arts Centre in Jill Perryman and Tod Johnston in 2005? Jill's last formal appearance was the inaugural concert celebrating the newly formed Kookaburra, The National Musical Theatre Company in 2006, alongside a star-studded line-up of fellow artists.
Looking back on her career, Jill would say, "I've been blessed all along the way and I wouldn't change anything. I think it's because I've been able to combine my career with my wonderful family."
Jill with Peter Brayshaw in 1961, when Jill received her sister Diana's Erik Award for Two for the Seesaw
State Library Victoria, Melbourne
Jill's awards include the Order of the British Empire in 1979, the Order of Australia in 1992, the AACTA Award for the Best Actress in a Supporting Role for her performance in the movie Maybe This Time in 1980, an Erik Award for her performance as Fanny Brice in Funny Girl in 1966 and a second Erik for her performance as Lucille Early in No, No, Nanette in 1972. She received a Mo Award in 1995 for Female Musical Theatre Performer of the Year, and the J.C. Williamson Award in 2011 through The Helpmann Awards was a triple-bill with fellow JCW stars Toni Lamond and Nancye Hayes, all receiving the award and a standing ovation. The same year saw Jill receive the West Australian Screen Award for Outstanding Contribution to the Industry. The Equity Lifetime Achievement Award in 2013 was given to Jill and Kevan as joint recipients, and in 2018 they were both given honorary doctorates at the Edith Cowen University Awards. In 2024 The Perryman Theatre Company was formed in Melbourne by Jill's family was named in her honour.
Always humble in her approach, Jill said, "Our family's always been a strong priority and I haven't been overly ambitious. I never force things to happen. If it's got my name on it, OK. If not, it's obviously meant for someone else." Describing herself as "very suburban", she says, "When I'm not working, I'm not pining to work, although I love to see good theatre."
Kevan Johnston in 1974
Kevan with Shirley Sunners in Call Me Madam, 1953
Australian Performing Arts Collection, Arts Centre Melbourne
And so to the "other half" of the dream-team! While little Miss Jill Perryman was treading the boards at the age of two in White Horse Inn, across on the other side of the country, five-year-old Kevan Johnston was making his first stage appearance at His Majesty's Theatre in Perth. Born on 8 January 1931, Kevan, just like Jill, was born into a theatrical family. His mother was the leading Perth dancing teacher Peggy Elser and his aunt was the JCW singer and dancer, Renee Elser. Kevan's cousins, daughters of Renee, are Geraldene Morrow, star of stage and music hall and who is still performing today, and Gail Esler, stage singer for JCW and Garnet Carroll, stage manager and Resident Director. Kevan began dancing lessons at a very early age at his mother's school and he excelled in everything from classical ballet to tap, from jazz to Highland dancing, for which he won many medals. Finding his love for the stage early on, it wasn't long before he was performing in a number of amateur shows. But professional life soon called.
Kevan (third from the right in front), at his mother's dancing school in Perth
Private Collection
Kevan in full flight in Can-Can, 1955
State Library of New South Wales, Sydney
Kevan was a foundation member of The West Australian Ballet Company during his time with them, he auditioned for J.C. Williamson Theatres and their production of Call Me Madam in 1953, a turning point in Kevan's career and also in his life, meeting vivacious young chorine Jill Perryman. Kevan was given the position of one of the three principal dancers, even getting a feature photo in the program. Not bad for a first show! The production's Ballet Mistress, Betty Pounder, spotted Kevan's obvious talent and versatility and the following year put him straight into Paint Your Wagon, again as one of the principal dancers. At the end of the production, he was put straight into Can-Can, once again as featured principal dancer and once again working alongside Jill. His partner in the Quadrille, The Garden of Eden Ballet, as the Snake, and The Apache dance, was the show's choreographer, Eleonore Treiber who had danced in the Broadway production and who reproduced the original choreography for the Australian show.
Kevan (centre front) in Paint Your Wagon, 1954
1957 saw the first all-Australian cast in a musical, The Pajama Game, with Kevan, Tikki Taylor and Frank Sheldon stopping the show in the ‘Steam Heat’ number. At the end of the show's run, Kevan went straight into the Australian musical, Lola Montez in 1958.
Falling in love, Kevan and Jill married in 1959.
Television variety shows were extremely popular at this time and Kevan was now working as choreographer on the show Bandstand as well as In Perth Tonight. An interesting time for Kevan, learning the differences between stage choreography and that of television variety shows, it was a great chance for him to broaden his horizons. In 1961, Betty Pounder cast Kevan as Conrad Birdie, the title character in the show Bye, Bye, Birdie. More work as a choreographer came from the Phillip Street Theatre in Sydney which kept him busy between shows for JCW. He was now in demand more and more for his talent as a choreographer.
Jill and Kevan in Carnival, 1962
State Library Victoria, Melbourne
Carnival in 1962, A Cup of Tea, A Bex and a Good Lie Down, which he not only appeared in but also choreographed, On Our Selection, One Day of the Year all featured Kevan's talents, as well as the television special, The Good Oil, with Kevan as choreographer and performer alongside his wife, Jill. In 1972 he took over from American Paul Wallace in the huge revival of No, No, Nanette, again, with Jill as his on-stage wife, giving the audience that sparkle that they had together on the stage. Pippin in 1974 with Colleen Hewitt, Johnny Farnham, Jenny Howard, Nancye Hayes, Ronne Arnold, and in 1978 Jill and Kevan enjoyed a wonderful run in Annie as mean-to-the-core sister and brother, Miss Hannigan and Rooster.
The cast of Annie in 1978: From left to right, Jon Sidney, Anne Grigg, Hayes Gordon, Sally Bourne, Jill Perryman, Kevan Johnston and Nancye Hayes
Kevan and Jill moved to Kevan's hometown of Perth in the mid-70s with their children, when things were "slowing down", little realising just how busy they would be in Perth. "Going to Perth", Jill would say, "gave me the opportunity of doing drama that I would never have had if I'd stayed in Melbourne or Sydney", and once it was known both she and Kevan were "home", more and more offers came in as well as continued work back in Sydney and Melbourne.
Kevan was Production Coordinator on the Australian tour of Disney on Parade, was Dance Captain in the original production of Evita in 1980 and he performed in the highly acclaimed Sydney Theatre Company production of Chicago in 1981.
Kevan and Jill in Summer of the Seventeenth Doll, 1988
State Library of Western Australia, Perth
As Director, Kevan worked on The Twenties and All That Jazz in 1983, and Chicago in the same year as choreographer as well as performing the role of Billy Flynn. The Sentimental Bloke in 1986 saw Kevan and daughter Trudy working together, and they played father and daughter in On the Wallaby for the West Australian Theatre Company that year as well. Side By Side By Sondheim for the Hole In The Wall company in WA in 1987, Eureka Stockade for the West Australian Opera in 1988 as choreographer, as an actor in Summer of the Seventeenth Doll in the same year alongside Jill, and as Ma and Pa, they worked together once again in On Our Selection for the WATC, with daughter Trudy also in the cast. The three would once again work together in '88 in the West Australian Theatre Company's acclaimed production of Company. Next to come along was Waiting for Godot in 1989, the two-hander, Love Letters in 1991, again with Jill, Evita in 1994, and also with Jill in 1996, One Day of the Year, all for Hole In The Wall. For the West Australian Opera Company Kevan choreographed a wide variety of works, everything from Orpheus in the Underworld to Countess Maritza. He has also appeared as guest artist with the West Australian Ballet Company in Alice in Wonderland and Cinderella. 1994 saw Kevan and Jill settle into a big, long-running musical once again, Hello, Dolly! for Gordon-Frost, with Kevan playing Harmonia Gardens Maitre d', Rudolph Reisenweber.
In 2012, Trudy and Tod wrote and produced a special cabaret show, as part of the Perth Morning Melodies series at His Majesty's Theatre, titled View from the Wings with the pair performing songs from their parent's past and telling stories of what it was like growing up as children "on the road". Everything from life in hotel rooms, the moving from school to school, doing schooling via correspondence, to life with "out of the norm" parents. One of highlights was Tod, as Kevan, mowing the lawn in a dressing-gown doing a soft shoe shuffle as he thought of some choreography for an upcoming show! Stories had their audience, which included Jill and Kevan, centre front row of the Dress Circle, in stitches. Stories such as Jill loving the sound of rain on a corrugated iron roof, and Kevan climbing up on their roof and attaching a piece of iron to it just so Jill could lay in bed and listen to the rain!
Jill and Kevan in I Do, I Do, 1988
Jill Perryman and Kevan Johnston truly are Australian theatrical royalty, appearing together in shows such as Call Me Madam, Paint Your Wagon, Can-Can, The Pajama Game, Carnival, The Good Oil, No, No, Nanette, Annie, I Do, I Do, Hello, Dolly!, and Company, and acting together in the plays that included Summer of the Seventeenth Doll, Wallflowering, Love Letters, One Day of the Year, On Our Selection. Their partnership was a great one, not only on-stage but certainly off-stage as well. Both known for being humble, approachable, down to earth and generous, it's no wonder they are held so fondly in the hearts of everyone who worked with them and who knew them. True Aussie theatre royalty and legends while also being your typical Aussie next-door neighbours.
Putting this tribute together, I didn't realise the truly massive amount of work they had both put in to entertain the public from the early 50s until the late 90s and even beyond. A remarkable legacy.
The theatre world in Australia felt a great, great loss when Kevan Johnston, loved and adored husband of Jill, devoted father of Tod and Trudy and "Pop" to his grandchildren and great grandchild, passed away peacefully, with his family by his side on 17 April this year, 2026. Theatre royalty ... absolutely! But also, just our Jill and Kev, the people everyone would have loved to have had as our next door neighbours. It's been an absolute pleasure!
Note on images
Unless otherwise noted, images are from Kevin Coxhead's collection
