"Dictionary of Performing Arts Vol. I",1,fp5033.jpg,g,0
This section is reproduced from the book \IThe Dictionary of Performing Arts in Australia Volume I\i copyright Ann Atkinson, Linsay Knight and Margaret McPhee, 1996, published by Allen and Unwin Pty Ltd, 9 Atchison Street, St Leonards NSW 2065. Reproduced with permission.
Volume I focuses on theatre, film, television and radio with entries on actors, directors, producers, writers, designers, works, companies, festivals and awards.
The performing arts in Australia have both a colourful history and a thriving contemporary presence. The scope and vibrancy of this area of Australian life have played a large part in the development of a distinctively Australian culture from colonial times to its current independent and cosmopolitan identity. This evolution is especially evident in theatre, radio and film.
This volume aims to provide a guide and concise reference to this exciting area of Australian culture. The entries are arranged alphabetically.
Click on the \IGo To Page\i button from the toolbar for a list of entries within this section.
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"Abigail",2,0,g,0
\I?1946-\i
\ITelevision and film actor\i
English-born Abigail came to prominence in 1972 in the television light drama series \J\INumber 96\j\b\i; other television appearances include \IClass of 75\b\i and \J\IYoung Doctors\j\b\i. Her films include \J\IAlvin Purple\j\b\i (1973), \IAlvin Rides Again\b\i (1974), \J\IEliza Fraser\j\b\i (1976), \ISummer City\b\i (1977) and \ISher Mountain Killings Mystery\b\i (1990). Her stage work includes \IThere's a Girl in My Soup\b\i, \IA Bedful of Foreigners\b\i and \IRattle of a Simple Man\b\i.
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"Academy of Music, Melbourne",3,0,g,0
\ISmall, elegant Melbourne theatre\i
The Academy was in a theatre above an arcade that ran from Bourke Street to Little Collins Street, Melbourne. It opened in November 1876 with a performance from Ilma di Murska, a visiting Hungarian soprano. The theatre did not have a pit which meant that although it was elegant in form, the amount of seating available, and therefore the amount of revenue it could generate, was limited. Indeed its proprietor, Joseph Aarons, was soon in financial trouble and the Academy of Music was sold in 1879. In 1880 the building was renamed the Bijou Theatre and for a time was the Melbourne home of the Brough-Boucicault theatrical management company. It was destroyed by fire in 1889 and when rebuilt accommodated a smaller auditorium, the Gaiety.
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"Adams, Peter",4,0,g,0
\I1938-\i
Peter Adams, Australian actor, was born in New Zealand on 18th May 1938. He started out as a radio announcer before he came to Australia and starred in \ICop Shop\i and \IGuys and Dolls\i as Nathan Detroit. He also worked on radio in New Zealand and in the 1970s hosted weekend afternoon's on Melbourne's 3AW.
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"Adams, Phillip",5,padams.jpg,c,0
\I1939-\i
\IFilm producer and media commentator\i
Born in Melbourne, Adams has worked in the advertising industry and as a writer and journalist, but is best known as a film producer and critic. He was a key figure in the 1960s and 1970s revival of the Australian film industry, lobbying successfully for government support for the local industry.
From 1972 to 1975 he was chairman of the Film, Radio and Television Board; in the same years he was a foundation member of the Australia Council. He helped to establish the Experimental Film Fund and the Australian Film Development Corporation and Film School.
Films produced by Adams include \IThe Adventures of Barry McKenzie\b\i (1972), \J\IDon's Party\j\b\i (1976) and \IThe Getting of Wisdom\b\i (1977). He was also executive producer of several films, including \IWe of the Never Never\b\i (1982) and \IFighting Back\b\i (1983), the latter made by Adams-Packer Productions, a company he formed with media mogul Kerry Packer. After this company was dissolved in 1983, Adams became chairman of the Australian Film Commission, a position he held until 1990. He received the Australian Arts Award in 1987. He was appointed Officer of the Order of Australia in 1992.
\BDescription:\b Phillip Adams and Wendy Strethlow \I(Fairfax Photo Library)\i
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"Adelaide Festival Centre",6,0,g,0
\IPerforming arts centre\i
The Adelaide Festival Centre, on the banks of the River Torrens near Parliament House, was conceived to meet the needs of the \JAdelaide Festival\j which required better facilities and, in particular, a large theatre and concert hall. It was designed by Hassell and Partners and built in three stages. The centre was completed in 1977.
The first stage, the 1980-seat Festival Theatre, opened in June 1973. It has one of the largest stages in Australia (532 square metres, twice the size of the Opera Theatre stage in the Sydney Opera House), its wing space is as large again as the performing area, and the proscenium can be adjusted in height and width. The Festival Theatre can be adapted to accommodate most types of stage entertainment--a heavy acoustic shell erected on the stage transforms the theatre into a concert hall--and it can also be changed into a cinema. A 13-tonne pipe organ is moved to the front of the stage for recitals, to the rear for choral or orchestral performances and backstage for use in opera.
Adjacent is the Drama Centre, completed in 1974, and comprising the Playhouse, the Space and the Amphitheatre.
The Playhouse seats 612 people on two levels and features a proscenium arch thrust stage, an orchestra pit, flies for scenery and lighting, Juliet balconies, rehearsal rooms and workshops. It is home of the State Theatre Company of South Australia (SATC).
The Space can seat up to 400 people and is used mainly for workshops, experimental performances and theatre-in-the-round events. A section of the floor can be removed to create a small orchestra pit.
The outdoor Amphitheatre, sited between the Festival Theatre and the Playhouse, is used mostly in summer for concerts. Screened by trees and vine-covered fences, its three-sided audience space has stepped seating capable of accommodating up to 800 people and the stairs and walkways above it can hold an additional 400.
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"Adelaide Repertory Theatre",7,arts-08.jpg,c,0
\IStudent-based repertory theatre group in Adelaide\i
In 1908 Bryceson Treharne, piano-master at the Adelaide Conservatorium, established the Adelaide Literary Theatre from his past and present students. Treharne encouraged them to extend their interests from music to the theatre; using the Irish National Theatre as a model, he developed a repertoire of contemporary drama, grounded in the Irish nationalist movement, which had an emphasis on the works of George Bernard Shaw and W.B. Yeats. In 1913 the group became the Adelaide Repertory Theatre.
In 1934 Theo Shall, an actor brought to Australia by the J.C. Williamson theatrical organisation in 1932, produced and starred in a spectacular English-language production of Goethe's \IFaust\b\i for the group. It was staged at Australia Hall, where Shall had three rows of seats removed to extend the performance space and used special lighting effects.
\BDescription:\b Adelaide Repertory Theatre \I(The Arts Theatre).\i
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"Adelaide Theatre Group",8,0,g,0
\IAmateur theatre company in Adelaide\i
The Adelaide Theatre Group, an amateur theatre company, in 1960 staged the first production of the controversial play \IThe One Day of the Year\b\i after it had been rejected by the board of governors of the Adelaide Festival of Arts for the first festival. To do this it received some assistance from the \JAustralian Elizabethan Theatre Trust (AETT)\j.
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"Adelaide University Theatre Guild",9,0,g,0
\IAmateur theatre group in Adelaide\i
The Adelaide University Theatre Guild, an amateur theatre group in Adelaide, in 1961 staged a production of \IThe Ham Funeral\b\i, which had been rejected by the festival governors for the 1962 Adelaide Festival of Arts. The play was staged at the Union Theatre, to public acclaim, and was later produced in Sydney by the Australian Elizabethan Theatre Trust.
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"Adventures of Barrie McKenzie, The",10,0,g,0
\IFilm, released 1972\i
Based on \JBarry Humphries\j' comic strip which began in the English satirical magazine \IPrivate Eye\b\i in the 1960s, the film got off the ground after discussions between Humphries, producer \JPhillip Adams\j and director \JBruce Beresford\j. Its story of the experiences of the uncouth and innocent colonial in London made the British the main butt of the jokes, presenting them as masochists, cheats, homosexuals, snobs and so on. In spite of poor reviews, the film's ocker comedy appealed to audiences in both Australia and Britain and it was a major popular success. A sequel, \IBarry McKenzie Holds His Own\b\i, was produced in 1974.
\IProduction company\b\i: Longford Productions
\IProducer\b\i: Phillip Adams
\IDirector\b\i: Bruce Beresford
\IScreenplay\b\i: Barry Humphries and Bruce Beresford
\IMain actors\b\i: \JBarry Crocker\j (as Barry McKenzie), Barry Humphries (as his aunt Edna Everage and other characters), Peter Cook, Spike Milligan, Dick Bentley.
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"AFI (Australian Film Institute) Awards",11,0,g,0
\IHighly regarded industry-based film awards\i
In 1958, as part of the Melbourne Film Festival, a series of awards was introduced as a way of directing public attention to Australian films and encouraging high standards in their production. The awards were initiated by the Festival Director Erwin Rado. In 1959 the \JAustralian Film Institute (AFI)\j was established, with administration of the awards one of its major functions. For many years entries were mostly documentaries and films made by government departments, and it was not until the late 1960s and early 1970s, with the revival of the Australian film industry, that privately made fiction films began to dominate.
By 1976 the number of feature films was so great that for this section the jury system of voting had to be abandoned in favour of voting by members of the industry. Best film of the year was decided by the votes of industry members and members and associate members of the Institute; in 1983 this system was expanded to include entries in the non-feature section. The awards recognise all areas of the film industry.
Main categories include best film, best achievement in direction, best performance by an actor in a leading role, best performance by an actress in a leading role, best achievement in cinematography, best achievement in film editing, best original screenplay, best original music score, best sound and best achievement in costume design.
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"Against the Wind",12,0,g,0
\ITelevision series, first broadcast 1978\i
A historical series set in the colony of New South Wales from 1798 to 1812, this is generally seen as the originator of the Australian mini-series. It followed in the wake of the success of the American series \IRoots\b\i, shown earlier in 1978. The storyline, meticulously researched by deviser Bronwyn Binns, follows the fortunes of an Irish girl, Mary Mulvane, who is transported, marries another convict, Jonathan Garrett, and eventually becomes a prosperous emancipist. The third main character is a soldier, Ensign Greville. Several actual historical events are incorporated, such as the Castle Hill convict uprising.
The narrative was stretched to its limit to make thirteen episodes, the first of three hours and the remainder of two hours. The success of the series ensured the making of further Australian mini-series.
\IProduction company\b\i: Pegasus Productions, in association with the Seven Network
\IExecutive producers\b\i: Bronwyn Binns, Ian Jones
\IProducer\b\i: \JHenry Crawford\j
\IDirectors\b\i: \JGeorge T. Miller\j, \JSimon Wincer\j
\IScriptwriters\b\i: Bronwyn Binns, \JIan Jones\j, Peter Kinloch, \JTony Morphett\j
\IMajor actors\b\i: Mary Larkin (as Mary), \JJon English\j (as Jonathan), Warwick Sims (as Ensign Greville), Frank Gallacher, \JGerard Kennedy\j, Kerry McQuire, Fred Parslow, Hu Pryce, Lynn Rainbow.
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"Air Adventures of Biggles, The",13,0,g,0
\IChildren's radio serial, broadcast 1945-1960s\i
One of the most popular children's serials of the 1950s, this was closely based on the British book series about the adventures of an aviator, Biggles, and his friends, Algy and Bertie, in overcoming various enemies, usually of a lower-class kind. The Australian actors therefore spoke with assumed and exaggerated English accents.
\IProduced and broadcast by\b\i: Macquarie network
\IProducers\b\i: Various
\IWriters\b\i: Various, based on the books by Captain W.E. Johns
\IMajor regular actors\b\i: Frank Waters (as Biggles), James Mills (as Algy), Walter Sullivan (as Bertie)
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"Albury Performing Arts Centre",14,arts-05.jpg,c,0
\ICity council-owned regional performing arts venue\i
The Albury Performing Arts Centre is owned and operated by the Albury City Council. It has tiered, two-level seating with a capacity of 812; a large stage that can be configured with or without the orchestra pit; a fly system; and lighting and sound equipment. The Centre has been host to events ranging from theatrical productions to rock concerts.
\BDescription:\b Albury Convention and Performing Arts Centre logo \I(Albury Convention and Performing Arts Centre).\i
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"Alchin, Ray",15,0,g,0
\I1941-\i
\ITelevision producer\i
Alchin began work as a film editor and became a producer for the ABC in the 1970s. His work included \IPatrol Boat\b\i (began 1979) and \I1915\b\i (1982). In 1984 he joined with two other former ABC employees, producer \JGeoffrey Daniels\j and writer \JPeter Yeldham\j, to form Resolution Films. This company, while making some commercial productions, has mainly packaged for the ABC and Alchin has played a major role in its productions which include \ICaptain James Cook\b\i (1987) and \INaked Under Capricorn\b\i (1989).
Also involved in these productions was Revcom, a subsidiary of the French television company Telecip, set up in 1986 with Alchin's partner Geoff Daniels as its head, mainly to make children's historical series. In 1988 Alchin joined Daniels at Revcom but continued to concentrate on Resolution Films and the making of adult dramas in association with the ABC. Since the discontinuation of Revcom in 1990, Alchin has worked in Britain where his television productions include the mini-series \IVillage by the Sea\b\i (1991) and the series \IMowgli\b\i (1992).
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"Alden, John",16,0,g,0
\I1907-62\i
\IShakespearean actor and theatrical producer\i
In 1948, Sydney-based John Alden, then a radio actor with stage experience in England, formed an amateur company to present Shakespeare; in 1951 his \IKing Lear\b\i, with Alden in the title role, played for five months in Sydney. In 1952 the company turned professional and, as the John Alden Shakespeare Company, toured the country for the next twelve months.
In 1959, backed by the \JJ.C. Williamson\j theatrical organisation, the company again toured with \IKing Lear\b\i and \IA Midsummer Night's Dream\b\i. In 1961, with the assistance of the \JAustralian Elizabethan Theatre Trust (AETT)\j, Alden presented \IMacbeth\b\i, \IThe Merchant of Venice\b\i and \IOthello\b\i in a Shakespearean festival held in three Sydney theatres.
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"Alexandra Theatre, Melbourne",17,0,g,0
\ITheatre building which became Her Majesty's\i
The oval-shaped Alexandra Theatre, named after the Princess of Wales, opened in October 1886 in Stephen Street (later renamed Exhibition Street), Melbourne with the play \IBad Lands\b\i. It could seat 2800 in its pit, stalls, dress and family circle and upper circle--there were no boxes. From 1888 to 1893 it was leased by the actor and entrepreneur \JAlfred Dampier\j who opened with \J\IFor the Term of his Natural Life\j\b\i.
In his 1891 production of the Wild West melodrama \IThe Scout\b\i, a tank 12 metres square and 3 metres deep was erected on the stage--ducks swam in it and canoes paddled through it. In 1900 the theatre was taken over by the \JJ.C. Williamson\j theatrical organisation, who opened with a revival of \IHMS Pinafore\b\i and changed the name of the theatre to Her Majesty's, the name by which it is still known. It was also known by the nickname `Halack'.
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"Alison, Dorothy",18,0,g,0
\I1925-92\i
Dorothy Alison, Australian actress, was born Dorothy Alison Dickson at Broken Hill in 1925. She had a career spanning over 40 years. Her father was elected to the Legislative Council of New South Wales in 1952. Dorothy moved to England in 1951 to study drama and made her film debut in the movie \IMandy.\i In Australia in 1982 she won a Logie for best supporting actress for her role in \IA Town Like Alice.\i She later appeared in the mini-series \IA Fortunate Life\i and the movie \IEvil Angels,\i playing Lindy Chamberlain's mother. She died in London on 18th January 1992, aged 66.
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"All for Gold; Fifty Millions of Money",19,0,g,0
\IPlay, first produced 1877; silent film, released 1911\i
\B1.\b\i This three-act drama with a prologue by \JFrancis Hopkins\j was adapted from EugΘne Sue's novel \IThe Wandering Jew\b\i (1844-45). Hopkins wrote it as an acting vehicle for actor and producer \JAlfred Dampier\j, his wife Katherine and their two daughters Lily and Rose.
The story as told by Hopkins plays down the role of the Jew and focuses on a Polish general who asks an old French soldier, Dagobert (played by Dampier), to take his two young daughters to Paris. Here they will inherit a fortune if they attend the reading of a will made by an ancestor who has been dead for 150 years. The honest Dagobert was the right person to entrust with a task which includes the machinations of a secret society, the plots of a lion tamer and the existence of a character called `the Thug'.
\IFirst produced\b\i: Sydney's Royal Victoria Theatre in March 1877 with an original seven performances.
\IOther major productions produced by Dampier include\b\i: Melbourne 1878; Birmingham, England, in 1878; London's Surrey Theatre in 1881.
\B2.\b\i A 1911 film of the same name, also known as \IJumping the Claim\b\i, was one of the early productions of \JFranklyn Barrett\j.
\IDirector\b\i: Franklyn Barrett
\IScreenplay\b\i: W.S. Percy
\IMajor actors\b\i: Herbert J. Bentley, Hilliard Vox, Lilian Teece, Ronald McLeod, E. Melville, Walter Bastin
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"All the Rivers Run",20,0,g,0
\ITelevision mini-series, first broadcast 1983\i
This historical drama revolves around the fortunes of a teenage English girl, Philadelphia (Delly), who after being shipwrecked off the Victorian coast in 1890 eventually becomes the licensee of a riverboat on the Darling with her husband Brenton. It was the first mini-series produced by Crawfords and was very successful, later being sold to the largest cable network in the United States, among many overseas sales.
The original series had eight episodes and was followed by a sequel of six episodes, first shown in 1990, in which Delly and Brenton suffer various hardships as the river trade fades away.
\IProduction company\b\i: Crawford Productions
\IExecutive producers\b\i: \JHector Crawford\j, Ian Crawford, \JIan Bradley\j
\IProducer\b\i: Alan Hardy
\IDirectors\b\i: \JGeorge T. Miller\j, John Power, Pino Amenta
\IScriptwriters\b\i: \JPeter Yeldham\j, Vince Moran, \JColin Free\j, based on the novel of the same name by Nancy Cato
\IMajor actors\b\i: \JJohn Waters\j (as Brenton), \JSigrid Thornton\j (as Delly in the first series), Nikki Coghill (as Delly in the second series), \JBud Tingwell\j, Dinah Shearing, William Upjohn, Diane Craig, Adrian Wright, Gus Mercurio, Darius Perkins, Frank Gallacher
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"Allen, David",21,0,g,0
\I1936-\i
\IPlaywright\i
Allen was born in Birmingham, England. After completing university courses at Liverpool and Manchester Universities he wrote, directed and taught drama before settling in Australia in 1972. Based in Adelaide, he lectured in drama at Salisbury CAE, directed for La Mama, the Theatre Guild and Upstage in that city and helped set up Troupe Theatre. Allen's written works include \IOpinion\b\i (1971), \J\IUpside Down at the Bottom of the World\j\b\i (1980), \ICheapside\b\i (1984) and \IKoala Kapers\b\i (1985).
His later plays include \IPommies\b\i (produced by the Melbourne Theatre Company) in 1986; \IThe Professor\b\i (commissioned by the Marionette Theatre Company), \IThe Railway Project\b\i (commissioned by Junction Theatre Company) and \IThe Lost World\b\i (commissioned by the MTC) in 1987; \ISarah Bernhardt's Rabbit\b\i (produced by Belvoir Street Theatre Downstairs) in 1988; \IModest Expectations\b\i (commissioned and performed by the Playbox Theatre, Melbourne) and \IIn the Dog House\b\i (commissioned and performed by the Warehouse Theatre, Croydon, London) in 1990; and \IWriters\b\i (produced by the Riverina Theatre Company) and a public reading of \IDance Company\b\i by the Griffin Theatre Company in 1991.
Allen has also written for radio, film and television, the latter including episodes for \IA Country Practice\b\i, \IRafferty's Rules\b\i (for which he was awarded the 1988 Australian Writer's Guild Award for the `Prejudice and Pride' episode), \IHome and Away\b\i, \IE Street\b\i, \IThe Flying Doctors\b\i, \IChances\b\i, \IPolice Rescue\b\i, \INeighbours\b\i, \IHeartbreak High\b\i and \IBlue Heelers\b\i.
Allen's other awards include Awgie Awards in 1980 and 1985 respectively for \IUpside Down at the Bottom of the World\b\i and \IManila Yellow\b\i and the 1985 Victorian Premier's Award for \ICheapside\b\i.
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"Alvarez, Tony",22,0,g,0
\I1956-97\i
Tony Alvarez, Australian singer and actor, was born in France on 16th December 1956. He came to fame in the television series \IThe YoungDoctors\i playing Doctor Garcia and in 1980 appeared in the Australian production of \IEvita.\i His television appearances in Australia include \ICarsons Law, Prisoner, Skyways,\i and in the USA \ISilk Stalkings, Casino, General Hospital, Mission Impossible\i and \IThe Bold and The Beautiful.\i
As a singer, he appeared in the stage production of \IEvita\i and the films \IFatty Finn, The Mambo Kings, A Man Called Horse\i and \INicholas and Alexandra.\i He lived in the USA for 20 years and returned to Sydney eight weeks before he died from cancer on 20th July 1997, aged 41. Twice divorced, he had no children.
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"Alvin Purple",23,0,g,0
\IFilm, released 1973; television series, broadcast 1976\i
\B1.\b\i Following the formation of the production company Hexagon in 1972, the decision was made to start off with an 'Australian \IDecameron\b\i'. The story, chosen by producer/director \JTim Burstall\j out of several options, features a man of ordinary appearance who is constantly amazed by his irresistible appeal to women. The film's release was greeted with attacks from the critics who claimed to find nothing to laugh at. However, the public disagreed and the film became the highest grossing in the Australian industry up to that time. A sequel, \IAlvin Rides Again,\i was released in 1974.
\IProduction company\b\i: Hexagon Productions
\IProducer and director\b\i: Tim Burstall
\IScreenplay\b\i: Alan Hopgood (partially rewritten by Burstall)
\IMajor actors\b\i: \JGraeme Blundell\j (as Alvin Purple), \JAbigail,\j Lynette Curran, Christine Amor, Dina Mann, Jill Forster, Dennis Miller, Alan Finney, Elli Maclure, Kris McQuade, Penne Hackforth-Jones, George Whaley.
\B2.\b\i A spin-off series of 13 half-hour episodes was made by the ABC. In spite of being toned down in line with the television standards of the day, it proved fairly popular. Graeme Blundell again played the main character and Alvin's friend Spike was introduced as a supporting lead.
\IProduction company\b\i: ABC
\IExecutive producer\b\i: \JMaurice Murphy\j
\IProducer\b\i: Maurice Murphy
\IDirector\b\i: Ted Robinson
\IScriptwriter\b\i: Alan Hopgood
\IMajor actors\b\i: Graeme Blundell (as Alvin), Chris Haywood (as Spike), \JLeonard Teale,\j \JJacki Weaver,\j Judy Lynne, June Rich, Jane Handers, Pamela Gibbons, Kirrily Nolan, Peta Peita, Carla Hoogeveen.
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"Amenta, Pino",24,fp5011.jpg,c,0
\IFilm and television director\i
Amenta began his television career at Crawfords as a sound recordist, then director, and became a freelance director in the early 1980s. His directing credits include the series \IThe Sullivans\b\i (began 1979); the police series \IBellamy\b\i (began 1981); the sitcom \IAcropolis Now\i (1989); the series \IThe Flying Doctors\i (1990); \IRafferty's Rules\i (1989); the series \IThe Man From Snowy River\i (1996); the series \IGood Guys Bad Guys\i (1997); the mini-series \J\IAll the Rivers Run\j\b\i (1983); the mini-series \IThe Flying Doctors\i (1984); \IANZACS\b\i (1985); \IMy Brother Tom\b\i (1986); \ISword of Honour\b\i (1986) and \INancy Wake\b\i (1987).
In the late 1980s he joined with other ex-Crawfords' personnel John Powditch, Alan Hardy and George Miller, and writer Phillip Dalkin, to form an independent production company, Telltale Films. This company, in association with the Nine Network, produced the hit situation comedy series \IAll Together Now\b.\i Amenta co-created, co-produced and directed the series which ran from 1990 to 1993. They also made the comedy series \IThe Bob Morrison Show\i (1993). Amenta has also directed several feature films for Boulevard Films, including \IBoulevard of Broken Dreams\b\i (1987); \IWhat the Moon Saw\i (1989) and \IHeaven Tonight\i (1989).
With John Powditch and Alan Hardy, Amenta has re-formed the production company now called Phat Films which has several television and film projects in development.
\BDescription:\b Pino Amenta.\I(Pino Amenta).\i
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"Anderson, Dame Judith",25,0,g,0
\I1899-1992\i
\IActor of stage and screen\i
Born Frances Margaret Anderson in Adelaide, Judith Anderson made her stage debut in Sydney in \IA Royal Divorce\b\i (1915) and two years later migrated to the United States where she first appeared in New York in 1918.
She toured America in the 1920s with productions including \ICobra\b\i (1924) and \IStrange Interlude\b\i (1928-29), and by the 1930s performances in \IMourning Becomes Electra\b\i (1932) and \IHamlet\b\i (1936, opposite the distinguished British actor John Gielgud) added to her growing reputation as a classical and contemporary actor; following her performance in the title role in the Broadway production of \IMedea\b\i (1948), she was acclaimed as America's leading female actor (she again played this role in 1982).
Anderson made her feature film debut as the sinister Mrs Danvers in \IRebecca\b\i (US, 1940) and played similar roles in \ILaura\b\i (US, 1944) and \IDiary of a Chambermaid\b\i (US, 1946); other film appearances include \ICat on a Hot Tin Roof\b\i (US, 1958), \IA Man Called Horse\b\i (US, 1970) and \IStar Trek III\b\i (US, 1984). Her only Australian film was \IInn of the Damned\b\i (1975). She toured Australia in 1927, 1955 and 1962. She was created a Dame in 1960. In 1984 a Broadway theatre was named in her honour.
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"Annie's Coming Out",26,0,g,0
\IFilm, released 1984\i
Based on the best-selling book by Anne McDonald and Rosemary Crossley, this told the true-life story of Anne who was institutionalised for 15 years of her life before Rosemary, her social worker, realised that she was not mentally handicapped, only physically disabled, and fought for her release. It was the first feature film made by \JFilm Australia\j. The film won several awards including the 1984 AFI Awards for best film, best actress (Angela Punch-McGregor) and best adapted screenplay.
However, the public apparently found the subject matter depressing and it was not a commercial success. Similarly, it did not do well in the United States, where it was released as \IA Test of Love\b\i.
\IProduction company\b\i: Film Australia
\IExecutive producer\b\i: Don Harley
\IProducer\b\i: Don Murray
\IDirector\b\i: Gil Brealey
\IScreenplay\b\i: John Patterson and Chris Borthwick (based on the book by Anne McDonald and Rosemary Crossley, and with their collaboration)
\IMajor actors\b\i: Angela Punch-McGregor (as Jessica Hathaway, the social worker character based on Rosemary Crossley), Tina Arhondis (as Annie O'Farrell), Drew Forsythe (as David, Jessica's boyfriend), Liddy Clark, Monica Maughan, Phillipa Baker, \JSimon Chilvers\j (as the lawyer), Charles Tingwell (as the judge).
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"Anthill Theatre, Melbourne",27,0,g,0
\IContemporary theatre company\i
Anthill Theatre is the trading name of Australian Nouveau Theatre Limited, a company founded in 1980 by Jean-Pierre Mignon. It takes its name from its first home, the Anthill Theatre in South Melbourne; since 1992 it has been based at the Gasworks Theatre. Anthill allows an extensive rehearsal period for each work it presents to enable thorough research of the text not only by the actors, but also by the designers and composers responsible for evolving sets, costumes and music.
Its productions range from new interpretations of Australian and European classics to world premieres of Australian plays and Australian premieres of contemporary European works, and have included \IMacbeth\b\i, \IThe Cherry Orchard\b\i, \IWaiting for Godot\b\i, \IMother Courage\b\i and \IThe Summer of the Seventeenth Doll\b\i. Anthill has presented productions in the Melbourne (Spoleto) International Festival, the Adelaide Festival, the Festival of Perth, and festivals in Edinburgh, London, Aarhus (Denmark), Saarbrucken and Hamburg.
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"ANZACS",28,0,g,0
\ITelevision mini-series, first broadcast 1985\i
Produced by Geoff Burrowes who had a background at Crawfords and in films, and shown on the Nine network, this ten-part series followed up the success of the film \IGallipoli\b\i and the ABC series \I1915\b\i. It presented the unglamorous realities of World War I from the point of view of a group of Australian soldiers in the 8th Battalion, following them from their signing up to fighting in the Dardanelles and on the Western Front. Among the large cast was \JPaul Hogan\j in his first serious role.
\IProduction company\b\i: Burrowes-Dixon Company
\IProducer\b\i: Geoff Burrowes
\IDirectors\b\i: John Dixon, \JGeorge T. Miller\j, Pino Amenta
\IScriptwriters\b\i: John Dixon, John Clarke, James Mitchell, based on the book by Patsy Adam-Smith
\IMajor actors\b\i: Paul Hogan, Tony Bonner, Andrew Clarke, Patrick Ward, Shane Briant, Megan Williams, Noel Trevarthen, Rhys McConnochie, Christopher Cummins, Bill Kerr, Iona Rodgers, Jon Blake.
#
"Araluen Centre, Alice Springs",29,arts-06.jpg,c,0
\IPerforming arts centre in Central Australia\i
The Araluen Centre in Alice Springs was opened in 1984. It is owned and operated by the Northern Terriotry Government through the Office of the Arts and Cultural Affairs. Its 500-seat Araluen Theatre has an extensive range of sound, lighting, audio-visual and stage equipment. Its stage can be arranged for theatre-in-the-round or, by use of an acoustic curtain, its seating can be reduced to 210 to provide a more intimate venue for smaller events. Also in the Centre are two art galleries of national standard, including the Albert Namatjira Gallery.
\BDescription:\b The Araluen Centre of Arts and Entertainment.
\BPhoto:\b The Araluen Centre.
\BPic2:\b arts-07.jpg
\BDescription2:\b The Araluen Centre of Arts and Entertainment logo.
\BPhoto2:\b The Araluen Centre.
#
"Archdale, Alexander",30,0,g,0
\I1905-86\i
\IActor and theatrical entrepreneur\i
Alexander Archdale, born in England, was the brother of well-known Sydney headmistress Betty Archdale. In November 1956 he was a cast member of the drama \IThe Twelve Pound Look\b\i, the first program to be telecast from ABN-2.
In 1960 he settled on Sydney's North Shore where in 1965 he founded the Community Theatre Company which performed in a number of local venues. In March 1968, with subsidies from the local council and the state government, the company moved to its permanent home, a refurbished hall, where it opened with John Osborne's \IThe Entertainer\b\i with Archdale in the lead role. He remained artistic director until 1970. The company later changed its name to the \JMarian Street Theatre\j.
Archdale made a number of films in the United Kingdom. His Australian films include \IThe Adventures of Barry McKenzie\b\i (1972), \IBorn to Run\b\i (1972), \J\INewsfront\j\b\i (1978), \IThe Night the Prowler\b\i (1979) and \IThe Killing of Angel Street\b\i (1981).
#
"Archer, Robyn",31,festofar.jpg,c,0
\I1948-\i
\ISinger, actor, director and writer known for original feminist theatrical works\i
Robyn Archer was born Robin Smith in Adelaide and worked as a high school teacher of English before embarking upon a singing and theatrical career. She wrote the songs and starred in \IKold Komfort Kaffee\b\i (1978), \IThe Conquest of Carmen Miranda\b\i (1978), \IA Star Is Torn\b\i (1979), \ITonight: Lola Blau\b\i (1979) and \ISee Ya Next Century\b\i (with the Western Australian Chrissie Parrot Dance Company for the 1994 Festival of Perth).
Archer wrote and produced (but did not perform in) \IA Pack Of Women\b\i (1983). Seven of her full-length works for the theatre have been published. She is a noted exponent of German dramatist Bertolt Brecht and composer Kurt Weill. Her 1994 production of the classic anarchic comedy \IThe Accidental Death of an Anarchist\b\i for the State Theatre Company of South Australia received mixed reviews but made record box office for the company.
From 1993-95 Archer was artistic director of the \JNational Festival of Australian Theatre\j and since August 1992 has been Chairperson of the Community Cultural Development Board of the Australia Council. In 1994 she hosted the national launch of the International Women Playwright's Conference in Adelaide. In 1995 Robyn Archer was appointed head of the Festival of South Australia.
Neil Armfield was born in Sydney. In 1979, as guest director at Sydney's Nimrod Theatre, he directed the premiere of \JDavid Allen\j's \IUpside Down at the Bottom of the World\b\i: this production was subsequently invited to the Edinburgh Festival in 1980. Armfield was appointed co-artistic director of the Nimrod with Aubrey Mellor and \JJohn Bell\j in 1979. His Nimrod productions include \ITraitors\b\i, \IClouds\b\i and \IWelcome the Bright World\b\i by Stephen Sewell; \IInside the Island\b\i and \IVolpone\b\i by Louis Nowra and \IThe Choir\b\i by Errol Bray.
Armfield left the Nimrod in 1982 to join \JJim Sharman\j in Adelaide at the State Theatre Company of South Australia (SATC, then known as the Lighthouse Theatre Company), where he remained until 1984. While there he directed the Adelaide Festival premiere of Patrick White's \ISignal Driver\b\i, a play White wrote with Armfield in mind, and \ISpellbound\b\i by Louis Nowra. Becoming associate director in 1983, he directed \ITwelfth Night\b\i and the premiere of Stephen Sewell's \IThe Blind Giant is Dancing\b\i.
Other Armfield-directed plays include Shakespeare's \IRomeo and Juliet\b\i, Patrick White's \IThe Season at Sarsaparilla\b\i and Robyn Archer's \IThe Conquest of Carmen Miranda\b\i for the SATC in 1984; Stephen Sewell's \IDreams of a City\b\i, David Mamet's Pulitzer Prize-winning play \IGlengarry Glen Ross\b\i, Louis Nowra's \IThe Golden Age\b\i and \IGhosts\b\i in 1986; Nikolai Gogol's \IDiary of a Madman\b\i (1989), Shakespeare's \IThe Tempest\b\i (1990), Katherine Thomson's \IDiving for Pearls\b\i (1991), Ibsen's \IThe Master Builder\b\i (1991) and Shakespeare's \IHamlet\b\i (1994) for the Belvoir Street Theatre; Patrick White's \IHam Funeral\b\i (1989), Gogol's \IThe Government Inspector\b\i (1991) and Anton Chekhov's \IUncle Vanya\b\i (1992) for the Sydney Theatre Company (STC); Patrick White's \IA Cheery Soul\b\i (1992) for the Queensland Theatre Company, \IAngels in America\b\i Parts 1 & 2 (1994) for the Melbourne Theatre Company and \IDead Heart\b\i (1994) by Nicholas Parsons for the \JBlack Swan Theatre Company\j.
Armfield's films include a screen version of Patrick White's celebrated novel \IThe Tree of Man\b\i, scripted by \JMichael Gow\j, and \IThe Castanet Club\b\i (1991). His television direction includes the mini-series \IEden's Lost\b\i, adapted by Michael Gow from the novel by Sumner Locke Eliott. Armfield's awards include the 1987 Sydney Critics' Circle Award for best director for \IGlengarry Glen Ross;\b\i Sydney Theatre Critics' Circle Award for significant contribution to Sydney theatre, The Sidney Myer Performing Arts Award and an Australian Artists Creative Award in 1989; AFI awards for best production and best director of a mini-series in 1991 for \IEden's Lost.\b\i
Armfield has been a member of the board of directors of Company B at the Belvoir Street Theatre since its inception in 1985.
Armfield has also directed several operas.
#
"Armstrong, Gillian",33,cd2054.jpg,c,0
\I1950-\i
\IFilm director\i
Born in Melbourne, Armstrong was among the first intake at the Australian Film and Television School in 1973. She became a writer and director of films and documentaries. Her early short films include \IStorytime\b\i (1968), \IOne Hundred a Day\b\i (1973) and the documentary \ISmokes and Lollies\b\i (1975). She is best known for her highly successful first feature film \IMy Brilliant Career\b\i (1979) which critics hailed as a triumph for Armstrong's direction and which won the AFI Award for best direction. This was a hard act to follow and her next feature, \IStarstruck\b\i (1982), an attempt at an Australian musical, was not so successful. She then moved to the United States where she directed \IMrs Soffel\b\i (1984) and \IFires Within\b\i (1990).
In spite of working with some success in the United States, Armstrong returned to film-making in Australia, citing the constraints placed by the conservatism of the American market and the comparative lack of acceptance of women directors there. Since her return she has directed the widely praised \IThe Last Days of Chez Nous\b\i (1991) about the disintegration of a household in trendy Glebe in Sydney. The central character was seen by Armstrong as a symbol of the women of her generation and the multiple pressures upon them. She has since been working on screen adaptations of Elizabeth Jolley's \IThe Well\b\i and Peter Carey's \IOscar and Lucinda\b\i.
In 1994 she returned to the United States to direct \ILittle Women\b\i, based on the famous novel by Louisa May Alcott. This was released to widespread praise.
Kevin Arnett, Australian psychic and broadcaster, was born in Hobart on 8th June 1935. He began his career at aged 11 on the ABC, and then studied glass blowing until 19 when he entered radio full time. He moved to Sydney when he was 21 where he worked on ABC radio. After 15 years in Sydney, he moved to Melbourne's 3LO. In 1975, he became an expert on the supernatural and was a regular on the \IDon Lane Show\i. In 1977, he had his own \IKevin Arnett World of the Supernatural\i on Channel 10, and then spent time as a weatherman with Channel 9. He semi-retired in 1991, writing occasional stories on the supernatural for women's magazines. He died from cancer in Melbourne on 16th March 1993, aged 57.
#
"Arnold, Frank",35,0,g,0
\ITelevision director\i
Arnold has mainly directed for the ABC where his credits include the political series \IDynasty\b\i (1970); the war series \IOver There\b\i (1972); the adventure historical series \IThe Castaways\b\i (1974); \J\IRush\j\b\i (began 1974); \IBen Hall\b\i (1975); the adventure series \IPatrol Boat\b\i (began 1979); the comedy series \IMenotti\b\i (1981); the children's series \IThe Haunted School\b\i (1986); and the children's mini-series \IButterfly Island\b\i (1991).
Arnold was also one of the directors of \IFive Mile Creek\b\i (1985), the `Australian Western' produced by the Seven network and the American Disney cable network, and in 1990 directed the children's series \IA Walk Through the Hills\b\i for Barron Films which was also made into an award-winning feature film released overseas. Since the early 1990s Arnold has been based in the United States.
#
"Arrighi, Luciana",36,0,g,0
\IFilm and opera set and costume designer\i
Born in Italy and brought up in Sydney, Luciana Arrighi has a distinguished career in design spanning many different theatrical genres. From 1963-66 she worked for BBC television as art director on many different programs, including design on Ken Russell's \IIsadora,\b\i \IRousseau\b\i and \IRossetti\b.\i Her film work includes \IPrivates on Parade,\b\i \IStar Struck,\b\i \J\IMy Brilliant Career\j\b\i (for which she won the 1979 AFI Award for art direction), \IWatership Down,\b\i \ISunday Bloody Sunday,\b\i \IWomen in Love\b\i and \IThe Night the Prowler\b\i; she won the 1993 Academy Award for art direction for her work on \IHoward's End\b.\i
Her productions for theatre include \ICyrano de Bergerac,\b\i \IA Precious Woman\b\i and \ILulu\b\i for the Sydney Theatre Company and \IVisions\b\i for the Paris Company.
Arrighi's opera designs include \IIl Trovatore\b\i and \ILa Buona Figiuola\b\i for the Australian Opera, \IDeath in Venice\b\i and the \IMakropolous Affair\b\i for the Adelaide Arts Festival and \IThe Gondoliers\b\i for D'Oyley Carte in London.
#
"Artrage Festival, Perth",37,0,g,0
\IMulti-arts festival for new and innovative artists\i
The annual Artrage Festival provides an environment and network for cultural exchange between innovative visual and performing artists and the public. In particular, it concentrates on emerging artists and groups. Artrage is coordinated by the Festival Fringe Society of Perth, a non-profit association funded by the Western Australian state government, which was founded in 1983 to foster community acceptance of West Australian art and artists; from 1983-87 its festival, then known as the Perth Fringe, was held in summer at the same time as the \JFestival of Perth\j. It was moved to spring in 1987 and renamed the Artrage Festival.
#
"Asche, Oscar",38,oasche.jpg,c,0
\I1871-1936\i
\IStage actor, producer and writer\i
Oscar Asche was born in Geelong as John Stranger Heiss. After studying theatre in Norway and London he made his stage debut in London in 1893, and became known especially for his Shakespearean roles. In 1904 he formed his own company with his wife and Lily Brayton, also an actor. They toured Australia in 1909-10 with a repertoire of five Shakespeare plays and two melodramas.
In 1912-13 the company toured again, this time with \IKismet\b\i (re-written from the original \IHaji's Hour\b\i by Asche) as well as four Shakespeare plays. In 1916 he wrote and produced \IChu-Chin-Chow\b\i, which became a long-running hit in London (August 1916 to July 1921). His production of \IMaid of the Mountains\b\i (1917) also had a record run. In 1922 Asche brought three productions, including \IJulius Caesar\b\i, to Australia for the \JJ.C. Williamson\j theatrical organisation, and toured until 1924.
Asche appeared in several films and wrote an autobiography which detailed the changes from Victorian theatre to early twentieth-century cinema.
\BDescription:\b Oscar Asche \I(Fairfax Photo Library)\i
#
"Ashton, Queenie",39,0,g,0
\I1903-\i
\IActor and singer in musical comedy, radio, film and television\i
Queenie Ashton was born in the United Kingdom and began her career in London in musical comedy. She came to Australia in 1927 with the musicals \ISunny\b\i and \IRio Rita\b\i, and worked in musicals and revues for the ABC through the 1930s. By 1939 she was a leading radio star, and went on to \ICalling the Stars\b\i (1941-53), a radio variety show, \IThe Lawsons\b\i (1944-48) and her most memorable radio role, as Granny Bishop in \J\IBlue Hills\j\b\i (1949-76).
Her television credits include \IPardon Miss Wescott\b\i, Australia's first television musical comedy, \ICertain Women\b\i (1973) and the telemovies \IImage of Death\b\i (1978) and \IWarming Up\b\i (1984). Her films include \IAlways Another Dawn\b\i (1947), \IStrong is the Seed\b\i (1949), \IWarming Up\b\i (1983) and \IThe Year My Voice Broke\b\i (1987).
She was made a Member of the Order of Australia (AM) for her services to the performing arts.
#
"Aunty Jack Show, The",40,0,g,0
\ITelevision comedy show, broadcast 1972-74\i
The surreal humour of this ABC program centred around the figurehead character, Aunty Jack, dressed as a pantomime dame, wearing one boxing glove, often riding a motor bike and delivering the catchline `I'll rip your bloody arms off'. Having some similar elements to the contemporary BBC comedy \IMonty Python's Flying Circus\b\i, it proved a little too zany for some ABC viewers, but maintained a regular audience and became something of a cult show. Two series were made which ran to the end of 1973, when the first series was immediately repeated.
Screening finished in 1974 but the show was chosen by the ABC as its vehicle for the change to colour television--this was cleverly built into an episode screened on 1 March 1975 when the characters observed a flood of colour washing over themselves and their surroundings. A follow-up series, \IWollongong the Brave\b\i, featuring \JGarry McDonald\j's character, ran for a while.
\IProduction company\b\i: ABC, Sydney
\IProducer\b\i: \JMaurice Murphy\j
\IDirector\b\i: Maurice Murphy
\IScriptwriters\b\i: Grahame Bond, Tony Coote, Wendy Skelcher, Tim Gooding, Peter Weir, Glenn Jones, Maurice Murphy
\IMajor actors\b\i: Grahame Bond (as Aunty Jack), Rory O'Donoghue, John Derum, Sandra McGregor, Garry McDonald
#
"Austin, Ward",41,0,g,0
\I1935-\i
Ward Austin, former Sydney disk jockey of the 1960s, was born in Sydney on 2nd January 1935. Austin rated number one in Sydney's competitive drive-time slot from 1964 until 1970 on 2UW. He always dressed in white and was an American confederate supporter. He was sacked in controversial circumstances in the late 60s by 2UW where he was number one in drive, after he allegedly fired a confederate gun in King Street Sydney, and tipped a bucket of ice over the head of columnist Dita Cobb. He also worked part time for 2WS and 2UE in the mid 1980s.
#
"Australia Council",42,arts-09.jpg,c,0
\IFederal government funding and advisory body for the arts\i
The Australia Council was established in 1975 by the Federal Government to formulate and carry out policies to promote excellence in and the development of the arts in Australia. It provides grants to individual artists and arts organisations as well as a range of initiatives which promote the arts both in Australia and internationally. The Council is divided into eight artform funds--Community Cultural Development, Literature, Music, Dance, Theatre, Visual Arts/Craft, New Media Arts, Major Organisations and the Aboriginal and Torres Strait Islander Arts Board. The Council superseded the Australia Council for the Arts which was established in 1968 to take over responsibility of grant allocation to the performing arts from the Australian Elizabethan Theatre Trust (AETT).
The Council makes grants to individuals and companies in the performing arts in the following categories: New Work (for one-off projects); Development (for activities such as workshops, residencies, mentorships and attendance at conferences); Presentation and Promotion (to present and promote completed works and to broaden audiences). Triennial grants are offered to a limited number of outstanding organisations.
Grants are also available for partnerships and commissions to encourage artists and companies to work with non-arts organisations and jointly funded projects. One-off fellowships are awarded to individual professional artists to support them for a period of professional development or creative work.
The Literature Fund supports commissions and grants to playwrights.
\BDescription:\b Australia Council for the Arts logo.
\INational broadcasting body responsible to the federal parliament\i
The Australian Broadcasting Corporation is a statutory authority run by an appointed board. In the field of performing arts it produces drama and classical and popular music programs for television and radio. It manages orchestras, organises concerts and produces records.
The Australian Broadcasting Commission was founded in 1932. It has made an enormous contribution to orchestral music in Australia, in its first year establishing the National Broadcasting Symphony Orchestra in Sydney and a fifteen-player ensemble in Melbourne, and later setting up orchestras in all states. The ABC also initiated the Youth Concerts and free orchestral concerts for children. In 1983 its name was changed to the Australian Broadcasting Corporation.
#
"Australian Cinematographers' Society (ACS) Awards",44,0,g,0
\IFilm and television awards\i
Established in 1969, the Australian Cinematographers' Society Awards honour the work of Australian cameramen and directors of photography in 16 categories ranging from features, documentaries, newsgathering and current affairs to telemovies, wildlife films, music clips and commercials. The winner in each category is presented with a Golden Tripod and all Tripod winners compete for the \JMilli Award\j. Judging is by a panel of peer industry specialists.
\IPublic trust formed to sponsor and promote drama, opera, ballet and puppetry\i
The Australian Elizabethan Theatre Trust was formed in 1954 to foster the performing arts throughout Australia. Strongly promoted by H.C. `Nugget' Coombs, then governor of the Reserve Bank, the Trust was funded by public subscription supplemented by a federal government grant, and was named to commemorate the first Australian tour of Queen Elizabeth II. The Trust leased the \JMajestic Theatre\j, in inner-Sydney Newtown, which reopened in 1955 as the \JElizabethan Theatre\j.
In 1956 the Trust established the \JAustralian Opera\j, a national touring company that was able to call upon the orchestral resources of the ABC; in 1959 it launched a short-lived national touring company, the Trust Players; in 1961 it established the \JAustralian Ballet\j, provided a supporting orchestra and was also instrumental in the establishment of the \JAustralian Ballet School\j (1964); in 1965 it helped form the Marionette Theatre of Australia. The trust also helped to set up the \JNational Institute of Dramatic Art\j (NIDA) and six regional drama companies--the \JOld Tote\j, in Sydney, the Melbourne Theatre Company, the State Theatre Company of South Australia, in Adelaide, the National Theatre at the Playhouse, in Perth, the Tasmanian Theatre Company, in Hobart (apart from the Perth and Hobart companies all state companies are now firmly established) and the \JBell Shakespeare Company\j.
Until 1968, when this function was taken over by the Australian Council for the Arts (now the \JAustralia Council\j), the Trust was responsible for advising on federal funding to the performing arts. Financial difficulties beset the Trust from the mid-1980s on, following huge losses on its production of the musical \ILennon\b\i and on subsequent productions of \ISugar Babies\b\i and \ILas Vegas on Ice\b\i--these ventures into commercial productions had been an attempt to supplement the Trust's declining subsidy income.
From March 1991 to August 1992 the Trust was placed in provisional liquidation; it is now back in business. The Trust's revenue is now obtained from membership subscriptions and a theatre booking service.
#
"Australian Film Commission (AFC)",46,0,g,0
\IFederal government film and television industry support body\i
The Australian Film Commission is a statutory authority which was established in 1975 to replace the \JAustralian Film Development Corporation (AFDC)\j. Funded by the federal government, it is the primary development agency for film and television in Australia. Its prime function is to encourage the development, production and distribution of quality Australian film and television programs; more than half of its budget is invested in the production of innovative film and television projects. Any returns are reinvested.
The Commission also provides funds for cultural activities such as publications, seminars, conferences and film organisations. In its early days in the late 1970s, the activities of the Commission stimulated a boom in the Australian film industry at all levels.
#
"Australian Film Critics' Circle Awards",47,0,g,0
\IAwards for film actors and film makers\i
The Australian Film Critics' Circle is made up of professional print and broadcast critics and film writers from all states of Australia. The circle holds annual awards (voted on by all members) for Australian films released in the previous year. The categories include best film, best actor, best director and cinematography and music. Past winners include Garry McDonald (1991, best actor, for his role in \IStruck By Lightning\b\i), Russell Crowe (1993, best actor, for his role in \IRomper Stomper\b\i), Baz Luhrmann (1993, best director, \IStrictly Ballroom\b\i) and \IStrictly Ballroom\b\i (1993, best film).
#
"Australian Film Development Corporation (AFDC)",48,0,g,0
\IFederal government film industry support body\i
A federal government organisation formed in 1970 to develop the film industry in Australia by investing in deserving projects. It began operations in 1971. Projects it helped fund include Bruce Beresford's \IThe Adventures of Barry McKenzie\b\i (1972), Peter Weir's \IThe Cars That Ate Paris\b\i (1974), \IPicnic At Hanging Rock\b\i (1975) and \ICaddie\b\i (1976), the last released after the Corporation itself had ceased to exist. In 1975 it was replaced by the \JAustralian Film Commission (AFC)\j.
#
"Australian Film Finance Corporation Pty Ltd",49,0,g,0
\IFederal government film and television investment body\i
The Australian Film Finance Corporation was established by the federal government in 1988. It supports the film and television industry by investing in feature films, documentaries and television drama. It aims to encourage a diverse range of film and television products, to attract maximum private sector participation and to improve commercial practice and understanding within the industry.
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"Australian Film Institute (AFI)",50,0,g,0
\IIndependent film industry promotion body\i
The Australian Film Institute is an independent non-profit company, established in Melbourne in 1958 in the wake of the first Australian Film Award presentations. Its aim is `to promote knowledge, appreciation and enjoyment of the art of film amongst Australian film makers and audiences with particular emphasis on Australian film', which it does in large part through the AFI Awards. It receives financial support from the Australian Film Commission, state government arts bodies, corporate sponsors and from its members.
The AFI, through AFI Distribution, handles the distribution of Australian shorts and some features and experimental and documentary work. It also runs a film library from its Melbourne office.
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"Australian Film, Television and Radio School (AFTRS)",51,0,g,0
\INational training centre for the film and broadcast industries\i
The Australian Film, Television and Radio School was established in 1973 as part of a federal government strategy to expand training in the arts. It was first known as the Australian Film and Television School (AFTS). The school offers full-time training in film and video directing, producing, scriptwriting, cinematography, editing, sound and production design, and in commercial radio production.
It was originally part of a three-tiered plan to develop an Australian film industry (with the \JAustralian Film Development Corporation (AFDC)\j and the \JExperimental Film and Television Fund\j as the other two parts) and had the strong support of the then Liberal Party Prime Minister, \JJohn Gorton\j, but its establishment was delayed by Gorton's replacement by \JWilliam McMahon\j, and the opposition of the new Arts Minister to the scheme. The concept eventually came to fruition under the Labor Prime Minister, \JGough Whitlam\j. Among its first intake were directors \JGillian Armstrong\j and \JPhil Noyce\j; \JJane Campion\j was a later graduate.
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"Australian Performing Group",52,0,g,0
\IAlternative professional theatrical company in Melbourne in the 1970s\i
The Australian Performing Group (APG) grew out of the \JLa Mama Theatre\j company, which was formerly based at La Mama. It was an innovative company of playwrights and performers, operating as a cooperative and committed to `worker control of the theatre' and to presenting socially aware, new Australian works. In 1970 APG staged its first production at the Pram Factory. Its members included \JGraeme Blundell\j, \JDavid Williamson\j, Jack Hibberd and John Romeril. In 1970 APG took a season of five new Australian plays to the Festival of Perth.
In the following year it performed an early version of Williamson's \I \JDon's Party\j\b\i, and in 1973 it presented a revised version of Hibberd's \IDimboola\i, directed by Williamson. The influence of the type of `protest theatre' espoused by APG led to the rise of a new style of stand-up comedy, such as the social satire associated with the Flying Trapeze Cafe and the larger Last Laugh Theatre Restaurant. The Soapbox Circus, a `tumbling rock circus', emerged in 1976 as an offshoot of the Australian Performing Group--it amalgamated in 1977 with the New Ensemble Circus from Adelaide (dating from 1974 and specialising in aerial work and clowning) to form Circus Oz, which presented its first season in 1978.
The APG ceased operations in 1979 and was disbanded in 1981, after the sale of the Pram Factory.
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"Away",53,0,g,0
\IPlay, first produced in 1986\i
Playwright \JMichael Gow\j achieved his first popular success with \IAway\b\i which has been produced and revived many times around the country. The setting, Christmas at the beach, is one familiar to most Australians. Three couples from differing backgrounds head for the Gold Coast when school's out for 1967. Although their standards of accommodation are worlds apart, they are brought together during a storm on an empty beach. Gow weaves Shakespearean themes, lines and characters throughout the play, which marries comedy and tragedy in a masterly way.
\IFirst produced\b\i: The Griffin Theatre Company at the Stables in Sydney, 1986.
\IOther major productions\b\i: Playbox Theatre Company (directed by Neil Armfield), 1991; the Sydney Theatre Company at the Sydney Opera House and the Summerfare Festival, New York (directed by Richard Wherrett), 1987; Parramatta's Riverside Theatre, 1994.
#
"Awgie Awards",54,0,g,0
\IScript-writing awards\i
Presented by the Australian Writers' Guild (AWG), the Awgie Awards recognise the best scripts for stage, film, television and radio. The first awards were presented in 1968. Past winners have included Michael Boddy and \JBob Ellis\j for the play \IThe Legend of King O'Malley\b\i (1971), Steve J. Spears for the play \IThe Elocution of Benjamin Franklin\b\i (1977), \JDavid Williamson\j for the play \IThe Club\b\i (1978), Glenda Hambly for the feature screenplay \IFran\b\i (1986), Peter Schreck for the television script \IThe Soldier Settlers\b\i (1989), \JNick Enright\j for the play \IA Property of Clan\b\i (1993) and Peta Murray for the play \IThe Key to the Animal Room\b\i (1994).
#
"Bader, Valerie",55,fp5005.jpg,c,0
\IStage actor, noted for work in musical theatre\i
Bader has appeared in many theatre roles including \IThe Venetian Twins,\b\i \ITartuffe,\i \IThe Winter's Tale,\i \IThe Golden Age,\i \IGhost on Clarke Island,\i \IThe Mystery of Mulligan's Gold,\i \IBuffaloes Can't Fly,\i \IFlash Jim Vaux\i and \IDesert Flambe\i at the Nimrod Theatre in Sydney; \ILife on Mars,\b\i \IRoyal Show,\i \INo Orchids for Miss Blandish,\i \ICabaret\i and \ITommy\i for the New Moon Theatre Company; \IJonah Jones,\i \IFalsettos,\i \IJust Bent,\i \IDinkum Assorted,\i \ISummer Rain,\i \IDarlinghurst Nights\i and \IKing of Country,\i for the Sydney Theatre Company; and \IPearls Before Swine\i and \IBarmaids\i for the Belvoir Street Theatre. Other stage work has included roles in \IEntertaining Mr Sloane\b\i for the State Theatre Company of South Australia; \ICompetitive Tenderness\i for the Playbox Theatre; \ISummer of the Seventeenth Doll\i for the Melbourne Theatre Company; \INever Say Can't\i and \ILumps\i for the Q Theatre and; \ISteaming\i for the Comedy Theatre Melbourne;
Bader also appeared in the films \IHoodwink\b\i (1980) and television shows including: \IThe True Believers\b\i (1987); \IGP\i (1993, 1994); \IEnglish at Work\i (1993); \IA Country Practice\i (1990, 1993); \ICome in Spinner\i (1989) and \IThe Harp in the South\i (1986).
\BDescription:\b Valerie Bader.
\BPhoto:\b Barbara Leane and Assoc.
#
"Bailey, Bert",56,0,g,0
\I1872-1953\i
\IActor and theatrical manager\i
New Zealand-born Bert Bailey began working in vaudeville in the late 1880s. In 1889 he began touring cities and country towns of Australia with Edmund Duggan's theatrical company. He co-wrote (with Duggan, under the name `Albert Edmunds') the melodrama \IThe Squatter's Daughter\b\i (1907); three years later he directed and acted in the film version. In 1912 he formed the Bert Bailey Dramatic Company which presented a stage version of Steele Rudd's \IOn Our Selection\b\i with Bailey in the role of Dad Rudd.
In 1922 he produced the first stage version of C.J. Dennis' \IThe Sentimental Bloke\b\i. He then turned to film, directing and starring as Dad Rudd in four films-- \J\IOn Our Selection\j\b\i (1932), \IGrandad Rudd\b\i (1935), \IDad and Dave Come to Town\b\i (1938) and \IDad Rudd M.P.\b\i
#
"Baker, Ian",57,0,g,0
\ICinematographer\i
Born in Melbourne, Baker began his career as a cinematographer with several documentaries in the early 1970s and shot one episode (`The Priest') of the four-part \ILibido\b\i, made by the Producers' and Directors' Guild of Australia in 1973. He then began a close association with director \JFred Schepisi\j and has photographed all Schepisi's films in both Australia and the United States, including \IBarbarosa\b\i (1982) and \IThe Russia House\b\i (1991). He won the AFI Award for cinematography for the first of these collaborations, \IThe Devil's Playground\b\i (1976).
#
"Balodis, Janis",58,0,g,0
\IPlaywright, actor and director\i
Balodis was born in Tully, Queensland, and majored in drama at the Townsville Teacher's College before working as a primary school teacher and acting in amateur theatrical productions. During 1974 he worked as assistant stage manager at the \JQueensland Theatre Company (QTC)\j and in 1975 took a number of acting roles at Brisbane's La Boite Theatre.
Travelling overseas, Balodis was a director student at the E15 Acting School in London from 1975-77, becoming an assistant director at the school from 1977-78 and a director and tutor from 1978-79. Back in Australia, he directed Lorca's \IYerma\b\i at Sydney's Ensemble Theatre and wrote \IBackyard\b\i which was workshopped at the 1980 Australian Playwrights Conference, produced at Sydney's Nimrod Theatre in 1980 (he developed the screenplay for \JBryan Brown\j in 1985-86). The Darwin Theatre Company commissioned \IBeginning of the End\b\i in 1982 and the Sydney Theatre Company commissioned \IToo Young for Ghosts\b\i in 1983. In the same year Balodis was also writer in residence for the TN Theatre Company in Brisbane where he wrote \ISummerland\b\i. In 1985 he completed \IWet And Dry\b\i for the Darwin Theatre Group and in 1987 the State Theatre Company of South Australia commissioned \IHeart of the Future\b\i for the Bicentennial.
The \JMelbourne Theatre Company (MTC)\j appointed Balodis associate director in 1988 and in this role he directed plays such as Fuguard's \IRoad to Mecca\b\i (1989), O'Neill's \IA Moon for the Misbegotten\b\i (1990), Cusack's \IMorning Sacrifice\b\i (1991), Larbey's \IA Month of Sundays\b\i (1992), Nicholson's \IShadowlands\b\i (1993) and \IThe Elocution of Benjamin Franklin\b\i (1994). Balodis received a full-time writing fellowship from the Literature Board of the Australia Council in 1994.
#
"Bangkok Hilton",59,0,g,0
\ITelevision mini-series, first broadcast 1989\i
The last product of the relationship between the Ten network and the Kennedy Miller company, this was the most popular mini-series of 1989. Its success was helped by a strong cast, including \JNicole Kidman\j, whose career it furthered, and a story of dramatic intensity. Catriona (Kit) Stanton, a young Australian, is duped by the drug-runner Arkie Regan and arrested and imprisoned in Thailand. The English lawyer Hal Stanton, who helps her with the assistance of Bangkok lawyer Richard Carlisle, is her long-lost father. The series was shown in three two-hour episodes.
\IProduction company\b\i: Kennedy Miller Productions
\IProducers\b\i: \JTerry Hayes\j, Doug Mitchell, George Miller
\IDirector\b\i: \JKen Cameron\j
\IScriptwriters\b\i: Terry Hayes, \JTony Morphett\j, Ken Cameron
Norman Banks, Australian radio broadcaster, was born on 13th October 1905. He was one of Melbourne's and Australia's original radio stirrers. He began with 3KZ in the 1930s; as well as being breakfast announcer, his \IVoice Of The Voyager\i interviews were a ratings hit. He would board the pilot boat, interviewing visiting personalities in their suite. He later joined 3AW where he worked through the 1950s, 1960s and 1970s. He called Saturday football and the annual ANZAC Day march until blindness set in. He died in Melbourne on 16th September 1985, aged 80.
#
"Barber, Tony",61,0,g,0
\I1940-\i
Tony Barber, Australian television quiz show host and singer, was born at Oldham in Lancashire, England. As a ten-year-old boy soprano he recorded his first song at 6PM studios in Perth. He became an advertising agency account executive and was cast as the "whistler"in the Cambridge Cigarette commercials in the mid 60s. Married to Helen in 1971, they had worked in the advertising agency together and have two daughters, Kelly (1972) and Jackie (1974). In 1969 he hosted \IThe Great Temptation\i with Barbie Rogers, then \IFamily Feud.\i
He made frequent radio guest appearances, filling-in for John Laws, as well as having his own shows on 6IX Perth and 3UZ Melbourne. He released his first Album, \II Believe,\i in November 1986. He hosted \ISale of the Century\i for over 10 years from 14th July 1980 giving away over $22 million in cash and prizes to more than 5,500 contestants. In February 1991, after 11 years and 2,743 shows, he announced his retirement from \ISale of the Century,\i effective from 20th March 1991, so he could "do other things".
He joined the 10 Network in 1993 with his \IJeopardy\i show but it folded within six months. In January 1994, he became breakfast announcer on Sydney's 2KY but by May he left and returned to Melbourne. In the mid 1990s he did a number of television commercials for Hyundai motor cars.
#
"Barking Gecko Theatre Company, Perth",62,0,g,0
\IProfessional company presenting theatre for young people\i
Barking Gecko Theatre Company grew out of Acting Out, the theatre-in-education company established by the Western Australian Theatre Company. In targeting young people between the ages of 5 and 25 years it plays a crucial role in developing new theatre audiences. It aims to present challenging and adventurous works often incorporating out-of-the-ordinary set designs and dynamic performance styles.
The Company is resident at the \JSubiaco Theatre Centre\j and performs an annual program of in-theatre productions as well as touring into country schools, nationally and internationally; a feature of its program is the presentation of especially commissioned new plays by West Australian writers. The Company adopted the name Barking Gecko in 1994.
#
"Barossa Music Festival",63,0,g,0
\IFestival of music, dance and theatre\i
First held in 1990, the Barossa Music Festival focuses on mainstream classical music and, in particular, chamber music; musical theatre, dance, and folk music also feature. Groups such as the Australian Chamber Orchestra and the Meryl Tankard Australian Dance Theatre as well as international guests perform. The emphasis is on an intimate atmosphere--audience numbers are limited, but there are many performances over the nine-day festival, held in churches, wineries and historic buildings in the region. Another feature of the festival is the masterclasses which allow students to participate and perform with visiting artists. The festival is held annually in early October. It was founded by violinist and conductor \JBrenton Langbein\j.
#
"Barrett, Franklyn",64,0,g,0
\I1874-1961\i
\ICinematographer and director of silent films\i
Born in England as Walter Franklyn Brown, Barrett first went to New Zealand where he worked as a newspaper photographer, newsreel camera-man and violinist and made some documentary films. From 1903 to 1911 he worked in Australia, Canada, the United States and Europe as well as New Zealand, making scenic documentaries and newsreels, including \IThe 1904 Melbourne Cup\b\i (1904). He then settled in Australia, becoming a leading figure in the silent film industry. Noted for his landscape photography, he also wrote, directed and produced, for a time having his own production company.
Barrett's large number of credits (as photographer unless otherwise stated) include: \IA Silent Witness\b\i (1912); \IThe Mystery of the Black Pearl\b\i (1912); \IA Pommy Arrives in Australia\b\i (1913); \IMutiny on the Bounty\b\i (1916); \IAustralia's Peril\b\i (1917, also director, co-writer, co-producer); \IThe Enemy Within\b\i (1918, also co-producer); \IThe Breaking of the Drought\b\i (1920, also director, producer, co-writer); and \IA Girl of the Bush\b\i (1921, also co-director, producer, writer). The last two are his only feature films to have survived and show a nationalistic evocation of rural Australia. After the formation of the film combines forced him out of production in the early 1920s he went into film exhibition.
#
"Barrett, Ray",65,rbarrett.jpg,c,0
\I1927-\i
\IActor of stage, screen, radio and television\i
Ray Barrett was born in Brisbane. He studied music and elocution and began acting at the age of twelve. By sixteen he was conducting his own radio program. He later worked in Sydney in radio and on the stage before going to work in London from 1958-1974. During this time he made 10 features, 18 telemovies, 12 television series, five plays and a pantomime. He starred in several West End plays, including \ILook Back in Anger,\b\i and became well known for roles on British television, in particular \IThe Troubleshooters\b\i in which he appeared for six years. Following his return to Australia in 1975 he worked on the television series \IGolden Soak\b\i (1979), \ISporting Chance\b\i (1981) and \IWaterfront\b\i (1984).
His many Australian films include \IThe Sundowners\b\i (1960); \J\IDon's Party\j\b\i (1976); \ILet the Balloon Go\b\i (1976); \IThe Chant of Jimmie Blacksmith\b\i (1978), for which he won the AFI Award for best supporting actor; \IThe Earthling\b\i (1980); \IA Dangerous Summer\b\i (1982); \IGoodbye Paradise\b\i (1982, for which he won the AFI Award for best actor in a role written specifically for him by Bob Ellis and Denny Lawrence); \IThe Empty Beach\b\i (1985); \IRelatives\b\i (1985); \IFrenchman's Farm\b\i (1986); \IAs Time Goes By\b\i (1987); \IWaiting\b\i and \IBlood Oath\b\i (1990); \IHotel Sorrento\b\i and \IOn Our Selection\b\i (1994). His stage work includes David Williamson's \ISons of Cain\b\i (1985) for the Sydney Theatre Company.
Barrett has worked constantly in radio, stage, review and comedy, with such people as Spike Milligan and Kenneth Horne. More recent movies include \IBrilliant Lies\i (1995) and \IHotel de Love\i (1996).
\BDescription:\b Ray Barrett \I(Fairfax Photo Library)\i.
\BPic2:\b fp5006.jpg
\BDescription2:\b Ray Barrett.
\BPhoto2:\b Cameron's Management.
#
"Barrett, Shirley",66,0,g,0
\I1962-\i
Shirley Barrett, Australian film maker, was born in 1962. On 10th May 1996, she became the first Australian to win the Camera D'or at the Cannes Film Festival, the festival's award for a first time director. She wrote and directed her own film \ILove Serenade\i and beat a field of 25, including Al Pacino and Angelica Huston.
#
"Barron, Paul",67,fp5015.jpg,c,0
\I1949-\i
\IFilm and television producer\i
Born in Canada, Barron came to Australia in 1972 to take up postgraduate studies at the Australian National University. After several years as a drama critic and community arts administrator in Canberra he moved to Perth and in 1976 was appointed director of the Perth Institute for Film and Television. This led to his producing some television documentaries and a children's drama series, \IFalcon Island\b.\i
In 1981 he set up his own company, Barron Films, later renamed Barron Entertainment Ltd, based in Perth. Through this company he has produced feature films, mainly of a social realist kind, such as \IFran\i (1988, directed by Glenda Hambly), \IShame\b\i (1986, directed by Steve Jodrell), and \IFather\i (with Max Von Sydow and directed by John Power); children's television series such as \IKicking Around\b\i (1982); \IClowning Around\b\i (began 1992, directed by George Whaley) and \IShip to Shore\b\i (began 1993); adult television mini-series such as \ITracks of Glory\b\i (1990) and the \ISingapore Sling\b\i telemovies (1992-95). \IKicking Around,\b\i the company's first television drama, won the 1983 Television Society of Australia's Penguin Award and the company's feature films and television dramas have won over 40 other national and international awards.
\BDescription:\b Paul Barron.
\BPhoto:\b Paul Barron.
#
"Barry, Dan",68,0,g,0
\I1851-1908\i
\IActor and theatrical manager\i
Dan Barry was the stage name of John Atkins who was born in Dublin and arrived in Melbourne as a boy. After a brief journalistic career he took to the stage as `Dan Barry', the name by which he was known for the rest of his life. He was well-known as a touring actor-manager, playing country towns as far afield as Bourke in outback north-western New South Wales.
In Melbourne, his home base, he most often presented his dramatic works at the Alexandra Theatre. A key to his success was his ability to place his dramas in local settings and to take up local current issues (as in \IDays of the Land Boom\b\i), satirise public figures (as in \IThe Factory Girls of Melbourne\b\i) or capitalise on dramatic events (as in \IBlack Thursday\b\i, which dealt with recent bushfires).
His melodramas also portrayed major world events, such as the \IThe Relief of Lucknow\b\i. Barry was among the early entrepreneurs who embraced `moving pictures', showing films in theatres, halls and other makeshift venues in the days before purpose-built cinemas. He held co-copyright of \IThe Story of Ned Kelly\b\i (1906), said to be the world's first feature-length film and based on the Reginald Rene play \IThe Kelly Gang\b\i which Barry's theatre company had presented with great success in the 1890s.
#
"Bates, Sandra",69,0,g,0
\IStage director\i
Sydney-based Bates has had a long association with the theatre, both on stage and as a director. She was appointed governing and artistic director of Sydney's \JEnsemble Theatre Company\j in 1986. The plays she has directed for the Ensemble include \IBerlin Cabaret\b\i, \IThe Marginal Farm\b\i, \INever in My Lifetime\b\i, the Sydney and Queensland seasons of \IIntimate Exchanges\b\i, the world premiere and Melbourne, Tasmanian and commercial Australian tours of \IDouble Bass\b\i, \ITalking Heads\b\i, \IThe Boys Next Door\b\i, \IOther People's Money\b\i, \IMan of the Moment\b\i, staged at the Seymour Centre, \IThe Seahorse\b\i, \ILips Together Teeth Apart\b\i and \IThree Hotels\b\i.
In 1995 she directed the Ensemble production of \ISomeone Who'll Watch Over Me\b\i, \IEmerald City\b\i and \IThe Last Yankee\b\i.
#
"Bath, Christine",70,0,g,0
\I1967-\i
Christine Bath, Network Seven newsreader, was born in Sydney on 13th May 1967. After graduating from a communications course in 1986, she became a journalist with radio 2UE in Sydney. In 1987, she was appointed co-anchor of the NBN-3 news desk in Newcastle and in 1996 joined the Seven Network in Sydney, reading the sunrise 6.00 am bulletins. In 1997, she read the news for \IEleven AM\i and in April the same year was promoted to the late evening news desk.
#
"Battye, Don",71,0,g,0
\ITelevision and theatre producer\i
Don Battye's last executive position was as Senior Vice President of Drama Development for Grundy Television, Australia.
In that capacity he was responsible for the production of a great number of Grundy-produced programs as either executive producer, or producer. Series and serials he has executive produced/produced include: \INeighbours, Shortland Street\i (in New Zealand), \IBony, Sons and Daughters, Bellamy, Waterloo Station, Richmond Hill, A Special Place, The Restless Years, Chopper Squad\i and the mini-series \ITanamera.\i He has also written hundreds of episodes of many of the above series/serials.
Prior to his involvement with Grundy Television, Battye was an associate director of Crawford Productions. For Crawfords, he wrote, script-edited and produced such series and serials as: \IHomicide, Division 4, Matlock Police, The Box, Bluey\i and \IThe Sullivans.\i
Apart from writing for television, Battye's talents extend to theatre, for which he has written and had produced, seventeen musicals, including specialised material for children. The musical version of \IPrisoner - Cell Block H\i enjoyed a season in the West End in 1995/96 and toured the UK. He has also written songs for television productions, such as \ISons and Daughters,\i \IA Special Place\i and \INeighbours,\i and has been commissioned to write songs for individual artistes.
Recently he has scripted/script-edited \IHome and Away,\i scripted and was senior script editor on \IPacific Drive,\i and scripted \INeighbours.\i He is currently scripting \INeighbours\i and the serial \IBreakers.\i
In total, Battye has been responsible for writing, script-editing and/or producing over two thousand hours of television.
#
"Baume, Eric",72,0,g,0
\I1900-66\i
Eric Baume, Australian radio and television star, was born Frederick Ehrenfried Baume in Auckland, New Zealand, on 29th May 1900. He was a multi-media star, specialising as journalist, novelist, editor and broadcaster. Baume was an honorary captain whilst a war correspondent during WWII. After the war he served as editor of a number of Sydney newspapers including \IThe Truth\i and \ISportsman,\i and established the \IDaily Mirror\i on 12th May 1941. A broadcaster with radio 2GB, he also hosted Channel 7's \IBeauty and the Beast\i panel show. He died in Kings Cross, Sydney on 24th April 1966, aged 65.
#
"Bayly, Lorraine",73,arts-30.jpg,c,0
\I?1936-\i
\IActor of stage, screen and television\i
Lorraine Bayly was born in Trundle, NSW and has had approximately a 35-year career in television, film and theatre.
She gained critical recognition with her role in \IThe Sullivans\i and later starred in \ICarson's Law\i for two years.
Other television work includes the ABC mini-series \I1915,\i the role of Eileen Bond in \IThe Challenge,\i and \IGrim Pickings.\i Films include \IRide a Wild Pony, Fatty Finn\i and \IThe Man From Snowy River.\i
She was a foundation member of the Ensemble Theatre Company in Sydney and starred in a number of productions there. Other stage work includes roles for J.C Williamson, Australian Elizabethan Theatre Trust, Marian St Theatre, Melbourne Theatre Company and Belvoir St Theatre.
Lorraine has won three Logie awards, one Penguin award, and two Sammy awards for television work. She featured on \IThis is Your life\i in 1979 and on several occasions has been included in \ICritic's Choice\i for best performance of the year for stage work.
Lorraine is patron of the Australian Transplant Awareness Association.
\BDescription:\b Lorraine Bayly.
\BPhoto:\b International Casting Service and Assoc.
#
"Bayonas, Lynn",74,0,g,0
\ITelevision scriptwriter and producer\i
Bayonas began her career writing for \J\IHomicide\j\b\i in 1964. Other Crawfords' work included \IRyan\b\i (1973) and \IThe Box\b\i (began 1974). In 1974 she was script editor on the ABC children's science fiction series \IAlpha Scorpio\b\i which was run by executive producer \JJames Davern\j with whom she had previously worked on \IHomicide\b\i. This connection led to Davern engaging her as a writer and first line producer for \IA Country Practice\b\i when it began several years later in 1981. In the meantime she worked on several ABC productions, including the comedy series \IThe Rise and Fall of Wellington Boots\b\i (1975), which she devised, and \IThe Nargun and the Stars\b\i (1981), which she produced.
After many years producing the very successful \IA Country Practice\b\i, she left in 1987 and, with some of the actors and writers from the program, produced the comedy/adventure series \IWilling and Abel\b\i which failed to win a large audience. Further series Bayonas has produced include \IChances\b\i (began 1991), the Nine network's late-night sex serial, and Southern Star's children's mini-series \IGood Vibrations\b\i (1992) for which she was also a writer.
Her brother Luis Bayonas is also a television scriptwriter, having similarly started at Crawfords in the 1960s. His credits include \J\IHomicide\j\b\i (began 1964); Grundy's police series \IBellamy\b\i (began 1981); \IThe Flying Doctors\b\i series (began 1986); \IWilling and Abel\b\i (1987); and \J\IGP\j\b\i (began 1989).
#
"Beck, Rachael",75,0,g,0
\I1971-\i
Rachael Beck, Australian actress, was born at Alstonville, near Byron Bay, on the New South Wales north coast on 2nd September 1971. At the age of 16, she clinched a part in \ICats\i. Her television credits include \IFlying Doctors, GP, A Country Practice\i and \IHey Dad\i. In 1992, she appeared at the Stables Theatre in her own one-woman show written by her father.
#
"Bell, John",76,shakesp.jpg,c,0
\I1940-\i
\IActor and theatre director\i
John Bell was born in Maitland, in the Hunter Valley of New South Wales. His first appearance was with the \JOld Tote Theatre Company\j during its inaugural season in 1963 when, among other roles, he played the lead in \IHamlet\b\i. In 1964 he appeared with \JGordon Chater\j in \IThe Private Ear and Public Eye\b\i, set up The Three Bob Lunchtime Theatre at the Palace Theatre in Sydney, and appeared in the title role of \IHenry V\b\i for Australian Elizabethan Theatre Trust at the Adelaide Festival and in Sydney seasons in the Tent Theatre.
In 1965, while studying under a British Council Scholarship to Bristol Old Vic Drama School, in the United Kingdom, he was accepted by an experimental group being set up by Royal Shakespeare Company directors at Stratford-on-Avon. In 1969 he joined the Theatre Royal at Lincoln. On his return to Australia in the following year he taught acting at NIDA and directed the original production of \IThe Legend of King O'Malley\b\i (1970). In 1970 he set up the Nimrod Street Theatre with Ken Horler and a group of theatre practitioners. Bell was co-director of the Nimrod from 1970-1984, a period in which he directed many new Australian works, such as David Williamson's \IThe Removalists\b\i, \IThe Club\b\i and \J\ITravelling North\j\b\i, Peter Kenna's \IA Hard God\b\i, Ron Blair's \IThe Christian Brothers\b\i and \ILast Day in Woolloomooloo\b\i and Louis Nowra's \IInner Voices\b\i.
His acting roles for the Nimrod include \IHamlet\b\i and \IRichard III\b\i. His \JOld Tote Theatre Company\j acting roles include the title role in Brecht's \IArturo Ui\b\i. Acting roles for the \JSydney Theatre Company (STC)\j include the title roles in \ICyrano de Bergerac\b\i (1980) and \IMacbeth\b\i (1982), lead roles in Tom Stoppard's \IThe Real Thing\b\i (1985), Williamson's \IEmerald City\b\i (1987) and \IShadowlands\b\i (1991).
In 1989 he took a singing role in the stage musical \IThe Big River\b\i, in 1990 played Prospero in \IThe Tempest\b\i at the Belvoir Street Theatre and in 1994 played the title role in \IMacbeth\b\i for the \JBell Shakespeare Company\j (which he launched in 1991). His film acting credits include \IBreak of Day\b\i (1976) and \IFar East\b\i (1982).
In 1978 Bell was awarded an OBE for services to the arts and in 1987 was made a Member of the Order of Australia (AM). He is married to actor \JAnna Volska\j; their daughters also work in theatre--Lucy Bell is an actor and Hilary Bell is a playwright.
\BDescription:\b John Bell \I(Fairfax Photo Library)\i
#
"Bell Shakespeare Company",77,arts-10.jpg,c,0
\ITheatre company specialising in the performance of Shakespeare\i
The Bell Shakespeare Company was founded in 1990 by \JJohn Bell,\j with the assistance of the Australian Elizabethan Theatre Trust; in 1991 it became an autonomous body supported by private donors and corporate sponsors. Bell Shakespeare's first season in 1991 was performed in a touring circus tent and consisted of \IHamlet\b\i and \IThe Merchant of Venice\b\i; \IRichard III,\b\i added to the Company's repertoire in 1992, was performed in commercial theatres; in 1993 the company presented a new production of \IRomeo and Juliet\b\i and revivals of \IHamlet\b\i and \IRichard III\b\i; and the 1994 season featured \IMacbeth\b\i and \IThe Taming of the Shrew\b.\i
The company brings a modern relevance to the works, making them more accessible to a wider audience. Under the Actors at Work program teams of actors from the company visit NSW and Victorian schools to rehearse with students the plays they are studying.
\BDescription:\b The Bell Shakespeare Company.
\BPhoto:\b Bell Shakespeare Company.
\BPic2:\b fp5094.jpg
\BDescription2:\b The Bell Shakespeare Company Production of the \ITempest.\i
\BPhoto2:\b Bell Shakespeare Company.
#
"Bellbird",78,0,g,0
\ITelevision serial, broadcast 1967-77\i
\IBellbird\b\i is often seen as the television version of the ABC's long-running radio serial \J\IBlue Hills\j\b\i. A rural soap opera, it ran for almost 1700 episodes, originally in fifteen-minute segments shown four times a week, and later in one-hour, then half-hour episodes.
At the centre of the continuing story were Olive and Joe Turner, a typical middle-aged country couple. Other characters included the librarian and local `gentlewoman', Laura (Lori) Chandler, living in her old family home called `Bellbird'; the school teacher, Michael Foley, who boarded with her; the town gossip, Mrs Phillips; and the devious and misanthropic businessman, John Quinney. Though only gaining average ratings, \IBellbird\b\i was Australia's longest running series until its record was broken by \IA Country Practice\b\i.
It won several awards including an Awgie for Richard Lane for best serial script. The series fostered the talent of many Australian directors, producers and actors and thus played an influential role in the development of Australian television drama.
\IProduction company\b\i: ABC, Melbourne
\IExecutive producers\b\i: Alan Burke, \JJames Davern\j, Brett Porter, Oscar Whitbread, Keith Wilkes
\IDirectors\b\i: Patrick Barton, Ric Birch, Mark Callan, James Davern, Brian Faull, \JJohn Gauci\j, Margaret Greenwell, Norman Johnson, Christopher Muir, Grant Rule, Doug Sharp, Oscar Whitbread, Keith Wilkes, David Zweck
\IScriptwriters\b\i: Devised by \JColin Free\j and Barbara Vernon. Other writers included Patrick Barton, Judith Colquhoun, Roger Dunn, Oriel Grey, Howard Griffiths, Peter Hepworth, \JAlan Hopgood\j, Monte Miller
\IMajor actors\b\i: Moira Carleton (as Olive), Terry Norris (as Joe), Maurie Fields (as John Quinney), Elspeth Ballantyne (as Laura Chandler), Bruce Barry (as Michael Foley), Joan Macarthur (as Mrs Phillips), Peter Aanensen, Robin Ramsay, Mark Albiston, Anne Lucas, Ken Shorter, Carmel Millhouse, Rosie Sturgess, Carl Bleasby, Tom Oliver, Keith Eden, Barbara Ramsay, Lynette Curran.
#
"Belvoir Street Theatre, Sydney",79,arts-11.jpg,c,0
\ITheatre owned and operated by syndicate of performing arts workers and interested members of the public\i
The Belvoir Street Theatre is housed in the building formerly occupied by the \JNimrod Theatre Company\j before its last-ditch move to the Seymour Centre in 1984. The building was saved from demolition when more than 600 arts, entertainment and media professionals formed a syndicate, Belvoir Street Theatre Limited, to buy it. They renamed the building the Belvoir Street Theatre, and Company B Limited, its resident production house, presents a yearly subscription season using Australian actors, directors and designers.
The works produced at Belvoir Street range from innovative interpretations of classics to newly commissioned plays. The theatre has won the Sydney Theatre Critics' Circle best production award for three successive years.
\BDescription:\b Belvoir St Theatre logo.
\BPhoto:\b Belvoir St Theatre.
\BPic2:\b fp5007.jpg
\BDescription2:\b Cate Blanchett and Richard Roxburgh in Hamlet.
\BPhoto2:\b Company B and Heidrun Lohr.
\BPic3:\b fp5008.jpg
\BDescription3:\b Geoffrey Rush and Richard Roxburgh in Hamlet.
\BPhoto3:\b Company B and Heidrun Lohr.
#
"Ben Hall (1975)",80,0,g,0
\ITelevision series, first broadcast 1975\i
One of the first major co-productions of the ABC in association with overseas companies, \IBen Hall\b\i presented a sympathetic view of the bushranger and his comrades such as fellow bushranger Frank Gardiner. Adventure, romance and nationalism were the main ingredients rather than historical accuracy. Made before the era of the mini-series, its length (thirteen one-hour episodes) overstretched the story, but it otherwise was of a high standard in regard to both acting and production and was a popular success for the ABC.
\IProduction company\b\i: ABC and BBC TV, in association with Twentieth Century Fox Television Division
\IExecutive producer\b\i: Neil McCallum
\IAssistant producer\b\i: Charles Russell
\IDirectors\b\i: Frank Arnold, Harry Booth, Don Chaffey, Peter Maxwell
\IScriptwriters\b\i: Ray Johnson, \JTony Morphett\j, Ted Roberts
\IMajor actors\b\i: Jon Finch (as Ben Hall), Vincent Ball, Brian Blain, John Castle, Evan Crowley, Sandra Lee Patterson
#
"Beresford, Bruce",81,bruceb.jpg,c,0
\I1940-\i
\IFilm writer and director\i
Sydney-born Beresford was a film buff even as a child and began experimenting with a movie camera at the age of thirteen. After graduating from university he went to England and worked for the British Film Institute from 1966 to 1971, producing, directing and photographing. He returned to Australia when he heard that the government had begun sponsorship of the film industry and was invited by \JPhillip Adams\j to be a consultant on the new Film and Television Board.
Beresford soon after directed his first feature film, \IThe Adventures of Barry McKenzie\b\i (1972). This was followed by \IBarry McKenzie Holds His Own\b\i (1974), \J\IDon's Party\j\b\i (1976), \IThe Getting of Wisdom\b\i (1977), \IMoney Movers\b\i (1978), \IBreaker Morant\b\i (1980) and \IPuberty Blues\b\i (1981). Beresford was also writer on several of these. \IDon's Party\b\i and \IBreaker Morant\b\i won him the AFI Award for best direction.
It was the success of \IBreaker Morant\b\i that brought him international recognition and the offer of a wide range of scripts in the United States. He chose \ITender Mercies,\b\i which was released in 1982 and for which he was nominated for best director at the 1983 Academy Awards. In the event, the American lead actor in the film, Robert Duvall, won the best actor Oscar.
Subsequent successful films include \ICrimes of the Heart\b\i (US, 1986) and \IDriving Miss Daisy\b\i which won the 1990 Oscar for best picture though Beresford was not nominated in the director category. Both are set in the Deep South of the United States. Since then \IBlack Robe\b\i (1991), an Australian-Canadian co-production about missionary priests in colonial Quebec in the seventeenth century, and \IRich in Love\b\i (US, 1993), a return to the Deep South setting, have had more limited success. His output in the United States continues to be prolific--including \IA Good Man in Africa\b\i (1994/95) and \IThe Bridges of Madison County,\b\i produced by Steven Spielberg, to be released in 1995. Beresford has also directed operas, including \IElektra\b\i for the South Australian Opera in 1991.
\BDescription:\b Bruce Beresford \I(Fairfax Photo Library)\i.
#
"Best, Bruce",82,0,g,0
\I1945-\i
\ITelevision director and producer\i
Best began his career with ABC television where he was one of the directors of the successful series \J\ICertain Women\j\b\i (began 1973) and executive producer and director of the comedy series \IOne Day Miller\b\i (1979). He also directed the feature film \IWarming Up\b\i in 1983.
In the 1980s he moved into television production, producing the long-running Ten network soap opera \J\IE Street\j\b\i (began 1989), and beginning a fruitful association with Roadshow Coote and Carroll. He became supervising producer of the very successful ABC/Roadshow medical series \J\IGP\j\b\i (began 1989), produced \IFamily and Friends\b\i (1990) and was co-producer of the legal/historical series \ILaw of the Land\b\i (1993). While working on \IGP\b\i, Best met the Aboriginal actor \JErnie Dingo\j who was a guest star on the program. Together they developed an idea for a drama series about Aboriginal people. This became \IHeartland\b\i, a combination of a black/white love story and a murder mystery, which Best produced with Ro Hume, a former \IGP\b\i script editor, and which screened on the ABC in 1994.
#
"Beynon, Richard",83,0,g,0
\I1925-\i
\IActor and playwright\i
Melbourne-born Beynon left Australia in 1947 to pursue his acting career overseas. He returned to tour Australia as a star of \IWitness for the Prosecution\b\i in 1954. It was at this time that he finished writing his extremely successful play \IThe Shifting Heart\b\i, influenced by his growing awareness of Australia's mistreatment of her migrants which he was observing first-hand.
Beynon helped edit two collections of modern plays for schools with H.G. Fowler, \INext Act!\b\i (1964) and \IFirst Act\b\i (1966). He then joined the BBC as a television producer and developed a number of successful TV series. The Australian Film and Television School invited him to be guest lecturer in 1984 and in 1986 he was the School's writer in residence. In 1986 \ISummer of Shadows\b\i was performed by the Playbox Theatre at Melbourne's Spoleto Festival. Beynon is based in London.
#
"Big Toys",84,0,g,0
\IPlay, first produced in 1977\i
\JPatrick White\j wrote \IBig Toys\b\i for \JJim Sharman\j and three cast members of his earlier play \IThe Season at Sarsaparilla\b\i. The play's setting is a luxury harbourside apartment in Sydney's Point Piper and features a conservative Queen's Counsel, his Labor-supporting wife and her trade union leader lover. The satiric comedy does have some darker undertones as White tries to come to terms with the knowledge that nuclear power can cause unmitigated destruction.
\IFirst produced\b\i: Old Tote, 1977 (later went on tour)
#
"Bisley, Steve",85,0,g,0
\I1952-\i
\IActor of stage, film and television\i
Steve Bisley grew up at Lake Munmorah on the New South Wales Central Coast and graduated from NIDA in 1977. He came to public notice almost immediately with his appearance in the film \INewsfront\b\i (1977) and in the role of Goose in \I\JMad Max\j\i (1979) which gained him a cult following. His later films include \IThe Last of the Knucklemen\b\i (1978), \ISquizzy Taylor\b\i (1981), \IThe Winds of Jarrah\b\i (1983), \I\JSilver City\j\i (1983) for which he won the AFI Award for best supporting actor, \IThe Big Steal\b\i (1989) which again won him the AFI Award for best supporting actor and \IOver the Hill\b\i (1991). His television work includes the mini-series \IA Town Like Alice\b\i (1981), appearances in \I\JCop Shop,\j\i \IA Country Practice,\b\i \I\JGP,\j\i \IEggshells,\i \I\JPolice Rescue\j\i and \IFrontline.\i
His stage work includes, for the Sydney Theatre Company, \ICaucasian Chalk Circle,\b\i \IThe Blind Giant is Dancing,\b\i \IThe Doll Trilogy\b\i and \IThe Summer of the Seventeenth Doll\b\i; for Kinselas Productions, \I\JDon's Party\j\b\i; and for the Melbourne Theatre Company, \IThe Selection\b.\i
\ICompany reflecting the diverse ethnic and cultural components of the Western Australian Community\i
Black Swan Theatre is one of Australia's foremost new theatre companies. Under the chairmanship of Mrs Janet Holmes α Court, the company has built up an impressive string of stage successes with many exciting future projects in negotiation and planning stages. Strongly regional in character, the company has made a major impact nationally with adventurous and brilliantly-staged original productions. Productions such as \IBran Nue Dae, Sistergirl, Tourmaline, Dead Heart\i and \ICorrugation Road\i have upheld a standard of rare excellence as well as pursuing a commitment to the creative talents of Western Australia.
It was founded in 1990 by artistic director Andrew Ross. The company's opening production was a multicultural version of Shakespeare's \ITwelfth Night\b\i featuring European, Asian and Aboriginal actors and set in an unspecified port on the coast of north-western Australia. This was followed in 1992 by the premieres of \IWahngin Country\b\i ('Talking Country') by \JJack Davis\j and Sally Morgan's \ISistergirl\b.\i
Black Swan Theatre Company has also imported international work into Australia, in conjunction with other leading Australian theatre companies, in order to give Perth audiences a diverse range of productions through the year that complement the local company's work. The company is forging strong links with companies in the neighbouring Asian countries. In June 1996 Black Swan took part in a collaborative workshop at the annual Festival Seni Surabaya in Surabaya, Indonesia. Singapore's leading alternative theatre company, TheatreWorks, is about to join Black Swan Theatre in an official partnership involving the co-promotion of both TheatreWorks and Black Swan productions.
Black Swan is a member of the Major Organisations Board of the Australia Council, one of only two members from Western Australia.
More recent Australian premieres include: \IThe Merry-Go-Round in the Sea\i (1997) and \IMars: Planet of Desire\i (1997).
\BDescription:\b Black Swan Theatre Company.
\BPhoto:\b Black Swan Theatre Company, Perth.
\BPic2:\b ARTS-13.jpg
\BDescription2:\b Black Swan Theatre Company.
\BPhoto2:\b Black Swan Theatre Company, Perth.
\BPic3:\b fp5095.jpg
\BDescription3:\b Black Swan Theatre Company.
\BPhoto3:\b Black Swan Theatre Company, Perth.
\BPic4:\b fp5096.jpg
\BDescription4:\b Black Swan Theatre Company.
\BPhoto4:\b Black Swan Theatre Company, Perth.
#
"Blackman, John",87,0,g,0
\I1946-\i
John Blackman, Melbourne radio announcer and character voice-over man, was born in Melbourne on 14th July 1946. He started out as a sales representative and worked as a customs agent before entering radio. He was with 3AW on and off for 10 years and in the 80s was the number one breakfast man in Melbourne radio. He left in 1986 to join 3AK, but later joined 3UZ to host the breakfast show with former radio writer Ian Cover and Wilbur Wilde. In 1997 he re-joined 3AK to once again host the breakfast show. He has been voice-over man for the Nine Network's \IHey Hey It's Saturday\i show with Daryl Somers for 13 years. He is married to Cecile and has a daughter Tiffany who was born in 1974.
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"Blair, Jock",88,0,g,0
\ITelevision producer\i
Blair initially worked at Crawfords where he was a producer for \IThe Box\b\i (began 1974) and one of the devisers and executive producers of \IThe Sullivans\b\i (began 1976) and \IThe Bluestone Boys\b\i (1976). His other programs included \ISkyways\b\i (began 1979). In 1980 he took his wide experience to the \JSouth Australian Film Corporation (SAFC)\j where he was appointed head of television production.
In the early 1980s he produced several historical mini-series for the SAFC, high-quality but with limited popular appeal, such as \ISara Dane\b\i (1982), \IUnder Capricorn\b\i (1984) and \J\IRobbery Under Arms\j\b\i (1986), as well as the feature films \IRobbery Under Arms\b\i (1984, from which the mini-series was made) and \IPlaying Beatie Bow\b\i (1985) also known as \ITime Games,\b\i based on the novel by Ruth Park.
More recent SAFC mini-series with Blair as executive producer have had more varied and contemporary themes. These include \IThe Shiralee\b\i (1988), \IGrim Pickings\b\i (1989) and \IShadows of the Heart\b\i (1990).
In 1991 Blair returned to freelance work consulting for a number of production companies. He wrote the novel \IButterfly Blue\i published by Random House in 1994.
He produced the serial \IParadise Beach\i in 1993 for Village Roadshow. From 1995 through to 1996 he produced two series of \IThe Man From Snowy River\i (36 episodes), for Pro Films. In 1997 he commenced work on the Gaumont Television/Crawford Productions six hour mini-series \IThe Violent Earth.\i Blair has also written for \IThe Man From Snowy River,\i \IParadise Beach\i and \IPacific Drive.\i
#
"Blair, Ron",89,0,g,0
\I1942-\i
\IRadio producer and playwright\i
Sydney-born Blair began his career as a play reader, editor and producer in the drama and features department of the ABC. He collaborated with Michael Boddy to write \IBiggles\b\i (1970), the first play performed at Sydney's Nimrod Theatre when it opened in 1970, and \IHamlet on Ice\b\i (1972). Blair's play \IFlash Jim Vaux\b\i (1972), written with Terence Clarke, was also produced by the Nimrod with \JJohn Gaden\j as Flash Jim, the colourful, three-times-transported, three-times-married main character.
Other plays by Blair include \IThe Christian Brothers\b\i (1975); \IPerfect Strangers\b\i and \IMad, Bad and Dangerous to Know\b\i (1976); \IMarx\b\i (1978); \ILast Day in Woolloomooloo\b\i (1979); \IPresident Wilson in Paris\b\i (1983), written for \JJohn Krummel\j who starred in it; \IBull Thrip\b\i (1986), with music by Ian Cooper; and\I Getting Real\b\i (1987).
Blair was among the theatre practitioners who helped establish the Nimrod Theatre Company with \JJohn Bell\j and Ken Horler in 1970 and from 1977-79 was assistant artistic director at the South Australian Theatre Company, Adelaide. He was co-winner of the 1973 Awgie Award for best Australian play and was awarded a Literature Board Fellowship in 1974. Blair currently works full-time at the Australian Film, Television and Radio School as the head of the Writing Department.
#
"Blake, Jon",90,0,g,0
(1959- )
Jon Blake, Australian actor, was born in Sydney in 1959. On 1st December 1986, Blake suffered permanent brain damage and became a quadriplegic after he crashed his car in South Australia. He had just finished the final shots for the film \IThe Light Horsemen.\i The initial damages award was based on his potential earning capacity but the appeal suggested there was less than a 1% chance that Blake would have achieved international star status. Blake's other films include \IGallipoli.\i
On 11th February 1997, in the NSW Supreme Court of appeal, he had his damages award of $33 million reduced to $9 million.
#
"Blake, Julia",91,0,g,0
\I1936-\i
\IFilm and stage actor\i
London-born actor Julia Blake trained at the Bristol Old Vic theatre school and arrived in Australia with her husband, actor Terry Norris, in 1963. Her film appearances include \IThe Getting of Wisdom\b\i (1977), \IPatrick\b\i (1978), \J\IMy Brilliant Career\j\b\i (1979), \ILonely Hearts\b\i (1981), \J\IMan of Flowers\j\b\i (1983), the leading role in David Williamson's \J\ITravelling North\j\b\i (1986), \IGeorgia\b\i (1988) and \IFather\b\i (1990), for which she won an AFI Award for best supporting actress.
Her theatre work includes the Terence Rattigan plays \IThe Browning Version\b\i and \IHarlequinade\b\i, produced in Australia by Paul Eddington of the British television show \IYes Minister\b\i; \JMichael Gow\j's \J\IAway\j\b\i for the Playbox Theatre Company in Melbourne; and \IGhosts\b\i at Sydney's Belvoir Street Theatre. Her television work includes the mini-series \IThe Dunera Boys\b\i (1986), for which she won the Penguin Award for best supporting actress, and \IEden's Lost\b\i (1989), for which she won an AFI Award for best actress.
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"Blind Giant is Dancing, The",92,0,g,0
\IPlay, first produced 1983\i
This play is a prime example of the work of political playwright \JStephen Sewell\j, who has said that `everything has a political dimension'. It deals with the corruption of a man of principle by the world of power politics. The main character, Allen Fitzgerald, is a Leftist economist and union organiser who wants to be party secretary of the Social Democrat party which has just been elected to government. He does a deal with the incumbent secretary, Michael Wells, a Machiavellian wheeler and dealer from the Centre of the party.
The polarity between these two positions has been seen as representing the divisions between the Left and Centre of the Australian Labor Party but Sewell's concerns are beyond those of any specific party. The final outcome is anarchy at both political and social levels--breakdown of government is reflected in the disintegration of Fitzgerald's family. The dance has been one of ambition, power and greed by the giant of a blinded society. \IThe Blind Giant is Dancing\b\i is a long and serious play; though not didactic, some critics found that the political focus drowned the theatrical impact.
\IFirst produced\b\i: By the Lighthouse State Theatre Company of South Australia after being commissioned by \JJim Sharman\j and Mary Vallentine; directed by \JNeil Armfield\j; major roles played by Geoffrey Rush (as Fitzgerald), Stuart McCreery (as Wells), Jacqy Phillips (as Louise, Fitzgerald's wife), Gillian Jones, Igor Sas, Robynne Bourne, John Wood, \JKerry Walker\j
\IOther major productions include\b\i: Sydney Theatre Company (1984), directed by Phillip Keir and starring \JStephen Bisley\j (as Fitzgerald), Russell Newman (as Wells), \JMichelle Fawdon\j (as Louise), Angela Punch-McGregor (as Fitzgerald's lover), Lewis Fitz-Gerald, \JRon Graham\j, Melissa Jaffer. The Perth Playhouse produced the play in 1985.
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"Blue Hills",93,0,g,0
\IRadio serial, broadcast 1949-76\i
All 5795 episodes of Australia's most famous radio serial were written by one person, \JGwen Meredith\j. This remains a world record. The serial developed from Meredith's previous serial \IThe Lawsons\b\i, which ran from 1944 to 1949 and dealt with rural people during the years of World War II. \IBlue Hills\b\i continued the rural setting and some of the characters. During the serial's long run hundreds of characters were created and settings ranged over many areas of country Australia. The stories revolved around the ordinary problems of these authentic-sounding country dwellers rather than the sensational events of modern soap operas, enabling listeners to identify with both the characters and the situations. The final episode was recorded on 30 September 1976 when actor \JQueenie Ashton\j, who had been with the show since its beginning, said the final words in the role of Granny: `It isn't really so hard to say goodbye.'
\IProduced and broadcast by\b\i: ABC
\IProducers\b\i: Various
\IWriter\b\i: Gwen Meredith
\IMajor regular actors\b\i: Queenie Ashton (as Lee), Maeve Drummond, Max Osbiston (as Peter Frobisher), Winifred Green, Nigel Lovell, Fay Kelton and others.
#
"Blundell, Graeme",94,fp5004.jpg,c,0
\I1945-\i
\IFilm, television and stage actor and director\i
Graeme Blundell was born in Melbourne and began his acting career while at Melbourne University. He was one of the founders of the \JLa Mama Theatre\j group, and in 1976 of the \JHoopla Theatre Foundation\j in Melbourne. Since 1966 he has appeared in many productions with the Melbourne Theatre Company (MTC),\j the La Mama Theatre Company, and the Playbox Theatre, Melbourne. In 1969, as director for La Mama of Alex Buzo's \INorm and Ahmed,\b\i he was found guilty on a charge relating to the play of aiding and abetting the use of obscene words in public. In 1982 he appeared in Tom Stoppard's \IEvery Good Boy Deserves a Favour\b\i at the Adelaide Festival of the Arts. Other stage work includes \IThe Threepenny Opera\b\i (1984) and \IThe Real Thing\b\i (1984), both for the MTC, and \JMichael Gow\j's \J\IAway\j\b\i (1987) for the \JSydney Theatre Company.\j
Blundell gained international recognition in the mid-1970s with the film \J\IAlvin Purple\j\b\i (1970). His other films include \ITwo Thousand Weeks\b\i (1969), \IThe Naked Bunyip\b\i (1970), \IStork\b\i (1971), \IAlvin Rides Again\b\i (1974), \IMad Dog Morgan\b\i (1976), \J\IDon's Party,\j\b\i \IWeekend of Shadows\b\i (1978), \IThe Odd Angry Shot\b\i (1979), \IKostas\b\i (1979), \IPacific Banana\b\i (1980), \IDoctors and Nurses\b\i (1981), \IThe Best of Friends\b\i (1981), \IMidnite Spares\b\i (1982), \IMelvin, Son of Alvin\b\i (1984), \IAustralian Dream\b\i (1986), \IThose Dear Departed\b\i (1987) and \IThe Year My Voice Broke\b\i (1987). His television work includes the mini-series \J\IPower Without Glory\j\b\i (1976), \IWater Under the Bridge\b\i (1980), \IStringer\b\i (1987), \IThe Distant Home\b\i (1992), \IJoh's Jury\b\i (1992) and \IIdiot Box\i (1995); the series \IThe Box,\b\i \IKingswood Country\b\i and \IMedivac\i (1996-97); and appearances in \J\ICop Shop,\j\b\i \IA Country Practice\b\i and \J\IGP\j\b.\i
His work as a director includes productions for La Mama between 1968 and 1970; from 1970 to 1973 productions at the Pram Factory, including \J\IDon's Party\j\b\i; and from 1977 to 1979 productions for the Playbox Theatre Company. For the MTC he directed \IPack of Lies\b\i (1961), \IThe Sentimental Bloke\b\i (1984) and \IThe Caretaker\b\i (1986); for Kinselas productions he directed \ISiren\b\i (1986), \IDon's Party\b\i (1989, Australian tour), \ITop Silk\b\i (1989, Australian tour) and \IGo Cat Go!\b\i (1990). He also directed the 1992 Australian tour of \IHair\b.\i
\BDescription:\b Graeme Blundell.
\BPhoto:\b Shanahan Management.
#
"Bodyline",95,0,g,0
\ITelevision mini-series, first broadcast 1984\i
This series is sometimes seen as continuing against a sporting background the theme of power and dominance explored in an earlier Kennedy Miller production for the Ten network, \IThe Dismissal\b\i (1983). Telling the story of the 1932 English cricket test tour of Australia when the English captain Douglas Jardine used the `bodyline' bowling tactic to neutralise the talent of the Australian star Don Bradman, the program was a ratings success. Its feeling of authenticity was augmented by the interpolation of actual news clips of the test series. The ten one-hour episodes were shown over a four-week period.
\IProduction company\b\i: Kennedy Miller Pty Ltd
\IProducer\b\i: George Miller
\IDirectors\b\i: Carl Schultz, George Ogilvie, \JLex Marinos\j, \JDenny Lawrence\j
\IMajor actors\b\i: \JGary Sweet\j (as Bradman), \JHugo Weaving\j (as Jardine), Jim Holt, Rhys McConnochie, Julie Nihill, John Walton, \JMax Cullen\j, \JArthur Dignam\j, Frank Thring
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"Bonney, John",96,0,g,0
\I1934-93\i
John Bonney, Australian actor, was born in 1934, and began work as a cadet journalist with the \IDaily Mirror\i newspaper in Sydney. He first appeared on stage with Gertrude Lawrence in a revue called \IGratefully Yours.\i He travelled the world as an actor and in Australia starred in \IContrabandits, Riptide, Homicide, Matlock Police, Division 4, True Believers\i and \ISingle Spies.\i Married to Crame they had four children. He died following a stroke at Sydney's Westmead Hospital on 22nd June 1993, aged 59.
#
"Borg, Sonia",97,fp5012.jpg,c,0
\I1931-\i
\IFilm and television writer\i
Born in Austria, Borg came to Australia in 1961 and settled in Melbourne where she worked as an actor and acting tutor for the television production company Crawfords before starting writing such serials as \J\IHomicide\j\b\i (began 1964) and becoming established as a noted scriptwriter. Films she has written include \J\IStorm Boy\j\b\i (1976), \IBlue Fin\b\i (1978) and \IDusty\b\i (1982), all adaptations of children's stories.
Her television work includes episodes of the series \J\IRush\j\b\i (1975), one of the plays in the ABC anthology series \IQuality of Mercy\b\i (1975), episodes of \J\IPower Without Glory\j\b\i (1976), the adaptation of \II Can Jump Puddles\b\i (1980), \J\IWomen of the Sun\j\b\i (1983) which she co-wrote with Aboriginal poet Hyllus Maris, the children's drama series \IColour in the Creek\b\i (1985) based on the book of the same title, and the historical children's mini-series \IRatbag Hero\b\i (1991). \IStorm Boy\b\i won an Awgie Award for best feature film screenplay in 1977 and \IWomen of the Sun\i won numerous awards including the United Nation's Peace Prize in 1982, two writers' guild awards, the Television Society of Australia's award for the best series script, and the main drama award at the Canadian Banff Television Festival.
\BDescription:\b Sonia Borg and company.
\BPhoto:\b Sonia Borg.
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"Borghesi, Anna",98,0,g,0
\ITheatre designer\i
Borghesi graduated from NIDA in design and directing in 1986 and started her design career in Melbourne. In 1988 she had a show at the Brisbane EXPO and in 1990 she was invited to Saarbrucken, Wuppertal and Paris as part of the Australia Council Professional Development award. Nominated for an AFI Award for best costume designer for the feature film \J\IRomper Stomper\j\b\i, she has won two Victorian Green Room best production awards, one of them for the Melbourne Theatre Company's \IAngels in America\b\i. More recently she worked on the feature film \ISpeed\b\i and on Neil Armfield's 1994 Belvoir Street production of \IHamlet\b\i starring Richard Roxburgh and Jacqueline McKenzie.
#
"Boucicault, Dion Jnr",99,0,g,0
\I1859-1929\i
\IActor and theatrical manager\i
Born Darley George Boucicault in New York, Dion Boucicault Jnr was the son of the Irish actor and playwright Dionysus Boucicault. Also known as Dot, he followed his father's wish and adopted the name Dion Jnr after the death of his elder brother. He accompanied his father on an Australian tour in 1885, remaining after his father left.
In 1886, with ex-D'Oyley Carte Opera Company member Robert Brough (brought to Australia by the J. C. Williamson theatrical organisation) he formed the Brough-Boucicault Comedy Company. Brough's wife, Florence Trevelyan, was the company's main female star, Boucicault the male star. The company enjoyed several successful years, staging lavish productions until a fire in 1889 destroyed most of its props and costumes; it suffered further in the economic depression of the early 1890s and by 1897 Boucicault had left and was performing in London. He returned to Australia several times.
In 1923 he and his wife Irene Vanbrugh performed in Melbourne; in 1926 he directed a cycle of plays by J.M. Barrie; and he was back again for the 1927-28 season when, again appearing with his wife and in failing health, he gave his last stage performances in Somerset Maugham's \IOur Betters\b\i.
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"Bowden, Tim",100,0,g,0
\I1937-\i
Tim Bowden, Australian television presenter, oral historian and author, was born in Hobart on 2nd August 1937. He hosted the ABC television program \IBackchat\i from 1986 to June 1994. He has visited The Antarctic on four occasions and has produced six radio documentaries called \IAustralians in the Antarctic,\i a six-part television series, \IBreaking the Ice\i, as well as writing the book \IAntarctica and Back in Sixty Days.\i His other books include \IThe Backchat Book, The Way my Father Tells It, Changi Photographer George Aspinall's Record of Captivity,\i and \IOne Crowded Hour Neil Davis Combat Cameraman.\i
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"Box, The",101,0,g,0
\ITelevision serial, broadcast 1974-77; film released 1975\i
\B1.\b\i One of the early Australian soap operas, this followed the fortunes of various staff members at a fictional television station, often playing on the idea of the blurred dividing line between real life and fantasy. Shown initially five nights a week in an adult time slot, it was adventurous in concentrating on sexual themes and showing sex scenes. The series was often comic and many of its characters were take-offs of well-known people in the media industry. Only moderately successful (at least in comparison with the contemporary soap opera \J\INumber 96\j\b\i), it finished screening after 335 episodes in 1977 at a time when a new breed of soap opera such as \IThe Sullivans\b\i had begun.
\IProduction company\b\i: Crawford Productions
\IExecutive producers\b\i: \JIan Crawford\j, Tom Hegarty, Ian Jones
\IProducers\b\i: \JDon Battye\j, \JJock Blair\j, John Dommett, \JMarie Trevor\j
\IDirectors\b\i: Graeme Arthur, Brian Crossley, Philip East, \JRod Hardy\j, Bob Meillon, \JCharles Tingwell\j, Marie Trevor, \JSimon Wincer\j
\IScriptwriters\b\i: Devised by Tom Hegarty and Ian Jones. Other writers included \JLynn Bayonas\j, Jock Blair, Colin Eggleston, Ray Kolle, Alison Nisselle, Beverly Phillips
\IMajor actors\b\i: Ken James (in the lead as a television actor portraying a policeman), Jill Forster, Don Barker, Belinda Giblin, Vince Gil, Tony Barry, Judy Nunn, Briony Behets, Graham Blundell, Anne Louise Lambert, Gary Day, Vanessa Leigh, Maurie Fields, John Stanton, George Mallaby
\B2.\b\i The success of the television series led to the making of a feature film, which was reasonably successful. Like the series, it followed the doings of the staff of the fictional television station.
\IProduction company\b\i: Crawford Productions
\IProducer\b\i: \JIan Jones\j
\IDirector\b\i: Paul Eddey
\IScriptwriter\b\i: Tom Hegarty
\IMajor actors\b\i: Fred Betts, George Mallaby, Barrie Barkla, Ken James, Paul Karo, Lois Ramsay, Judy Nunn, Belinda Giblin, \JGeraldine Turner\j, \JTracy Mann\j
#
"Boyd, Russell",102,arts-42.jpg,c,0
\I1944-\i
\ICinematographer\i
Boyd, born in Victoria but based in Sydney, is one of Australia's most noted directors of photography. His camerawork added impact to some of the key films of the 1970s and 1980s such as \J\IPicnic at Hanging Rock\j\b\i (1975), \J\IGallipoli\j\b\i (1981), \IThe Year of Living Dangerously\b\i (1982), \J\IPhar Lap\j\b\i (1983) and \J\ICrocodile Dundee\j\b\i (1985).
He has won three AFI Awards for cinematography--for \IBreak of Day\b\i (1976), \IThe Last Wave\b\i (1977) and \IGallipoli\b\i (1981). His television work includes \IIs There Anybody There?\b\i (1976), \INight Nurse\b\i (1978) and the mini-series \IA Town Like Alice\b\i (1981). Boyd has also worked in the United States but prefers to be based in Australia. Recent work includes \IForever Young,\b\i which Boyd photographed at the request of \JMel Gibson,\j \ITin Cup\i (1995), \IOperation Dumbo Drop\i (1995), \ILiar, Liar\i (1995) and \IDr. Doolittle\i (Eddie Murphy) (1997).
\BDescription:\b Russell Boyd.
\BPhoto:\b Russell Boyd.
#
"Brady, Phillip",103,0,g,0
\I1939-\i
Phillip Brady, Australian television personality and travel broadcaster, was born in Melbourne on 16th June 1939. He started his broadcast career with GTV-9 as a side kick to Graham Kennedy and later went on to host a number of game shows for both the Nine and Ten Networks. On radio, he worked for 3AK, 2MW Murwillumbah and, from the late 1980s, teamed with Bruce Mansfield for the top rating nightly radio show on 3AW Melbourne.
His television shows include \IConcentration, Everybody's Talking, The Money Makers, Junior Money Makers, Get The Message, Password\i and \ICasino 10.\i
#
"Bradley, Ian",104,0,g,0
\ITelevision producer\i
English-born Bradley became established as a producer of television series in the 1970s when he worked for the Grundy Organization. He was a script editor on \IThe Young Doctors\b\i (began 1976) and then executive producer, with \JReg Watson\j, for \J\IPrisoner\j\b\i (began 1979). In 1982 he became managing director in charge of production for PBL (Publishing and Broadcasting Limited) Productions which was established by Kerry Packer to act as the production arm of the Nine network. Bradley's productions for PBL included the highly regarded mini-series \IA Fortunate Life\b\i (1986) and \IThe Great Bookie Robbery\b\i (1986) and the feature film \IAn Indecent Obsession\b\i (1984), based on the novel by Colleen McCullough.
With PBL Productions due for extinction after the winding down of tax concessions for film and television production, Bradley moved to Crawfords and was for a while general manager after the company was sold by Hector Crawford. For Crawfords he was executive producer of such programs as the spin-off series of \IThe Flying Doctors\b\i (began 1986), the comedy series \IAcropolis Now\b\i (began 1989) and the second series of \IAll the Rivers Run\b\i (1990).
In 1990 Bradley returned to the expanded and internationalised Grundys as vice-president in Australia, in charge of Grundy Television Pty Ltd, a new division producing mini-series and series. With the serious political and social comment contained in \J\IEmbassy\j\b\i (began 1990), one of his first projects in this position and packaged for the ABC, he took Grundys in a new direction.
#
"Bran Nue Dae",105,0,g,0
\IMusical\i
This ground-breaking work, recognised as Australia's first multicultural musical, is the creation of Chinese-Aborigine Jimmy Chi and his band Knuckles. The work reflects the spirit of Broome in Western Australia, where it gestated in an actively multicultural environment over a ten-year period. The story is autobiographical, based on Chi's own life, and tells of a black boy's expulsion from his mission home, his running away to Perth, his return with a long-lost relative and hippie tourists, and the discovery that all the characters can claim kinship and find a colourful extraterrestrial happiness.
The music, written by Stephen Pilgrim, is an effective mixture influenced by such people as Kurt Weill and Cole Porter and styles such as country music, reggae and fundamentalist hymns. The musical had its premiere at the 1990 Festival of Perth and starred \JErnie Dingo\j. The Black Swan Theatre Company produced a touring production with a new cast in 1993.
#
"Brand, Mona",106,0,g,0
\I1915-\i
\IPoet and playwright\i
Born during World War I, Brand was associated with the group of politically committed dramatists who had their plays produced by Sydney's New Theatre (see \JNew Theatre Movement\j) in the years immediately following the Depression. She spent the Depression years in Sydney with her family and this time of hardship and struggle influenced the rest of her working life. One of her best-known plays is \IHere Comes Kisch\b\i (1970).
#
"Breaker Morant",107,0,g,0
\IFilm, released 1980\i
The idea for this film was developed by director \JBruce Beresford\j during his contract with the South Australian Film Corporation. He wrote the script himself, based on an existing play and extended by his own research. The real life story centres on the court martial and execution by the British army during the Boer War of a British-born Australian soldier accused of executing Boer prisoners and a German missionary in revenge for the killing of his unit's captain. While morally ambivalent (it engenders audience sympathy for Morant and his companions while showing them to be guilty), this film is generally considered to mark Beresford's coming of age as a top-class director.
\IProduction company\b\i: South Australian Film Corporation
\IProducer\b\i: \JMatt Carroll\j
\IDirector\b\i: Bruce Beresford
\IScreenplay\b\i: Bruce Beresford (from script by Jonathan Hardy and David Stevens, from play by Kenneth Ross)
\IMajor actors\b\i: Edward Woodward (as Harry `Breaker' Morant), \JJack Thompson\j, \JBryan Brown\j, \JJohn Waters\j, \JCharles Tingwell\j, Rod Mullinar
#
"Brealey, Gil",108,0,g,0
\I1932-\i
\IFilm producer and director\i
Born in Melbourne, Gil Brealey became a leading figure in the Australian film industry. He was a director with the ABC 1962-69, and a producer with the Commonwealth Film Unit (later Film Australia) 1969-72. From 1972 to 1976 he was head of the South Australian Film Corporation, during which time he co-produced the landmark film \J\ISunday Too Far Away\j\b\i (1975). As well as many documentaries and short films, his work includes the features \IFlashpoint\b\i (1972, producer) and \IAnnie's Coming Out\b\i (1984, director).
#
"Brennan, Richard",109,0,g,0
\I1943-\i
\IFilm producer\i
Based in Sydney, Brennan worked with the ABC and the Commonwealth Film Unit (later Film Australia) before forming B.C. Productions with \JTom Cowan\j. As well as many documentaries and short films, his productions include the feature films \IThe Adventures of Barry McKenzie\b\i (1972, production manager), \IThe Removalists\b\i (1974, associate producer), \IMad Dog Morgan\b\i (1976, associate producer), \J\INewsfront\j\b\i (1978, executive producer, production manager), \IStarstruck\b\i (1982, co-producer), \IGrievous Bodily Harm\b\i (1988, producer) and \ISpotswood\b\i (1991, co-producer). In 1987 he produced the award-winning telefeature \IOlive\b\i.
#
"Brides of Christ",110,0,g,0
\ITelevision mini-series, first broadcast 1991\i
Brought to fruition by head of ABC television drama Penny Chapman, this series has been judged by some critics the best produced by the ABC. This opinion was shared by the public and the program won the ABC its highest-ever ratings. Set in a Catholic convent in the 1960s, it looks at a group of women, both nuns and school pupils, who are part of an institution that is undergoing radical change, as is society at large.
In the first episode, university-educated Diana, to her family's distress, abandons her wedding plans and follows her inner calling to be a nun. She becomes a key character, Sister Catherine, whose intellectualism and questioning are set against the dogmatism of the old order, represented by the implacable Sister Agnes. Mediating between these two is Mother Ambrose, charged with leading the nunnery into the period of post-Vatican Council liberalisation, and who has to meet her own personal challenges. Other major characters are Sister Paul who entered the convent as Veronica on the same day as Sister Catherine, and who later leaves for a period after becoming involved with a radical ex-priest, and three students at the convent school, Frances, Rosemary and Brigid, who have their own personal and family problems.
The series was shown in six one-hour episodes twice a week over three weeks. Powerful, intelligent and moving, it received much publicity and aroused some controversy in the Catholic Church--some saw it as causing damage while others praised it for showing nuns as real people. It won four prizes at the 1992 AFI Awards--for best mini-series, best TV drama director, best actress (Lisa Hensley) and best screenplay. John Alsop and Sue Smith also shared the 1992 Awgie for television writing. The series has been repeated several times.
\IProduction company\b\i: ABC and Roadshow Coote and Carroll
\IExecutive producer\b\i: Penny Chapman
\IProducer\b\i: Sue Masters
\IDirector\b\i: \JKen Cameron\j
\IScriptwriters\b\i: John Alsop, Sue Smith
\IMajor actors\b\i: \JJosephine Byrnes\j (as Sister Catherine), Brenda Fricker (as Sister Agnes), \JSandy Gore\j (as Mother Ambrose), Lisa Hensley (as Sister Paul), Naomi Watts (as Frances), Kym Wilson (as Rosemary), Melissa Thomas (as Brigid)
#
"Brilliant Lies",111,0,g,0
\IPlay, first produced 1993\i
David William's up-front, feisty comedy about the battle between the sexes includes a corporate takeover, child abuse of daughters by their father, power-play, the need to find money for a life-threatening operation, sexual harassment of Susy by the sleazy Gary and shady business practices. During the course of the play one abused daughter, Katy, becomes a lesbian and the other a kleptomaniac with promiscuous tendencies, while Paul, the son, finds God. The team of seven characters, including the offending father, interrelate in an attempt to come to terms with some of the questions raised but not answered during the course of the drama.
\IFirst produced\b\i: In Brisbane by the \JQueensland Theatre Company (QTC)\j, touring to Melbourne and to the Sydney Opera House (directed by \JAubrey Mellor\j), 1993
#
"Brooksbank, Anne",112,0,g,0
\I1943-\i
\IFilm and television writer\i
Born in Melbourne and based in Sydney since 1967, Brooksbank began writing scripts for documentaries and shorts in the 1970s. She has often worked in conjunction with her husband, \JBob Ellis.\j Her feature films include \J\INewsfront\j\b\i (1978, additional dialogue), \IMaybe This Time\b\i (1980, co-writer), \IGoodbye Paradise\b\i (1982, script adviser), \IThe Winds of Jarrah\b\i (1983) and \IAll My Love\b\i (1990). The numerous television series for which she has written include \ICertain Women\b\i (began 1973), \ICase for the Defence\b\i (1978), \IA Country Practice\b\i (1988), \IBush Nurses\b\i (1989), \J\IGP\j\b\i (1989-1995), \IBlue Heelers\i (1993-1995), \IWater Rats\i (1995-1997) and \IWildside\i (1997).
#
"Brown, Bryan",113,770048,c,0
\I1948-\i
\IFilm actor\i
Bryan Brown was born in Sydney and trained as an actuary before studying acting. In 1964 he went to London, where he won minor roles at the Old Vic, and on his return to Australia joined the Queensland Theatre Company. He came to national prominence in 1978 with the film \J\INewsfront\j\b\i.
Other Australian films include \IThe Chant of Jimmie Blacksmith\b\i (1978), \IThe Irishman\b\i (1978), \IWeekend of Shadows\b\i (1978), \IMoney Movers\b\i (1978), \IThird Person Plural\b\i (1978), \ICathy's Child\b\i (1979), \IThe Odd Angry Shot\b\i (1979), \IPalm Beach\b\i (1979), \IStir\b\i (1980), \IBlood Money\b\i (1980), \J\IBreaker Morant\j\b\i (1980), \J\IWinter of Our Dreams\j\b\i (1981), \J\IFar East\j\b\i (1982), \IRebel\b\i (1985), \IThe Empty Beach\b\i (1985), \IThe Umbrella Woman\b\i (1986, released in the United Kingdom as \IThe Good Wife\b\i), \IConfidence\b\i (1990) and \IBlood Oath\b\i (1990).
His performances in the television mini-series \IA Town Like Alice\b\i (1981) and \IThornbirds\b\i (1984) led to international recognition. More recently he starred in the mini-series \IThe Shiralee\b\i (1989). His overseas films include \IGive My Regards to Broad Street\b\i (UK, 1983), \IKim\b\i (UK, 1984), \IGorillas in the Mist\b\i (US, 1988), \ICocktail\b\i (US, 1989), \IFX\b\i (US 1985) and \IFX2\b\i (US 1991).
His stage performances include \IThe Rain Dancers\b\i (1992) for the Sydney Theatre Company.
In 1997 Bryan Brown won the Film Critics' Circle of Australia lifetime achievement award.
\BDescription:\b Bryan Brown \I(J. King)\i
#
"Brown, Noeline",114,0,g,0
\I1938-\i
\IComic performer\i
Sydney-born Noeline Brown gained national recognition as one of the stars of the satirical television revue \IThe Mavis Bramston Show\b\i. Other television work includes \IMy Name's McGooley--What's Yours?\b\i, \IThe Naked Vicar Show\b\i and \IKingswood Country\b\i; in 1978 she won a Logie for most popular NSW female personality.
In later years she concentrated on stage work including \IA Double Act\b\i (1988) co-starring \JBarry Creyton\j (Ensemble Theatre) and \IBarmaids\b\i (1993).
#
"Browne, Coral",115,0,g,0
\I1913-91\i
Coral Browne, Australian actress, was born Coral Edith Browne in Melbourne on 23rd July 1913. After leaving school, she studied art and scenic design. While filling in for an actress friend, she enjoyed it so much she changed direction and appeared in 28 plays in Australia. Receiving a 21st birthday gift of a trip to England, she worked there for many years culminating in 1951 with appearances at the Old Vic in London in such plays as \IOthello, King Lear, Cressida, Hamlet\i and \IMacbeth.\i
She married horror character actor, Vincent Price, in 1974 whom she met after they co-starred in \ITheatre of Blood\i in 1971. In 1984, she won the British film and television award for best actress for her role in \IAn Englishman Abroad.\i Her films include \ILet George Do It, Dr Crippen, The Killing of Sister George, Auntie Mame, The Roman Spring of Mrs Stone, The Drowning Pool\i and \IDreamchild,\i as well as the British television series \ITime Express.\i
Her distinguished career was crowned with an appearance in the television drama \IAn Englishman Abroad,\i a story based on her own encounter with spy Guy Burgess. She died from breast cancer on 29th May 1991, aged 77, with her husband, actor Vincent Price, at her side.
#
"Bruce, Melissa",116,0,g,0
\ITheatre director and writer\i
Sydney-based Bruce graduated in drama and media studies from Victoria College in 1985 and with a directing diploma from NIDA in 1989. She has had an active career since then as an affiliate director at the Sydney Theatre Company where in 1990 she was assistant to the director on the world premiere of David Williamson's \ISiren\b\i, on Shakespeare's \IThe Tempest\b\i and Caryl Churchill's \IHot Fudge and Ice Cream\b\i. Plays she has directed include Sean Monro's \IWater Daughter\b\i (1992) for Griffin Theatre Company, Churchill's \ITop Girls\b\i (1993) at the STC's Wharf Theatre, Larry Buttrose's \IComplaints for ABC Radio\b\i (1993) and \IShort Circuits\b\i (1994) for the Festival of Sydney at the Seymour Theatre Centre. Bruce wrote two one-act plays, \ISeen Being\b\i and \ICounterpoint\b\i, in 1992.
#
"Bruning, Robert",117,fp5013.jpg,c,0
\I1928-\i
\IFilm and television actor and producer\i
Robert Bruning was born in Dongarra, Western Australia and was educated in Sydney, where he has lived for most of his life. He has worked as an actor in most entertainment media: stage, motion pictures, television and radio.
Bruning began his career as an actor in the early 1960s. He appeared in such films as \IThe Intruders\b\i (1969), \J\INed Kelly\j\b\i (1970), \J\ISunday Too Far Away\j\b\i (1975), \ISnapshot,\i \IThe Wild Duck\i and \ICool Change.\i Television appearances include major roles in \IThe Long Arm\i and \IThe Godfathers.\i He has performed guest leads in all major television series productions from \IHomicide,\i \IThe Sullivans,\i \ICop Shop,\i \IA Country Practice,\i \IRafferty's Rules,\i \IDivision 4\b\i and \IMedivac,\i as well as appearing in the comedy series \IRita and Wally\b\i (1968) which followed on from \IMy Name's McGooley--What's Yours?\b\i Stage appearances include leading roles in \IOthello, All My Sons, The Summer of the Seventeenth Doll, Generation, America Hurrah\i and \IThe Lotus Eaters.\i
He has narrated documentary films, played occasional roles in radio drama and is in regular demand as a voice-over artist in radio and television commercials.
As a writer, he has scripted such programs as \IThe Sullivans, Cop Shop, Holiday Island\i and \IPrime Time.\i He has worked as script editor on six series, over twenty television pictures and two features - \IBreaker Morant\i and \IThe Settlement.\i In 1983, he produced \IThe Settlement\i on location in outback Queensland.
His television producer credits include sitcom, variety and drama totalling some two hundred hours. Among the programs he has helmed are \IThe Goldfathers, The People Next Door, The Spoiler, The True Blue Show, Cop Shop\i and \IRafferty's Rules.\i He is credited with having produced Australia's first telemovie \IIs There Anybody There?\i in 1975. Since that time, he has produced a grand total of 23. His productions have been honoured with many industry awards, including two Logies.
During 1993-94, he was involved in development of \IBlue Heelers\i for Southern Star and the Seven Network. He set up and produced the pilot and then went on to make the first seventeen episodes using the facilities of HSV Seven in Melbourne.
In association with the South Australian Film Corporation and the Seven Network, he produced \IThe Territorians,\i a pilot telemovie, on location in Darwin and the Flinders Ranges during 1996.
Work presently in development includes two more \ITerritorians\i telemovies for Seven and a psycho-thriller \IHandhold\i for Network Ten.
\BDescription:\b Robert Bruning.
\BPhoto:\b Robert Bruning.
\BPic2:\b arts-43.jpg
\BDescription2:\b Robert Bruning Productions.
\BPhoto2:\b Robert Bruning.
#
"Buckley, Anthony",118,arts-01.jpg,c,0
\I1937-\i
\IFilm editor and producer\i
Anthony Buckley began his career in 1954 as a film editor with the Sydney newsreel company Cinesound. He is regarded as one of the leaders of the Australian film industry. Through the 1960s he edited many notable feature films, including Michael Powell's \IAge of Consent,\i Ted Kotcheff's \IWake in Fright\i and Rudolf Nureyev's \IDon Quixote.\i
He has worked as a producer for Film Australia and for a time was acting head of production. During this time he produced the highly acclaimed \IThe Fifth Facade\i with Joern Utzon and Sam Wannamaker, the official film on the Sydney Opera House, and \IA Steam Train Passes,\i one of Film Australia's most popular films. He independently produced \IPalace of Dreams,\i a fascinating film on the history of Sydney's magnificent State Theatre, and then completed the 11-part documentary series \IMan of the Rim - the Peopling of the Pacific\i for the Australian Broadcasting Corporation, which has won worldwide acclaim.
Anthony Buckley is better known as a feature film producer. He first produced \ICaddie\i in 1975 - winner of 14 awards including the San Sebastian Jury Prize for Best Film. This was followed by \IThe Irishman, The Night the Prowler, The Killing of Angel Street\i and \IKitty and the Bagman.\i Tony's feature film \IBliss\i was selected in competition at the Cannes Film Festival in 1985, and winner of best film in the 1985 Australian Film Awards.
In 1977, Tony was awarded the Order of Australia for his services to the industry. Since 1991 he has produced the documentary \INazi Supergrass\i with director David Bradbury, Tracey Moffatt's first feature film \IBedevil,\i selected for Cannes 1993, \IThe Celluloid Heroes,\i Film Australia's four-part series to celebrate the centenary of Australian cinema and George Whaley's feature \IOn Our Selection.\i
Tony is currently developing a wide range of film, television and documentary projects.
\BDescription:\b Anthony Buckley.
\BPhoto:\b Anthony Buckley.
\BPic2:\b fp5097.jpg
\BDescription2:\b Anthony Buckley.
\BPhoto2:\b Anthony Buckley.
#
"Buesst, Nigel",119,fp5010.jpg,c,0
\I1938-\i
\IFilm director\i
Melbourne-based Buesst is known mainly for documentaries and short films. In the 1960s he began working for the ABC and independent documentary units as photographer and often producer/director and co-writer. By 1970 he had set up his own photographic studio and was teaching film.
His many films include \IFun Radio\b\i (1964), a documentary that gives a hectic view of Melbourne young people on a summer weekend; \IBonjour Balwyn\b\i (1971), a witty satire about the personal and financial troubles of a magazine editor; \ICome Out Fighting\b\i (1973), a documentary-style look at the pressures on an Aboriginal boxer, Jacka VC (with Ross Cooper) recalling the life and times of a great Australian soldier; \IJazz Scrapbook\i (1983), chronicling the jazz revival; and \ICOMPO\b\i (1989), an adaptation of a humorous play about the lives of office workers in the insurance industry.
\BDescription:\b Nigel Buesst. Producer and Director of COMPO.
\BPhoto:\b Nigel Buesst.
\BPic2:\b fp5009.jpg
\BDescription2:\b Elizabeth Crockett and Jeremy Stanford in COMPO (1989).
\BPhoto2:\b Nigel Buesst.
#
"Burch, Liz",120,0,g,0
\I1954-\i
Liz Burch, Australian actress, was born in Sydney on 18th October 1954. She starred in the television series \IThe Flying Doctors\i for four years and made three documentaries about Ethiopia, Bangladesh, Uganda and Kenya. Her other television work includes \IPlay School\i for the ABC, \ICop Shop\i and \IFive Mile Creek\i. Her stage work includes \ISteaming\i, \ILend Me a Tenor\i and \ICaravan\i.
#
"Burgess, John",121,0,g,0
\I1943-\i
John Burgess, former Australian television host of \IWheel of Fortune,\i was born in Sydney on 4th June 1943. He started out as a ten pin-bowling instructor, after shooting a perfect 300 game. He was persuaded by John Laws to enter radio and became a personality with 2UW in the late 1960s. He then worked at 3AK in Melbourne doing the breakfast show and after a second stint at 2UW became breakfast announcer with 3MP in Melbourne for five years from 1974 until 1979. He then joined 6PM in Perth where he was top rating breakfast announcer for over 13 years.
He became host of the Seven Network's \IWheel of Fortune\i from 1984 until 1996, when he was replaced by Tony Barber. In 1996, he was hired by the Nine Network to host \ICatchphrase,\i the same year he also joined radio 2CH Sydney to host the breakfast show. Divorced three times, he married his fourth wife, Jan Carmignani, on 9th April 1989. They lived in Perth and the Queensland Gold Coast for a number of years before moving to Sydney in 1997.
#
"Burke, Simon",122,fp5001.jpg,c,0
\I1961-\i
\IActor and singer of film, stage and television\i
At the age of thirteen Sydney-born Simon Burke won an AFI best actor award for his role in \IThe Devil's Playground\b\i (1976). His other films include \IThe Irishman\b\i (1978), \IThe Clinic\b\i (1982) and \ISlate and Wyn and Me\i (1986).
His stage work includes the Nimrod Theatre Company productions \IKookaburra\b\i (1974), \IA Hard God\b\i (1982), \ISalonika\b\i (1984), \IShe Stoops to Conquer\b\i (1986) and \IAll's Well That Ends Well\b\i (1986); Romeo in \IRomeo and Juliet\b\i for the State Theatre Company of South Australia (1984); the title role in John Romeril's \IJonah Jones\b\i (1985) and Whizzer in \IFalsettos\b\i (1994) for the \JSydney Theatre Company (STC)\j; \ILes Miserables\b\i (original Australian cast, 1987-88); \IAnything Goes\b\i (1989-90), for which he won the Green Room Award for best actor in a musical and \IA Little Night Music\i (1996). In 1992-93 he appeared in the London production of \IPhantom of the Opera\b.\i
His television work includes the series \IThe Restless Years,\b\i \J\IGP\j\b\i and \IA Country Practice\b\i and the mini-series \J\IScales of Justice\j\b\i (1983), \J\IBrides of Christ\j\b\i (1991) and \IHeroes II--The Return\b\i (1992). He is also a regular on the ABC's \IPlayschool\b.\i
\BDescription:\b Simon Burke.
\BPhoto:\b Shanahan Management.
#
"Burlinson, Tom",123,fp5003.jpg,c,0
\IActor of stage, film and television\i
Tom Burlinson graduated from NIDA in 1976. His stage credits include \ITribute\b\i (1979) in which he played an American boy, Hughie, in the State Theatre Company of South Australia's production of \IThe One Day of the Year\b\i (1980), the lead in \IHow to Succeed in Business Without Really Trying\b\i (national tour 1992-93) and lead roles in \IMiracle City\i and \IMerrily We Roll Along\i for the Sydney Theatre Company (1996).
His film work includes the lead role in \IThe Man from Snowy River\b\i (1982) and the \IThe Man from Snowy River II\b\i (1987); Tommy Woodstock in \J\IPhar Lap\j\b\i (1983); and leading roles in \IFlesh and Blood\i (1984), \IWindrider\b\i (1985) and \IThe Time Guardian\i (1986).
He has appeared in several television series, including \IThe Restless Years,\b\i \J\ICop Shop,\j\b\i \IKirby's Company\b\i and \IThe Sullivans\b\i and in the mini-series \IEureka Stockade\b\i (1984) and \IMelba\b\i (1988).
Tom sang the voice of the young Frank Sinatra in the Warner Brothers mini-series \ISinatra\i (1991) and has hosted the television series \IAnimal Hospital\i for the Nine Network.
\BDescription:\b Tom Burlinson.
\BPhoto:\b June Cann Management.
#
"Burn, Alexander",124,0,g,0
\I1799?-1875\i
\IPlaywright\i
Burn was born in Scotland and in 1824 came to Australia where he became a landholder. He wrote poetry and fiction as well as plays. Making frequent visits back to Great Britain, it is thought that he wrote many of his plays during his voyages. One of these, \IThe Bushranger\b\i, is the only play he wrote with an Australian theme. It had its world premiere at Edinburgh's Caledonian Theatre in 1829. His other plays included \IOur First Lieutenant\b\i (first produced at the Caledonian in 1829 under the title \IManias and Maniacs\b\i), \IThe Queen's Love\b\i (produced in Sydney in 1845) and \ILoreda\b\i (produced in Melbourne in 1877).
#
"Burrowes, Geoff",125,0,g,0
\I1945-\i
\IFilm and television producer\i
After working in advertising and public relations, Melbourne-based Burrowes joined Crawfords first as a director, then a producer. His credits include \J\IHomicide\j\b\i (began 1964) and \IMatlock Police\b\i (1971). He left Crawfords in the 1970s and set up his own company, the Burrowes Group, to operate both as a production house and as an independent producer, concentrating on feature films.
In 1982 he achieved a big success with \IThe Man from Snowy River\b\i, produced for Michael Edgely International. Subsequent films with which the Burrowes Group was involved, such as \ICool Change\b\i (1985), were not so successful but \IThe Man from Snowy River II\b\i (1987), produced, directed and co-written by Burrowes, did reasonably well.
The Burrowes Group also acted as a management company and in that capacity organised the finance for some notable films such as \IDogs in Space\b\i (1986) and \IGround Zero\b\i (1987). The company's one television venture was the highly-rated mini-series \J\IANZACS\j\b\i (1985), like \IThe Man from Snowy River\b\i directed by Crawfords-trained director George Miller. The company experienced difficulties after the end of tax concession funding for film production and Burrowes retired in 1988. However, he has since worked in the United States where he directed the feature \IRun\b\i (1991).
#
"Burstall, Tim",126,0,g,0
\I1929-\i
\IFilm director and producer\i
Born in England, Burstall came to Australia in 1937. After working in Melbourne in journalism and public relations, he formed Eltham Films with Patrick Ryan in 1959 and made a short children's film, \IThe Prize\b\i, released 1960. This won a prize at the Venice Film Festival and began Burstall's film career. He worked for the Commonwealth Film Unit for some years and then studied for two years in the United States.
After his return he made \ITwo Thousand Weeks\b\i (1969), the only truly Australian feature film made for commercial release in the latter part of the 1960s. This film was panned by the critics and was not a success but a different reaction met the comedy \J\IStork\j\b\i in 1971. In 1972 Burstall joined with Bilcock and Copping and Roadshow to form Hexagon Productions, which made most of his films during the 1970s. These films established him as one of the leaders of the reborn Australian film industry and include \IAlvin Purple\b\i (1973), \IPetersen\b\i (1974), \IEliza Fraser\b\i (1976) and \IThe Last of the Knucklemen\b\i (1979). He has also directed for television, including the series \IDescants for Gossip\b\i (1983).
His sons, Dan Burstall (1951-) and Tom Burstall (1954-) are both prominent in the film industry, the former as a director of photography and the latter as a producer.
#
"Burton, Geoff",127,0,g,0
\I1946-\i
\ICinematographer and director\i
Sydney-born Burton began working as a cameraman on documentaries in the late 1960s. His first feature film was \J\ISunday Too Far Away\j\b\i (1975). His high reputation was confirmed with subsequent films such as \J\IStorm Boy\j\b\i, \IThe Picture Show Man\b\i (1977), \IBlue Fin\b\i (1978), \IThe Girl Who Met Simone de Beauvoir in Paris\b\i (1980, short), \IThe Winds of Jarrah\b\i (1983) and \IThe Year My Voice Broke\b\i (1987).
During the 1980s he moved into directing documentaries. His television work, as photographer, includes \IThey Don't Clap Losers\b\i (1974) and the documentary \IThe Last Tasmanian\b\i (1978). Burton turned to directing with the successful \IThe Sum of Us\b\i (1994) which he co-directed and photographed.
#
"Bury, Brian",128,0,g,0
\I1937-\i
Brian Bury, television weather man and radio compere, was born in Sydney on 14th June 1937. He started out as an office boy at 2UE and later became a weekend newsreader with TCN-9 Sydney. In the 70s, he was weather man at Channel 10 and breakfast newsreader with 2UW, before going to Melbourne's 3MP as morning personality and host of GTV-9's weather. In the mid 80s, he returned to Sydney as host of the Nine Network's \IToday Show.\i
In 1990, he was also employed as afternoon host on radio 2UE/4BC and the ratings went up in every survey for the next two years. He returned to Channel 10 as weatherman on 8th June 1992. In January 1997, he was hired by Channel 7 Sydney to host the weather segment in the nightly news.
#
"Bushrangers, The",129,0,g,0
\ITwo plays, one first produced 1829, the other first produced 1834\i
\B1.\b\i This three-act drama by David Burn features a cast of bushrangers, Aboriginal people, convicts and free settlers. The bushranger of the title is the notorious Matthew Brady and his gang. The story is set in Tasmania in 1826.
\IFirst produced\b\i: At the Caledonian Theatre, Edinburgh, in September 1829
\B2.\b\i \JHenry Melville\j published a version of his three-act drama, also known as \INorwood Vale\b\i, in the April 1834 issue of his \IHobart Town Magazine\b\i. Although many regard the substance of this piece as slight, it is remembered as the first play by a resident Australian produced in Australia. It is also one of the first plays to be based on Australian subject matter; it deals with the relationship between bushrangers, white settlers and the Aboriginal people.
\IFirst produced in extended form\b\i: Once in May 1834 at the Argyle Rooms, Hobart
\IOther major performance:\b\i Launceston in 1835
#
"Buzo, Alexander",130,abuzo.jpg,c,0
\I1944-\i
\IPlaywright\i
Sydney-born Buzo was educated in Armidale, New South Wales, and in Switzerland, and graduated from the University of New South Wales in 1965. His plays include \INorm and Ahmed\b\i (1968), \IRooted\b\i (1969), \IThe Front Room Boys\b\i (1969) and \IThe Roy Murphy Show\b\i (1971).
In 1972-73 Buzo was resident playwright with the Melbourne Theatre Company and during this time wrote \IMacquarie\b\i and \ITom\b\i (1972), both of which won the Australian Literature Society's 1972 Gold Medal. His next plays were \J\ICoralie Lansdowne Says No\j\b\i (1974), \IMartello Towers\b\i (1976), \IMakassar Reef\b\i (1978), \IBig River\b\i (1980), \IThe Marginal Farm\b\i (1983), \ISting Ray\b\i (1988) and \IShellcone Road\b\i (1989). Though these plays are most apparently satirical treatments of aspects of Australian society, they also reveal beneath their witty dialogue a serious concern with the universal predicament of finding purpose in an apparently alien world. This is particularly true of his later work. Many of his plays are set in Sydney which he finds a bizarre place with plenty of rich fodder to fuel his art.
His other publications include the humorous books \ITautology\b\i (1981) and \IReal Men Don't Eat Quiche\b\i (1982).
In 1995, Melbourne's Playbox Theatre presented the world premiere of Buzo's play \IPacific Union\b\i.
\BDescription:\b Alexander Buzo \I(Fairfax Photo Library)\i
#
"Byrnes, Josephine",131,fp5002.jpg,c,0
\IStage and television actor\i
Byrnes graduated from NIDA in 1989 and in the 1990s has established a reputation as a high-quality actor. Her stage roles include Natalya in \IA Month in the Country\b\i (Queensland Theatre Company, 1991); Abigail in \IThe Crucible\b\i (Sydney Theatre Company, 1992); and Tracey in \IHigh Society\b\i (State Theatre Company of South Australia, 1992/93 and again for the Melbourne Theatre Company production, 1993).
Having appeared on television in the mini-series \IShadows of the Heart\b\i (1990), her first role after leaving NIDA) and in series such as \IThe Flying Doctors\b\i and \J\IGP,\j\b\i she had a major success as Sister Catherine in the ABC's \J\IBrides of Christ\j\b\i (1991), winning a Logie for most outstanding actress in a telemovie or mini-series. Other television appearances include: \IThe Man From Snowy River\i (1996), \ITwisted Tales - The Confident Man\i (1996) and \IKangaroo Palace\i (1996).
Film work includes \IFrauds\i (1992) and \IOscar and Lucinda\i (1997).
\BDescription:\b Josephine Byrnes.
\BPhoto:\b Shanahan Management.
#
"Caddie",132,0,g,0
\IFilm, released 1976\i
\ICaddie\b\i was the first film produced by \JTony Buckley\j and his brainchild. The idea developed after a chance reading in 1970 of the autobiography of the same name, telling the story of a woman who leaves her unfaithful husband and comfortable suburban home and struggles to earn a living for herself and her children as a barmaid during the Depression. After encouraging Joan Long from the Commonwealth Film Unit to write the script, Buckley and director \JDonald Crombie\j managed with difficulty to raise funds from a number of bodies, including the National Advisory Committee for International Women's Year. The film was a critical and commercial success.
\IProduction company\b\i: Anthony Buckley Productions
\IProducer\b\i: Anthony Buckley
\IDirector\b\i: Donald Crombie
\IScreenplay\b\i: Joan Long (from the autobiography \ICaddie\b\i)
Australian-born stage actor Zoe Caldwell has been based in England for many years. She was a member of the Union Theatre Repertory Company when it opened in Melbourne with \IColombe\b\i in 1953. After settling in London she visited Australia in 1962 to star in Bernard Shaw's \ISaint Joan\b\i at the Adelaide Festival (the production later toured the country). She also played in Patrick White's \IThe Ham Funeral\b\i and \IThe Season at Sarsaparilla\b\i for the Adelaide Theatre Guild and the Union Theatre Repertory Company.
#
"Calling the Stars",134,0,g,0
\IRadio variety series, broadcast 1941-53\i
This was one of the earliest of the lavish radio variety shows, incorporating singing and comedy acts--a kind of non-visual vaudeville--with orchestral items. It was hugely popular.
\IBroadcast by\b\i: Macquarie Network to 1946; thereafter other networks
\IProduction company\b\i: Colgate-Palmolive Unit
\IExecutive producer\b\i: Ron Beck
\IProducer\b\i: Russell Scott
\IWriters\b\i: Fred Parsons, Alexander Macdonald, \JWillie Fennell\j, \JJack Davey\j, Al Thomas, Rex Dawe, Dorothy Foster and others
\IMajor performers\b\i: Dick Bentley, Jack Burgess, Rex Dawe, Willie Fennell, \JQueenie Ashton\j, Rita Pauncefort, Dorothy Foster, Al Thomas, Wilfred Thomas, Dinah Shearing
\ISingers\b\i: Lester Sisters, Brian Lawrence, John Cameron and others
#
"Cameron, Ken",135,0,g,0
\I1946-\i
\IFilm and television director\i
Born in Tenterfield, New South Wales, Cameron was a high school teacher before becoming a teacher at the Australian Film and Television School in the mid-1970s. After making a number of highly-rated short films, including \ISailing to Brooklyn\b\i (1974), he undertook his first feature, \J\IMonkey Grip\j\b\i in 1982. He himself had the idea of basing a film on Helen Garner's novel, wrote the screenplay in conjunction with her and, with producer \JPat Lovell\j, set about raising funding. This was a successful and widely praised film but his next feature, \IThe Umbrella Woman\b\i (1986), was hindered by an unsatisfactory script and was not well received--though it has since been re-evaluated and has many admirers.
Cameron has concentrated on television work since and has had several major successes, including the Kennedy Miller mini-series \J\IBangkok Hilton\j\b\i (1989), the ABC series \J\IBrides of Christ\j\b\i (1991), the ABC docudrama \IJoh's Jury\b\i (1993) and one of the episodes of the ABC's \ISeven Deadly Sins\b\i (1993). He won the 1992 AFI Award for television drama direction for \IBrides of Christ\b\i.
#
"Campion, Jane",136,0,g,0
\I1955-\i
\IFilm writer and director\i
Born in New Zealand, Campion came to Australia in 1977 and won admission to the Australian Film, Television and Radio School. While a student there she made \IPeel\b\i (1986) which won the best short film award at the Cannes Film Festival. After meeting producer \JJan Chapman\j who had been impressed by \IPeel\b\i, she was offered the chance to direct \ITwo Friends\b\i (1986), a telemovie for the ABC. This was followed by \J\ISweetie\j\b\i (1989), an unconventional feature film which gained much attention. After this she was described by \JPeter Weir\j as a director who 'dares to be different'. She won the AFI Award for best original screenplay for \ISweetie\b\i, along with Gerard Lee.
Her next work was \IAngel at my Table\b\i (1990). Based on the autobiographies of the New Zealand writer Janet Frame, this was made in New Zealand as a television mini-series, co-produced by the ABC, the New Zealand Film Corporation and others. However, its acclaim was so widespread that it was shown in 1991 at the Sydney Film Festival and the Venice Film Festival where it won the special jury prize, among other awards, and thereafter was released commercially.
Back in Australia Campion again worked with Jan Chapman, making \IThe Piano\b\i (1993) which was entered in the 1993 Cannes Film Festival to much acclaim and shared the Palme d'Or. Campion thus became the first female director ever to win the award. \IThe Piano\b\i later won the AFI best direction award for Campion, among many other prizes.
In 1994 she began work on a film version of Henry James' novel \IPortrait of a Lady\b\i, produced by an American studio and starring \JNicole Kidman\j.
#
"Canberra Festival",137,0,g,0
\IFestival to celebrate the city's founding\i
The Canberra Festival has been held annually over ten days in March since 1976. Most of the events are outdoors and free and include concerts in the parks and a mardi gras.
#
"Canberra Theatre Centre",138,fp5014.jpg,c,0
\IMulti-venue arts centre\i
The Canberra Theatre Centre is a multi-venue arts centre. Its facilities include the 1189 Canberra Theatre, the new state-of-the-art 600 seat Playhouse (which will be opened in March 1998), the 100 seat Courtyard Studio (used for intimate theatre and as a rehearsal space) and the Optus Foyer and Gallery. The wide range of attractions offered include Made to Move - a contemporary dance subscription season, the World's Best Theatre Subscription Season (which includes the highest quality national and international drama and comedy), exhibitions, musicals, puppetry, opera, jazz, chamber music, symphony and big brass bands. Regular hirers of the theatre include The Australian Ballet, Sydney Dance Company and The Bell Shakespeare Company.
\BDescription:\b The Canberra Theatre Centre.
\BPhoto:\b Canberra Theatre Trust.
#
"Cantrill, Arthur 1938- and Corinne 1928-",139,0,g,0
\IFilm directors\i
Born in Sydney and married and working together since the 1950s, the Cantrills are Australia's best known avant-garde film-makers, with a strong reputation overseas. Their work includes many documentaries and short films, as well as some features.
In 1969-70 both were awarded creative fellowships at the Australian National University. Their large output at that time included the feature \IHarry Hooton\b\i (1978), a tribute to a Sydney Push figure of the 1950s. They have been based in Melbourne since 1971. Corinne Cantrill is particularly noted for her film \IIn This Life's Body\b\i (1984). They have produced the regular newsletter \ICantrill's Filmnotes\b\i since 1971. This is concerned mainly with avant-garde and experimental films.
#
"Capitol Theatre, Sydney",140,fp5016.jpg,c,0
\IFirst 'atmospheric' cinema building in Australia\i
Architect Henry E. White based his conversion of Wirth's Hippodrome in Sydney's Haymarket into the Capitol Theatre on sketch plans drawn up by the Austrian-born American architect John Eberson. Built for Union Theatres, the Capitol was an 'atmospheric theatre', with trellises, imitation windows, balconies, urns, statuary, wall lamps, imitation plants and birds around the walls and moving clouds projected onto the blue-painted ceiling, all designed to give the audience the feeling of being in a Florentine-style courtyard with sky above.
The Capitol opened in 1928 as a cinema, the first of several such theatres around the country (the same moulds for the plaster decorations were used in the State Theatre, Melbourne and the Ambassador's Theatre, Perth).
The Capitol has also been used for live theatre. In 1970 it took over as the venue for the Australian Opera after the destruction by fire of Her Majesty's, Sydney, and in 1972 it was the venue for the musical \IJesus Christ Superstar\b.\i The building stood empty and decaying for most of the 1980s, until redeveloped as a 2000-seat lyric theatre for the staging of musicals, opera and ballet; it reopened in January 1995 with the Philippe DecouflΘ Dance Company (as part of the Sydney Festival & Carnivale) followed by the Victoria State Opera's production of \IWest Side Story\b.\i
\BDescription:\b Inside the Capitol Theatre, Sydney.
\BPhoto:\b Capitol Theatre Management.
\BPic2:\b ARTS-15.jpg
\BDescription2:\b Capitol Theatre logo.
\BPhoto2:\b Capitol Theatre Management.
#
"Captain James Cook 1987",141,0,g,0
\ITelevision mini-series, first broadcast 1987\i
This historical series was made on the grand scale. It took several years to produce and had an international cast and international financial backing. The idea was developed by scriptwriter \JPeter Yeldham\j, first in association with a British distributor and later, with his partners Geoffrey Daniels and Ray Alchin, in association with the ABC and Revcom France.
Filmed in Sydney and Tahiti, the series opened with Cook being speared to death in Hawaii and then moved back to cover his three epic voyages to the Pacific including, of course, his exploration of the east coast of Australia. The story is presented in terms of adventure and heroism, with no attempt to analyse the effects of the age of colonialism. Though longer than necessary with its eight one-hour episodes, it rated well for the ABC.
\IProduction company\b\i: ABC and Revcom France
\IExecutive producer\b\i: \JGeoffrey Daniels\j
\IProducer\b\i: \JRay Alchin\j
\IDirector\b\i: Lawrence Gordon-Clark
\IScriptwriter\b\i: Peter Yeldham
\IMajor actors\b\i: \JKeith Michell\j (as Cook), John Gregg (as Joseph Banks), Erich Hallhuber, Jacques Penot, Steven Grives, Peter Carroll, Fernando Rey, Carol Drinkwater, Barry Quin, Emil Minty
#
"Captain Thunderbolt 1953",142,0,g,0
\IFilm, black and white, released 1953\i
The story of the bushranger Frederick Ward (Captain Thunderbolt) was chosen by director \JCecil Holmes\j as the base for an Australian Western. The film falls into the tradition of portraying the bushranger as a popular hero, the victim of class oppression, and builds on Ward's established reputation as a 'chivalrous', non-violent bushranger. It was shot on location in the New England area of New South Wales where Ward operated, and uses the distinctive boulders and other features of that landscape to good effect. First released in Britain and then shown in several overseas countries, it was not released in Australia until four years after its completion.
\IProduction company\b\i: Associated TV
\IProducer\b\i: John Wiltshire
\IDirector\b\i: Cecil Holmes
\IScreenplay\b\i: Creswick Jenkinson
\IMajor actors\b\i: Grant Taylor (as Frederick Ward), \JCharles Tingwell\j, Rosemary Miller, Harp McQuire, John Fegan
#
"Careful, He Might Hear You",143,0,g,0
\IFilm, released 1983\i
Sumner Locke Elliott's autobiographical novel had been considered as a basis for a film by American directors since the 1960s but the rights were finally acquired by Australian producer \JJill Robb\j. The film was shot on location around Sydney with actor \JArthur Dignam\j's son, Nicholas Gledhill, cast in the pivotal role of P.S., the boy at the centre of the story, so-called because he was thought of as a postscript to his mother's life. His mother now dead and his father an unknown larrikin, he lives in the Sydney of the 1930s with his working-class aunt Lila and her husband. His wealthy but neurotic aunt Vanessa arrives from England wanting to take the boy over, and wins a legal custody battle. Rejected by P.S., she eventually accepts that she cannot buy his affection but drowns in a ferry sinking before she can communicate this. P.S. demands to be called by his real name (Bill, for William).
Melodramatic and with an operatic-type music score composed by Ray Cook (which some think overdone), the film did well in the US and Canada as well as at home. It won best film at the 1983 AFI Awards and was a well-received competitor at the Venice Film Festival.
\IProduction company\b\i: Syme Entertainment, New South Wales Film Corporation
\IProducer\b\i: Jill Robb
\IDirector\b\i: Carl Schultz
\IScreenplay\b\i: Michael Jenkins (from the novel by Sumner Locke Elliott)
\IMajor actors\b\i: \JWendy Hughes\j (as Vanessa), \JRobyn Nevin\j (as Lila), Nicholas Gledhill (as P.S.), \JJohn Hargreaves\j (as the father)
#
"Carlton, Richard",144,0,g,0
\I1943-\i
Richard Carlton, Australian television journalist and \I60 Minutes\i reporter, was born in Sydney on 11th July 1943. He worked with the ABC evening current affairs show \IThis Day Tonight\i before joining commercial radio station 2GB in 1976. He returned to ABC television and was stationed in Canberra for a number of years before joining the Nine Network and \I60 Minutes.\i Married twice, he underwent heart by-pass surgery in 1994, with the operation being filmed for \I60 Minutes.\i
#
"Carpenter, Kim",145,0,g,0
\I1950-\i
\ITheatre designer and director\i
Sydney-born Kim Carpenter graduated from NIDA in 1969 and in 1970 went first to the Old Tote as resident designer and then on to London to postgraduate studies at the English National Opera Design School. In 1977 he was the first Australian to work at the international art centre, Artelier Artistique Internationale de Seguret, which Pablo Picasso helped establish in 1955.
In 1979 Carpenter was appointed joint artistic director of the Nimrod Theatre Company, along with \JNeil Armfield\j, following the departure of \JRichard Wherrett\j to the newly-formed Sydney Theatre Company. One of his first undertakings at the Nimrod in 1979 was to design the sets for \IThe Life of Galileo\b\i, starring \JJohn Gaden\j. He devised, directed and designed \ISlice\b\i in 1980, one of his first attempts at theatre of image.
In 1981 he received the Louden Sainthill Award to study theatre of image in Europe and the United States. An Australia Council grant in 1982 enabled him to work with Robert Wilson on an experimental production of \IMedea\b\i in New York; on returning to Australia he adapted poems by \JDorothy Hewett\j in a show called \IRapunzel in Suburbia\b\i for the \JMarionette Theatre of Australia\j in 1983. In 1986 he was responsible for a theatrical interpretation of David Malouf's \IImaginary Life\b\i at Belvoir Street Theatre.
In 1988 Carpenter formed a new theatre company, Theatre of Image, with himself as artistic director. In the same year World Expo 88 commissioned \IThe Sky Wizard\b\i, which used movement, puppetry and film and featured original music by David Chesworth, formerly of 'The Sports'; Carpenter was its deviser, director and designer.
The 1990s began for Carpenter with \ISwimming in Light . . . The World of Lloyd Rees\b\i, with original music by Sarah de Jong, which he devised, directed and designed. In 1991 Theatre of Image presented an updated version of the Grimms' fairytale \IHansel and Gretel\b\i at Belvoir Street Theatre. Carpenter has also worked with \JGraeme Murphy\j and the Sydney Dance Company.
#
"Carroll, E.J. 1868-1931 and Dan 1886-1959",146,0,g,0
\IFilm distributors and producers\i
E.J. Carroll became one of the earliest exhibitors to find the film industry lucrative when he bought the Queensland rights to \IThe Story of the Kelly Gang\b\i (1906) and toured that state with it. In 1908 he co-produced \J\IFor the Term of his Natural Life\j\b\i and \IThe Squires-Burns Fight\b\i and in that year formed a distribution partnership with his brother Dan. They also continued to produce films, playing a substantial part in the film industry of the day. They joined with Snowy Baker in 1919-20 for several productions and E.J. Carroll alone produced \J\IOn Our Selection\j\b\i (1920) and \IRudd's New Selection\b\i (1921). After E.J.'s death, Dan continued the exhibition business until his own death.
#
"Carroll, Matt",147,fp5028.jpg,c,0
\I1944-\i
\IFilm and television producer and executive\i
Born in New South Wales, Carroll first planned to be an architect, but decided early on a change of career. He went into television, working as assistant director on the series \ISpyforce\b\i and \J\ISkippy\j\b\i while still an architecture student.
He began producing films in 1972 when he formed Kolossal Pictures with \JJim Sharman\j and from 1973 to 1982 was on the board of the South Australian Film Corporation. His films include \J\ISunday Too Far Away\j\b\i (1975, co-producer), \J\IStorm Boy\j\b\i (1976) and \J\IBreaker Morant\j\b\i (1980).
Carroll was executive producer for Network Ten in the early 1980s and then formed a production company with Greg Coote which in 1984 joined with the distribution company Village Roadshow to form Roadshow, Coote and Carroll of which Carroll was managing director. This company was involved in many television series, including the successful ABC co-productions \IThe True Believers\b\i (1988) dealing with rises and falls in Australian politics from 1945-55, \J\IGP\j\b\i (began 1989), and \J\IBrides of Christ\j\b\i (1991). Carroll prides himself on having had a particularly close relationship with \IGP,\b\i with its exploration of current social issues. Less successful were the 1990 film \ITurtle Beach,\b\i the two-part telemovie \IFrankie's House\b\i (1992), and the television series \ILaw of the Land,\b\i about a disillusioned lawyer, shown on the Nine Network in 1993.
In 1995 Matt Carroll launched his own independent production company, Matt Carroll Films, and completed the film \IDiana & Me\i (1996) starring Toni Collette.
\BDescription:\b Matt Carroll.
\BPhoto:\b Matt Carroll Films.
#
"Cars That Ate Paris, The",148,0,g,0
\IFilm, released 1974\i
Based on an idea that came to director \JPeter Weir\j while driving in France, the storyline of this film follows the fortunes of Arthur Waldo, a motorist recovering from a car accident in the fictional New South Wales town of Paris where, as he comes to realise, the inhabitants live by scavenging from cars which they have deliberately caused to crash. Though praised highly by critics as original, exciting and humorous, it enjoyed little box office success in Australia, but did quite well in Britain and became something of a cult film in Paris.
\IProduction company\b\i: Salt Pan Films, Royce Smeal Film Productions
\IProducers\b\i: Hal and \JJim McElroy\j
\IDirector\b\i: Peter Weir
\IScreenplay\b\i: Peter Weir, Keith Gow, Piers Davies
\IMajor actors\b\i: Terry Camilleri (as Arthur Waldo), \JJohn Meillon\j, Melissa Jaffer, Kevin Miles, \JMax Gillies\j
#
"Carson, Michael",149,0,g,0
\I1947-\i
\ITelevision director and producer\i
Carson has directed for ABC television drama since the 1970s where his credits include the historical mini-series \ILoss of Innocence\b\i (1978); \IThe Oracle\b\i (1979), a series about contemporary life as seen through the life of a talkback radio announcer; the historical series \IThe Timeless Land\b\i (1980); the social problem mini-series \IIntimate Strangers\b\i (1981), which he also produced; the long-running \J\IGP\j\b\i (began 1989); the crime series \IPhoenix\b\i (began 1991); the very successful \J\IPolice Rescue\j\b\i (began 1992).
He won the 1993 AFI Award for television drama direction for the 'Whirlwind' episode of \IPolice Rescue\b\i. He also conceived and produced the highly acclaimed \J\IScales of Justice\j\b\i (1983) for the ABC. Other television directing credits include the Nine network's political mini-series \IThe Petrov Affair\b\i (1987), Crawfords' adventure mini-series \IJackaroo\b\i (1990) and the ABC legal series \IJanus\b\i (1994). He also directed the spin-off feature film \IPolice Rescue\b\i (1994), which was not as highly rated as the television series.
#
"Cartwright, Del",150,0,g,0
\I1921-87\i
Del Cartwright, Australian media personality, was born in 1921. She was the first woman to appear on Australian television with the show \IYour Home\i in 1956. She also worked for 2UW and 2CH. When her television show \IFamily Circle\i finished in 1976, she managed a shopping complex and worked as a club compare and beautician. She died from cancer in the Royal North Shore Hospital, Sydney on 18th February 1987, aged 65. She was a close friend of media personality Bernard King.
#
"Casey, Ron",151,0,g,0
(1929- )
Ron Casey, controversial Australian radio and television personality, was born Ronald Arthur Casey at Lismore in northern New South Wales on 5th July 1929. From 1952-58, he ran a number of sports magazines such as \IRing Digest\i before becoming a television sports commentator with the Nine Network in the late 50s. He became Sydney's first open line talk back personality when he took calls live to air while at 2SM in the 60s. After over 20 years with the Nine Network, he joined Channel 10 in the late 70s.
He also worked at radio 2KY in 1979 and was disciplined by the Australian Broadcasting Tribunal, after making controversial comments during his radio show in 1988. In 1988, he also had on-screen disagreements with Jana Wendt and Normie Rowe.
He married his second wife, German girl Renate Langkusch, on 10th July 1966. In 1994, he joined 2GB for the afternoon show, was promoted to mornings, left, was re-hired in 1997, and then left again.
#
"Caswell, Robert",152,0,g,0
\IFilm and television writer and producer\i
Caswell began writing television game shows in 1967, progressed to television comedy in 1968, television serials \I(Number 96\i et al) in 1971, television series in 1973 \I(Certain Women, Matlock Police\i et al, and on through to \IPatrol Boat),\i a television play \IThe Forward Pack\i in the late 1970s, \IJimmy Dancer for the Spring and Fall\i series (1980), \IScales of Justice\i (1982) then \IShout\i and later \IChildren of the Dragon.\i
He wrote the feature films \IAbba the Movie, Evil Angels, The Doctor\i and \IOver the Hill\i and currently works in Hollywood.
He has been a creative advisor at Sundance since 1988 and filled the role of artistic director (Screenwriters Lab) in 1997.
#
"Certain Women",153,0,g,0
\ITelevision series, broadcast 1973-77\i
This adult soap opera grew from a mini-series devised by Glyn Davies and written by \JTony Morphett\j with the aim of moving away from male-dominated action series and exploring the relatively new women's movement. Each of the initial six plays concentrated on one woman from the same western Sydney suburban family: Dolly, a traditional housewife; her two daughters, Frieda, a career lawyer, and Jane, a housewife; Jane's three daughters, Margery, married and a career woman, Helen, a university student of radical persuasion, and Gillian, a school student and model. The series followed these characters further, exploring their relationships and problems. It was shown in hourly episodes once a week and spanned the black-and-white and colour television eras, the last 100 out of the 160 series episodes being made in colour. It was one of the early successes for the ABC in the field of popular drama.
\IProduction company\b\i: ABC, Sydney
\IExecutive producers\b\i: David Cahill, \JJulian Pringle\j, \JEric Taylor\j
\IProducer\b\i: Glyn Davies
\IDirectors\b\i: \JBruce Best\j, David Cahill, John Croyston, Rob Stewart
\IScriptwriters\b\i: Devised by Tony Morphett following Glyn Davies' original concept; other writers: \JAnne Brooksbank\j, Laura Jones
\IMajor actors\b\i: \JQueenie Ashton\j (as Dolly), \JJune Salter\j (as Frieda), Joan Bruce (as Jane), Jenny Lee (as Margery), \JJudy Morris\j (as Helen), Elisabeth Crosby (as Gillian), Christine Amor, Matthew Crosby, Carmen Duncan, Kay Eklund, Rosalie Fletcher, \JRon Graham\j, Anne Haddy, Harold Polson, \JShane Porteous\j, Joanne Samuel, Brenda Sanders, \JBruce Spence\j, \JPeter Sumner\j, \JCharles Tingwell\j, Brian Wenzel
#
"Chambers, Joy",154,0,g,0
\I1944-\i
Joy Chambers, Australian television personality, author and wife of television games show producer Reg Grundy, was born in Ipswich, Queensland in 1944. She appeared on a number of Grundy's television shows, such as \ITell the Truth\i, and \II've Got a Secret\i. She married Reg Grundy in 1973 and now lives in Bermuda where she writes novels. Her first book released in 1993 was called \IMayfield\i.
#
"Chant of Jimmie Blacksmith, The",155,0,g,0
\IFilm, released 1978\i
\JFred Schepisi\j's adaptation of the fact-based novel by Thomas Keneally was the second Australian film after \IWake in Fright\b\i to be accepted for competition at the Cannes Film Festival, where it appeared shortly before its Australian release. It deals with racism and tells of the gradual alienation of a young half-caste Aborigine, brought up by white foster parents, and the events that lead to him becoming a mass murderer in revenge for the wrongs done to his people. Commercially not very successful, it remains a highly considered film.
\IProduction company\b\i: The Film House, in association with the Australian Film Commission, Victorian Film Corporation, Hoyts
\IProducer and director\b\i: Fred Schepisi
\IScreenplay\b\i: Fred Schepisi (from the novel by Thomas Keneally)
\IMajor actors\b\i: Tommy Lewis (as Jimmie Blacksmith), Freddy Reynolds, \JRay Barrett\j, \JJack Thompson\j, Angela Punch-McGregor, Steve Dodds, Peter Carroll, \JRuth Cracknell\j, Don Crosby
#
"Chapel Perilous, The",156,0,g,0
\IPlay, first produced 1971\i
\JDorothy Hewett\j creates a sexually aggressive heroine, Sally, in her play \IThe Chapel Perilous\b\i. A poet, this woman wants to live her life to the full, experiencing everything as fodder for her art. Unfortunately her world is peopled with those in authority who want to undermine an individual of such strength. Her life turns full circle and at the end of the play she returns to where she began: the chapel of her schoolgirl years.
\IFirst produced\b\i: The New Fortune Theatre (an open-air venue in Perth), 1971
\IOther major productions\b\i: Old Tote, 1974
#
"Chaplin, Angela",157,0,g,0
\ITheatre director\i
Western Australian-based Chaplin studied and taught in Victoria where, from 1981 to 1985, she was a member of the Mill Theatre Company at Geelong, working as an actor and a director as well as helping to run the company's community theatre program. She was appointed artistic director of Melbourne's Arena Theatre Company in 1985 and during her years with the company directed more than twenty productions including Sophocles' \IOur Antigone\b\i (1986), Julianne O'Brien's \IThe Woman There\b\i (1987, 1988) and \IThe Rainbow Warrior\b\i (1988).
From 1988 to 1990 Chaplin was artistic director of Adelaide's Magpie Theatre Company (State Theatre Company of South Australia) where her productions included Julianne O'Brien's \ICouple of Kids\b\i (1989) for the Come Out Theatre Festival and Andrea Dunbar's \IThe Arbor\b\i (1990) for the Adelaide Festival of the Arts. In 1991 Chaplin became artistic director of Deck Chair Theatre in Perth, Western Australia, one of Australia's leading contemporary drama companies, where she has directed \IEmma\b\i (1991, 1992, 1993) by Graham Pitts, \IBarmaids\b\i (1991) by Katherine Thomson, \IMy Spiritual Dreaming\b\i (1993) by Eddie Bennell and \IEdge\b\i (1994) by Graham Pitts.
Chaplin's other directing credits include \IBarmaids\b\i (1992) for Sydney's Belvoir Street Theatre, \JLouis Nowra\j's \ISummer of the Aliens\b\i (1993) for the Sydney Theatre Company and \IViva la Vida\b\i for Melbourne's Handspun Theatre.
#
"Chapman, Jan",158,0,g,0
\I1949-\i
\IFilm and television producer\i
Sydney-born Chapman began working in films in the early 1970s as a director at the Sydney Film-Makers Co-op. Significantly, in the light of her later reputation as a feminist film-maker, her first work was titled \II Just Happen To Be A Girl\b\i. She later made independent shorts and directed documentaries for the ABC as well as an episode of \ILearned Friends\b\i (1983), a situation comedy about lawyers. Chapman then moved into producing with several successful ABC television drama series, including \ISweet and Sour\b\i (1984) and \J\ICome in Spinner\j\b\i (1990, which won the 1990 AFI Award for best mini-series).
In 1986 she produced the telemovie \ITwo Friends\b\i on which she worked with director \JJane Campion\j and writer \JHelen Garner\j. This was followed by the feature film \IThe Last Days of Chez Nous\b\i (1991), also written by Garner, which received a mixture of high praise and criticism--some found it aimed too directly at appealing to feminist women. Chapman teamed up again with Campion and produced \IThe Piano\b\i (1993) which shared the Palme d'Or at the 1993 Cannes Film Festival.
#
"Chapman, Penny",159,fp5026.jpg,c,0
\I1949-\i
\ITelevision producer\i
After studying political science at university Sydney-based Chapman entered the film-making world. She set up a women's unit for the South Australian Film Corporation (SAFC) and then in 1983 joined the Australian Film Commission where she was involved in the financing and developing of television productions such as Roadshow Coote and Carroll's \IThe True Believers\b\i (1988) and the SAFC's \IThe Shiralee\b\i (1988). In 1989 she became head of television drama for the ABC. She initiated and was closely involved in the development of the very successful \J\IBrides of Christ\j\b\i (1991).
Other ABC productions for which she has been executive producer include the long-running serial \J\IGP\j\b\i (began 1989), the historical/social investigative mini-series \IThe Leaving of Liverpool\b\i (1992), the popular series \J\IPolice Rescue\j\b\i (began 1992), the anthology of plays \ISeven Deadly Sins\b\i (1993), the innovative Aboriginal drama series \IHeartlands\b\i (1994) and the comedy series \IThe Damnation of Harvey McHugh\b\i (1994). During her time as head of drama, the ABC has continued in the direction of co-productions with either local or overseas producers, a move begun by her predecessor, \JSandra Levy.\j
\BDescription:\b Penny Chapman.
\BPhoto:\b ABC and Penny Chapman.
#
"Chater, Gordon",160,gchater.jpg,c,0
\I1922-\i
\IStage and television actor\i
London-born Gordon Chater arrived in Australia in 1946 and worked as both a straight and comic radio performer in Sydney in the 1950s. In 1952 he received the Macquarie Award for comedy performance in radio. During the 1950s and early 1960s he appeared in a number of \JPhillip Street Theatre\j revues, including \ITop of the Bill\b\i (1955), \IAround the Loop\b\i (1958) and \IAt It Again\b\i (1961, at the New Phillip Street Theatre).
His role as one of the stars of the satirical television series \IThe Mavis Bramston Show\b\i, which began in 1964, brought him national recognition and further television shows: \IMy Name's McGooley--What's Yours?\b\i (for which he received a Gold Logie in 1965), \IThe Gordon Chater Show\b\i (1968) and \ISnake Gully with Dad and Dave\b\i (1968), all of which ran on the ATN-7 television network. His continuing stage work included \IThe Chalk Garden\b\i with British actor Sybil Thorndike; \IYou Know I Can't Hear When the Water's Running\b\i (1969, Playbox Theatre); \IIt's Underneath That Counts\b\i with British actor Miriam Karlin which toured the United Kingdom; and revues at the Chevron Hotel in Sydney.
In 1976 Chater received acclaim for his performance in Steve J. Spears' one-man play \IThe Elocution of Benjamin Franklin\b\i, first at the Nimrod Theatre, Sydney, and subsequently in London, San Francisco and New York. For this role he received the National Critics' Award in Australia, in New York an OBIE (Off-Broadway) award for best actor and a nomination for the \IEvening Standard\b\i Award in London. He settled in New York in 1979, returning periodically to Australia for productions such as \IThe Dresser\b\i (1981), \ICorpse\b\i (1986) and \IThe Importance of Being Earnest\b\i (1990-91). He moved back to Australia permanently in 1990.
In 1992 Chater appeared in the film \IThis Won't Hurt a Bit\b\i and in the following year in the play \ILady Bracknell's Confinement\b\i, staged at the Melbourne Festival. He now lives in retirement on the Gold Coast, Queensland.
\BDescription:\b Gordon Chater \I(Fairfax Photo Library)\i
#
"Chauvel, Charles",161,cchauvel.jpg,c,0
\I1897-1959\i
\IFilm producer and director\i
Born in Warwick, Queensland, into one of the area's pastoral dynasties, Chauvel escaped from rural life and became part of the demimonde of Sydney art studios. He gained a stand-in horseriding part in a film which brought him to the attention of Snowy Baker, who had developed connections with the acting world in the United States. Baker took Chauvel on a tour of America as a bit-part actor.
After his return to Australia in 1923 he raised funding to set up his own film company. His first feature, \IThe Moth of Moombi\b\i, was released in 1926, followed by \IGreenhide\b\i in the same year. Though fairly roughly made, they showed an original approach to direction, with characters given some depth and the Australian landscape looked at from a fresh angle. Chauvel married the star of \IGreenhide\b\i, Elsa Sylvaney, and they went to Hollywood to study film production. They worked closely together for the rest of Chauvel's career.
Returning to Australia in 1929, Chauvel was determined to make Australian film-makers aware of the importance of the American market. In 1932 he formed Expeditionary Films and made his first sound film, \IIn the Wake of the Bounty\b\i, which combined historical reconstruction with contemporary documentary and gave \JErrol Flynn\j his first acting role. The film became the first Australian sound feature to be released in the United States, though in fragmented form, parts being used as shorts to promote the American production \IMutiny on the Bounty\b\i (1935).
But Chauvel is most remembered for his later film epics, which make statements about the building of the Australian nation and are regarded as classics of the Australian cinema. These include \J\IForty Thousand Horsemen\j\b\i (1941), \IThe Rats of Tobruk\b\i (1944), \ISons of Matthew\b\i (1949) and \J\IJedda\j\b\i (1955). The last, made at a time when the Australian film industry was at a virtual standstill, was a particularly original and courageous undertaking, made by a public company floated by Chauvel. It led to a commission for the Chauvels to make the very successful television documentary series \IWalkabout\b\i (1958) for the ABC and the BBC in Britain.
In 1993 a special award for achievement was inaugurated at the Brisbane International Film Festival and was named the Chauvel Award.
\BDescription:\b Charles Chauvel \I(Fairfax Photo Library)\i
#
"Chauvel, Elsa",162,0,g,0
\I1898-1983\i
\IFilm actor, scriptwriter and producer\i
Born in Brisbane as Elsa Sylvaney, and raised in South Africa, Elsa starred in \JCharles Chauvel\j's \IGreenhide\b\i (1926), and in the following year they were married. Elsa became a partner in his company and was also a scriptwriter. She was co-writer with her husband of the films \J\IForty Thousand Horsemen\j\b\i (1941), \IThe Rats of Tobruk\b\i (1944), \ISons of Matthew\b\i (1949) and \J\IJedda\j\b\i (1955).
#
"Cherry Pickers, The",163,0,g,0
\IPlay, first produced 1971\i
Kevin Gilbert claims his play \IThe Cherry Pickers\b\i is the first play written by an Aboriginal Australian to truly reflect aspects of his people's experience. The play features a group of Aborigines who have gathered together for the cherry-picking season. They are troubled by the fact that their leaders are dead or dying, their numbers are dwindling and their tribal lifestyle is under attack. It is for them to decide whether to cling to their ancient ways or whether to live as white Australians. They examine many areas of importance, such as the topical issue of Aboriginal land rights, ending with a positive call to fight for what they believe.
\IFirst workshopped\b\i: The Mews Theatre, Sydney 1971
\IFirst performed\b\i: By Fitzroy-based Nindethana Players, 1971
#
"Child, Eric",164,0,g,0
\I1910-95\i
Eric Child, Australian radio announcer with the ABC, was born in London on 27th April 1910. He played drums in a dance band in Kent in the 1930s and hosted a half hour jazz program on the BBC in 1936, before joining the merchant navy as a radio officer as war loomed in 1939. His ship was torpedoed by a Japanese submarine in the Java Sea on the February 1942. Floating on a drum, he and fellow crew member, John Gorton, a future Prime Minister, were rescued.
Child stayed in Australia serving with the Royal Australian Navy and later joined 2GZ in Orange at wars end. He joined the ABC in Brisbane, and in 1952 was discovered as a jazz buff and given a coast-to-coast show called \IThe World of Jazz.\i He died in Sydney on 23rd April 1995, aged 84.
#
"Chilvers, Simon",165,fp5020.jpg,c,0
\I1935-\i
\IActor of stage, film and television\i
Melbourne actor Simon Chilvers joined the Melbourne Theatre Company (the MTC, then known as the Union Theatre Repertory Company) in 1962 and was a permanent member until 1982. His stage work with the MTC includes \IThe Crucible,\b\i \ICuckoo in the Nest,\b\i \IBlithe Spirit,\b\i \IThe Government Inspector,\b\i \IUncle Vanya,\b\i \IAnd the Big Men Fly\b\i (1988) and \INo Going Back\b\i (1992).
As a director, his work for the MTC includes \IThe Club,\i \IThe Last of the Knucklemen,\i \IThe Tavern, Arsenic and Old Lace, Hedda Gabler, The Man Who Came to Dinner, Shindig, The Matchmaker, The London Cuckolds, Old Flames\i and \ILondon Assurance.\i
His acting work for the Sydney Theatre Company includes \IA Happy and Holy Occasion\b\i (1982); \IThe Cherry Orchard\b\i (1983); \IMasterclass\b\i (1984), which premiered at the Adelaide Festival, and for which Chilvers received the Melbourne Green Room Award for best actor in a supporting role; \IPericles\b\i (1987); \ISixteen Words for Water\b\i (1991); \IDead White Males; Coriolanus; Into the Woods; The Mikado; Byzantine Flowers; A Lie of the Mind; Gulls;\i and \IHeartbreak House.\i
His film appearances include \IHigh Rolling\b\i (1977), \IAnnie's Coming Out\b\i (1983), \IBuddies\b\i (1984), \ISky Pirates\b\i (1985), \IThe Big Hurt\b\i (1986), \IWindrider\b\i (1986), \IGround Zero\b\i (1987), \IGarbo\b\i (1990) and \IMushrooms.\i
He has appeared in several television shows, including \IThe Dunera Boys\b\i (1986) for which he won both an AFI Award for best actor in a mini-series and a Penguin Award for best actor in a supporting role, \IThe True Believers,\i \IRafferty's Rules,\i \IFallen Angels, Janus, The Damnation of Harvey McHugh, The Time Game, Minder, Cluedo, Ratbag Hero, GP\i and \IThe Cowra Breakout.\i
\BDescription:\b Simon Chilvers.
\BPhoto:\b Barbara Leane and Assoc.
#
"Christian Brothers, The",166,0,g,0
\IPlay, first produced 1975\i
\JRon Blair\j uses a lesson format for his seminal play \IThe Christian Brothers\b\i. The dominating lone character, a middle-aged teaching Christian Brother, faces a classroom of imaginary pupils represented by a single chair which is occasionally bashed and kicked as his temper flares. During the course of the 65-minute lesson, which incorporates snippets of English literature, history, French, Christian doctrine and physics, there are breaks for prayers, rantings about keeping the faith and staying ahead of the devil in a breakneck mixture of bullying and clowning. Blair presents impressions of many aspects of 1952 education and religious practices in a masterly use of theatre.
\IFirst performed\b\i: At Sydney's Nimrod Theatre, 1975; directed by \JJohn Bell\j and acted by Peter Carroll. The production toured Australia, New Zealand and London
\IOther major productions\b\i: Return season at Nimrod, 1976; the Playbox, Melbourne, 1978; Riverside Studios (1979); Melbourne Theatre Company (1984-85); Twelfth Night Theatre (1991); Q Theatre (transferred to the Ensemble Theatre) (1991-92); Theatre South, Wollongong (1991)
#
"Cilento, Diane",167,0,g,0
\I1934-\i
\IActor and film producer\i
Diane Cilento was born in Brisbane into a noted Australian medical family. In 1946 she went to New York to study drama at the American Academy of Dramatic Art and later studied at the Royal Academy of Dramatic Art in Britain. Her stage performances in London include the hit show \IThe Big Knife\b\i. Her roles in British films include \IThe Angel Who Pawned Her Harp\b\i (1954), \IThe Admirable Crichton\b\i (1957) and a supporting role in \ITom Jones\b\i (1963), for which she received an Oscar nomination. In Australia her films include \IDuet for Four\b\i (1981), \IThe Boy Who Had Everything\b\i (1984) in which she played the role of mother to her real-life son Jason Connery (whose father, Scottish actor Sean Connery, was her first husband) and the television film \IFor the Term of His Natural Life\b\i (1983).
Cilento has been based in northern Queensland since the mid-1970s, following her marriage to English playwright Anthony Shaffer. She has recently succeeded in establishing the Karnak Playhouse, near Port Douglas, northern Queensland.
#
"Cinesound",168,0,g,0
\IFilm production studio established in 1931\i
Cinesound Productions Ltd was formed as a subsidiary of the distribution company Greater Union to take over the film production role of Australasian Films. In the 1930s, with \JKen G. Hall\j as general manager, the studio was at the centre of feature film production in Australia. Noted films include \J\IOn Our Selection\j\b\i (1932), \IThe Squatter's Daughter\b\i (1933), \IThe Silence of Dean Maitland\b\i (1934), \IStrike Me Lucky\b\i (1934), \ITall Timbers\b\i (1937), \J\ILet George Do It\j\b\i (1938) and \IDad Rudd\b\i (1940), all directed by Hall. Other key staff were editor Bill Shepherd, musical directors Hammy Webber and Henry Krips and art directors Eric Thompson, Fred Finlay and J. Alan Kenyon.
A division of the company, Cinesound Newsreels, was established in 1932, also under the management of Hall, and along with Movietone News (controlled by 20th Century Fox) dominated Newsreel and documentary production in Australia.
After 1940 Greater Union was no longer prepared to take the risk of producing Australian feature films and Cinesound became almost solely a producer of documentaries and newsreels, though it did make \ISmithy\b\i in 1956 under contract to Columbia Pictures. Ken Hall resigned in 1956. In the 1960s, as television ownership became widespread, both Cinesound and Movietone found their market dwindling. In 1970 Cinesound News merged with Movietone to become Cinesound Movietone Productions. It ceased production in 1975.
#
"Civic Theatre, Wagga Wagga",169,0,g,0
\ICity council-owned regional performing arts venue\i
The Civic Theatre, which opened in 1963, was built by the City of Wagga Wagga Council using funds donated by the local School of Arts, and was the first of a number of performing arts venues built by municipal authorities in areas outside capital cities. It has a capacity of 480 in tiered seating, fly tower, lighting and sound equipment. The Civic has played host to a wide spectrum of companies and performers including the Sydney Symphony Orchestra, pianist Roger Woodward, jazz player James Morrison and singers Kamahl and Slim Dusty.
#
"Clark, John",170,0,g,0
\ITheatre director\i
Tasmanian-born Clark attended the University of Tasmania and the University of California before directing his first play, \IDeath of a Salesman,\b\i for the Hobart Repertory Theatre in 1959. In the same year he was invited to teach at the newly established National Institute of Dramatic Art in Sydney. Clark has directed over 30 productions for the school, including \IThe Merchant of Venice\b\i, \IThe Country Wife\b\i, \IA Midsummer Night's Dream\b\i, \ITwelfth Night\b\i, \ISpring Awakening\b\i, \IStreet Scene\b\i, \IThe Greeks\b\i, \IThe Rover\b\i and, most recently, a graduation production of \IMiss Julie\b\i in 1995. From 1963 to 1977 he directed \IThe Bald Prima Donna\b\i, \IThe Fire Raisers\b\i, \IWho's Afraid of Virginia Woolf\b\i, \IEntertaining Mr Sloane\b\i, \IThe Representative\b\i, \IThe Homecoming\b\i, \IChildermas\b\i and \IThe Alchemist\b\i for the \JOld Tote Theatre Company\j in Sydney.
Clark was appointed director of NIDA in 1969. In the same year he established the Jane Street Theatre Company to produce regular seasons of new Australian plays such as Michael Boddy's \IThe Legend of King O'Malley\b\i, \JDavid Williamson\j's \J\IDon's Party\j\b\i and Steele Rudd's \IOn Our Selection\b\i. In 1979, Clark was invited to become the first artistic advisor to the Sydney Theatre Company and he directed \IThe Caucasian Chalk Circle\b\i for the inaugural season. Clark has directed plays in New Delhi and California and in 1992 taught acting in South Korea. Clark directed \ICalliper\b\i (1991), \IVassa\b\i (1992) and \IDead Heart\b\i for the NIDA company.
He was a member of the Board of Directors of the Northside Theatre Company in Sydney from 1983 until 1989 and during 1986 and 1987 was a member of the management committee of the Northern Territory Theatre Company. Clark was awarded a Member of the Order of Australia for his services to theatre in 1981.
#
"Clifford, Colleen",171,0,g,0
\I1898-1996\i
\IStage, television and film actor; director and teacher\i
Born in England, Colleen Clifford had worked extensively on the stage and in radio and television when she came to Australia in the 1950s. She founded the Theatre Guild of Perth and produced and performed in many plays there, as well as teaching actors and performers. Her television work in Australia includes appearances in many serials and series including \ICase for the Defence\b\i, \IChopper Squad\b\i, \IThe Young Doctors\b\i, \IA Country Practice\b\i, \IRafferty's Rules\b\i, \I1915\b\i and \J\IMother and Son\j\b\i. Her films include \J\ICareful, He Might Hear You\j\b\i (1983, as Ettie), \IThe Coca-Cola Kid\b\i (1985, as Mrs Haversham) and \IThe Year My Voice Broke\b\i (1987, as Gran Olsen).
#
"Climpson, Roger",172,0,g,0
\I1931-\i
Roger Climpson, Sydney television newsreader and actor, was born on 18th October 1931 at Peterborough in England. He worked for many years as newsreader with ATN-7 in Sydney and retired in 1982 to concentrate on his family business. However, after a stint in acting, he rejoined the Seven Network in January 1989 as the main evening newsreader with Ann Sanders, and went solo in 1990, coming second in all surveys behind the Nine Network's Brian Henderson.
He resigned on 20th January 1995 after revealing he was recovering from prostate cancer. He later became a public spokesman for the Prostate Prevention Association. In 1997, he returned to Channel 7 to host \IAustralia's Most Wanted.\I
#
"Club, The",173,0,g,0
\IPlay, first produced 1977; film, released 1980\i
\B1.\b\i \JDavid Williamson\j's play, \IThe Club\b\i, tackles the rough and tumble world of Australian Rules football. In the new world order of monetary pragmatism, players are being bought and sold for large sums of money. This cold professionalism strikes at the heart of the old-guard approach which values old loyalties. What price should the club and its members have to pay in order to win the highly-prized premiership?
\IFirst produced\b\i: The \JMelbourne Theatre Company (MTC)\j, 1977, at the Russell Street Theatre; directed by \JRodney Fisher\j
\IOther major productions\b\i: Kennedy Centre, Washington, 1978; on Broadway, 1978; Nimrod Theatre production, first at Nimrod, transferring to the Theatre Royal and finally to London, 1980
\B2.\b\i The fourth of David Williamson's plays to be translated to the screen, this did not have the success of its immediate successor, \IDon's Party\b\i, being less cinematic.
\IProduction company\b\i: South Australian Film Corporation and NSW Film Corporation
\IProducer\b\i: \JMatt Carroll\j
\IDirector\b\i: \JBruce Beresford\j
\IScreenplay\b\i: David Williamson (based on his play)
\IMajor actors\b\i: \JJack Thompson\j, \JGraham Kennedy\j, Harold Hopkins, John Howard, Alan Cassell, Maggie Doyle
#
"Cobb, Dita",174,0,g,0
\I1923-91\i
Dita Cobb, former Australian radio and television personality, was born Editha Brenner on 26th August 1923 in Cologne, Germany, the daughter of a wealthy Jewish businessman who ran a photographic company known as Photo Brenner. Her family fled the Nazis and Dita was sent to Belgium where she was raped by a farmer. After she reported the incident she was sent back to Germany where she was imprisoned in Dacau concentration camp.
She married four times, her first ended in turmoil, her second was bigamous on his part, and her third marriage was to Baron Kurt von Wolfe, with whom she migrated to Melbourne in April 1950, before they divorced in 1956. Her fourth husband was Australian artist Jim Cobb. She had started her radio career in Germany, and continued it with the ABC in the 1950s. Her outrageous style in the 1960s earned her a legion of fans on 2GB and Channel 7's \IBeauty and the Beast.\i
She wrote a long running column for the Australian \IWomen's Weekly\i called 'Ask Dita', and was renowned for the 1969 incident at Chequers in Sydney in 1969 when she tipped a bucket of ice over disk jockey Ward Austin to keep him quiet. From 1975 until 1978, she lived in the United States. She died in Sydney on 13th July 1991, aged 68.
#
"Coleman, Jonathan",175,0,g,0
\I1956-\i
Jonathan Coleman, Australian and British television and radio personality, was born in London on 29th February 1956. He came to Australia when he was nine, and ten years later started out as a reporter on Simon Townsend's \IWonder World.\i He later co-hosted \IHave a Go\i on the Seven Network, and worked on night time radio for 2JJJ and 2MMM and breakfast radio for 2SM. In 1988-89, he hosted a Saturday rock show on Network 7 called \ISaturday Morning Live.\i
On 7th January 1990, he married his sweetheart of nine years, television commercial producer Margot Fitzpatrick. Later the same year he went to England to host the television show \ISwing Shift\i for British satellite television. In 1992 he co-hosted a US cable television show, \IWas Born Lucky,\i and in 1993 he joined the Virgin radio station 1215 in London. In 1996 he started a cooking show for men called \IThe Larder Lads.\i
#
"Collette, Toni",176,0,g,0
\I1972-\i
Toni Collette, Australian actress, was born in Sydney on 1st November 1972, and raised in Blacktown. She got her taste for the theatre after appearing at a Blacktown High School version of \IGodspell\i. She studied for two years with the Australian Theatre for Young People and quit school at 16 to join NIDA. She started out with guest roles on television in \IGP\i and \IA Country Practice\i and the film \ISpotswood\i. She came to fame in 1994 in \IMuriel's Wedding\i for which she won the 1994 AFI Best Actress Award. Her other films include \ICosi,\i \ILillians Story\i, \IThe Pallbearer\i and \IEmma\i.
#
"Come In Spinner",177,0,g,0
\ITelevision mini-series, first broadcast 1990\i
Set in Sydney during World War II, this mini-series centres around the lives of three women working in a beauty salon in a luxurious hotel well patronised by the American military. The story of Clare, Deb and Ginny reflects the glamour as well as the anxieties of wartime and provides a strong narrative interest as well as showing clear feminist concerns. The series was based on the 1951 novel by Dymphna Cusack and Florence James. James acted as a script consultant and even appeared in the series as an extra. The four one-hour episodes were shown over two nights on the ABC and won a wide audience. The series won three AFI Awards in 1990--for best mini-series, best television direction (Robert Marchand) and best television actress (Rebecca Gibney).
\IProduction company\b\i: ABC
\IExecutive producer\b\i: \JSandra Levy\j
\IProducer\b\i: \JJan Chapman\j
\IDirector\b\i: Robert Marchand
\IScriptwriters\b\i: \JNick Enright\j, Lissa Benson (based on the novel by Dymphna Cusack and Florence James)
\IMajor actors\b\i: Lisa Harrow (as Clare), Kerry Armstrong (as Deb), Rebecca Gibney (as Ginny), Justine Clarke, \JGary Sweet\j, Gary Day, Rhys McConnochie, Rebecca Smart, \JMartin Vaughan\j, Bryan Marshall
#
"Comedy Theatre, Melbourne",178,0,g,0
\ITheatre presenting wide range of work\i
The Comedy Theatre stands on the site of George Coppin's Olympic Theatre on the corner of Exhibition and Lonsdale streets, Melbourne. It was built for the Tait brothers as a headquarters in Melbourne for J.C. Williamson's, and opened in 1928. Although initially intended especially for comedy, the destruction by fire of Her Majesty's Theatre across the road, and the consequent shortage of theatre space, meant that from its very early days it presented other material as well. \JNellie Stewart\j gave her well-known performance of \ISweet Nell of Old Drury Lane\b\i there in 1929, it provided an occasional home for Gregan McMahon's \JMelbourne Repertory Theatre\j, and in 1950 saw the Australian premiere of \IA Streetcar Named Desire\b\i. The Comedy Theatre is currently owned by Paul Dainty Productions.
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"Community Theatre",179,0,g,0
\IName of two theatre groups in Sydney\i
\B1.\b\i The Community Theatre was founded in 1929 by actor, playwright and producer Carrie Tennant in the basement of a church hall (seating 82) in the inner Sydney suburb of Darlinghurst. It was committed to Australian drama and conducted competitions that gave playwrights the opportunity to see their works produced and judged by a live audience. A notable discovery was Leslie Haylen, whose anti-war play \ITwo Minutes' Silence\b\i was made into a film by the McDonagh sisters in 1932; another was Rex Rienits, who later worked as a radio and television dramatist.
In 1931 Carrie Tennant set up the Play Society in the Aeolian Hall, where she published and produced local plays. The Darlinghurst theatre became Bryant's Playhouse which, although it presented mostly plays from London and New York, also presented works by promising Australian playwrights including, in 1935, \IThe Bread and Butter Women\b\i by the young \JPatrick White\j.
\B2.\b\i The Community Theatre Limited. See \JMarian Street Theatre, Sydney\j
#
"Connelli, Judi",180,fp5021.jpg,c,0
\IActor and singer\i
Judi Connelli was born in Brisbane and worked there in cabaret, radio and television. She began her stage career there at the age of nineteen and since that time she has worked in and experienced all facets of the business called 'show'.
In 1968 she toured Vietnam with the Queensland Concert Party before leaving Brisbane to pursue her career in Sydney and abroad. In 1973 she moved to Sydney to appear in \IGone With the Wind,\i the stage version of the film. Since then she has appeared in a wide variety of stage roles including operetta, musicals, television, cabaret and concerts. Her stage work includes \IChicago\b\i (1981) for the Sydney Theatre Company (STC); \IPack of Women\b\i (1982) for which she won the inaugural Green Room Award for best female performer; \IThe Mikado\b\i (1984-85) for the Australian Opera Company; and \IInto the Woods\b\i (1993) for the STC, for which she won the 1994 Mo Award for musical performer of the year. Her television work includes appearances in \IThe Young Doctors,\b\i \IPrisoner,\i \IA Country Practice,\i \IThe Pack of Women, GP\i and \IOnce in a Blue Moon.\i She has also released a number of albums, including \IIntroducing Judi Connelli\i (1977), \ITurning Point\i (1986) and \IOn My Way To You\i (1995).
During 1997 she starred in \IThe Fur Ball\i for the Victorian Aids Trust, and had a guest appearance at \IThe Stars Come Out\i for the Mardi Gras.
\BDescription:\b Judi Connelli.
\BPhoto:\b Robyn Gardiner Management.
#
"Contrabandits",181,0,g,0
\ITelevision series, broadcast 1967-68\i
The first series made by the ABC following the formation of its Television Drama section, this program varied the popular police series format by concentrating on the work of customs officers on Sydney Harbour. The first series of thirteen one-hour episodes was successful enough for a follow-up series of sixteen episodes to be made.
\IProduction company\b\i: ABC, Sydney
\IProducer\b\i: \JEric Taylor\j
\IDirectors\b\i: Brian Faull, \JKen Hannam\j, Eric Taylor
\IMajor actors\b\i: John Bonny, Ben Gabriel, John Gregg, Bob Haddow, Janet Kingsbury, Dennis Quilley
#
"Cook, Kenneth",182,0,g,0
\I1929-87\i
\IPlaywright\i
The University of New South Wales Drama Federation commissioned Cook to produce a drama about Eureka. The work, \IStockade\b\i, was produced at Sydney's Independent Theatre in 1971. Cook was known by this time as a novelist (his well-known book \IWake in Fright\b\i having been published in 1961) and film-maker and he wanted his historical play to alert his audience to the dangers of the past. The music throughout highlighted the themes Cook was pursuing and he and his wife Patricia even wrote lyrics to traditional melodies arranged by Michael Caulfield. The large production, with a cast in excess of fifty, was directed by Ross McGregor.
#
"Cook, Penny",183,fp5022.jpg,c,0
\I1958-\i
\IActor best known for her television roles\i
Penny Cook graduated from NIDA in 1978 and between appearances in the television series \IBellamy\b\i and \IPatrol Boat\b\i was part of a group of actors that formed the Griffin Theatre Company, based at the old Stables Theatre in Sydney. She is best known for her continuing central role as the vet, Vickie Dean, in the series \IA Country Practice\b\i--her television wedding to Simon (Grant Dodwell) in 1984 was a huge ratings success.
Later she became equally popular as herself - Penny Cook - in the television series \IThe Great Outdoors.\i Other television work includes \IThe Restless Years\b\i and Dr Elly in \J\IE Street\j\b.\i Her film work includes the thriller \ICoda\b\i (video release 1987) and \IThe Dreaming\b\i (video release 1988). Her theatre work includes \IHating Alison Ashley,\i \IA Month of Sundays\i and \IThe Memory of Water\i for the Northside (Marian Street) Theatre Company; \IThe Heidi Chronicles\i and \IAnd A Nightingale Sang\i for the Queensland Theatre Company.
\BDescription:\b Penny Cook
\BPhoto:\b Kevin Palmer Management.
#
"Cop Shop",184,0,g,0
\ITelevision serial, broadcast 1977-84\i
\ICop Shop\b\i was virtually the replacement for the police series \J\IHomicide\j\b\i, which finished on the Seven network in 1977 after many successful years. Both were Crawford productions. The new serial was able to draw on the experience that had been developed with \IHomicide\b\i but added new social dimensions to the idea of crime drama, with the introduction of women police and the presentation of both sides of the police world--detectives and uniformed police. The serial form also lent itself to a more soap opera-type concentration on the personal lives of the staff of the fictional Riverside police station. For example, Detective J. Johnson lives a colourful life before settling down to married life with an ex-stripper wife who eventually leaves him to take up an acting career in America. The actors in these lead parts both won Logies and the serial itself won a Logie for best television serial in 1981.
\ICop Shop\b\i had consistently good ratings and in Brisbane was voted the most popular show on air. In all, almost 600 hour-long episodes were produced.
\IProduction company\b\i: Crawford Productions in association with the Seven network
\IExecutive producers\b\i: \JHector Crawford\j, Ian Crawford
\IProducers\b\i: Ian Crawford, \JTerry Stapleton\j, \JMarie Trevor\j
\IDirectors\b\i: David Charles, Philip East, Graham Foreman, Robert Meillon
\IScriptwriter\b\is: Terry Stapleton and others
\IMajor actors\b\i: Peter Adams (as Detective J. Johnson), Joanna Lockwood (as his wife), Terry Norris (as the station sergeant), Tony Bonner, Paula Duncan, George Mallaby, Joanne Moore, John Orcsik, Gil Tucker, \JRowena Wallace\j
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"Coppin, George",185,0,g,0
\I1819-1906\i
\IActor and politician\i
British-born George Coppin arrived in Sydney in 1843. After a successful season at the Royal Victoria Theatre, he worked in Hobart, Launceston, Melbourne and finally Adelaide, where in 1846 he opened the New Queen's Theatre and a hotel, earning a fortune which he subsequently lost in copper-mining speculation. He returned to the stage to rebuild his finances, providing entertainment in Geelong for miners from the Victorian goldfields.
In 1854 he engaged Irish-born tragedy actor G.V. Brooke for an Australian tour. This led to a successful but stormy business partnership between the two involving the ownership of theatres and hotels, but by 1863 Coppin was again in financial difficulties and returned to the stage. In 1874 he brought the American actors J.C. Williamson and Maggie Moore to Australia. Coppin held a seat in the Victorian Legislative Council 1858-63 and 1889-95, and in the Victorian Legislative Assembly 1874-77 and 1883-88.
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"Copping, Robin",186,0,g,0
\I1934-\i
\ICinematographer\i
Based in Melbourne, Copping played an important part in the Australian film industry in the 1970s when he and editor David Bilcock (Jr) formed the company Bilcock and Copping which co-produced \J\IStork\j\b\i (1971). They then joined with Tim Burstall and Roadshow to form Hexagon Productions which produced the Alvin Purple films. Copping's work as director of photography includes \IStork\b\i, \J\IAlvin Purple\j\b\i (1973), \IPetersen\b\i (1974), \J\IEliza Fraser\j\b\i (1976) and \IThe Pirate Movie\b\i (1982).
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"Coralie Lansdowne Says No",187,0,g,0
\IPlay, first produced 1974\i
The heroine of \JAlex Buzo\j's play \ICoralie Lansdowne Says No\b\i is a warm-hearted self-indulgent woman of nearly thirty who lives a life of borrowed luxury in the Sydney beach-house of an American executive. She is fielding three suitors and at first says no to each. As the play unfolds, Coralie's fear of loneliness, need for love and acceptance and sense of the inexorable march of time lead her to accept the safe public servant and poet, Stuart.
\IFirst produced\b\i: At Adelaide's Theatre 62 as part of the 1974 Adelaide Festival.
\IOther major productions\b\i: Sydney's Nimrod Theatre Company (the last play to be produced at its Kings Cross Stables), 1974, produced by Ken Horler; Melbourne's Playbox Theatre Company, 1989. The play was made into a telemovie by the ABC in 1980. It was directed by \JMichael Carson\j and starred \JWendy Hughes\j as Coralie.
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"Cordeaux, Jeremy",188,0,g,0
\I1945-\i
Jeremy Cordeaux, Adelaide radio personality, was born in Sydney on 18th September 1945. After leaving school, he joined 2GB in Sydney as an office boy. He began his on-air work at 2GF in Grafton and later 2KY and 2GB, before moving to 5DN Adelaide in 1976 replacing a retiring Mal Cameron. He later bought 5AD and then 5DN before selling them to the Australian Radio Network. He returned to Sydney to host the nine to midday shift on 2GB in 1992, but returned to 5DN a year later in 1993.
#
"Corke, Geoff",189,0,g,0
\I1936-93\i
Geoff Corke, former Australian television presenter, was born in Melbourne in 1936. He began his career as a turn-table operator with 3DB and graduated to general announcing. He was the first person seen on Victorian television when GTV-9 went to air on Show Day 1956. He was Graham Kennedy's first "straight sidekick" on \IIn Melbourne Tonight\i in 1956. He later became known to thousands of kids as 'Corky King of The Kids' on an afternoon children's show from 1959.
In his marriage to singer Val Ruff in the early 1960s, and they had one daughter Lindy. He suffered from a rare stomach disorder in 1963 and, after he divorced Ruff, he married his nurse Sue. He died at his Balwyn home in Melbourne on 1st May 1993, aged 57.
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"Cottrell, Richard",190,arts-44.jpg,c,0
\I1936-\i
\ITheatre director and actor\i
Born in the United Kingdom, Richard Cottrell studied at Cambridge, going on to train as an actor in a Paris theatre. He directed his first play in England in 1966 where he was associated with the Prospect Theatre Company and the Cambridge Theatre Company until 1975, when he became director of Bristol Old Vic. In 1981 he made his first trip to Australia to direct \IThe Revenger's Tragedy\b\i in Adelaide.
In 1983 he was associate director of the Shakespeare Festival in Stratford, Canada, in 1984 became an official Australian resident and, in the following year took up the position of artistic director with the Nimrod Theatre. In 1986 Cottrell directed Michael Frayn's \IBenefactors\b\i for the Northside Theatre Company (Marion Street Theatre) and, for the Nimrod, Frayn's adaptation of Anton Chekhov's play \IWild Honey,\i Shakespeare's \IMerchant of Venice\b\i and \IAll's Well That Ends Well\b.\i In the same year he also won the Sydney Critics' Circle Award for his artistic direction of the Nimrod Theatre Company. In 1987 he directed \IThe Winter's Tale\b\i and \ILes Liaisons Dangereuses\i for the Nimrod.
Cottrell left the Nimrod later in 1987. In 1988 he directed the opera \IAndrea Chenier\b\i by Umberto Giordano for the Victoria State Opera, a production which won him the Victorian Green Room Award for best opera production of the year. He directed the popular Sydney Theatre Company production of Peter Shaffer's \ILettice and Lovage\b\i and \IThe Cocktail Hour\b\i with Googie Withers and \JJohn McCallum\j in 1989 and in the same year also directed Wagner's \ITannhauser\b\i for the Victoria State Opera; in 1990 he directed \IHenceforward\b\i by Alan Ayckbourn at the Marion Street Theatre and \IPrin\b\i in 1992. In 1992 he also directed Racine's \IBritannicus\b\i for the NIDA Theatre Company.
In 1993 he directed at the Julliard School in New York as well as teaching at the universities of Boston and California. He began directing in the ULKL again, notably \IThe Rivals, The School for Scandal, Lady Windermere's Fan,\i all for the Chichester Festival, and \IThree Hours After Marriage\i for the Royal Shakespeare Company. In 1997 he directed \IVita and Virgin\i for the Sydney Theatre Company and \IKing Lear\i for the National Theatre of Portugal in Lisbon.
\BDescription:\b Richard Cottrell.
\BPhoto:\b International Casting Service and Assoc.
#
"Country Practice, A",191,0,g,0
\ITelevision serial, broadcast 1981-94\i
This program, with more than 1000 episodes, was Australia's longest running television series when the Seven network in mid-1993 announced its closure. By the end of that year it had been taken up by the Ten network, which had fourteen years before decided not to take up its option on the show. With the change of channel went a change of location, with the setting moving from a New South Wales to a Victorian country town. However, the series ran for only a year on the Ten network, finishing at the end of 1994.
The original idea of a drama series centring on a general medical practice in a country area was that of independent producer \JJames Davern\j, former head of ABC Television Drama. He created the pilot episode and continued to produce the show through his company JNP Films. The series was immediately popular and maintained high ratings over its long run in spite of many changes of characters and cast. It was also sold widely overseas. Its structure of two weekly episodes forming a two-hour story assisted in creating a strong narrative thread into which was blended an element of comedy.
\IProduction company\b\i: JNP Films
\IExecutive producer\b\i: James Davern
\IProducers\b\i: \JLynn Bayonas\j, \JDenny Lawrence\j, Marie Trevor, Forrest Redlich
\IScriptwriters\b\i: Carol Williams, Ray Harding, Robyn Sinclair, Steve J. Spears
\IMajor actors\b\i: \JShane Porteous\j (as Dr Terence Elliott), \JLorrae Desmond\j (as Shirley Gilroy), Brian Wenzel (as Sgt Frank Gilroy), \JPenny Cook\j (as Vicky Dean, the vet), Grant Dodwell (as Dr Simon Bowen), Shane Withington (as Brendan), Joan Sydney, Syd Heylen, Gordon Piper and others
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"Cowan, Tom",192,0,g,0
\I1942-\i
\IFilm director and cinematographer\i
Born in Wangaratta, Victoria, Cowan worked as a trainee at the ABC from 1960 to 1964 and then was a cameraman for the Commonwealth Film Unit (later Film Australia), shooting a huge number of short films and documentaries. After working overseas in the late 1960s, he returned to Australia in the early 1970s and became an important figure in the film revival of that time. As well as continuing to make shorts and documentaries, he worked as cinematographer on such feature films as \IDimboola\b\i (1978), \J\IWinter of Our Dreams\j\b\i (1981) and \IOne Night Stand\b\i (1983).
He also directed four films: \IThe Office Picnic\b\i (1973), which he also produced and wrote; \IPromised Woman\b\i (1975) and \IJourney Among Women\b\i (1977), both of which he also wrote and filmed; and \ISweet Dreamers\b\i (1981) which he also wrote. All these films were noted for their gentle, very personal style. However, with the exception of \IJourney Among Women\b\i, they were not commercially successful; after the failure of the last, Cowan returned to concentrating on cinematography.
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"Cox, Paul",193,0,g,0
\I1940-\i
\IFilm director\i
Born in the Netherlands, Cox came to Australia in 1963 on a student exchange program and emigrated permanently in 1965. Working as a photographer, he began making short films mostly of a deeply personal nature exploring his own `metaphysics'. He also made some documentaries before directing his first feature, \IIlluminations\b\i, in 1976. In the same year another short film, \IWe're All Alone My Dear\b\i, won the silver award at the AFI Awards. \IIlluminations\b\i was not released commercially but his next two features, \IInside Looking Out\b\i (1977) and \IKostas\b\i (1979) had short runs.
By the 1980s Cox's self-exploration had matured and he built on this to examine the joys and sorrows of personal relationships in a trilogy of love films, \ILonely Hearts\b\i (1981), \IMy First Wife\b\i (1984) and \ICactus\b\i (1986). The first of these was the best received publicly and critically, winning best film at the 1982 AFI Awards. It was also released in arthouses in the United States and built Cox's reputation there--he also has a high profile in Canada and Europe, particularly Belgium and France. In 1983 Cox made his best-known and most successful film, \J\IMan of Flowers\j.
Later films such as Golden Braid\b\i and \IA Woman's Tale\b\i (both 1990) received less attention in Australia where they were regarded as 'quirky' and too 'arty'. However, \IA Woman's Tale\b\i, a tribute to actor Sheila Florance, received note overseas after winning best foreign film at the 1992 Flanders Film Festival. A recent work, \IThe Exile\b\i (1993/94), starring Aiden Young, Beth Campion and Claudia Karvan, won the inaugural Brisbane International Film Festival Chauvel Award in 1993.
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"Cracknell, Ruth",194,cracknel.jpg,c,0
\I1925-\i
\IFilm and stage actor and writer\i
Ruth Cracknell was born in Maitland, New South Wales. She performed with \JJohn Alden\j's amateur Shakespearean company in roles such as Goneril in the 1951 production of \IKing Lear\b\i. In 1952 she went to Britain where she worked in radio drama with the BBC. After returning to Sydney in 1954 she worked in a series of revues at Sydney's Phillip Street Theatre, and in 1965 headed the cast of \IA Cup of Tea, a Bex and a Good Lie Down\b\i.
In 1970 she switched to drama with the role of Jocasta in the Old Tote Theatre Company's production of \IKing Oedipus\b\i; later stage performances include \IThe Seagull\b\i, for the Nimrod Theatre Company, \IThe Man from Mukinupin\b\i (1981), \INicholas Nickleby\b\i (1983), \IEmerald City\b\i (1987 and 1988), \ILettice and Lovage\b\i (1988), \IThe Importance of Being Earnest\b\i (1991 and 1992), \IHappy Days\b\i (1991) and \ILost in Yonkers\b\i (1992), all with the Sydney Theatre Company, and \IHotspur\b\i (1994) for the Melbourne Theatre Company.
Her television work includes \J\ISeven Little Australians\j\b\i (1973), \IBen Hall\b\i (1974), \IThe Dismissal\b\i (1983) and the highly successful series \J\IMother and Son\j\b\i (first series made in 1984) for which she received a Silver Logie in 1993.
Her films include \ISmiley Gets a Gun\b\i (1958); \IThat Lady from Peking\b\i (1970); \IThe Singer and the Dancer\b\i (1977); \IThe Chant of Jimmie Blacksmith\b\i, for which she received a Sammy Award for best supporting actress in 1977; \IThe Night the Prowler\b\i (1979); \IThe Best of Friends\b\i (1981); \IMolly\b\i (1983); \IEmerald City\b\i (1988); \IKokoda Crescent\b\i (1989); and \ISpider and Rose\b\i (1994).
Ruth Cracknell became a member of the board of directors of the Sydney Theatre Company with the inception of the company in 1979, a position she held until 1995, when she became the first Patron of the STC. She was made a Member of the Order of Australia (AM) in recognition of her services to the entertainment industry.
Michael Craig was born in England and began his stage career there with several repertory companies. From the mid-1950s to the mid-1960s he appeared in more than thirty films for J. Arthur Rank and Columbia Pictures. He first visited Australia in 1971 with J.C. Williamson's production of \IMove Over Mrs Markham\b\i; from 1973 to 1978, while based in Australia, he appeared in many television dramas for the ABC and wrote a number of television scripts, including the ABC serial \IThe Fourth Wish\b\i (1974) which he also appeared in and which won him the 1975 Penguin Award for best script; in 1976 it was made into a film by the South Australian Film Corporation.
His film work during this period includes \IThe Fourth Wish,\b\i \IThe Irishman\b\i (1977) and \IRoses Bloom Twice\b\i (1977). From 1978 to 1988, although based in England, he continued to work in Australia, appearing in the television mini-series \IThe Timeless Land\b\i (1980) and the films \ITurkey Shoot\b\i (1982), \IStanley\b\i (1983) and \IAppointment with Death\b.\i
In 1988 he returned to Australia to live. He is well known for his central role in the ABC serial \J\IGP\j\b.\i His more recent stage work in Australia includes \IThe Browning Version,\i \IHarlequinade\i and \IQuartermaine's Terms\i (1996).
\BDescription:\b Michael Craig.
\BPhoto:\b Shanahan Management.
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"Craven, Howard",196,0,g,0
\I1921-\i
Howard Craven, Australian radio announcer, was born in Sydney on 19th April 1921. He worked for many years with 2GB as announcer, first with Jack Davey and Bob Dyer, and hosted \IRumpus Room\i on 2UE before joining 2CH in the late 1970s. He retired in the early 1990s but in 1995, aged 78, he was coaxed back on the air by 2GB to host a three hour Sunday night music show.
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"Crawford Family",197,0,g,0
\IHector 1913-91; Dorothy 1911-88; Ian; Henry 1947-
Television and radio producers\i
Melbourne-born and educated, brother and sister Hector and Dorothy Crawford were closely involved in the world of classical music from an early age. In the late 1930s Hector, while working as a clerk, set up the 'Music for the People' outdoor concerts which were broadcast on radio; through this connection in 1940 he became music and recording director of a radio production company, Broadcast Exchange. Dorothy, having attended the Melbourne Conservatorium of Music, became a professional singer and also worked in the drama department of ABC radio.
In 1944 she joined her brother at Broadcast Exchange as drama producer and in 1945 they set up a radio production company together. From this base they moved into television production in 1956, with an arrangement to package for HSV-7.
Their first television production, a quiz and game show called \IWedding Day\b\i, began on air in late 1956. However, the Crawfords were militantly committed to Australian drama productions and were not prepared to make money by simply recycling quizzes and overseas soap opera. The first years proved difficult, though Crawfords has the distinction of having produced in that time the first Australian television drama, a schoolroom comedy series of fifteen-minute episodes, shown live and screened only in Melbourne, called \ITake That\b\i (1957-58).
Their real success began in 1961 when HSV-7 committed itself to the courtroom drama series \IConsider Your Verdict\b\i; this led to the very successful police drama series \J\IHomicide\j\b\i (began 1964) and \IDivision 4\b\i (began 1969). Numerous subsequent productions include the soap opera series, \IMatlock Police\b\i (began 1971), \IThe Box\b\i (began 1974), \IThe Sullivans\b\i (began 1976) and \IThe Flying Doctors\b\i (series began 1986). Crawfords began mini-series production with \J\IAll the Rivers Run\j\b\i (1983). Through these programs many of Australia's television actors, producers and directors began their careers.
Hector Crawford was managing director to 1981 and chairman until his retirement in 1989, by which time Crawfords had ceased to be a family company--it was sold to Ariadne in 1987. He maintained his association with classical music, conducting the Australian Symphony Orchestra and remaining for many years as director of the Music for the People concerts in Melbourne. His wife was the opera singer Glenda Raymond.
Dorothy, having produced some key Crawford productions such as \IConsider Your Verdict\b\i, retired from the company in the early 1970s due to ill health. Her son Ian had joined the company in the 1950s and from the 1970s shared the executive producer role with Hector. He left the company in 1989 when it was again sold, this time to Bruce Gordon and David Maine of Oberon Broadcasting and the Asperon group. Henry Crawford, a distant relative of Hector and Dorothy, moved from Brisbane to Melbourne and joined Crawfords as casting director in 1969.
He was producer or executive producer for many of the programs, including \IHomicide, Matlock Police\b\i and \IThe Sullivans\b\i, until he left in 1976 to begin independent production. One of his major successes was the mini-series \IA Town Like Alice\b\i (1981). In 1986, affected like many small producers by the winding down of the tax concessions for film and television production, he moved out of the industry and became a tourist resort developer.
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"Creyton, Barry",198,0,g,0
\I1939-\i
\IActor and playwright\i
Barry Creyton was born in Brisbane and began his professional career in radio and revue in Melbourne. In 1960-61 he toured with the J.C. Williamson's production of \IWinter Journey\b\i. In 1961 he starred in the melodrama \IEast Lynne\b\i, the opening production at the Music Hall Theatre Restaurant on Sydney's lower north shore, followed by a series of villain roles at the Music Hall, including that in \ILady Audley's Secret\b\i, which he also wrote.
He gained national recognition from 1964 as one of the stars and writers of the satirical television show \IThe Mavis Bramston Show\b\i. He spent most of the 1970s in the United Kingdom where he appeared in the television shows \IDoctor in the House\b\i and \IKindly Leave the Kerb\b\i and was part of the London production of \J\IDon's Party\j\i.
After his return to Australia in 1977 to appear in the stage version of the television comedy \IThe Naked Vicar Show\b\i, he made regular appearances in many television shows, including \IThe Sullivans\b\i and \ICarson's Law\b\i (for which he also wrote). His later stage work includes \IBedroom Farce\b\i, \IAbsurd Person Singular\b\i, \ISeason's Greetings\b\i, \INoises Off\b\i and \ISide By Side By Sondheim\b\i. He co-starred in the Ensemble Theatre production of \IDouble Act\b\i, which he also wrote. He currently lives in the United States.
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"Crick, Stanley",199,0,g,0
\I1888-1955\i
\IFilm distributor and executive\i
Born in Tasmania, Crick formed a film production company in 1910 in partnership with photographer Herbert Finlay. With John Gavin as producer they made several films in 1911, including \IBen Hall and his Gang\b\i and \IThe Assigned Servant\b\i. They then formed the Australian Photo-Play Company. With Crick as manager, Finlay as cameraman and \JAlfred Rolfe\j as head director, this was the most prolific Australian film company in the few years before the forming of the monopolistic 'combine'.
The twenty films produced by Australian Photo-Play in 1911 and 1912 include \IMates of the Murrumbidgee\b\i, \IThe Cup Winner\b\i and \IThe Mystery of the Bush\b\i. After the collapse of the company Crick went into distribution in association with John Jones. This new company produced and distributed \IMutiny on the Bounty\b\i (1916). In 1919 Crick began working for the Fox Film Corporation and was their Australian manager until his retirement in 1938.
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"Crocodile Dundee",200,0,g,0
\IFilm, released 1986\i
When successful comic television entertainer and advertising personality turned actor, \JPaul Hogan\j, decided to make a film, he was determined to keep clear of anything 'arty' and made up a character that was an extension of his popular screen image--Mike Dundee, a lanky Northern Territory larrikin, who in both the settings of the Australian outback and New York endears by his naivety. The story hinges on his relationship with Sue, an American magazine reporter sent to interview him after he survives a crocodile attack.
With his own associates as producer and director, Hogan chose well-known and highly-rated technical people such as cinematographer \JRussell Boyd\j. The resulting \ICrocodile Dundee\b\i, based on a script rejected by Hoyts-Edgley, was the blockbuster success of the 1980s in Australia, replacing \IThe Man From Snowy River\b\i as the most popular Australian film. When released by Paramount after some minor editing, it became the highest grossing foreign film ever released in the United States.
The sequel, \I\BCrocodile Dundee II\b\i, released in 1988 and written by Hogan with one of his sons, Brett, was also an Australian and international hit, but to a lesser extent than the original.
\IProduction company\b\i: Rimfire Films
\IProducer\b\i: John Cornell
\IDirector\b\i: Peter Faiman
\IScreenplay\b\i: Paul Hogan, Ken Shadie
\IMajor actors\b\i: Paul Hogan (as Mike 'Crocodile' Dundee), Linda Kozlowski (as Sue), \JJohn Meillon\j, Mark Blum, \JDavid Gulpilil\j
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"Croft, Colin",201,0,g,0
\I1922-89\i
Colin Croft, Australian screen and stage actor, was born in Sydney in 1922. As a child drum major, he led the parade at the opening of the Sydney Harbour Bridge in 1932. The following year, he co-starred in the first radio play to go national on ABC radio. After odd-jobbing around London in the 50s, he landed the comedy lead in Drury Lanes Production of \ISouth Pacific,\i and later performed as a stand-up comedian at the Windmill Theatre. Croft died at Mona Vale in Sydney on 16th August 1989, aged 67.
#
"Crombie, Donald",202,0,g,0
\I1942-\i
\IFilm director\i
Born in Brisbane, Crombie studied theatre production at NIDA and from 1963 until the 1970s worked with the Commonwealth Film Unit (later Film Australia) with a period in London as an assistant with the BBC. He directed several dramatised documentaries and gradually built up a reputation as one of the top directors at Film Australia. After leaving there, he was chosen to direct a film for the newly formed \JSouth Australian Film Corporation (SAFC)\j about the emotional deprivation of working-class people at Port Adelaide. The resulting film, \IWho Killed Jenny Langby?\b\i (1974), received much attention and praise when shown on ABC television and this, together with his collaboration with producer \JTony Buckley\j, already an established figure in the film industry, was a turning point in Crombie's career. It led to the making of his first major film, \J\ICaddie\j\b\i (1976).
Subsequent films include \ICathy's Child\b\i (1979), \IThe Killing of Angel Street\b\i (1981) and \IKitty and the Bagman\b\i (1982). A central interest apparent in most of these is the strength that allows oppressed people, usually women, to fight for themselves and survive in times of crisis.
#
"Cronin, Paul",203,0,g,0
\I1939-\i
Paul Cronin, Australian actor and former AFL football administrator, was born in South Australia on 8th July 1939. In his youth he was an engineer and South Australian 200 metres hurdle champion three years running. Later as an actor he starred in \IMatlock Police,\i as Dave Sullivan in \IThe Sullivans,\i and then as a policeman in \ISolo One.\i He won five Logies while starring in \IThe Sullivans\i. From 1986-89 he was chief executive of the Brisbane Bears AFL football team for the ill-fated Quintex group of companies. In 1991, he opened a Mitre 10 hardware store in Melbourne, having been the presenter for their television commercials for some years. He married his wife Helen in 1960, and has four children and six grandchildren.
#
"Crowe, Russell",204,rcrowe1.jpg,c,0
\I1964-\i
\IFilm and television actor\i
New Zealand-born Russell Crowe spent his childhood years in Australia where he made his first television appearance at the age of six in the television series \ISpyforce\b\i; at the age of twelve he worked on \IThe Young Doctors\b.\i He returned to New Zealand with his family two years later, and in his twenties played in a rock band on the local pub circuit and toured with \IThe Rocky Horror Show\b.\i After returning to Sydney he took part in the Australian tour of \IThe Rocky Horror Show\b.\i
His films include \IThe Crossing\b\i (1990); \IBlood Oath\b\i (1990); \J\ISpotswood\j\b\i (1990); \J\IProof\j\b\i (1991) for which he won the AFI Award for best supporting actor; \IRomper Stomper\b\i (1992) for which he won the AFI Award for best actor, the Australian Film Critics' Circle Award for best actor and the Seattle National Film Festival Award for best actor; \IHammers Over the Anvil\b\i (1993) which contributed to his Seattle National Film Festival Award for best actor; \ILove in Limbo\b\i (1993); a Canadian film, \IFor the Moment\b\i (1993); \IThe Sum of Us\b\i (1993); \IThe Quick and the Dead\b\i (filmed in Arizona, 1994); \IPacific Meltdown\b\i (1995) and \ILA Confidential\i (1997).
His stage work includes \IBlood Brothers\b\i at the Seymour Centre, \ISimpson J. 202\b\i at the Ensemble Theatre and \IThe Official Tribute to the Blues Brothers Show\b\i (1993). His television credits include \J\IBrides of Christ\j\b\i and \J\IPolice Rescue\j\b.\i
\BDescription:\b Russell Crowe \I(Bedford Pearce Management)\i.
#
"Cullen, Cul (Fred)",205,0,g,0
\I1934-82\i
\IFilm actor and screenwriter\i
Films in which Cul Cullen (brother of \JMax Cullen\j) appeared include \IGirl in Australia\b\i (1971), \IScobie Malone\b\i (1975), \IThe Great McCarthy\b\i (1975), \IBorn to Run\b\i (1976), \IThe Fourth Wish\b\i (1976), \IThe Earthling\b\i (1980) and \ISquizzy Taylor\b\i (1982). He was a co-writer on \IThe Man from Snowy River\b\i (1982).
#
"Cullen, Max",206,fp5024.jpg,c,0
\I1940-\i
\IFilm, television and stage actor; writer, painter and television interviewer\i
Max Cullen was born in Wellington, New South Wales, and before he began full-time acting worked as a painter, sculptor and newspaper artist. In 1963 he studied acting at Sydney's Ensemble Theatre under \JHayes Gordon.\j His television work dates from 1968 and includes the series \IWhere the Dead Men Lie\b\i (1972); the children's series \ISecret Valley\b\i (began\I\b\i 1984); \ITwelve Bar Blues\b\i (1983); \J\IBodyline\j\b\i (1984); \IThe Last Bastion\b\i (1984) for which he won a Logie Award; \IAct of Betrayal\b\i (1988); \IThe Boys From the Bush II\b\i (1991); \IGP\i (1992) and \IThe Damnation of Harvey McHugh\i (1994).
He appears regularly as an arts reporter on the Nine Network's \ISunday\b\i program. His films include \IStockade\b\i (1971); \IOffice Picnic\b\i (1972); \J\ISunday Too Far Away\j\b\i (1975); \IBlue Fin\b\i (1975); \IThe Odd Angry Shot\b\i (1979); \IDimboola\i (1979); \J\IMy Brilliant Career\j\b\i (1979); \IHard Knocks\b\i (1980); \IHoodwink\b\i (1981); \IThe Return of Captain Invincible\b\i (1982); \IRunnin' on Empty\b\i (1982); \IMidnite Spares\b\i (1982); \IFreedom\b\i (1982); \IWith Prejudice\b\i (1982); \IStarstruck\b\i (1982); \IStanley\b\i (1983); \ILuigi's Ladies\b\i (1988); \IThe Returning\b\i (1990); \IGreenkeeping\b\i (1991); \IRough Diamonds\b\i (1993); \ILightning Jack\b\i (1993); \ISpider and Rose\b\i (1993); \IBilly's Holiday\b\i (1994); \IKiss or Kill\i (1996) and \IKings in Grass Castles\i (1997).
The role of the union man in Patrick White's stage play \J\IBig Toys\j\b\i (premiered by the Old Tote Theatre Company in 1977), was written with Max Cullen in mind. Other stage work includes, for the Ensemble Theatre Company, \IFortune and Men's Eyes,\b\i \IAll Things Bright and Beautiful,\b\i \ISlow Dance on the Killing Ground,\b\i \IThe Death of Bessie Smith\b\i and \IDeath of a Salesman\i; for the Nimrod Theatre Company, Jim O'Neill's \IHow Does Your Garden Grow?\b\i; at Sydney's Stables Theatre \IThe Siege of Frank Sinatra\b\i (1982); at Sydney's Her Majesty's Theatre \IA Streetcar Named Desire\b\i (1988); \IHamlet\b\i (1981), \ISons of Cain\b\i (1985), \ISiestas in a Pink Hotel\b\i (1987), \IThe Ham Funeral\b\i (1989), \IThe Revenger's Tragedy\b\i (1991), \IThe Government Inspector\b\i (1991), \IUncle Vanya\b\i (1992) and \IAs You Like It\i (1995) for the Sydney Theatre Company; and at the Belvoir Street Theatre, \IThe Tempest\b\i (1990), \IHamlet\b\i (1994) and \IThe Alchemist\i (1996).
\BDescription:\b Max Cullen.
\BPhoto:\b Barbara Leane and Assoc.
#
"Cuthbertson, Allan",207,0,g,0
\I1920-88\i
Allan Cuthbertson, Australian and English actor, was born in Perth, Western Australia on 7th April, 1920. He appeared on the stage and radio from an early age. He went to Britain in 1947 and his first film was \ICarrington VC\i, where he continued the role of a scheming Colonel he had portrayed on the stage. Always the 'pompous Englishman', he appeared in over 40 films, including \ITunes of Glory\i, \IThe Guns of Navarone\i, and \ITerm of Trial\i.
In the 1970s, he specialised in comedy. He died in London on 11th February 1988, aged 67, and was survived by his Czech-born wife, Dr Gertrude Willner, and an adopted son.
#
"Dad and Dave",208,0,g,0
\IRadio serial, broadcast 1937-53\i
The Dad and Dave characters, already part of Australian lore from their first appearance in the stories of Steele Rudd in 1899 and subsequent play and film versions, were brought to radio by the George Edwards Players in 1937. The introductory narration stated that these characters and their families and friends in Snake Gully 'represent all that is sturdy, honest and resourceful in the Great Australian Outback'. The serial, with its typical Australian bush humour, ran for 2276 episodes and is still occasionally repeated.
\IWriters\b\i: Lorna Bingham and others (based on the characters created by Steele Rudd)
\IMajor actors\b\i: George Edwards (as Dad), John Saul (as the original Dave), Nell Stirling (as Mabel), Lorna Bingham (as Mum), Peg Christensen, Lou Vernon
See also \JOn Our Selection\j
#
"Dampier, Alfred",209,0,g,0
\I1848?-1908\i
\IActor, playwright and theatre manager\i
Alfred Dampier was born in Sussex, England and began his acting career in provincial England, working his way up to the London stage. He arrived in Melbourne in 1873, making his debut in the role of Mephistopheles in his own adaptation of Goethe's \IFaust\b\i. He spent three years as leading actor and stage manager at Melbourne's Theatre Royal before forming his own company in 1877 with himself and his daughters Lily and Rose as stars.
During the following thirty years he earned a reputation for spectacularly staged melodramas; many of the plays were either his own adaptations or those of friends and associates. He became known as a champion of distinctively Australian works, such as his 1886 production of \IFor the Term of His Natural Life\b\i; \IMarvellous Melbourne\b\i (1889); \IRobbery Under Arms\b\i (1890), which he later took to England; and \IMiner's Right\b\i (1891). His company made extensive tours of Australia and New Zealand, visited the United States and made several trips to England.
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"Daniels, Geoffrey",210,0,g,0
\I1920-\i
\ITelevision producer\i
Born in England, Daniels began producing for the ABC in the late 1960s, his programs including the documentary series \IChequerboard\b\i (began 1969). From 1977 to 1982 he was head of television drama. During this period, though budgets were severely restricted, quality adventure series such as \IPatrol Boat\b\i (began 1979) were produced as well as the more serious programs favoured by Daniels--such as \I1915\b\i (1982) and \J\IScales of Justice\j\b\i (1983).
In 1984 he joined with Peter Yeldham and \JRay Alchin\j to form Resolution Films. This company has mainly packaged for the ABC, following the style of Daniels' previous work in series such as \ICaptain James Cook\b\i (1987) and \INaked Under Capricorn\b\i (1989). From 1986 Daniels was also head of Revcom, a subsidiary set up by the French television production company Telecip. This company was also involved in the ABC co-productions mentioned above but concentrated mainly on children's mini-series such as \ISpit McPhee\b\i (1988) and \IHill's End\b\i (1989), for both of which Daniels was executive producer. Since the winding down of Revcom in 1990 Daniels has concentrated on Resolution Films productions. The romantic mini-series \IThe Private War of Lucinda Smith\b\i (1990) was produced by Daniels and Alchin for the Nine network, rather than the ABC, and marked a widening of Resolution's operations.
#
"Darrell, George",211,0,g,0
\I1841-1921\i
\IActor, playwright and entrepreneur\i
Born in Bath, England, as George F. Price, Darrell began acting as an amateur in England. He arrived in Australia in 1865 and almost immediately joined the rush to the Otago goldfields in New Zealand. Returning to Australia in 1868 he changed his name to Darrell and joined the company of Melbourne's Theatre Royal. From 1869 to 1871 he toured New Zealand with a company managed by Mrs Heir (widow of English actor Robert Heir) who later became his first wife. Darrell returned to Australia in 1871 to become manager of the Royal Victoria Theatre in Sydney--there he produced his first play.
He formed Darrell's Dramatic Company which toured Australia in 1872-73, the United States in 1873-74 and New Zealand in 1875-76. His first successful melodrama, \ITransported for Life\b\i, opened in Dublin in 1876 and in Sydney in the following year, to encouraging acclaim. In 1879 his \IThe Forlorn Hope\b\i began a record run in Melbourne. His next success was \IThe Sunny South\b\i, which opened in Melbourne in 1883 with \JEssie Jenyns\j in a leading role, and was produced in London in 1884 and 1898. In all Darrell wrote 55 plays--the last, \IThe Land of Gold\b\i, was staged in Sydney in 1907.
Darrell died in mysterious circumstances, with many suspecting suicide; his body was washed up at Sydney's Dee Why beach.
#
"Darwin Performing Arts Centre",212,0,g,0
\ICentre for the performing arts in the 'Top End'\i
The opening in 1986 of the Darwin Performing Arts Centre (DPAC) provided the Northern Territory with a theatre facility that added Darwin to the national theatre circuit. The DPAC theatre seats 1001 on two levels and for more intimate performances can be reduced in size to seat 412. The stage has a 14.4 metre proscenium opening.
The Centre can accommodate almost any kind of performance--plays, musicals, intimate revues, grand ballet, operas, orchestras, rock groups and solo artists. Performances there have included The Australian Chamber Orchestra, The Bolshoi Ballet, Circus Oz, \IBran Nue Dae\b\i, Yothu Yindi, James Morrison and Dame Edna Everage.
#
"Davern, James",213,fp5029.jpg,c,0
\I1933-\i
\ITelevision producer\i
Davern was connected with ABC television from its earliest days--he was in the Melbourne engineering section from 1956 and in 1967 directed the pilot episode of the pioneering serial \J\IBellbird.\j\i In later years he was variously scriptwriter, script editor, producer and finally executive producer of \IBellbird\b\i; he also worked as producer on other ABC programs including \J\IRush\j\b\i (1974), the idea for which he proposed. He also moonlighted on other programs such as Crawfords' \J\IHomicide,\j\b\i where he met and began his long association with script editor and writer \JLynn Bayonas.\j
Davern transferred to the Sydney studios of the ABC and was head of television drama from 1975 to 1977, during which time he produced the series \IPatrol Boat\b\i (began 1979)--this program, conceived by Davern, was in fact produced by the ABC after he left, but with the scripts for the first series of thirteen episodes packaged by him.
Among his other early independent projects was the script of a medical serial titled \IIn General Practice\b.\i Though this won a prize in a Channel 10 competition it was not taken up by that channel and in 1981 Davern, together with Lynn Bayonas as writer and first-line producer, secured a contract to produce what had become \IA Country Practice\b\i for the Seven network. This hugely successful and long-running serial was produced over the years by Davern's company JNP Films (jump 'n pray). In spite of the production of a mini-series and several telemovies, this company remained mainly a vehicle for the production of \IA Country Practice\b.\i \IA Country Practice\i finished production in 1994 after 1088 hours. Since then he has concentrated on movies for television: \IWhipping Boy\i (1996), \IWithout Warning\i (1997), \IReprisal\i (1997) and \IThe Hostages\i (1997).
\BDescription:\b James Davern.
\BPhoto:\b James Davern.
#
"Davey, Richard",214,0,g,0
\I1938-\i
\ITheatre director and writer\i
Sydney-born Richard Davey has been artistic director of the Hole-in-the-Wall Theatre in Perth, established The Round Earth Company and has worked internationally in the United States, England, Scotland and Europe. In 1980 he settled in Tasmania with the aim of producing a series of plays telling the story of the state. Since then he has written \IBroken Dreams\b\i (performed at the 1984 Adelaide Festival), \ITell 'Em You're Maoris\b\i, \IThe Ship That Never Was\b\i, \IHallelujah Lady Jane\b\i, \IGuarding the Perimeter\b\i, \IA Cry From The Heart\b\i, \IHook's Mountain\b\i and \IA Bright and Crimson Flower\b\i (about the experiences of Australian prisoners of war under the Japanese).
From 1986 to 1992 he was artistic director of Hobart's Zootango Theatre Company, launching the company in Sydney's Botanical Gardens with Robert Jarman's production of \IA Midsummer Night's Dream\b\i. After his resignation, Davey intended to work on personal projects, such as a national tour of \IA Bright and Crimson Flower\b\i.
#
"Davies, Lindy",215,0,g,0
\IStage director and writer\i
A versatile director, Davies spent the years from 1972 to 1976 as director of Carshop (Creative Arts Workshop for Children). During her time there she wrote and directed no less than twenty plays for children. Since that time the plays she has directed include Peter Hanke's \ICalling for Help\b\i (1979) at the Pram Factory; Sam Shepherd's \ICurse of the Starving Class\b\i (1981) for \JLa Mama Theatre\j Company; Shepherd's \IFool for Love\b\i for the Playbox Theatre; \JHannie Rayson\j's \IRoom to Move\b\i (1986) for the State Theatre Company of South Australia; and Shakespeare's \IMuch Ado About Nothing\b\i (1987), Gotthold Lessing's \ISara\b\i (1991) and Sophocles' \IElectra\b\i (1992) at NIDA.
#
"Davis, Jack",216,0,g,0
\I1917-\i
\IPoet and playwright\i
Perth-born Davis began writing in his teenage years while working as a stockman on a sheep station. He joined the Swan River Stage Company and had his first play, \IKullark\b\i, produced there in 1979. This was followed by \IThe Dreamers\b\i in 1983 and \J\INo Sugar\j\b\i in 1985, both of which were supported by the \JAustralian Elizabethan Theatre Trust (AETT)\j, which also sent \INo Sugar\b\i to the World Theatre Festival in Vancouver, Canada, in 1986. \JNeil Armfield\j directed a revival for the Black Swan Theatre Company National Tour. Davis' later plays include \IHoney Spot\b\i (1985), \IThe Mini and the Leprechaun\b\i and the one-man show \IWahngin Country\b\i ('Talking Country') (1992), performed by the Black Swan Theatre Company at the 1992 Festival of Perth.
Davis was awarded an Honorary DLit from Murdoch University in 1983 and was writer-in-residence there in the same year. He received the Sidney Myer Performing Arts Award in 1985 and an Awgie in 1986. This versatile writer has had many stories and poems published and been seconded as a member of numerous government Aboriginal boards and committees.
#
"Davis, Judy",217,aircraft.jpg,c,0
\I1956-\i
\IActor of stage and screen\i
Judy Davis was born in Perth. She graduated from NIDA in 1977 and began her stage career in Adelaide. Her first major film role, \J\IMy Brilliant Career\j\b\i (1979), brought her both international recognition and the first of many awards--a Sammy Award for best actress, and British Academy Awards for both best actress and most outstanding newcomer in a leading role. Later films include \IHoodwink\b\i (1980); \J\IWinter of Our Dreams\j\b\i (1981) for which she won the AFI best actress award; \IHeatwave\b\i (1981); \IKangaroo\b\i (1986) for which she again won the AFI best actress award; \IHigh Tide\b\i (1987) which brought her another AFI best actress award; and \IOn My Own\b\i (filmed in Canada, 1993).
Her overseas films include \IWho Dares Wins\b\i (UK, 1982); \IA Passage to India\b\i (UK, 1985) for which she received an Academy Award nomination for best actress; and from the late 1980s, when she was largely based in the United States, \IGeorgia\b\i (US, 1988); \IImpromptu\b\i (US, 1991); \IAlice\b\i (US, 1991); \IBarton Fink\b\i (US, 1991); \IThe Naked Lunch\b\i (US, 1991); Woody Allen's \IHusbands and Wives\b\i (US, 1992) for which she received an Oscar nomination for best supporting actress; the lead role in \IThe New Age\b\i (US, 1993) and the Disney-Touchstone film \IThe Ref\b\i (US, 1993).
More recently she starred in \IChildren of the Revolution\i (1996) for which she won the Film Critics' Circle of Australia best actress award.
In 1995 Judy Davis shared an Emmy Award for her role in the mini-series \IServing in Silence\i in which she co-starred with Glenn Close.
She has also appeared in leading stage roles, including \ILulu\b\i (1981) and \IHedda Gabler\b\i (1986) for the Sydney Theatre Company. In 1992 she won the Golden Globe Award for best female performance in a mini-series for the telemovie \IOne Against the Wind\b\i and in 1993 appeared in the television documentary \IThe Burning Piano\b\i, a tribute to \JPatrick White\j.
She is married to actor \JColin Friels\j.
\BDescription:\b Judy Davis \I(Fairfax Photo Library)\i
#
"Dawes-Smith, Peter",218,0,g,0
\I1917-90\i
Peter Dawes-Smith, veteran Australian radio announcer with the ABC, was born in Britain in 1917. He joined the ABC in 1948 and had his first experience as an announcer in 1952 when he was pushed onto the air to read a news flash announcing the death of King George the 6th. Dawes-Smith's most memorable reports were during the 1954 tour of Queen Elizabeth. He worked with the ABC for more than 35 years and was the compere of \ISentimental Journey\i and \IWe Meet Again\i. He died in his sleep on 2nd December 1990, aged 72.
#
"Dawn, Gloria",219,0,g,0
\I1929-78\i
\IActor and musical comedy performer\i
Gloria Dawn's parents were performers at Sydney's Tivoli Theatre--her father was Billy Andros, a ventriloquist and magician, and her mother was Zilla Weatherly, a singer and contortionist. Dawn made her first stage appearance at the age of two weeks; by the age of three, as 'Baby Dawn', she was singing and dancing as part of the family act. In 1939 she toured with the Tivoli Gang, a troupe of gifted child performers, and in the following year appeared in \IThe Crazy Show\b\i revue on the Tivoli Circuit playing Sydney, Melbourne, Adelaide and Brisbane.
In 1949, at the Cremorne Theatre in Brisbane, she appeared in a supporting role in the musical comedy \ILittle Nellie Kelly\b\i; this was soon followed by the title role in Jerome Kern's \ISunny\b.\i Later stage work included performances as Rose in \IThe Sentimental Bloke\b\i in 1961, a musical based on the poem of C.J. Dennis; in the mid-1960s, in the Phillip Street Theatre revues \IA Cup of Tea, a Bex and a Good Lie Down\b\i and \IBut I Wouldn't Want to Live There\b\i; in the late 1960s in a series of mini-musicals at Sydney's Menzies Hotel; the title role in two productions of \IAnnie Get Your Gun\b\i; and \JJim Sharman\j's production of \IThe Threepenny Opera\b\i at the Sydney Opera House Drama Theatre. Her performance as Oola Maguire in \JPeter Kenna\j's \IThe Slaughter of St Teresa's Day\b\i won her the 1973 Sydney Critics' Award for best actress; she played Aggie Cassidy in Kenna's \IA Hard God\b\i; played Mama Rose in \IGypsy,\b\i 1975, and in 1977 played Queenie Paul in Steve J. Spears' \IYoung Mo\b.\i She appeared in the films \J\IThey're a Weird Mob\j\b\i (1966) and \IThe Mango Tree\b\i (1974).
In 1994 the Gloria Dawn Foundation was established in her memory; it will offer fellowships to Australian professional actors to travel and study internationally.
#
"Dead Calm",220,0,g,0
\IFilm, released 1989\i
An apparently simple but effective thriller, \IDead Calm\b\i is based on the novel \IThe Deep\b\i, which American director Orson Welles had started filming but not completed. After Welles' death, \JPhillip Noyce\j took up the idea and encouraged \JGeorge Miller\j to buy the rights. Set entirely on board a yacht at sea, with only a few characters, the story involves Rae and John, a couple trying to recover from the death of their child by going on a sailing trip, who find themselves at the mercy of the insane Hughie whom they rescue from the sea. It was filmed in 1987 at Hamilton Island, Queensland, and after a long post-production period was released in 1989. Audiences world-wide found the film gripping and its success began the international career of star \JNicole Kidman\j.
\IProduction company\b\i: Kennedy Miller
\IProducer\b\i: George Miller
\IDirector\b\i: Phillip Noyce
\IScreenplay\b\i: Terry Hayes (from the novel by Charles Williams)
Terry Dear, Australian radio and television host of the 1940s, 1950s and 1960s, was born in Melbourne on 4th October 1913. He came to fame in Melbourne joining 3KZ after WWII, and then becoming chief announcer and studio manager with 3AW. He compered the long-running radio show \IAustralia's Amateur Hour,\i and \ILeave It To the Girls,\i before becoming the Macquarie radio network's newsreader from 1958 until his retirement in 1974.
His television credits include \IConcentration\i in 1959 and then \INew Faces\i for the Nine Network. After he retired from the media in 1970, he became marketing manager for Dalton Packaging in Sydney. He died in Sydney on 17th June 1995, aged 81, and was survived by his wife Phylis, three sons Alan, Tim, Ian and a daughter Annie.
#
"Dearth, Harry",222,0,g,0
\I1908-65\i
\IRadio actor, producer and compere; television producer and compere\i
British-born Dearth came to Sydney in 1927 under the Big Brother scheme. In the early 1930s he began acting in small parts for J.C. Williamson's and then moved into radio announcing and became a popular compere. The pinnacle of his career was the many years he produced the Macquarie network's \ILux Radio Theatre\b\i (1939-51; 1955-56) to which he brought his experience in acting, his love of the stage and his flamboyant style. He had the reputation of being one of the best radio producers in Australia. He was also the compere for many years of \IAustralia's Amateur Hour\b\i which ran from 1940 to 1960.
With the advent of television he became program manager for ATN-7 and with his daughter Harriet compered \IPantomime Quiz\b\i, one of the first television quiz shows. He also devised and produced one of the earliest television drama series, \IJonah\b\i, which began on ATN-7 in 1962 and centred around a fictional merchant in the early days of Sydney Town. However, his association with television was not as happy as with radio.
#
"Death of a Wombat, The",223,0,g,0
\IRadio drama/documentary, first broadcast 1958\i
Though officially a documentary, this dramatically written and presented work about the death of a wombat in a bushfire is also an allegory of human life and its successes and failures. It won the international Italia Prize for the ABC in 1959.
\IProduced and broadcast by\b\i: ABC
\IWriter\b\i: Ivan Smith
\INarrator\b\i: Ivan Smith
#
"Deck Chair Theatre, Fremantle",224,0,g,0
\IInnovative theatre company that produces original works, many based on local events\i
The Deck Chair Theatre company was formed in 1983 and is based in Fremantle, Western Australia. It aims to reflect the community it serves in its development and production of original works. Some are inspired by historical events in Western Australia (Graham Pitt's \IEdge\b\i, 1994, explores the gruesome aftermath of the 1629 wreck of the Dutch ship \IBatavia\b\i off the Western Australian coast); some by the contemporary Fremantle community (\IPaddy\b\i, 1988, by Phil Thomson and John Walker, celebrates a local unionist and folk hero); other works draw upon Aboriginal and migrant cultures. The company often uses non-traditional performing spaces such as the Old Mills & Wares Biscuit Factory (for a play about its closure), the Old Customs House and Fremantle Prison.
#
"De Grey, Slim",225,0,g,0
\I1921-\i
Slim De Grey, Australian actor and comedian, was born at Lytham in England on 18th September 1921, and came to Australia in 1928. He won radio's Australian Amateur Hour singing and playing the harmonica. He joined the AIF in 1940 and as a prisoner of war spent three and a half years in Changi Jail. An accomplished Australian actor with a strong Aussie accent, he has won the Mo Award for the best comedian of the year on three occasions.
De Grey's television credits include \IYou Can't See Around Corners\i, \IAnimal Doctor\i, \IHomicide\i, \IMatlock Police\i, \IDivision 4\i, \IYoung Ramsey\i, \IThe Sullivans\i, \IThe Dismissal\i, and \IA Country Practice\i. Movies include \IThey're a Weird Mob\i, \IAge Of Consent\i, \IWake In Fright\i, \IDemonstrator\i and \INewsfront\i. In 1993, he was involved in producing an album of song's written while he was in Changi.
#
"de Groen, Alma",226,0,g,0
\I1941-\i
\IPlaywright\i
New Zealand-born de Groen arrived in Australia in 1964 and spent the years 1969-72 in England, France and Canada. Working as a playwright for live theatre since 1970, her plays include \IThe Joss Adams Show\b\i (1970), \IThe Sweatproof Boy\b\i (1972)\I, The After-Life of Arthur Cravan\b\i (1973), \IPerfectly All Right\b\i (1975), \IGoing Home\b\i (1976), \IVocations\b\i (1981), \IThe Rivers of China\b\i (1986) and \IThe Girl Who Saw Everything\b\i (1991), which was awarded 1993 Awgie for best stage play. Her adaptations for television include Tomasetti's novel \IMan of Letters\b\i for ABC TV Drama, winner of a 1985 Awgie award; her current film adaptations include Hazzard's \IThe Evening of the Holiday\b\i, Johnson's \IClean Straw for Nothing\b\i and Weldon's \ILeader of the Band\b\i.
In 1986 de Groen was writer-in-residence at the West Australian Institute of Technology and in 1987 she was dramaturg at the \JGriffin Theatre Company\j.
#
"Delaney, Delvene",227,0,g,0
\I1950-\i
Delvene Delaney, former Brisbane weather girl and hostess of Channel Nine's \ISale of the Century,\i was born in Queensland in 1950. She came to fame on Brisbane's Channel 0 (now 10) as the evening weather girl. She is married to television producer and \ICrocodile Dundee\i producer, John "Strop" Cornell, and lives on the New South Wales north coast near Byron Bay.
#
"Dendy Awards",228,0,g,0
\IAwards for short films\i
The annual Dendy Awards, for the best short films produced in Australia in the preceding year, are presented after a day-long screening of entrants on the opening day of the Sydney Film Festival. The entry list is shortened by the judges from more than 80 to four films in four categories. The Award is sponsored by Sydney's Dendy Cinema.
#
"Denny, Simon",229,0,g,0
\I1969-\i
Simon Denny, Australian actor, was born in Launceston, Tasmania on 30th July 1969. He was raised in New Guinea and at Lennox Head on the New South Wales north coast. After leaving school, he became a male nurse, and then a barman. After securing a modelling contract in Japan, he did some part-time acting, as well as dancing on music videos for Euphoria and Melissa. He came to fame in the Ten Network's weekly soap, \IE Street.\i
#
"Denton, Andrew",230,fp5030.jpg,c,0
\I1960-\i
\IWriter, performer and television presenter of satirical comedy\i
Sydney-based Andrew Denton worked in radio as head writer and on-air performer for the 2MMM breakfast show in Sydney from 1987 to 1989 and in 1997 and for 2Day FM from 1994.
His television credits include, for the ABC, \IBlah Blah Blah\b\i (1988), an 'anti-Tonight Show'; \IThe Money or the Gun\b\i (1989-90) which won the 1989 and 1990 Penguin Award for excellence in a light entertainment program; \IAndrew Denton Live and Sweaty\b\i (1991-92); \IWorld Series Debating\b\i (1993) and, for the Seven network, \IDenton\b\i (1994). In 1991 he appeared in John Clarke and Ross Stevenson's \IThe Royal Commission into the Australian Economy\b\i at Belvoir Street Theatre in Sydney.
\BDescription:\b Andrew Denton.
\BPhoto:\b Andrew Denton.
#
"De Roche, Everett",231,0,g,0
\I1946-\i
\ITelevision and film writer and actor\i
Born in the United States, De Roche moved to Melbourne in 1968 and began writing for Crawfords, for whom his work has included \IMatlock Police\b\i (began 1971), the crime series \IRyan\b\i (began 1973), \IBluey\b\i (began 1976), and \IRFDS\b\i (1993, the revamped continuation of \IThe Flying Doctors)\b.\i He has also written for some ABC television programs. De Roche has also become established as a film writer, his work including \IThe Long Weekend\b\i (1978), \IPatrick\b\i (1978) in which he also acted, \IHarlequin\b\i (1980), \IRoadgames\b\i (1980), also co-writing the original idea, \IRazorback\b\i (1984) and \IWindrider\b\i (1985).
More recently Everett de Roche has written for \IFire, Ship to Shore I and II,\i \IMedivac\i and \IGood Guys, Bad Guys.\i
#
"Desmond, Lorrae",232,fp5025.jpg,c,0
\IActor and singer on stage and television\i
Lorrae Desmond was born Beryl Hunt in Mittagong, New South Wales. She began her career as a singing cigarette girl in a Sydney night club. In the 1950s she worked in comedy in New Zealand, appearing with Sid James, Frankie Howerd and Tony Hancock, and for ten years was Terry Thomas's comedy partner on stage and television. She returned regularly to Australia to record the \ILorrae Desmond Show\b\i which screened on ABC television in the late 1950s and early 1960s. From 1981 to 1992 she played the central role of Shirley Gilroy in the television serial \IA Country Practice,\b\i and in 1993-94 toured nationally with the musical \IHigh Society\b.\i She has also written for several musicals and writes material for her own stage shows.
\BDescription:\b Lorrae Desmond.
\BPhoto:\b Karen Kay Management.
#
"Devereaux, Ed",233,0,g,0
\I1925-\i
\IActor of stage, television and film\i
London-based Ed Devereaux began working on the stage at the age of five. In 1944 he joined the Gladys Moncrieff Company and toured rural Australia with four musicals. He later appeared for J.C. Williamson's, was a band singer, performed in radio drama and had several small film roles. In 1950 he went to the United Kingdom, where he worked in musical variety shows and was a band singer with the BBC Big Bands in London and Manchester.
He returned to work in Australia from 1964 to 1971. During this time he appeared in the television mini-series \IMy Brother Jack\b\i and played the lead in the series \J\ISkippy\j\b\i. Later television work in Australia includes \IThe Dismissal\b\i (1983) and \IThe True Believers\b\i (1988), for which he won the AFI best actor award.
His more than 30 film appearances in England and Australia include: \IThey're a Weird Mob\b\i (1966), \IJourney Out of Darkness\b\i (1967), \IThe Nickel Queen\b\i (1971) and \J\IRobbery Under Arms\j\b\i (1985). His extensive stage work in the United Kingdom includes \IGuys and Dolls\b\i, \IPlain and Fancy\b\i, \IDamn Yankees\b\i, the London production of David Williamson's \IThe Removalists\b\i and \IThe Last of the Knucklemen\b\i at the Edinburgh Festival, Scotland.
#
"Deveson, Anne",234,0,g,0
\I1930-\i
Anne Deveson, Australian radio and television commentator and journalist, was born in Perth on 19th June 1930. She worked for a number of years for 2GB and was chairman of the South Australian Film Corporation from 1984-90. Married to Dr Ellis Blain, they have two sons and one daughter. During the 1980s and 1990s, she did a lot of work for the Schizophrenia Foundation.
#
"Devil's Playground, The",235,0,g,0
\ISilent film, black and white, released 1928; sound film, released 1976\i
\B1.\b\i Possibly the last of Australia's silent films (there is some doubt about whether it was made in 1928 or 1929), \IThe Devil's Playground\b\i was not one of the greatest. It was made on a low budget, partly with the aim of providing experience for the members of Victor Bindley's acting school. Nevertheless, its storyline, dealing with the romantic trials of a young white girl on a wild and cannibalistic South Seas island, was shocking enough to get it banned in 1930. It is held in substantially complete form at the National Film and Sound Archive.
\IProduction company\b\i: Fineart Film Productions
\IDirector\b\i: Victor Bindley
\IScreenplay\b\i: Based on Ashley Durham's lyrics for \IHell's Highway\b\i
\IMajor actors\b\i: John R. Allen, Elza Stenning (then Jacoby)
\B2.\b\i Its namesake, produced almost 50 years later, has a contrasting reputation and is rated as one of the best films of the 1970s. It does not follow the storyline of the previous film, but is a strongly personal account of a sensitive boy in a Catholic seminary and boarding school in the 1950s, based on the experiences of director \JFred Schepisi\j. In this institution the body is the 'devil's playground' and the film centres on the conflict between this attitude and the awakening sexuality of the boys. The story is told from the point of view of one of the boys, Tom Allen, who finally runs away. The film was voted best film at the 1976 AFI Awards and \JSimon Burke\j and\J Nick Tate\j jointly won best actor for their roles in the film.
\IProduction company\b\i: The Film House
\IProducer, director, screenplay\b\i: Fred Schepisi
\IMajor actors\b\i: \JArthur Dignam\j, Nick Tate, Simon Burke (as Tom), Charles McCallum, John Frawley, Jonathan Hardy
#
"Dicks, Arthur",236,0,g,0
\I?-1994\i
\ISet designer\i
Arthur Dicks trained at the Central School of Art in London and worked in theatre all over the world. The positions he held included head of design at Dundee Repertory Theatre, Scotland, head of design at Donovan Maule Theatre, Nairobi, Kenya, head of design at Theatre Royal, Lincoln, England, head of design at NIDA in Sydney and designer and co-director of the Q Theatre, Penrith.
His many hundreds of productions included period pieces such as Shakespeare's \IA\b\i \IMidsummer Night's Dream\b\i, \IKing Lear\b\i, \IMerchant of Venice\b\i and \IOthello\b\i as well as more modern works such as Peter Kenna's \IA Hard God\b\i, \IAlfie\b\i, \ISt Mary's Kid\b\i (a rock musical), \IWaters of the Moon\b\i and \ISafety in Numbers\b\i. Dicks also designed productions for the Old Tote Theatre Company, the Western Australian Ballet, the Jane Street Theatre, the Theatre of the Deaf and the Castle Hill Players.
#
"Dignam, Arthur",237,0,g,0
\I1939-\i
\IActor of stage, screen and television\i
Arthur Dignam was born and educated on Lord Howe Island and began his acting career at the University of Sydney, appearing in a number of dramatic society productions there. His films include \IBetween Wars\b\i (1974), \IPetersen\b\i (1974), \ISummer of Secrets\b\i (1976), \IThe Devil's Playground\b\i (1976), \IThe Chant of Jimmie Blacksmith\b\i (1978), \ICathy's Child\b\i (1979), \IDuet for Four\b\i (1982), \IWe of the Never Never\b\i (1982), \IThe Wild Duck\b\i (1983), \IThe Everlasting Secret Family\b\i (1987), \IThose Dear Departed\b\i (1987), \IThe Dreaming\b\i (1988) and \IThe Nostradamus Kid\b\i (1993); television roles include \IThe Dismissal\b\i (1983) and \I \JBodyline\j\b\i (1984).
His stage performances include \IJesus Christ Superstar\b\i (1972), the Old Tote Theatre Company production of \J\IBig Toys\j\b\i (1977), the Paris Theatre Company production of Dorothy Hewett's \IPandora's Cross\b\i, the Sydney Theatre Company productions of \ILady of the Camellias\b\i (1979), \IHedda Gabler\b\i (1986) and Louis Nowra's \IThe Temple\b\i (1993) and the Queensland Theatre Company's production of \J\IMoney and Friends\j\b\i.
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"Dimboola (play)",238,0,g,0
\IPlay, first produced 1969; film, released 1979\i
\B1.\b\i \JJack Hibberd\j's \IDimboola\b\i is a comedy set in the midst of a wedding feast celebrating the marriage of Morrie and 'Reen', in the presence of Father O'Shea and two gate-crashers. Hibberd's idea was that each theatre staging the play should transform itself into the Dimboola Mechanics Institute Hall with the audience becoming the wedding guests. Everything that is said about the institution of marriage during the course of the play is negative or racy. The play was enormously popular and at one point was purported to be playing in seventeen countries.
\IFirst produced\b\i: By \JLa Mama Theatre\j Company at La Mama cafe, July 1969.
\IOther major productions\b\i: The first professional production at the Pram Factory in 1973 with David Williamson directing.
\B2.\b\i The success of the play persuaded the Pram Factory to venture into film production, with the backing of the Australian Film Commission, the NSW Film Corporation, Victorian Film Corporation and GU Distributors. Jack Hibberd adapted the script and introduced a new major character for the screen version. However, the film did not have the success of the play. It was generally judged that the humour did not make the translation well.
\IProduction company\b\i: Pram Factory Pictures
\IProducer\b\i: John Weiley
\IDirector\b\i: \JJohn Duigan\j
\IScreenplay\b\i: Jack Hibberd (based on his play)
\IMajor actors\b\i: \JBruce Spence\j, Natalie Bate, \JMax Gillies\j, Alan Rowe, Irene Hewitt, Terry McDermott
#
"Dingo, Ernie",239,fp5019.jpg,c,0
\I1956-\i
\IActor of film, television and stage\i
Ernie Dingo is a member of the Wadjadi Yamatji people and grew up in the area between the Murchison and Gascoyne rivers, inland from Carnarvon and Dirk Hartog Island in Western Australia. He began his performing career in Perth in 1978 with the Middar Aboriginal Dance Theatre and in the same year toured Germany with the company. He has also worked with the Aboriginal and Islander Dance Theatre, was a participant in the 1988 Alice Springs Folk Festival and appears regularly with the Aboriginal Theatre Trust.
His stage work includes \ITimewarp\b\i (Gardzienile Zubrycka Theatre Association), \INo Sugar\b\i (World Expo, Vancouver) and the musical \J\IBran Nue Dae\j\b.\i His film work includes \IThe Fringe Dwellers\b\i (1986), \ICrocodile Dundee II\b\i (1988), \ITommy Tricker and the Stamp Traveller\i (1987), \ICapuccino\i (1988) \IUntil the End of the World\i (1992), \IMr Electric\i (1993) and \IDead Heart\i (1996). His television work includes the series \IThe Flying Doctors\b\i (began 1986), \IRelative Merits\b\i (began 1987), \IRafferty's Rules\b\i (began 1987), \IThe Dirtwater Dynasty\b\i (began 1988), the children's series \IDolphin Cove\b\i (1990), \IA Waltz Through the Hills\b\i (1990) and \IClowning Around\b\i (1992) and the features \ICorowa Breakout\b\i and \ITudawali\b.\i
In 1994 he starred in the ABC drama series \IHeartland,\b\i inspired by an episode of \J\IGP\j\b\i in which he guest-starred; \IHeartland\b\i was developed by Dingo, producer \JBruce Best\j and former \IGP\b\i script editor Ro Hume. Other television roles include \IHeartbreak High\i (1994) and \IKings in Grass Castles\i (1997).
Ernie Dingo is currently presenting \IThe Great Outdoors\i for the Seven Network. In 1994 he was voted Aboriginal of the Year by NAIDOC. In June 1990, Ernie Dingo was awarded the Order of Australia.
\BDescription:\b Ernie Dingo.
\BPhoto:\b Sue Muggleton Management.
#
"Dingwall, John",240,0,g,0
\I1940-\i
\ITelevision and film writer and director\i
Dingwall was born in Rockhampton, Queensland, and worked first as a journalist, then as a television scriptwriter for Crawfords. He wrote the widely praised screenplay for the film \J\ISunday Too Far Away\j\b\i (1975) and both wrote and produced \IBuddies\b\i (1984). The frustrations experienced with directors during these productions led him to direct as well as write \IPhobia\b\i (1988), an emotionally powerful film about the break-up of a marriage which, although it did not find a large audience in Australia, was well received on the art circuit overseas. In 1992 he wrote and directed \IThe Custodian\b\i, a thriller about police corruption which sold well at Cannes in 1993. Dingwall's television work includes the ABC social investigative series \IPig in a Poke\b\i (1977) which he devised and co-wrote.
#
"Dinkum Bloke, The",241,0,g,0
\ISilent film, black and white, released 1923\i
Written and produced by \JRaymond Longford\j and Lottie Lyell as a spin-off of their great 1919 success, \IThe Sentimental Bloke\b\i, this film was a sentimental portrayal of the struggles of the Australian urban working class. The central character, a navvy, promises his dying wife to work ceaselessly to send their daughter to the best schools and, having fulfilled this promise, has to sacrifice his own feelings and give her up so that she can marry into the upper classes. The film was accepted for distribution by the American company Paramount and received unprecedented publicity, with lines such as 'for Australians, by Australians and with Australian materials'. It opened to very good reviews in Australia and Britain and was a commercial success. The film is now lost.
\IProduction company\b\i: Longford-Lyell Australian Productions
\IDirector\b\i: Raymond Longford
\IScreenplay\b\i: Raymond Longford and Lottie Lyell
\IMajor actors\b\i: Arthur Tauchert (as the navvy), \JLottie Lyell\j (as the daughter), Beryl Gow, Lotus Thompson, Jack Raymond, Rene Sandeman
#
"Dismissal, The",242,0,g,0
\ITelevision mini-series, first broadcast 1983\i
The first television production of the successful film-making team Kennedy Miller, this was a daring undertaking as its subject matter was an event from recent Australian history still surrounded by controversy--the dismissal of the Whitlam government by Governor-General Sir \JJohn Kerr\j in 1975 and the events leading up to this. It was made over two years (1981-82) at a cost of $2.6 million which at that time was a record expense. Screening of its six one-hour episodes on the Ten network was delayed until after the March 1983 election in which Labor under Hawke was returned to power.
Best described as a dramatised documentary, part of its appeal was in watching the actors' portrayals of well-known contemporary public figures--in addition to Whitlam and Kerr, the Liberal leader \JMalcolm Fraser\j, key ministers in the Whitlam government such as Jim Cairns and Rex Connor, and leading Coalition members. The series enjoyed great success in Australia and also did well overseas, particularly in Britain. It won a 1984 Logie for best single drama or mini-series and was repeated at the time of the anniversary of the dismissal in 1985.
\IProduction company\b\i: Kennedy Miller
\IExecutive producers\b\i: \JByron Kennedy\j, George Miller
\IProducer\b\i: \JTerry Hayes\j
\IDirectors\b\i: George Miller, \JPhil Noyce\j, Carl Schultz, George Ogilvie, John Power
\IScriptwriters\b\i: Terry Hayes, \JRon Blair\j, George Miller, Phil Noyce
\IMajor actors\b\i: \JMax Phipps\j (as Gough Whitlam), \JJohn Hargreaves\j (as Jim Cairns), \JBill Hunter\j (as Rex Connor), John Stanton (as Malcolm Fraser), \JJohn Meillon\j (as Sir John Kerr), Peter Carroll (narrator), Neela Dey (as Junie Morosi), Stewart Faichney (as Billy Snedden), \JPeter Sumner\j (as Bill Hayden), Sean Scully (as Doug Anthony), \JEd Devereaux\j (as Phillip Lynch), Tom Oliver (as Reg Withers), \JRobyn Nevin\j (as Lady Kerr), Harry Weiss (as Tirath Khemlani)
#
"Dobrowolska, Gosia",243,fp5018.jpg,c,0
\IFilm and television actor\i
Polish-born Gosia Dobrowolska settled in Australia in the early 1980s. Her films since then include \ISilver City\b\i (1984), \IThe Surfer\b\i (1986), \IPhobia\b\i (1988), \IGolden Braid\b\i (1990), \IA Woman's Tale\b\i (1990), \IThe Nun and the Bandit\b\i (1992), \ILust and Revenge\i (1995), \IHouse Guests\i (1996) and the short film \ITelly Vision\i (1997). Her television work includes \IFields of Fire II,\i \IA Country Practice,\i \IThe Man From Snowy River\i and \IGP.\i
\BDescription:\b Gosia Dobrowolska.
\BPhoto:\b Shanahan Management.
#
"Dobson, Kevin",244,0,g,0
\I1952-
\ITelevision and film director\i
Dobson gained his background in television as an editor, script consultant and director on Crawfords' police series. He then began to concentrate on mini-series and feature films. His television direction credits include \IThe Last Outlaw\b\i (1980) for Bronwyn Binns and Ian Jones, the ABC series \IWinner Take All\b\i (1975) and \II Can Jump Puddles\b\i (1981), and the commercial soap opera \J\IReturn to Eden\j\b\i (began 1983). He was also a director of the 'Australian Western' series \IFive Mile Creek\b\i (1984-85), produced for the Seven network and the American Disney cable network by Henry Crawford, and the Grundy Organization's war/historical mini-series \ITanamera--Lion of Singapore\b\i (1989).
His feature film work includes \IThe Mango Tree\b\i (1977) and \ISquizzy Taylor\b\i (1982). In the 1990s he has worked in the United States, where his directing credits include the feature \IMiracle--the Wilderness\b\i (1991) and the telemovie \IWhat She Doesn't Know\b\i (1992).
#
"Dodwell, Grant",245,0,g,0
\I1952-\i
Grant Dodwell, Australian actor, was born in Wollongong, New South Wales on 2nd July 1952. After graduating from NIDA he spent six years working on the stage for the Queensland and Melbourne Theatre companies. He starred in \IA Country Practice\i and, with Shane Withington, in \IWilling and Abel.\i His other television performances include \ICertain Women, Glenview High, Father Dear Father, Patrol Boat,\i and \IThe Young Doctors.\i
He later appeared in a number of stage productions including \ICharlies Aunt.\i His films include \ICathy's Child,\i and \IGoodbye Paradise.\i
#
"Don's Party",246,0,g,0
\IPlay, first produced 1971; film, released 1976\i
\B1.\b\i \JDavid Williamson\j's \IDon's Party\b\i is set on the night of the 1969 federal election. On this emotional occasion, Labor supporters Australia-wide waited with bated breath to see whether their hero, Gough Whitlam, could achieve the swing necessary to put Labor in power after twenty long years. As it happened, it took Labor another three years to win an election, but the politics involved provide a powerful background to the action of the play. \IDon's Party\b\i is written in a naturalistic style and the plot is simple, with guests arriving with their requested pornographic presents, drinking, telling jokes, complaining cynically about their lot in life, flirting and retreating drunkenly into the night. The \JAustralian Performing Group\j (APG) achieved great success with the play and Williamson's ability to entertain his audience with his acute observations of dialogue and relationships made him a marketable commodity.
\IFirst produced\b\i: Melbourne's Pram Factory in 1971. This was the first and only one of Williamson's plays to be staged at that venue.
\IOther major productions\b\i: Jane Street production directed by \JJohn Clark\j in 1972; Kinselas' National Tour directed by \JGraeme Blundell\j in 1988.
\B2.\b\i After the success of the play, British director Jack Lee acquired the film rights and gained the interest of producer \JPhillip Adams.\j \JBruce Beresford,\j chosen to direct rather than Lee himself, selected a real house as a set rather than a stage setting which was thought to have hindered the successful transition from stage to film of Williamson's earlier play, \IThe Removalists\b.\i The film opened to mixed reviews but public approval both in Australia and at several international festivals.
\IProduction company\b\i: Double Head Productions
\IProducer\b\i: Phillip Adams
\IDirector\b\i: Bruce Beresford
\IScreenplay\b\i: David Williamson (based on his play)
\IMajor actors\b\i: \JRay Barrett,\j Clare Binney, Pat Bishop, Graeme Blundell, Jeanie Drynan, \JJohn Hargreaves\j (as Don), Harold Hopkins, Veronica Lang, Candy Raymond, \JGraham Kennedy,\j Kit Taylor, John Gorton (in a small part as himself)
#
"Donovan, Jason",247,0,g,0
\I1968-\i
\ISinger and actor\i
Jason Donovan was born in Melbourne where he studied piano at the Melba Conservatorium of Music. He began his professional career at the age of eleven and in his early teens appeared in several television series. He gained international attention in the role of Scott Robinson in the television serial \J\INeighbours,\j\b\i starring opposite \JKylie Minogue.\j He won the 1987 best new talent Logie Award and the Penguin commendation as best actor. In the following year he won a Silver Logie for most popular actor. He then left for London and a starring role in the musical \IJoseph And His Multi-coloured Dream Coat\b.\i In 1996 he returned to Australia to play Frank'n'furter in a new production of \IThe Rocky Horror Show.\i
His recordings include the single 'Nothing Can Divide Us' (1988) and (with \JKylie Minogue\j) 'Especially For You', which reached No. 1 in the United Kingdom. He has made several recordings.
His father is Australian actor Terence Donovan.
#
"Donovan, Terence",248,0,g,0
\I1937-\i
Terence Donovan, Australian actor, was born in London on 28th October 1937. He was married to Sue McIntosh and is the father of actor-singer Jason Donovan. He came to fame in the television series \IDivision 4\i and \ICop Shop.\i His other television shows include \INeighbours,\i \IHome and Away\i, and \IFlying Doctors.\i
#
"Doppio Teatro, Adelaide",249,0,g,0
\IBilingual theatre company\i
Doppio Teatro is a professional bilingual theatre company established in 1983 and based at the Lion Arts Centre, Adelaide. It provides a theatrical and artistic outlet for Italian-Australian artists and Italian-Australian culture, focusing on cultural traditions and change and the exploration of links across cultures, generations and artforms.
Original bilingual works developed and produced by the company include \ILa Madonna Emigrante\b\i (The Migration of the Madonna) (1987), \IRicordi\b\i (1989; performed in Sydney, Melbourne and at the Leeds International Festival, United Kingdom, in 1990), \IRed Like the Devil\b\i (1991; toured Far North Queensland in 1994) and \IFilling the Silence\b\i (performed at the 1993 Brisbane Biennial International Music Festival and the 1994 Adelaide Festival). In 1993 Doppio Teatro received the Sidney Myer Award for Performing Arts for its 'distinctive contribution to the Australian arts'.
#
"Downey, Margaret",250,0,g,0
\I1961-\i
Margaret Downey, comedy actress, was born in Melbourne on 5th January 1961. After appearing in a Melbourne University review she was asked to become a member of the D-Generation which was a forerunner to the highly successful \IFast Forward\i on the Seven Network. She came to fame in \IFast Forward\i playing such characters as Jana Wendt and Jo Beth Jo.
#
"Doyle, Stuart",251,0,g,0
\I1887-1945\i
\IFilm promoter and executive; pioneer radio administrator\i
Sydney-born Doyle was educated as a librarian but turned to show business. He began his theatre career as a magician and at the age of nineteen, as `Frank Stuart', toured New South Wales in a one-man show. From 1909 he worked as a theatre manager for the J.D. Williams Amusement Company which amalgamated with others to form Union Theatres (exhibition) and Australasian Films (distribution). Doyle's talent for publicity ensured him a key position in these companies and by the end of the 1920s he was managing director.
He played a substantial role in promoting the increased output of Australian film in the late 1920s and early 1930s, entering into competition with Frank Thring. As part of this rivalry both undertook modernisation of old cinemas and in 1928 Doyle opened the Capitol in Sydney, Australia's first 'atmospheric' theatre.
In 1929 his campaign against the federal government amusement tax contributed to the defeat of the Bruce-Page government. Also in 1929, Doyle, in association with Frank Albert and Sir Benjamin Fuller, founded the Australian Broadcasting Company which aimed to provide a national wireless service. When this was taken over by the government in 1932 and converted to the Australian Broadcasting Commission (ABC), they established the Commonwealth Broadcasting Corporation.
With Doyle as chairman this expanded rapidly, acquiring the Sydney radio station 2UW. In 1931 Union Theatres was liquidated as a result of the Depression and replaced by Greater Union Theatres which incorporated the new \JCinesound\j of which Doyle was managing director from 1932. In this position he presented such films as \IThe Squatter's Daughter\b\i (1933) and \IThe Silence of Dean Maitland\b\i (1934). He was replaced by \JNorman Rydge\j during an overseas trip in 1936 and forced out of Greater Union altogether in 1937, after which he concentrated on his radio interests, which continued to be supported by Greater Union.
#
"Dr Paul",252,0,g,0
\IRadio serial, broadcast 1949-71\i
This tear-jerking series was one of the most popular of the radio soap operas and ran for 4634 episodes, telling the story of the lives of the patients of a general practitioner. Its producers sold it to commercial stations throughout Australia and also in New Zealand and South Africa.
\IMajor actors\b\i: John Bushelle, later Alistair Duncan, later John Saul (as Dr Paul), Dinah Shearing, later Lynne Murphy (as Virginia, Dr Paul's wife)
#
"Drew, Di",253,0,g,0
\I1948-\i
\ITelevision director\i
Drew was associated with the ABC for many years, where her credits included co-director of the action series \ISporting Chance\b\i (1981), the lavish war series \I1915\b\i (1982) and the legal series \ILearned Friends\b\i (1983). She has since been co-director of the historical series \IFive Mile Creek\b\i (1984-85), a Seven network co-production with the American Disney cable network, and director of the Revcom children's historical mini-series \IHill's End\b\i (1989).
In the 1990s she directed individual plays within two highly rated anthology series, both made by Generation Films--\ISix Pack\b\i (1992) for SBS and \ISeven Deadly Sins\b\i (1993) produced for the ABC. In the latter she directed the 'Gluttony' episode. Subsequent work includes the children's puppet series \IThe Ferals\b\i (1994).
#
"Drysdale, Denise",254,0,g,0
\I1948-\i
Denise Drysdale, Melbourne singer and television personality, was born at Glen Huntley in Melbourne, on 5th December 1948, the daughter of a publican. She first came to notice as the buxom Go Go Dancer on the pop show \IKomotion.\i She partnered Ernie Sigley on his national TV show in the 1970s and appeared on \IBlankety Blanks.\i Nicknamed Ding Dong by Sigley, she divorced her first husband Chris Milne in 1989 and lives on a country property with her children Peter (1980) and Robert (1982).
She appeared on country television in the 80s and as an occasional guest on national game shows and telethons. In 1989, she co-hosted \IIn Melbourne Today\i and \IIn Sydney Today\i with Ernie Sigley with whom she had a number one hit with \IHey Paula\i in 1974. She also co-hosted \IHey Hey It's Saturday\i with Daryl Somers in 1989-90, but quit the show after a blaze of publicity in which it was alleged she had insulted and rubbished Somers during her club act. In 1996, she teamed up with Frankie J. Holden on the re-worked Melbourne television show \IIn Melbourne Tonight.\i
#
"Duigan, John",255,fp5027.jpg,c,0
\I1949-\i
\IFilm director\i
British-born Duigan came to Australia in 1961. While studying philosophy at Melbourne University, he became involved in Melbourne's radical political theatre. This led to some acting parts in short films. In 1974 he directed his first feature film, \IThe Film Man\b.\i This was followed by a series of films including \IMouth to Mouth\i (1978), which dealt with the plight of unemployed youth in suburban Melbourne. His first major success was \J\IWinter of our Dreams\j\b\i (1981), made after his move from Melbourne to Sydney and developed from Duigan's own story.
His interest in political themes was followed through in \J\IFar East\j\b\i (1982), also scripted by himself, though his original idea was more rigorous than the eventual film in which romance dominated politics. His next film, \IOne Night Stand\b\i (1984), about the threat of nuclear war, was not successful and was criticised for appearing to ridicule the issue though this was not the intention. But \IThe Year My Voice Broke\b\i (1987), a move from political to social themes, was widely acclaimed and won Duigan best director and best screenplay at the 1987 AFI Awards, as well as being awarded best film. A follow-up film, \IFlirting\b\i (1991), which he directed and wrote, was equally well received. Subsequent films include \IThe Wide Sargasso Sea\b\i (1992), \ISirens\b\i (1994) and \ILawn Dogs\i (1997). Duigan's television work has included the co-direction of the mini-series \IVietnam\b\i (1987).
\BDescription:\b John Duigan.
\BPhoto:\b John Duigan.
#
"Duncan, Carmen",256,0,g,0
\I1942-\i
Carmen Duncan, Australian actress, was born in Lismore, New South Wales on 7th January 1942. She has starred in a number of Australian TV mini-series, such as \ITheYoung Doctors\i and \Iskyways,\i and several movies, before moving to America where she starred in the daytime soap opera \IAnother World.\i
#
"Duncan, Paula",257,0,g,0
\I1952-\i
Paula Duncan, Australian actress, was born in Cooma, New South Wales on 15th September 1952. She is the sister of actress Carmen Duncan. Paula is married to actor and co-star John Orcsik, and is actively involved in fundraising for Sydney's Sunshine Home for intellectually handicapped youths. She starred in a number of television series, including \ISkyways\i, \ICop Shop\i, \IPrisoner\i, \IHome And Away\i, \IRichmond Hill\i, \IThe Young Doctors\i, \INumber 96\i and \ICertain Women\i. Her films include \IJenny Kissed Me\i.
#
"Dwyer, Monte",258,0,g,0
\I1958-\i
Monte Dwyer, weatherman with the National Nine Network's \IToday Show,\i was born in Newcastle on 21st July 1958. He grew up at Lake Macquarie in New South Wales. He had a number of jobs including working as a nurse, fisherman and fashion model, before working in radio at 8DR Darwin, 8DDD Darwin and the ABC in the Northern Territory as a weatherman. He was spotted by Nine Network executives and employed in 1990 as a weather reporter.
#
"E Street",259,0,g,0
\ITelevision serial, broadcast 1989-93\i
One of the products of the teenage soap opera era of the late 1980s/1990s, \IE Street\b\i was aimed at a slightly older audience than some of its competitors. It was set in a fictional inner city suburb (filmed in Balmain, Sydney) and its characters, particularly younger ones such as Harley, Toni, Wheels, CJ, Lisa, Bonnie, Sonny, Nikki and Paul, had to deal with a range of social problems--drug addiction, illnesses physical and mental, imprisonment, family deaths, unhappy sexual relationships, suicide, even murder--in other words, the stuff of soap operas. The older parental characters providing some stability in all this included the Reverend Bob, Elly Fielding the doctor, the local pub owner Ernie Patchett and the local police sergeant George Sullivan.
Other regular characters included the popular police constable Max Simmons and the unlikely local media magnate, the lecherous Sheridan Sturgess. \IE Street\b\i was well produced, being devised by Forrest Redlich who had experience as a producer on \IA Country Practice\b\i. It achieved great popularity and some of its stars enjoyed for a while teenager hero status. However, its later episodes were weak and drifted into a plethora of rape, drugs, murder, etc., which drew criticism for excessive violence. \IE Street\b\i's hour-long episodes, numbering finally just over 400, were shown twice a week on the Ten network.
\IProduction company\b\i: Westside Television Productions
\IExecutive producer\b\i: Forrest Redlich
\IProducers\b\i: \JBruce Best\j, Denis Phelan
\IDirectors\b\i: Various
\IScriptwriters\b\i: Various
\IMajor actors\b\i: Malcolm Kennard (as Harley), \JPenny Cook\j (as Dr Elly), Diane Craig (as Elly in later episodes), Les Dayman (as Sgt Sullivan), Bruce Samazan (as Max Simmons), Vic Rooney (as Ernie Patchett), Alyssa-Jane Cook (as Lisa), Tony Martin (as the Rev. Bob), Marcus Graham (as Wheels), Melissa Bell (as Bonnie), Richard Huggett (as Sonny), Melissa Tkautz (as Nikki), Adrian Lee (as CJ), Toni Pearen (as Toni), Kate Raison (as Sheridan Sturgess), Warren Jones (as Paul)
#
"Eadie, Nicholas",260,fp5017.jpg,c,0
\IActor of stage, film and television\i
Nicholas Eadie graduated from NIDA in 1980 and almost immediately began work in a central continuing role in the long-running television series \J\ICop Shop\j\b.\i His other television work includes leading roles in the series \IThe Henderson Kids,\b\i the historical mini-series \IThe Lancaster Miller Affair\b\i (1986), \IKindred Spirits\b\i (for the ABC), the mini-series \IVietnam\b\i (1987, for which he won both an AFI Award and a Logie), \IFragments of War--The Damien Parer Story\b\i (for which he received an AFI best actor nomination in 1988), \J\IEmbassy,\j\b\i an appearance in \J\IGP\j\b\i (for which he won a Penguin Award), the mini-series \ITracks of Glory\b\i (1992), \IHalifax f.p.\i (1994), \IA Country Practice\i (1994), \IGP\i (1996) and \IMedivac\i (1996).
His film appearances include roles in \IUndercover\b\i (1983), \ICelia\b\i (1988), \IThe Man From Snowy River II\b\i (1988), \IBlood Oath\b\i (1990), \IAya\b\i (1990) and \IOn Our Selection\i (1994). His stage work includes the Bloke in \IThe Sentimental Bloke\b\i (Q Theatre); \IIn Duty Bound\b\i (Marian Street Theatre); \IMacbeth,\b\i \IThree Sisters\b\i and Dad, Uncle Bob, Griff and others in \ITwo Weeks with the Queen\b\i (Sydney Theatre Company); Brick in \ICat on a Hot Tin Roof\b\i (Melbourne Theatre Company); John Proctor in \IThe Crucible,\b\i \IAnd a Nightingale Sang\b\i and \IPride and Prejudice\b\i (Queensland Theatre Company); Biff in \IDeath of a Salesman,\i Don in \J\IDon's Party\j\b\i (Sydney and Melbourne), \IA Midsummer Night's Dream\i (1995) and \IThird World Blues\i (1997) for the Sydney Theatre Company.
\BDescription:\b Nicholas Eadie.
\BPhoto:\b Shanahan Management.
#
"Eastwood, Larry",261,0,g,0
\I1948-\i
\ISet designer\i
Born in the United Kingdom, Larry Eastwood emigrated to Australia after completing studies at the East 15 Acting School, London. A co-founder of the Nimrod Theatre Company, he was production manager and resident designer for seven years. During his time there he designed more than 40 productions including \IHamlet\b\i, \ITooth of Crime\b\i, Chekhov's \IThe Seagull\b\i, David Williamson's \IThe Removalists\b\i, Shakespeare's \IMuch Ado About Nothing\b\i, \IRichard III\b\i and \IComedy of Errors\b\i, \IThe Sea\b\i, \IJumpers\b\i and Steve J. Spears' \IThe Elocution of Benjamin Franklin\b\i which toured to London and New York.
Eastwood left the Nimrod to work in films as a freelance designer. He was art director on such great Australian films as \J\INewsfront\j\b\i, \IDimboola\i, \IA Town Like Alice\b\i, \IDeadline\b\i and \IA Long Weekend\b\i. As a freelance designer he has worked on productions for the Melbourne Theatre Company, the Old Tote Theatre Company, the Ensemble Theatre Company and the Theatre Royal, Sydney. Other productions include the films \ICross Talk\b\i, \IGinger Meggs\b\i and \IPhar Lap\b\i, and \IWest Side Story\b\i, \IAs You Like It\b\i and David Williamson's \J\IEmerald City\j\b\i for the stage.
#
"Edgar, Patricia",262,0,g,0
\I1937-\i
\ITelevision policy adviser, producer and academic\i
Patricia Edgar had a background as a high-school English teacher and academic teacher of education at La Trobe University in Victoria when she became an adviser on children's television. In the 1970s she was an active force in persuading the ABC to purchase the American children's program \ISesame Street\b\i. From 1978 to 1984 she was chairperson of the Children's Program Committee of the Australian Broadcasting Tribunal. In this position she studied and identified the kind of television programs that were lacking in the output of Australian producers and outlined the need for a new institution to ensure that such programs were made. This resulted in the formation of the Australian Children's Television Foundation in 1982.
Edgar has been director of the Foundation since its inception. As well as investing in the work of independent producers, the Foundation has produced its own range of programs, developing the new approach to children's television that was evident in \ISesame Street\b\i. These productions include the series \IWinners\b\i (began 1986), \IKaboodle\b\i (began 1987), \ITouch the Sun\b\i (began 1988), \IRound the Twist\b\i (began 1990) and \ILift Off\b\i (began 1992). Edgar was producer of \ILift Off\b\i and executive producer of the others.
She has served on several other committees and commissions, including the UNICEF National Education Committee and the Victorian Post-Secondary Education Commission. Her publications include \IChildren and Screen Violence\b\i (1977).
#
"Edgeworth, Patrick",263,0,g,0
\I1932-\i
\IFilm and television writer and producer\i
British-born Edgeworth began his career as an actor, then turned to writing. Based in Melbourne, he met \JRussell Hagg\j at Crawfords where both were working on police series and the two formed Homestead Films in the early 1970s. This company produced two series of the 'Australian Western' genre which were sold to the Seven network--\ICash and Company\b\i (1975) and \ITandarra\b\i (1976). Edgeworth was co-producer of both, and wrote the screenplay for the feature film \IRaw Deal\b\i (1977) which Homestead produced in the same format. The partners then separated. Edgeworth continued to write screenplays for films, including \IBMX Bandits\b\i (1983), \ICool Change\b\i (1985) and \IA Sting in the Tale\b\i (1989), and for television series such as \IChance\b\i (1992).
#
"Edgley, Edna",264,0,g,0
\I1910-\i
Edna Edgley, Australian show business matriarch and mother of entrepreneur Michael Edgley, was born Edna Luscombe in Melbourne on 3rd December 1910. She married vaudeville star Eric Edgley in 1940. The family later established Edgley Entertainment which imported many international acts to Australia, particularly from Russia, such as the Great Moscow Circus and The Bolshoi Ballet.
#
"Edgley, Eric",265,0,g,0
( -1967)
Eric Edgley, Australian theatrical promoter and father of impresario \JMichael Edgley\j, was born Eric White in London, and borrowed his name from Edgley Road in London to appear more glamorous. He was a comedian in vaudeville with his brother Clem Dawe prior to establishing Edgley Entertainment, which imported many international acts to Australia, particularly from Russia, for example, The Great Moscow Circus, and The Bolshoi Ballet. He met his wife, Edna Luscombe, when they were appearing in \ISinbad the Sailor,\i when she was aged only 10 in 1920. They married 20 years later in 1940 and in 1943 became parents to Michael. In 1959, Eric went to London and booked some Russian variety artists and followed up with The Great Moscow Circus in 1965. He died in Perth from cancer on 3rd February 1967. His son Michael Edgley continued the family business.
#
"Edgley, Michael",266,fp5099.jpg,c,0
\I1943-\i
\ITheatrical entrepreneur\i
Michael Edgley, the son of Eric Edgley (comedian and entrepreneur) and Edna (theatre manager and entrepreneur), was born in Melbourne. At the age of nine he moved to Perth and was educated at the Christian Brothers College. Following in the footsteps of his parents, Michael joined his father in the family theatrical management business at the age of 19, taking over the reigns upon his father's death in 1967. Since that time he has presented more than 200 shows, ranging from ballet companies and circuses to comtemporary concerts, sport, drama and exhibitions.
He was executive producer of the films \IThe Man from Snowy River\b\i and \J\IPhar Lap\j\b.\i In recent times he has expanded his business activities into Asia, and has presented the Moscow Circus in the USA and England. In 1973 he was the youngest Australian ever to receive an MBE and in 1976 became Western Australian Citizen of the Year.
\BDescription:\b Michael Edgley.
\BPhoto:\b Edgley International Pty Limited.
\BPic2:\b ARTS-18.jpg
\BDescription2:\b Edgley International Pty Limited logo.
\BPhoto2:\b Edgley International Pty Limited.
#
"Edwards, Gale",267,0,g,0
\I1955-\i
\ITheatre director\i
Born in Alberton, South Australia, Edwards is a graduate of Flinders University Drama Centre, Adelaide University, the Mime Centre, London, and the Director's Course at NIDA where, on graduation, she was offered a job on staff which she held for three years.
In 1981 she became founding artistic director of Energy Connection, an Adelaide-based dance company for young people. Edwards directed the world premiere of \IBoojum\b\i, an Australian musical composed by Martin Wesley-Smith, for the 1986 Adelaide Festival of the Arts. She became associate director of the \JState Theatre Company of South Australia (SATC)\j after co-directing Tom Stoppard's \IThe Real Thing\b\i with \JJohn Gaden\j, with whom she also co-directed Shakespeare's \IMuch Ado About Nothing\b\i and \IThe Winter's Tale\b\i. Other plays she directed for SATC include \IKing Lear\b\i, \IThe Glass Menagerie\b\i (which toured to Sydney's Marion Street Theatre) and Aphra Behn's \IThe Rover\b\i (which toured to the 1989 Sydney Festival). Edwards has also directed Stephen Sondheim's \ISweeney Todd\b\i for the State Opera of South Australia, \IA Doll's House\b\i for Belvoir Street Theatre and \IAll My Sons\b\i for the Sydney Theatre Company.
Edwards became associate director of the \JMelbourne Theatre Company (MTC)\j in 1989. Her productions there include \IThe Tempest\b\i, \IPresent Laughter\b\i, \IThis Old Man Comes Rolling Home\b\i, \IRacing Demon\b\i, \IUncle Vanya\b\i and \IAnother Time\b\i. Edwards also directed \IThe Magic Flute\b\i for the Victorian State Opera and \INixon in China\b\i at the 1993 Adelaide Festival. Trevor Nunn appointed her his associate director on \ILes Miserables\b\i, which she went on to direct in Melbourne, for its Australian tour and in Vienna (in German), and in 1992 she directed 'Pride' (episode two of the ABC TV series \ISeven Deadly Sins\b\i). In 1993 Edwards directed \IM Butterfly\b\i for Harry M. Miller, \IAspects of Love\b\i for Andrew Lloyd Webber and Shakespeare's \ICoriolanus\b\i for the Sydney Theatre Company. In 1994 her popular hit \IArcadia\b\i by Tom Stoppard was also staged by the STC.
Following the 1994 success of her production of George Bernard Shaw's \ISaint Joan\b\i at London's Strand Theatre, Edwards was signed up by the Royal Shakespeare Company to direct \IThe Taming of the Shrew\b\i on the main stage at Stratford-upon-Avon in 1995--she was probably the first Australian woman to receive this honour. Back in Australia, Edwards directed the Sydney Theatre Company/Melbourne Theatre Company production of Dion Boucicault's play \IThe Shaughraun\b\i, first at the Melbourne Victorian Arts Centre (1994), then transferring to the Sydney Opera House Drama Theatre (1995), and the 1995 STC production of \ISaint Joan\b\i.
Awards Gale Edwards has received include a 1989 and 1990 Sydney Theatre Critics' Circle Award, a Melbourne Green Room Award in 1991 and, in June 1993, a Mo Award for outstanding contribution to musical theatre.
#
"Egerton, Mark",268,0,g,0
\I1947-\i
\IFilm director\i
British-born Egerton came to Australia in 1967 and built a distinguished career as the leading first assistant director of Australian feature films of the 1970s and early 1980s. These films include \J\IPicnic at Hanging Rock\j\b\i (1975), \IThe Picture Show Man\b\i (1977), \ICathy's Child\b\i (1979), \J\IMy Brilliant Career\j\b\i (1979), \IThe Odd Angry Shot\b\i (1979), \J\IBreaker Morant\j\b\i (1980), \J\IGallipoli\j\b\i (1981) and \IPuberty Blues\b\i (1981). He also directed two films himself--\ICrosstalk\b\i (1982), a troubled production which he took over from director Keith Salvat, and \IThe Winds of Jarrah\b\i (1983), an unnoteworthy Mills and Boon adaptation.
#
"Elfick, David",269,0,g,0
\I1944-\i
\IFilm producer\i
Born in Sydney, Elfick became New South Wales manager of the pop magazine \IGo-Set\b\i in the 1960s and through this did some television work interviewing pop stars. This developed his interest in film and drama. He became operator of the Manly Silver Screen cinema and co-founded the surfing magazine \ITracks\b\i with Albert Falzon who was also working on a surfing film. Elfick helped with the production and, though both were inexperienced as film-makers, the resulting \IMorning of the Earth\b\i (1971) became one of the most successful documentary films made in Australia. They repeated this success with \ICrystal Voyager\b\i (1974).
Elfick then moved into mainstream films with a documentary on actor Dennis Hopper, made during the shooting of the feature film \IMad Dog Morgan\b\i (1976). This was his first non-surfing film and was well received. It also led to the making of \J\INewsfront\j\b\i (1978). The idea for this film, with its mixture of fiction and documentary, developed from conversations between Elfick, Philippe Mora, director of \IMad Dog Morgan\b\i, and Mike Molloy, cameraman on \IMad Dog Morgan\b\i; Elfick carried the project through with director \JPhil Noyce\j and writer \JBob Ellis\j and produced the film through his new company, Palm Beach Pictures. Subsequent films produced by Elfick and Palm Beach Pictures include \IChain Reaction\b\i (1980) and \IStarstruck\b\i (1982). He made a return to film production with \ILove in Limbo\b\i (1992) which he also directed; this 'coming of age' film, set in the 1950s, was accepted for the Panorama Special section of the 1993 Berlin Film Festival. \INo Worries\b\i (1993), also both produced and directed by Elfick, won the direction award at the 1993 Berlin Film Festival.
#
"Eliza Fraser",270,0,g,0
\IFilm, released 1976\i
The idea for this film came from the true story of Eliza Fraser, a woman who survived shipwreck off the Queensland coast in 1836 and lived for some time with a group of Aborigines before being found by a rescue party. However, the film, with strong elements of bedroom farce built in, is only loosely based on this story. Critics disapproved of the film for departing so far from history but a wide audience found it enjoyable and entertaining.
\IProduction company\b\i: Hexagon Productions
\IProducer and director\b\i: \JTim Burstall\j
\IScreenplay\b\i: \JDavid Williamson\j
\IMajor actors\b\i: Susannah York (as Eliza Fraser), Trevor Howard, \JNoel Ferrier\j, \JJohn Waters\j, Martin Harris, John Castle
#
"Elizabethan Theatre, Sydney",271,0,g,0
\IFirst home of the Australian Elizabethan Theatre Trust\i
In 1954 the newly-formed \JAustralian Elizabethan Theatre Trust (AETT)\j leased the rundown Majestic Theatre in the inner-Sydney suburb of Newtown. After refurbishment and gaining a new name, the Elizabethan Theatre, it reopened in 1955 as a venue for national drama, ballet and opera companies. The theatre opened with Terence Rattigan's \IThe Sleeping Prince\i; the Trust's first production was \IMedea,\i starring expatriate \JJudith Anderson\j. However, the theatre's location away from the city centre, and its uneconomically large seating capacity, were problems which eventually led to the Trust moving its operations downtown; in 1961 it leased the Palace Theatre in Pitt Street. In the early 1970s the Elizabethan became the temporary home of the Australian Opera after fire destroyed Her Majesty's Theatre.\i
#
"Elliott, Malcolm T.",272,0,g,0
\I1946-\i
Malcolm T. Elliott, Australian radio personality, was born at Sacred Heart Hospital, Moreland, in Victoria on 13th May 1946. He started out as a printing compositor with Leader Group newspapers in Melbourne. He entered radio at the completion of his apprenticeship in February 1967 at 3NE Wangaratta. In 1968, he hosted the breakfast show on 3SR Shepparton and later read news at the Albury television station AMV-4.
He came to fame with a crazy breakfast show on radio 2UW Sydney from 1973-77, and with side-kick Peter Shanahan the pair rated 16.5%, the highest ever in that station's history. He also worked for 2GB, 2KY and 2UE. In 1974, he was one of five regulars on the Nine Network's \ICelebrity Squares.\i In the 1980s, he worked as marketing director for News Limited, Westfield, and hosted 2GB afternoons in 1992-93. From 1994 till 1996, he worked at 2UE-4BC as Sunday morning presenter and fill-in for Stan Zemanec.
#
"Elliott, Sumner Locke",273,0,g,0
\I1917-91\i
\INovelist and playwright\i
Born in Sydney, Elliott had an unsettled childhood following the early death of his mother and a subsequent long custody battle. Soon after leaving school he became a radio actor and writer and joined the Independent Theatre in Sydney, which from 1939 to 1948 produced seven of his plays. In 1948, just before his play \J\IRusty Bugles\j\b\i became a resounding and controversial success, he moved to the United States where he became a well-known television writer, with more than 50 plays to his credit. Elliott became an American citizen in 1955.
\J\ICareful, He Might Hear You\j\b\i (1963), based on the emotional experiences of his Australian boyhood and told mainly from a child's point of view, won the Miles Franklin Award and was made into a film by \JJill Robb\j in 1982. He wrote two more novels set in Australia, \IEden's Lost\b\i (1969) and \IWater Under the Bridge\b\i (1977), and several other novels with American settings. He won the Patrick White Literary Award in 1977.
#
"Ellis, Bob",274,fp5031.jpg,c,0
\I1942-\i
\IPlaywright, film and television writer and director\i
Born in Lismore, New South Wales, Ellis by the 1980s had become one of the best-known of Australian film writers. He first worked as a writer and production assistant for the ABC. He came to note with his musical play \IThe Legend of King O'Malley,\b\i co-written with Michael Boddy and first produced in 1970. The success of this play led to the founding of the Nimrod Street Theatre for the showing of Australian plays. When this theatre moved to new premises in 1974, Ellis and his wife and partner \JAnne Brooksbank\j bought the old theatre in Nimrod Street, renamed it the Stables and ran it as a centre for experimental Australian works.
Other stage plays written by Ellis include the more realistic-style \IDown Under,\b\i first produced in 1975 and co-written with Anne Brooksbank, with whom he also collaborated in writing for film. His films as writer or co-writer include \INewsfront\b\i (1978) for which he shared the AFI Award for best original screenplay with Anne Brooksbank and \JPhil Noyce\j; \IFatty Finn\b\i (1980); \J\IGoodbye Paradise\j\b\i (1982) for which he shared the AFI Award for best screenplay with Denny Lawrence; \J\IMan of Flowers\j\b\i (1983) in which he also acted; \IMy First Wife\b\i (1984) for which he shared the AFI Award for best original screenplay with \JPaul Cox\j; \ICactus\b\i (1985); \IWarm Nights on a Slow Moving Train\b\i (1986); and \IThe Nostradamus Kid\b\i (1993). Ellis also directed the last two of these, and describes \IThe Nostradamus Kid,\b\i an autobiographical film about his Seventh Day Adventist past, as a romantic comedy about the end of the world. This film, made in 1991-92, joined a group of 1993 Australian film successes, proving itself to have more appeal to the public than many of Ellis' earlier films. Ellis is known for his scorn for the materialism of the film world, and has never been tempted by Hollywood.
His television work includes the legal series \ICase for the Defence\b\i (1978), the children's series \IWinners\b\i (1986), the historical/political mini-series \IThe True Believers\b\i (1988, co-writer) in which he was able to give free rein to his Labor Party politics, the documentary \IThe Spycatcher Trial\b\i (1989, writer) and the satirical comedy \IThe Gillies Show\b\i (1991, director).
His most recent work is \IGoodbye Jerusalem - Night Thoughts of a Labor Outsider\i - a book published by Random House, now in its third printing.
\BDescription:\b Bob Ellis
\BPhoto:\b Cameron's Management.
#
"Elocution of Benjamin Franklin, The",275,0,g,0
\IPlay, first produced 1976\i
Steve J. Spears chose the unlikely subject of pederasty for his extremely well-received play, \IThe Elocution of Benjamin Franklin\b\i. O'Brien, the play's protagonist, is a 56-year-old speech and elocution teacher with a transvestite's need to dress in drag. His clients are Toorak's silver-spoon set and it is one of these pupils, 12-year-old Benjamin Franklin, who sets O'Brien's senses on fire and becomes the cause of his downfall. The play's first two acts are enacted on the telephone or in O'Brien's imagination, while the third act is set eight years later when O'Brien has been placed in a psychiatric hospital. For the duration of the play's long run, \JGordon Chater\j took on the persona of O'Brien, masterfully producing the range of characteristics required to bring such a complex creation to life. Awards it has won include National Critics' Award, best new play (Australia) and an Awgie for best Australian play.
\IFirst produced\b\i: Sydney's Nimrod Theatre in 1976, directed by \JRichard Wherrett\j. Chater performed the play more than 600 times in Australia and abroad: it enjoyed a five month season in London at the Mayfair Theatre, three months in San Francisco and three weeks at Theatre 4, off-Broadway in New York, where it swept the 1979 OBIE awards, winning best play, best actor (Gordon Chater) and best director (Richard Wherrett).
\IOther productions include\b\i: \JMelbourne Theatre Company (MTC)\j, 1994
#
"Embassy",276,0,g,0
\ITelevision series, broadcast 1990-92\i
This series was a first in several ways. It was the first program bought from the Grundy Organization by the ABC, it was the first Grundy series to move beyond personal situational concerns to serious social and political comment, and it was the first television program to cause the suspension of diplomatic relations between Australia and a foreign country. Set in the fictional Islamic South-East Asian nation of Ragaan ruled by the dictatorial General Mahmoud, the series quickly caused offence in Malaysia. Its weekly hour-long episodes were concerned with various political, religious, business and ethnic issues and were structured so that each was relatively self-contained and concentrated on one of the five main characters, all staff at the Australian embassy in Ragaan. Three series were produced with a total of 38 episodes. The program won two AFI Awards in 1991--for best direction (Mark Callan) and best episode in a drama series ('A Human Dimension' about an Australian in prison in Ragaan on drug-trafficking charges).
\IProduction company\b\i: ABC and the Grundy Organization
\IDirectors\b\i: Richard Sarell, Kate Woods, Chris Langman, Mark Callan
\IScriptwriters\b\i: Shane Brennan, \JTerry Stapleton\j, John Cundill, Denise Morgan
\IMajor actors\b\i: Bryan Marshall (as the ambassador, Duncan Stewart, in the first series), Janet Andrewartha (as Marian Stewart), Catherine Wilkin (as the ambassador, Katherine Jensen, in subsequent series), Alan Fletcher, Nina Landis, Joseph Spano (as General Mahmoud), Frankie J. Holden, Nikki Wendt, \JLex Marinos\j, Anthony Wong
#
"Emerald City",277,0,g,0
\IPlay, first produced 1987; film, released 1988\i
\B1.\b\i \JDavid Williamson\j's pacy comedy, \IEmerald City\b\i, shows how two ex-Melburnians, Colin, a successful screenwriter and his publisher wife, Kate, cope with moving to the fleshpots of Sydney, the Emerald City of Oz. Williamson looks closely at the responsibility gifted people must bear as they struggle to nurture their talents, cope with loneliness and rejection, and hold out against the seductions of wealth, position and power. He also examines the insidious nature of class, exemplified in the couple's relationship with Mike and Helen, and holds corporate leaders up for scrutiny. The playwright's ability to point the finger, at himself first and foremost, dissect the trappings of a material existence and expose the bare bones while maintaining his wit is a great achievement.
\IFirst produced\b\i: \JSydney Theatre Company (STC)\j at the Drama Theatre of the Sydney Opera House in 1987. The production was directed by \JRichard Wherrett\j with an all-star cast including John Bell as Colin, \JRobyn Nevin\j as Kate, \JRuth Cracknell\j as Elaine, \JMax Cullen\j as Mike, Andrea Moor as Helen and Dennis Grosvenor as Malcolm.
\IOther important productions\b\i: Perth's Hole in the Wall production 1988; the \JJohn Sumner\j directed production at the Melbourne Theatre Company 1988; and the return of the original STC production with a different cast in 1988 and the tour to London's West End, with David Merrick, producer; Sydney's Ensemble Theatre production in 1995 directed by \JSandra Bates\j.
\B2.\b\i The production of the film was marred by disputes over the screenplay which had been written by Williamson but which was adapted at the request of the actors. Some critics found the final version too wordy though well acted.
\IProduction company\b\i: Limelight Productions
\IProducer\b\i: \JJoan Long\j
\IDirector\b\i: \JMichael Jenkins\j
\IScreenplay\b\i: David Williamson (based on his play)
The Emerald Hill Theatre Company was founded in 1962 by director Wal Cherry and actor-director \JGeorge Whaley\j. It was based at the 140-seat Emerald Hill Theatre in South Melbourne. A fully professional company, it was characterised by high production standards and the programming of both established works and plays by local writers that were bold and challenging. It also aimed to help Australian playwrights develop their works through improvisation and collaboration with professional actors and directors. In 1966 financial difficulties forced the company to close. In its short existence it staged 29 major productions.
#
"Empire Theatre, Sydney",279,0,g,0
\IOriginal Sydney base for the Fullers circuit\i
The Empire Theatre began its life as the Royal Standard and opened in 1886. In 1901 the Empire and Minstrel Company, part of the Fullers organisation, opened there, and for a year presented weekly changing programs. Like many other live theatres it was converted to cinema during the economic depression of the 1930s. In 1949 the building was purchased by J.C. Williamson's. Between 1950 and 1960 the Empire hosted a number of major operatic and ballet seasons, including the National Theatre Ballet Company, the Borovansky Ballet Company (in 1957 with Margot Fonteyn), the New York City Ballet and the J. C. Williamson Grand Opera; the musicals \ISouth Pacific,\i \IPaint Your Wagon\i and \ICan Can\i; and seasons of Gilbert and Sullivan. In 1960 it was renamed Her Majesty's Theatre and opened with a spectacular production of \IMy Fair Lady.\i
#
"English, Jon",280,jenglish.jpg,c,0
\I1949-\i
\IRock singer, musician and actor of stage, film and television\i
Sydney-based Jon English was born in England and arrived in Australia with his family at the age of thirteen. While still at high school he joined the Sebastian Hardie Blues Band, for a time the backing band for Johnny O'Keefe. In 1972 he made his stage debut in the role of Judas in the rock musical \IJesus Christ Superstar\b\i--the original production, which made him a national star, ran for two years and English then toured for a further year with a new version of the show.
He released his first album, \IWine Dark Sea,\b\i in 1972 and had his first hit single, 'Turn the Page', in 1975 followed by 'Words Are Not Enough' in 1978. He played Jonathan Garrett in the television series \IAgainst the Wind\b\i (1978) and also recorded (with Mario Millo) a soundtrack album of the same name--in 1979 'Six Ribbons', a track from the album, became his next hit single. His other successful albums include \IHollywood Seven\i (1976), \IEnglish History\i (1979), \ICalm Before the Storm\i (1980), \ISome People Have All the Fun\i (1983) and \IAlways the Busker\i (1990). Other singles include 'Carmilla' (1981), 'Straight From the Heart' (1981), 'Every Beat of My Heart' (1984) (with \JRenee Geyer\j) and 'Love Has the Power' (1990). English also wrote and recorded a rock opera, \IParis,\i released in 1990. His stage work after \ISuperstar\i includes \IBacchoi\i (1974); \IThe Pirates of Penzance\i (1984, 1994, in both productions playing the Pirate King); \IBig River\i (1988), playing Huckleberry Finn's father; \IRasputin\i (1987); and his second Gilbert and Sullivan role, Pooh-bah, in \IThe Mikado\i (1995).
His television work includes \IStopover\b\i (1976), the sit-com \IAll Together Now\i and appearances in the drama series \IHomicide,\b\i \IMatlock Police\b\i and \INumber 96\b.\i
His many awards include Logie Awards for acting, three Mo Awards for entertainer of the year and the \ITV Week/Countdown\b\i 1979 most popular male performer award.
\BDescription:\b Jon English \I(Fairfax Photo Library)\i.
#
"Enright, Nick",281,0,g,0
\I1950-\i
\IPlaywright and actor\i
Enright was born in Newcastle, New South Wales, and studied at Sydney University and at New York University. He began his writing career with the help of a theatre-in-education scheme for the Melbourne Theatre Company in 1973. Later he was awarded a grant from the Theatre Board which enabled him to study playwriting at New York University from 1975 to 1977 with Israel Horovitz. His plays include \IThe Venetian Twins\b\i with book and lyrics based on Goldoni, \IThe Good Ship Venus\b\i, \IOn the Wallaby\b\i (1980), \IFirst Class Women\b\i (1982), \IVariations\b\i (1982), book and lyrics to \ISummer Rain\b\i (1983), book and lyrics to \IStrange Harvest\b\i, \IDaylight Saving\b\i, \ISt James Infirmary\b\i (1989), \IMongrels\b\i and \IGood Works\b\i (1994) and \IThe Quartet from Rigoletto\b\i (1995).
Enright was artistic director at the State Theatre of South Australia (1979-81), head of acting at NIDA (1982-84), and was elected a member of the Literature Board in 1986. By 1993, once more teaching acting at NIDA, he adapted a 1959 Dorothy Hewett novel, \IBobbin Up\b\i, for his students to perform on stage. He and \JGeorge Miller\j were nominated for an Oscar at the 1993 Academy Awards for their screenplay of the film \ILorenzo's Oil\b\i.
#
"Ensemble Theatre Company",282,0,g,0
\IInnovative theatre company\i
The Ensemble Theatre Company was conceived as a theatre without stars, and grew out of the actors' workshops conducted in the mid-1950s by \JHayes Gordon\j, an advocate of 'method' acting. Its first production was the Mel Dinelli thriller \IThe Man\b\i, followed by Tennessee Williams' \IOrpheus Descending\b\i. Actors in the Company in its early years included \JLorraine Bayly\j, Don Reid, \JReg Livermore\j and \JJon Ewing\j. It is based at the Ensemble Theatre, Sydney.
#
"Ensemble Theatre, Sydney",283,0,g,0
\IAustralia's first theatre-in-the-round\i
The Ensemble Theatre, a converted warehouse on the shores of Careening Cove, North Sydney, became the home in 1960 of the Ensemble Theatre Company, which provided the first experience in Australia of theatre-in-the-round. The company still operates from the site, although in 1980 the theatre-in-the-round concept was abandoned, and in 1984 the theatre was rebuilt.
#
"Esson, Louis",284,0,g,0
\I1879-1943\i
\IPlaywright and journalist\i
Esson was a working journalist when he went to Dublin in 1904, where he was influenced by W.B. Yeats, J.M. Synge and other exponents of the Irish national theatre movement. After he returned to Melbourne, he tried to write about the Australian bush and its characters; he was unmoved by the commercial expediency of the world of melodramatic theatre, adopting a pioneering spirit to the business of play-making. As a result, audience interest in his style of work was fairly limited. Esson formed the Pioneer Players with writer Vance Palmer and Stewart Macky, trying to create an Australian national theatre based on Ireland's Abbey Theatre. The group had its premiere season in 1922, introducing Esson's play \IThe Battler\b\i, about a gold prospector.
Esson's best-known play up to 1914 was \IThe Time is Not Yet Ripe\b\i (1912); this work enjoyed two performances in 1912 by Gregan McMahon's \JMelbourne Repertory Theatre\j before it dropped out of sight until its first professional production by the Melbourne Theatre Company in 1973. Others of his plays included \IDead Timbers\b\i, a short gloomy piece about a Gippsland farmer; \IThe Same Place\b\i, set in a Melbourne slum, about a group of Indian hawkers; and \IThe Woman Tamer\b\i, also set in a slum. Esson wrote his most lasting piece, \J\IMother and Son\j\b\i, in 1923. The literary manuscripts he left behind include poems, some handwritten. This playwright is often said to be the father of Australian drama.
#
"Europe",285,0,g,0
\IPlay, first produced 1987\i
This \JMichael Gow\j play begins with the off-stage bang of General Gabbler's pistol, the first of many surprises during the tightly-structured two-hander. Douglas, an unsophisticated Australian student, arrives unannounced in Europe, hoping to resume a short affair with Barbara, a European actor. During the course of the action, Gow explores the tensions between such universal themes as the old and the new, tradition and experimentation, the group and the individual and sophistication and gaucheness.
\IFirst produced\b\i: Sydney's Stables in 1987 with actors Gillian Jones and Greg Saunders
\ILater productions include\b\i: Stables Theatre (directed by Andrew Lewis), 1994, acted by Helen O'Connor and Simon Baker-Denny
#
"Evans, Greg",286,0,g,0
\I1951-\i
Greg Evans, Australian television star and former host of \IPerfect Match\i, was born in Melbourne on 17th April 1951. He came to fame as a disc jockey on Melbourne's 3XY, where he won the drive-time slot for seven years with 27 out of 28 surveys. He hosted \IPerfect Match\i on the Ten Network until he defected to the Nine Network in 1986 for two years.
He returned to Ten to host \IBlind Date\i in 1990, and in 1993 did fill-in work for 3AW before becoming drive presenter on Melbourne's Gold 104-FM. In 1997, he joined Channel 10 to co-present \IMonday to Friday\i with Joan McGuiness. He is married to Sue, and has two children, Jason (1980) and Jodi (1987).
#
"Everage, Dame Edna",287,0,g,0
\ICharacter created by satirist Barry Humphries\i
Edna Everage, the suburban housewife from Moonee Ponds created and portrayed by actor and satirical writer \JBarry Humphries\j, made her first appearance in 1955 in the revue \IReturn Fare\b\i. In the following year the character featured on Humphries' first record, \IWild Life in Suburbia\b\i; since 1962, when Humphries toured with his first solo show \IA Nice Night's Entertainment\b\i, the Edna role has assumed increasing prominence in Humphries' repertoire. In the film \IBarry McKenzie Holds His Own\b\i (1974) Prime Minister \JGough Whitlam\j, playing himself, made Edna a Dame. The character was thus set on the road from suburbia to international superstardom--Humphries' next show was the London production \IHousewife-Superstar\b\i (1976). Other film appearances include \ILes Patterson Saves the World\b\i (1987) and \IThe Marsupials: The Howling III\b\i (1987).
While Everage is a household name in Australia and the United Kingdom, she has twice failed in the United States--a disaster on Broadway was followed some years later by a truncated chat show series on Rupert Murdoch's Fox TV.
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"Evil Angels",288,0,g,0
\I(In the US, A Cry in the Dark)\i
\IFilm, released 1989\i
Based on John Bryson's book about the Lindy Chamberlain case, this film brought director \JFred Schepisi\j back to Australia for the first time in a decade. British producer Verity Lambert, who bought the rights to the book, aroused the interest of both Schepisi and American actor Meryl Streep. The film became the biggest Australian production to date, with both Streep and \JSam Neill\j making a good job of the difficult task of portraying still-living people, though many viewers had difficulty with Streep's subtle adoption of a New Zealand overlaid by Australian accent. The film, with its dual theme of mystery and miscarriage of justice, was rated Schepisi's best and won the AFI best film award in 1989. It was accepted for competition at the 1989 Cannes Film Festival where Streep won the Palme d'Or for best actress.
\IProduction company\b\i: Evil Angels Films, Cannon International
\IScreenplay\b\i: Robert Caswell, Fred Schepisi (from the book by John Bryson)
\IMajor actors\b\i: Meryl Streep (as Lindy Chamberlain), Sam Neill (as Michael Chamberlain), Maurie Fields, \JCharles Tingwell\j, Bruce Myles, \JNick Tate\j
#
"Ewart, John",289,0,g,0
\I1928-94\i
\IActor of radio, film and television\i
John Ewart was born in Melbourne and gave his first public performance at the age of four, reading a poem on radio; he made his first stage appearance a year later. He is known to a generation of Australians for his long-running participation in ABC radio's Children's Hour, which was broadcast nationally--Ewart played Jimmy. His radio drama work includes the serial \IPortia Faces Life\b\i. He was one of the first performers to appear on Australian television, as host of a children's show on ABC. He later appeared in variety shows, musicals and on panel and quiz shows; his television drama credits cover most of the popular shows of the past forty years including \IDivision 4\b\i, \IMatlock Police\b\i and \IOver There\b\i. His last major television series was \ITracks of Glory\b\i (1992).
His stage work includes \IYou Never Can Tell\b\i (1951) at the Metropolitan Theatre, Sydney; \IA Cup of Tea, a Bex, and a Good Lie Down\b\i; with \JWillie Fennell\j, in the late 1960s, he performed old radio comedy at the Comedy Theatre Restaurant, Sydney; \J\IDon's Party\j\b\i (Old Tote Theatre Company); \IThe Man Who Shot the Albatross\b\i (Melbourne Theatre Company); and \IWhat if You Died Tomorrow\b\i (Marian Street Theatre).
His films include \JCharles Chauvel\j's \ISons of Matthew\b\i (1949), in which he played Mickey O'Riordan; \IPetersen\b\i (1974); \ISunday Bloody Sunday\b\i (1975); \J\ICaddie\j\b\i (1976); \IThe Picture Show Man\b\i (1977) for which he won the AFI best supporting actor award for his performance as the pianist Freddie Graves; \J\INewsfront\j\b\i (1978); \IBush Christmas\b\i (1983); \IThe Big Hurt\b\i (1986) and \IThe Returning\b\i (1990).
#
"Ewing, Jon",290,fp5032.jpg,c,0
\IStage actor and theatrical director\i
Sydney-based Jon Ewing began his acting career as a child actor with ABC radio. He was a foundation member of the \JEnsemble Theatre Company,\j and appeared in the Ensemble productions of \IThe Man\b\i and \IThe Double Dealer\b.\i
In the 1960s he moved into musical theatre, playing Mordred in the original Australian production of \ICamelot,\b\i and directing \IBye Bye Birdie,\b\i \IGypsy,\b\i \IGuys and Dolls\b\i and \IThe Merry Widow\b.\i For the Melbourne Theatre Company he directed \IDesign for Living\b.\i His later stage performances include Peter Kenna's \IMates\b\i at the Nimrod; \IThe Tempest,\b\i \IThe Misanthrope\b\i and \IThe Lady from Maxim's\b\i for the Old Tote Theatre Company; \IThe Caucasian Chalk Circle,\b\i \IThe Venetian Twins\b\i and \IThe Life and Adventures of Nicholas Nickleby\b\i for the Sydney Theatre Company.
After a period in England, when he starred in \ISons of Cain\b\i at London's Wyndham Theatre, he returned to Australia to direct \IBiloxi Blues\b\i at the Sydney Opera House. He also performed in \ISweeny Todd\b\i in both Sydney and Melbourne, in \IMajor Barbara\b\i for the National Theatre in Perth and in \IThe Phantom of the Opera\b.\i His later work as a director includes \IBroadway Bound\b\i at the Sydney Opera House, \ISteel Magnolias\b\i at the Seymour Centre and \IOrphans\b\i at both the Sydney Opera House and on national tour.
His film work includes \IStanley\b\i (1983), \IThe Coca-Cola Kid\b\i (1983), \IBliss\b\i (1985) and \IThe Marsupials: The Howling III\b\i (1987). His television work includes appearances in \ILearned Friends,\b\i \IA Country Practice,\b\i \J\ICop Shop\j\b\i and \IMelba\b.\i
\BDescription:\b Jon Ewing.
\BPhoto:\b June Cann Management.
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"Experimental Film and Television Fund",291,0,g,0
\IFederal government film and television industry support body\i
This body was established in 1970 to fund short films and low budget features. Until 1976 it was administered by the \JAustralian Film Institute (AFI)\j and in its last phase, from 1976 to 1978, it was administered by the \JAustralian Film Commission (AFC)\j. The fund was set up as part of a three-tiered plan to establish an Australian feature film industry--the other components were the \JAustralian Film Development Corporation (AFDC)\j (which became the Australian Film Commission) and the \JAustralian Film, Television and Radio School (AFTRS)\j. The first narrative feature to receive backing from the Fund was \IA City's Child\b\i (1971), directed by Brian Kavanagh; later projects it invested in included the commercially successful Tim Burstall's \IStork\b\i (1971) and Esben Storm's \I27A\b\i (1974). It was replaced by the Australian Film Commission's Creative Development Fund in 1978.
#
"Fahey, Maryanne",292,0,g,0
\I1955-\i
Maryanne Fahey, Australian comedy actress, was born in Melbourne on 19th August 1955. She was married to fellow actor and writer Ian McFadyen, the couple working together in the Ten Network's \IComedy Company,\i with Maryanne starring as Kylie Mole. In August 1992, Fahey and McFadyen announced their separation. In 1992, she starred in the ABC television series \IKittson & Fahey.\i In 1997 Maryanne starred in \IGet a Life\i on pay television's comedy channel.
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"Far East",293,0,g,0
\IFilm, released 1982\i
Set in an Australian bar in an unnamed city in an Asian country based on the Philippines, the story of \IFar East\b\i has its origins in the classic 1940s film \ICasablanca\b\i, where moral issues were similarly blurred. Devised by director \JJohn Duigan\j, it became in the end more of a romance with a background of political turmoil than a strongly political film. The central storyline involves Peter and Jo, a married couple. Jo resumes an old relationship with Morgan Keefe, an ex-Vietnam soldier and owner of the bar, while Peter becomes involved in local politics and is arrested. Morgan is eventually killed trying to rescue him. Played by high-profile lead actors, the film was an immediate commercial success though generally not liked by the critics.
\IProduction company\b\i: Filmco, Alfred Road Films
The second of the films directed by \JPaulette McDonagh\j, this gave a twist to the standard Hollywood theme of girl, lover and villain. In this the girl, rather than the boy lover, falls from grace (because of her innocent involvement with the villain) but reconciliation follows the villain's death. Double billed with a British film, it enjoyed great popularity and a long run. It was praised as having the smoothness of an American film. It is held in substantially complete form by the National Film and Sound Archive.
\IMajor actors\b\i: Marie Lorraine (the stage name of Isobel McDonagh), Gaston Mervale, Arthur McLaglen, John Faulkner, Paul Lonquet, Arthur Clarke
#
"Farr, Judi",295,fp5033.jpg,c,0
\IActor of stage and television\i
Queensland-born Judi Farr is best known for her stage work which includes Sydney Theatre Company productions of \IThe Devil's Disciple\b\i (1979), \IThe Man from Mukinupin\b\i (1981), Michael Gow's \J\IAway\j\b\i (1987), \J\ISummer of the Seventeenth Doll\j\b\i (1988), \IThe Women of Troy\b\i (1992) in the role of Hecuba, \IThe Sum of Us\b\i (1992), \IThe Visit\b\i (1993) and \ITartuffe\i (1997); \IAfter-Play\i (1997) at the Marian Street Theatre and \IThe Fire on the Snow\i (1996) at the State Theatre of South Australia. Her film appearances include \IThe Year My Voice Broke\b\i (1987) and \IOscar and Lucinda\i (1996). In 1993 she directed \IAbsent Friends\b\i at the Marian Street Theatre. Her TV appearances include \IGP\i (1994), \IMurder Call\i (1997) and \IMedivac\i (1997).
\BDescription:\b Judi Farr
\BPhoto:\b Shanahan Management.
#
"Farrow, John Villiers",296,0,g,0
(1904-63)
John Villiers Farrow, Australian film director, was born in Sydney on 10th February 1904. After several years service in the US Navy he wrote several screenplays before directing films, such as \ITwo Years Before The Mast, The Big Clock\i and \IBotany Bay.\i He married actress Maureen O'Sullivan and is the father of actress Mia Farrow. He died on 28th January 1963, aged 58.
#
"Fatty Finn",297,0,g,0
\IFilm, released 1980\i
Based on a popular cartoon character who first appeared on film in \IThe Kid Stakes\b\i (1927), \IFatty Finn\b\i is set in Woolloomooloo, Sydney, in 1930 in the days when the Harbour Bridge spans had not been joined. Colourful sets and costumes and controlled overacting by the adults made this story of a boy longing for a crystal set to hear Bradman give the Poms a beating in a forthcoming cricket test an entertaining and nostalgic film for children and adults. It is also notable as the first feature on which \JJohn Seale\j worked as director of photography.
\IProduction company\b\i: Children's Film Corporation
\IExecutive producer\b\i: John Sexton
\IProducer\b\i: Brian Rosen
\IDirector\b\i: M\JMaurice Murphy\j
\IScreenplay\b\i: \JBob Ellis\j, Chris McGill
\IMajor actors\b\i: Ben Oxenbould (as Fatty), \JBert Newton\j (as his father), \JNoni Hazlehurst\j (as his mother), \JGerard Kennedy\j, Greg Kelly, \JLorraine Bayly\j, \JHenri Szeps\j
#
"Fawdon, Michelle",298,fp5034.jpg,c,0
\I1947-\i
\IStage, film and television actor\i
Born in England, Michelle Fawdon studied at the Bush Davies Theatrical School, Sussex, the London Academy of Music and Dramatic Art and the Royal Academy of Dance. Since coming to Australia in the mid-1960s she has become a highly regarded actor both on stage and in film. Her stage roles include Mary Magdalene in \IJesus Christ Superstar\b\i in 1972; Mavis Knott in \IThe Season at Sarsaparilla\b\i at the Old Tote Theatre, Sydney, in 1976; one of \JRobyn Archer\j's \IPack of Women\b\i at the Seymour Centre, Sydney, and on tour in 1983; Vic in \J\IAway\j\b\i for the Sydney Theatre Company in 1988; and Olive in Geraldine Willesee's production of \J\ISummer of the Seventeenth Doll\j\b\i in 1991.
In film she is particularly noted for the lead role in \ICathy's Child\b\i (1979), for which she won both the 1979 AFI and the Australian Film and Television (Sammy) Awards for best actress in a feature film. Her television work includes many series and mini-series and her noted performances in 'The Silent Cry', one of the plays in the \J\ISpring and Fall\j\b\i anthology for which she won the 1980 Sammy Award for best actress, and in \IThe Fish are Safe,\b\i for which she won the 1987 AFI Award for best actress in a telefeature. Her TV appearances include \IGP\i and \IA Country Practice.\i
\BDescription:\b Michelle Fawdon.
\BPhoto:\b Shanahan Management.
#
"Fennell, Willie",299,0,g,0
\I1920-92\i
\IRadio comic actor, writer and producer; stage, film and television actor\i
Fennell had had no acting experience apart from impromptu entertaining at army shows during World War II when he applied to do a sketch on the popular radio show \J\ICalling the Stars\j\b\i in 1945. He was taken on as a regular on the show, with a weekly spot which he wrote himself. He then became a writer for the Colgate-Palmolive Radio Unit, while still performing himself. He built up a little Aussie battler character with the widely recognised catchphrase 'Ow are yer, mate?'
After the closure of the Colgate unit in 1952, he played Dagwood in an Australian version of the popular American radio show \IBlondie\b\i, based on the comic strip. When this was brought to an end by legal action, Fennell decided to develop his own situation comedy about an Australian family, combining elements of Dagwood and his Aussie battler character. He wrote and played in the resulting \J\ILife with Dexter\j\b\i from 1953 to 1964.
With the end of the great era of radio drama, Fennell transferred to the stage, first playing for \JHayes Gordon\j at Sydney's Ensemble Theatre and taking straight parts. His best-remembered stage work includes \IThe One Day of the Year\b\i at the Ensemble, \ITrespassers Will Be Prosecuted\b\i for NIDA at Jane Street and \J\ITravelling North\j\b\i, in which he appeared as Freddie in several different productions. His films include \ICathy's Child\b\i (1978) and he appeared in many television series such as \IBoney\b\i, \J\ICop Shop\j\b\i and \IThe Young Doctors\b\i.
#
"Fernarde",300,0,g,0
\IPlay, first produced 1871\i
\JMarcus Clarke\j adapted this four-act drama from V. Sardov's comedy of 1870. Clarke turned the piece into a drama for the tragic actress Mary Gladstane.
\IFirst produced\b\i: Twice at the Princess' Theatre, Melbourne, in November 1871.
#
"Ferrier, Noel",301,arts-37.jpg,c,0
\I1930-97\i
\IActor and theatre administrator\i
Noel Ferrier was born on 20 December, 1930. He began his acting career in a radio serial adaptation of \IThe Three Musketeers\b.\i He was a foundation member of the Union Theatre Repertory Company (now the Melbourne Theatre Company) in 1953 where in 1955 he played the role of Roo in the original production of \I\JSummer of the Seventeenth Doll\j\b.\i Later stage work included the role of Big Daddy in the Melbourne Theatre Company production of \ICat on a Hot Tin Roof\b\i; J.C. Williamson's productions of \IMy Fair Lady\b\i (1959), \IFunny Girl\b\i (1966) and \IIrene\b\i (1974); roles in the first production of two David Williamson plays, \IThe Perfectionist\b\i (which toured the United States) and \ISons of Cain\b\i (1985); \IHow to Succeed in Business Without Really Trying\b\i (1993) and \IBoswell for the Defence\b\i (1994).
His film appearances include \ITurkey Shoot\b\i (1981, released in the United States as \IEscape 2000)\b\i; \IThe Year of Living Dangerously\b\i (1982); \IThe Perfectionist\b\i (a telemovie, 1985); \IBackstage\b\i (1987); and \IGreat Expectations: The Untold Story\b\i (1987). In 1990 Noel Ferrier became one of the three directors of the Marian Street Theatre in Sydney; from 1991 to 1992 he was sole director.
For several years he was the music theatre producer for the Australian Theatre Trust during which time he produced \ISound of Music, Sugar Babies\i and \ILennon.\i
He now has his own production company for film, theatre and television. He was the executive producer on \IThe Well\i produced by Southern Star Int. He recently toured his one-man show \IFerrier in the Round.\i
He has written his autobiography \IThere Goes Whatisname\i (published by MacMillans) and the sequel \ISoon to be a Major Motion Picture\i followed.
In 1984 he became a member of the Order of Australia (AM) for his services to the performing arts.
Noel died in his Sydney home on 16th October 1997, aged 66.
\BDescription:\b Noel Ferrier.
\BPhoto:\b International Casting Service and Assoc.
#
"Festival of Perth",302,0,g,0
\ISummer festival of performing arts\i
The Festival of Perth, held over three weeks every summer, was begun in 1953 by the University of Western Australia, largely at the urging of Professor Fred Alexander. It is now run jointly by the state government and the Perth City Council and is the oldest and largest annual arts festival in Australia.
Activities range from a film festival to free outdoor concerts. It attracts major orchestras, theatre and ballet companies from around the world--in recent years these have included the London Philharmonic Orchestra, the Chicago Symphony Orchestra and the Steppenwolf Theatre Company from the United States--and also works to encourage Australian and, in particular, Western Australian artistic achievement--the work of playwright \JJack Davis\j was first seen at the festival as was Black Swan Theatre's \J\IBran Nue Dae\j\b\i. Its major venue is the \JPerth Concert Hall\j, with events also being held outdoors at the university and in and around the city. Founding director Fred Alexander was followed in 1954 by John Birman who guided it through its formative years and ran it until 1976, when David Blenkinsop took over the job.
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"Fields, Maurie",303,0,g,0
\I1925-1995\i
\IActor and singer\i
Maurie Fields' television appearances include the series \J\IBellbird\j\b\i, \IThe Box\b\i, \IThe Sullivans\b\i and \IThe Flying Doctors\b\i (with his wife, Val Jellay, playing the husband and wife characters Vic and Nancy Buckman); the mini-series \J\IPower Without Glory\j\b\i (1976), \IA Town Like Alice\b\i (1981), \I1915\b\i (1982), \II Can Jump Puddles\b\i and \IThe Dunera Boys\b\i; and regular appearances on \IHey Hey It's Saturday\b\i.
Films he has appeared in include \IAlvin Rides Again\b\i (1974), \IThe Great McCarthy\b\i (1975), \IBreak of Day\b\i (1976), \J\IEliza Fraser\j\b\i (1976), \IIn Search of Anna\b\i (1979), \IFighting Back\b\i (1982) and \ILonely Hearts\b\i (1982).
#
"Film Australia Pty Ltd",304,0,g,0
\IGovernment-owned film and television production house\i
Film Australia, Australia's national production house, is the largest non-broadcast production house in the country. Its role is to produce, promote and distribute films, videos and television programs. Although wholly government owned, it is autonomous in its business and creative decisions. Its studio and headquarters are in Sydney. While the core of its output is the National Interest Program (in which some twenty programs are made each year that deal with matters of national interest to Australia), its work extends to a range of productions--drama, children's programs, documentaries and feature films--reflecting the Australian people and lifestyle and designed to be screened on television and in cinemas at home and in more than 100 countries around the world.
Film Australia often undertakes co-productions with the Australian Broadcasting Corporation (ABC) and the Australian commercial networks as well as with overseas organisations such as the National Film Board of Canada (with which it is directly analogous), Britain's Channel Four television network, the BBC and United States Public Broadcasting. It is invited each year to screen in major film festivals throughout the world.
Film Australia has its origins in the Cinema Branch, formed in 1911 and responsible to the Department of External Affairs. It had a staff of one, James Pinkerton Campbell, whose task was to provide footage to encourage migrants from Britain. Frank Hurley and Herbert Wilkins were attached to the Branch during World War I to record the war in France and the Middle East. In 1945 the facility was absorbed into the newly-established National Film Board (under the Department of the Interior), which was responsible for producing information films for both government departments and private organisations. In 1954 it made its first feature length colour film, \IThe Queen in Australia\b\i, recording the royal visit. After 1956 the facility was known as the Commonwealth Film Unit, and in 1973 became Film Australia. From 1976 to 1987 it was a division of the Film Commission. In 1988 it was incorporated as a fully government-owned proprietary limited company with renewable three-year production contracts with the federal government.
#
"Film Queensland",305,0,g,0
\IFilm support body\i
Film Queensland, formerly known as the Queensland Film Development Office (established in 1988), operates a range of programs and incentives designed to encourage film production in Queensland and to develop creative and technical expertise. Funds are provided for the development and production in Queensland of feature films, telemovies, television series and serials, animation and documentaries. The Pacific Film and Television Commission is the commercial arm of Film Queensland.
#
"Film Victoria (FV)",306,0,g,0
\IFilm industry support body in Victoria\i
Film Victoria was founded in 1976 as the Victorian Film Corporation to develop and fund films made in Victoria. An early success was \IThe Getting of Wisdom\b\i (1977) in which it invested along with the \JAustralian Film Commission (AFC)\j. It also helped finance \IThe Chant of Jimmie Blacksmith\b\i (1978), \IIn Search of Anna\b\i (1979) and \IGrendel, Grendel, Grendel\b\i. Its name was changed to Film Victoria in 1982. It has continued to support innovative film-makers such as \JPaul Cox\j.
#
"Finch, Peter",307,0,g,0
\I1916-77\i
\IStage and film actor\i
British-born Peter Finch arrived in Australia at the age of twelve. He worked in Sydney in vaudeville, radio and on the stage and gained some small film parts in \IDad and Dave Come to Town\b\i (1938), \IMr Chedworth Steps Out\b\i (1939), \ICome Up Smiling\b\i (1939), \IThe Power and the Glory\b\i (1941), \IThe Rats of Tobruk\b\i (1944), \IRed Sky at Morning\b\i (1944) and \IA Son is Born\b\i (1946).
In 1946 he was one of the founders, as well as the director and star actor, of the Mercury Players theatre company; he also taught acting. In 1948 he was encouraged by Laurence Olivier and Vivien Leigh (who noticed him during their tour with the Old Vic) to take one of the places at the Old Vic Drama School reserved for Australian actors. He made his London stage debut in 1949, and a successful stage career soon led to film roles. These include \IRobin Hood\b\i (UK, 1951); \IA Town Like Alice\b\i (UK, 1956); \IThe Shiralee\b\i (1957) for which he returned to Australia for location shots; \J\IRobbery Under Arms\j\b\i (1957), also an Australian film; \IThe Trials of Oscar Wilde\b\i (UK, 1960); \IThe Pumpkin Eater\b\i (1964); and \ISunday, Bloody Sunday\b\i (1971).
He was posthumously awarded the Academy Award for best actor for his role as the newscaster in \INetwork\b\i (1976).
#
"Fink, Margaret",308,fp5043.jpg,c,0
\I1933-\i
\IFilm and television producer\i
Born in Sydney, Margaret Fink was a clothes designer, art teacher and painter before realising her ambition to make films. Her first productions were some amateur documentary films on art techniques, made in the 1960s. In 1974 she saw David Williamson's play \IThe Removalists\b\i and with the help of her entrepreneurial husband, Leon Fink, bought the film rights. The production of the film, over which Fink maintained tight control, was fraught with difficulties and it was not a major box-office success.
The next film project she set up was \J\IMy Brilliant Career\j\b\i (1979) on which she and director \JGillian Armstrong\j cooperated closely and which was a resounding success. This film won many awards including six AFI awards. These were for best film, best achievement in direction, best achievement in cinematography, best screenplay adapted from another source, best achievement in art direction and best achievement in costume design (for which it also received an Oscar nomination). Other awards for \IMy Brilliant Career\i include two BAFTA awards, four SAMMY awards and a Golden Globe Award nomination. However, this did not give an automatic entree to fame and funding and she had to struggle to find funding for her next film, \IFor Love Alone\b\i (1985), an adaptation of the novel by Christina Stead. Her other productions include the award-winning television series \IEden's Lost\b\i (1988) (four AFI awards, three Penguin awards and one International Television and Film Festival award).
At the present time, Margaret Fink is working on a feature film from Jessica Anderson's novel \ITirra Lirra by the River,\i and also a television series from the novel \IThe Tree of Man\i by Patrick White.
\BDescription:\b Margaret Fink.
\BPhoto:\b Margaret Fink.
#
"Finlay, Iain",309,0,g,0
\I1935-\i
Iain Finlay former ABC television host and reporter with \IBeyond 2000\i, was born in Canberra on 21st October 1935. He is married to journalist and reporter Trish Shepard and together they have produced many documentaries. He came to fame as host of the television current affairs show \IThis Day Tonight\i, as well as an original member of \ITowards 2000\i which later became \IBeyond 2000\i. He wrote the best selling book on South Africa, \IThe Azanian Assignment\i.
#
"Fire on the Snow, The",310,0,g,0
\IRadio play, written 1939, first broadcast 1941\i
\JDouglas Stewart\j's verse drama about the doomed Antarctic expedition led by Robert Scott was written specifically as a radio play and with the technicalities of radio broadcasting taken into account. It was published in part in the \IBulletin\b\i in 1939 and in full along with another play, \IThe Golden Lover\b\i, in 1944, three years after its first broadcast. It became established as a classic radio play, with many repeat broadcasts, and for many years was a standard part of school syllabuses. The play grew from Stewart's personal fascination with the story of Scott and his four companions. Partly told by an announcer, the story follows the group from January 1912 when they set out on the final attempt to reach the South Pole, the finding of Amundsen's Norwegian flag at the Pole and the eventual death of all members of the party on the return journey.
\IFirst broadcast and produced by\b\i: ABC
\IProducer\b\i: Frank Clewlow
\IWriter\b\i: Douglas Stewart
\IActors\b\i: Frank Harvey (as Scott), John Tate (as Wilson), Lou Vernon (as Oates), Peter Bathurst (as Bowers), John Alden (as Evans), Ida Osbourne (narrator)
#
"Fisher, Rodney",311,fp5038.jpg,c,0
\ITheatre director\i
Rodney Fisher directs theatre, opera, dance, film and video, and has also written several scripts and theatre pieces. Brisbane-born Fisher began his career writing and directing University of Queensland musicals in the late 1960s. He studied at NIDA in Sydney, leaving to work first in a publishing house and then with the Melbourne Theatre Company and the State Theatre Company of South Australia. Fisher began his professional theatre career as co-director with George Ogilvie of his own play \IA Long View,\b\i followed by Pirandello's \ISix Characters in Search of an Author,\b\i for the Melbourne Theatre Company in 1969. From 1972 until 1976 he was associate director of the \JState Theatre Company of South Australia (SATC),\j which was formed in 1972.
Fisher's directing credits include \IA Star is Torn,\b\i which he wrote with and for \JRobyn Archer\j; five David Williamson premieres: \IThe Department,\b\i \IA Handful of Friends,\b\i \IThe Club,\b\i \IThe Perfectionist\b\i (which later toured to the United States) and \ITop Silk\b\i; \IThe Dresser\b\i and Tennessee Williams' \ICat on a Hot Tin Roof\b.\i He also directed the television film \II Can't Get Started\b\i and co-wrote and directed the television music-series \IMelba\b\i shown in 1987 on Channel 7.
In 1990 Fisher directed Orson Welles' stage adaptation of Herman Melville's \IMoby Dick\b\i for the Queensland Theatre Company. His projects for 1992 included Karin Mainwaring's \IThe Rain Dancers,\b\i starring \JBryan Brown,\j and \IThe Homecoming,\b\i starring Warren Mitchell, for the Sydney Theatre Company; and \IMaria Stuarda\b\i for the Australian Opera. From 1989 to 1991 Fisher was one of three artistic directors of the Northside Theatre (as Marian Street Theatre was known at the time). In 1994 he directed Shakespeare's \IKing Lear\b\i at the Opera House Drama Theatre with John Stanton as Lear.
Rodney Fisher was recently appointed as artistic director of the State Theatre Company of South Australia.
Fisher's awards include the 1982 Sydney Theatre Critics' Award for outstanding contribution to the theatre; membership of the Order of Australia for services to directing and writing in 1988; the 1989 John Tasker Memorial Award for freelance service to the theatre; Melbourne's 1988 Green Room Award for direction in musical theatre and best director, Victoria, at the 1977 National Theatre Awards.
\BDescription:\b Rodney Fisher.
\BPhoto:\b Robyn Gardiner Management.
#
"Fisk, Peter",312,0,g,0
\ITelevision director\i
Fisk's many directing credits with the ABC include the political/business series \IWinner Take All\b\i (1975); the legal series \ILearned Friends\b\i (1983); the dance/musical series for teenagers \IDancing Daze\b\i (1986); the much discussed historical/political mini-series \IThe True Believers\b\i (1988); and the less successful series \IThe Last Resort\b\i (1988). He conceived as well as directed the political series \IThe Paper Man\b\i (1990), which was in part a reworking of Orson Welles' \ICitizen Kane\b.\i This won the AFI Award for best mini-series/telefeature.
Subsequent work includes the mini-series \IFrankie's House\b\i (1992), the mini-series version of \IThe Man from Snowy River\b\i (1994), the drama series \IFire\b\i which began on the Seven Network in 1995, \IFlipper\i - the US series shot in Australia, \ICody\i and \IMedivac.\i
#
"Fitton, Doris",313,dfitton.jpg,c,0
\I1897-1985\i
\IActor, theatrical director and founder of Sydney's Independent Theatre\i
Doris Fitton was born in the Philippines of an English father and an Australian mother. She was educated in Ballarat, Victoria. In 1914 she began acting with the J. C. Williamson theatrical organisation in Melbourne.
She moved to Sydney in 1922 and in 1930, with a group of twenty fellow actors, each subscribing ten shillings, formed the Independent Theatre Company to present the best of the world's plays. Fitton played the female lead in the company's first production \IBy Candlelight\b\i (1930). From 1939 the Independent found a permanent home in North Sydney in a former Edwardian vaudeville house. In the following 47 years until its closure in 1977, the company produced more than 400 plays; Fitton appeared in about 200 productions and was especially noted for her performances in \IThe Seagull\b\i and \IAntigone\b\i. She also directed the controversial play \J\IRusty Bugles\j\b\i.
Doris Fitton was created a Dame in 1981. In the same year she published her autobiography \INot Without Dust and Heat\b\i, which is also a history of the Independent Theatre.
Kate Fitzpatrick was born in Perth. She graduated from NIDA in 1967 and after working as a television interviewer began her acting career with roles in popular television dramas such as \IBoney\b\i, \J\IRush\j\b\i (1973; 1978), \IBen Hall\b\i (1974) and the series \J\ICertain Women\j\b\i (1972-76). Her films include \IOffice Picnic\b\i (1972), \IPromised Woman\b\i (1975), \IThe Great McCarthy\b\i (1975), \IThe Removalists\b\i (1975), \ISummer of Secrets\b\i (1975), \IThe Return of Captain Invincible\b\i (1982), \J\IGoodbye Paradise\j\b\i (1982), \IFantasy Man\b\i (1984) and the telemovie \IThe Perfectionist\b\i (1985).
Her stage performances with the Old Tote Theatre Company include \IThe Legend of King O'Malley\b\i (1970), \IThe Season at Sarsaparilla\b\i (1976) and \J\IBig Toys\j\b\i (1977) in a role written for her by Patrick White. Her early work with the Sydney Theatre Company (STC) includes the lead in \IThe Lady of the Camellias\b\i (1979), \IHamlet\b\i (1981) and \IInsignificance\b\i (1984). After a period in London she returned to Australia in 1988 to play in the ABC television series \IThe Last Resort\b\i. In 1992 she appeared in \IThe Trackers of Oxyrhynchus\b\i for the STC. In 1993 she appeared in \IThe Burning Piano\b\i, an ABC television documentary about the life of Patrick White.
\BDescription:\b Kate Fitzpatrick \I(Fairfax Photo Library)\i
#
"Fleming, Justin",315,0,g,0
\IPlaywright\i
Sydney-based playwright and lawyer Justin Fleming attended the Ensemble Acting School from 1971-73. He began practising as a barrister in 1978. He has written and produced \IHammer\b\i for the Phillip Street Theatre at the 1981 Festival of Sydney, with a return season at the Ensemble Theatre in the same year; \IIndian Summer\b\i at the 1982 Festival of Sydney; \IThe Cobra\b\i at the Sydney Opera House in 1983 and then at Melbourne's Athenaeum in 1984; \IOil on Canvas\b\i for a 1985 Ensemble playreading with a 1987 production by the Studios Repertory Theatre; \IRipper, the Terror of Whitechapel\b\i by the Studios Repertory Theatre in 1986; and \IHarold in Italy,\b\i originally directed by Richard Wherrett and choreographed by Kai Tai Chan for the Sydney Theatre Company at the Opera House Drama Theatre in 1989, and also performed by the acclaimed Teatr Studijiny in Lodz, Poland in 1995.
Fleming has also written \IThe Reach of the Claw\b\i (written during a Nancy Keesing Fellowship to Paris in 1993);\I Something out of Heaven,\b\i on the life of Mary MacKillop, in collaboration with Melvyn Morrow; \ICrystal Balls\b\i for Compact Theatre; and \IThe Ninth Wonder\b\i with Stephen Edwards, commissioned by Wayne Harrison at the STC for \ISydney Stories\b\i in 1995.
Fleming's television credits include \IThe Godfathers\b\i (1973), \IThe True Blue Show\b\i (1974), \IThe Young Doctors\b\i (1976) and \IRafferty's Rules\b\i (1988). His film scriptwriting includes \ICaroline\b\i and\I The Shedding\b\i for Melaleuka Productions (1987), with current screenplay commissions for \ILord Devil\b\i (based on the life of Australian artist Donald Friend) for Anthony Buckley Films and directed by Ken Russell, and the film version of \IHarold in Italy,\b\i a co-production between writer/producer Denis Whitburn in Australia and the Peter Hall Company in the United Kingdom.
Fleming has been a board member of the Australian Playwrights's Centre and Conference and was the NSW president of the Australian Writer's Guild 1986-87.
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"Floating World, The",316,0,g,0
\IPlay, first produced 1974\i
John Romeril centres this play around the character of Les Harding, an Australian ex-serviceman taking a \IWoman's Weekly\b\i Cherry Blossom cruise to Japan with his wife Irene. Although Les thinks that the past is forgotten, his mental state deteriorates during the trip until he goes berserk in Yokohama and has to be restrained in a padded cell. The scars of war have left their mark on Les and his suffering overwhelms him, little by little drawing him into a world of illusion from which he cannot escape. For all its anger, expressed in Les's tirade against his Japanese captors, \IThe Floating World\b\i also has some humorous moments.
\IFirst produced\b\i: Melbourne's Pram Factory by the Australian Performing Arts group in 1974. The production was directed by Lindzee Smith and starred \JBruce Spence\j as Les Harding.
\IOther major productions\b\i: Perth Playhouse production in 1975; Sydney's Nimrod Theatre in 1975 and the Sydney Theatre Company's Opera House production in 1986.
#
"Florence, Sheila",317,0,g,0
\I1916-91\i
Sheila Florence, Australian character actress, was born in the Melbourne suburb of St. Kilda in 1916. Sheila ran away from home at 17 to marry, but lost her first husband Roger Oysten during the allied invasion of Normandy. She also lost her ten-month-old daughter Bridget during a WWII bombing raid on a London railway station. Another daughter died in an accident in Australia some years later.
Sheila had two sons from her first marriage who are both involved in acting. She married her second husband, former Polish Air Force officer John Balawaider, in the last week of WWII, however he died in 1983. She made her name as the larrikin "Lizzie Birdsworth" in the long running television series \IPrisoner\i from 1979-84. She also had a long running role in \IBellbird\i and \IHomicide\i, and won the Australian Film Institute's best actress award for her role in the film \IA Womans Tale\i only a week before her death. Her other films include \IMad Max\i, \IIlluminations\i, \IThe Devil's Playground\i, and \INirvana Street Murders\i. She died at the Xavier Cabrini Hospital in Melbourne after a long illness with cancer on 12th October 1991, aged 75.
#
"Flying Doctors, The",318,0,g,0
\ITelevision mini-series and series; broadcast 1985, 1986-92\i
The success of \IA Country Practice\b\i was the inspiration for Crawfords to make a mini-series about the activities of the Royal Flying Doctor Service (RFDS), long an icon of the Australian outback combining romanticism and rugged heroism. The mini-series did so well on the Nine network that a spin-off series soon followed. The mini-series concentrated on a young city doctor, Tom Callaghan, settling into the country community of the fictional Cooper's Crossing in outback New South Wales.
Other key characters were nurse Kate Wellings and pilot Andy McGregor. The town's key inhabitants included Dusty the lovable drunk, the mechanic Hurtle, the publican Vic and the usual town busybody. The subsequent series concentrated less on the medical practice, using it as background and treating each episode as an individual story. The main male character became the young doctor Geoff Standish after Tom was written out of the series (he never returned from a clinic flight) when actor \JAndrew McFarlane\j withdrew. The series had very high ratings for several years and the marriage of Geoff and Kate Wellings (in true outback style, by a priest over the radio) attracted almost the same viewer interest as the wedding of Simon and Vicki in \IA Country Practice\b\i. However, the series did not prove to be as longstandingly popular as Nine might have hoped and finished on air in 1992 after about 220 hour-long episodes. It was replaced by \IRFDS\b\i which was aimed at a younger audience. Both the mini-series and the series were very successful on the BBC in Britain.
\BMini-series\b
\IProduction company\b\i: Crawford Productions
\IExecutive producers\b\i: \JHector Crawford\j, Ian Crawford
\IProducer\b\i: \JOscar Whitbread\j
\IDirectors\b\i: Brendan Maher, Colin Budds, Dan Burstall, Mark de Friest
\IScriptwriters\b\i: \JTony Morphett\j, Christian McCourt, Vince Moran; based on the format devised by \JTerry Stapleton\j and Vince Moran
\IMajor actors\b\i: Andrew McFarlane (as Dr Tom Callaghan), Lenore Smith (as Kate Wellings), Pat Evison (as the town gossip), \JBill Hunter\j (as Dusty), \JMax Cullen\j (as Hurtle), \JSteve Bisley\j (as Andy), \JMaurie Fields\j (as Vic)
\BSeries\b
\IProduction company\b\i: Crawford Productions
\IExecutive producer\b\i: \JIan Bradley\j
\IProducer\b\i: Stanley Walsh
\IDirectors\b\i: Brendan Maher, Catherine Millar, Paul Moloney, Mandy Smith
\IScriptwriters\b\i: \JDenise Morgan\j, Tony Morphett, Luis Bayonas, Shane Brennan, Annie Beach, \JAlan Hopgood\j
\IMajor new actors\b\i: Robert Grubb (as Dr Geoff Standish)
#
"Flynn, Errol",319,0,g,0
\I1909-59\i
\IFilm actor\i
Errol Flynn was born in Hobart, Tasmania. He led an adventurous life--training as a district officer in New Guinea, hunting tropical birds and operating a charter boat in New Guinea waters--before being offered the role of Fletcher Christian in \JCharles Chauvel\j's \IIn the Wake of the Bounty\b\i (1933). He went to England, where he appeared on the stage and in several films, and then to Hollywood, where his big break was the lead in the film \ICaptain Blood\b\i (1935). Other starring Hollywood roles followed, including \IThe Charge of the Light Brigade\b\i (1936), \IThe Perfect Specimen\b\i (1937) and \IThe Adventures of Robin Hood\b\i (1938). He became a United States citizen and made more than 50 films there, although his later work suffered from the effects of his addiction to both alcohol and heroin. His autobiography \IMy Wicked, Wicked Ways\b\i was published a month after his death.
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"For the Term of His Natural Life",320,0,g,0
\ISilent film, black and white, released 1908; silent film, black and white, released 1927; television mini-series, first broadcast 1983\i
\B1.\b\i The first film version of Marcus Clarke's famous nineteenth century novel was made in 1908 and was less than half an hour in length. It is now lost.
\IProducers\b\i: Charles MacMahon, E.J. Carroll
\IDirector\b\i: Charles MacMahon
\IMajor actor\b\i: Martyn Keith
\B2.\b\i The most costly silent film made in Australia, the 1927 version was the centre of some controversy. Some thought the subject of cannibalistic convicts and their mistreatment by the authorities an unsuitable theme at a time when much of Australia wanted to forget its convict past. Others objected to Australasian Films' importation of Americans (including director Norman Dawn and actor Eva Novak) to make an Australian classic. However, the sheer scale of the film (with six cameras used to shoot the biggest scene ever taken in Australia) and its realism, not to mention its huge publicity, ensured its success.
The film was reconstructed from footage held by various sources by the National Film and Sound Archive in 1981. It enjoys regular showings, including at tourist venues such as Port Arthur in Tasmania where some of the action is set.
\IProduction company\b\i: Australasian Films
\IProducer, director, screenplay\b\i: Norman Dawn
\IMajor actors\b\i: George Fisher, Eva Novak, Dunstan Webb, Jessica Harcourt, Arthur McLaglen, Katherine Dawn
\B3.\b\i This version was first planned as a feature film but became a mini-series, made attractive to overseas buyers by the inclusion of well-known international actors. This, as well as its lavish settings, made it a success when it was screened on the Nine network, originally in six one-hour episodes, later re-released after editing down to four hours.
\IScriptwriters\b\i: Patricia Payne, Wilton Schiller, based on the novel by Marcus Clarke
\IMajor actors\b\i: \JColin Friels\j, Robert Coleby, Rod Mullinar, Susan Lyons, Penelope Stewart, Samantha Egger, \JDiane Cilento\j, Anthony Perkins, Patrick McNee
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"Forsythe, Drew",321,arts-17.jpg,c,0
\IActor of stage, film and television\i
Drew Forsythe graduated from NIDA in 1969. His film appearances include \IStone\b\i (1973), \J\ICaddie\j\b\i (1975) for which he received an AFI Award for best supporting actor, \J\INewsfront\j\b\i (1977), \IDoctors and Nurses\b\i (1981), \IGinger Meggs\b\i (1982), \J\IAnnie's Coming Out\j\b\i (1984), \J\ITravelling North\j\b\i (1986), \IOutback\b\i (1987) and \IBilly's Holiday.\i His television work includes appearances in \J\ICop Shop,\j\b\i \IA Country Practice,\b\i \IThe Flying Doctors,\b\i \J\IGP\j\b.\i In 1987 he received the Penguin Award for best actor in the telemovie \IWhose Baby?\b\i
His stage work includes a London tour for the Old Tote Theatre Company in \IWhat If You Died Tomorrow?\b\i (1974); for the Sydney Theatre Company \IThe Venetian Twins\b\i (1979), \IAmadeus\b\i (1982), \IThe Way of the World\b\i (1983), \IHedda Gabler\b\i (1986), the return season of David Williamson's \J\IEmerald City\j\b\i (1987), \IBig & Little\b\i (1988) and \IThe Trackers of Oxyrhynchus\b\i (1992); for the Nimrod Theatre Company a London tour in 1977 with \IMuch Ado About Nothing\b\i and Williamson's \IThe Club\b\i and \IServant of Two Masters\b\i (1983); \IBig River\b\i (1988), \IThe Mikado, Pirates of Penzance\i and \IHMS Pinafore.\i His cabaret work includes \IThree Men and a Baby Grand\b\i (1992) and \IThree Men and a Baby Grand, Too\b\i (1993).
Branco Gaica
\BDescription:\b Drew Forsythe.
\BPhoto:\b International Casting Services and Assoc. Branco Gaica.
#
"Forty Thousand Horsemen",322,0,g,0
\IFilm, black and white, released 1940\i
This film of grand heroic action and the World War I digger legend was the climax of the career of director \JCharles Chauvel\j. He gained a sizeable contribution towards the large budget from Hoyts Theaters (US) by shooting a preliminary sequence of the Light Horse charge on the sandhills at Kurnell, Sydney in 1938, using 500 cavalrymen in Sydney for the sesquicentenary celebrations. The story centres on three members of the Australian Light Horse in the Middle East in World War I, each of different character and representing a different aspect of the national Anzac legend. A secondary aspect is the romance between one of them and a French woman, a spy for the Germans. The climax of the film is the famous scene of the charge at Beersheba. Elsa Chauvel's script was used as the basis for the film, with scenes and dialogue being added as production proceeded.
The film's great popularity revived faith in the Australian film industry; in Britain and the United States, as well as in Australia, it served as a morale booster in World War II.
\IProduction company\b\i: Famous Film Features
\IProducer and director\b\i: Charles Chauvel
\IScreenplay\b\i: Charles Chauvel, Elsa Chauvel
\IMajor actors\b\i: Grant Taylor, \JChips Rafferty\j, Pat Twohill, Betty Bryant
#
"Fountain, Joy",323,0,g,0
\I1938-96\i
Joy Fountain, Australian television personality of the 1950s and 1960s, was born in Melbourne in 1938. She was a long distance swimmer at the age of 12 but quit at 16 because she was developing broad shoulders. Her modelling break came when she was 19 and then Crawford's hired her as hostess opposite Alwyn Kurts for the television show \IRaising a Husband\i on Channel 9. After the show folded she was contracted for comedy sketches and barrel girl spots on the show \IIn Melbourne Tonight\i with Graham Kennedy and Bert Newton, and nicknamed Joybell.
In 1961, she went to Hawaii to escape from stardom and became a cocktail waitress. She returned to \IIMT\i and also a regular show on radio 3AK as well as working on \IThetarax Show.\i Joy married Barry Finlay in 1965 and they had two daughters. In 1977, Joy was diagnosed with polio and in 1988 she suffered from cancer of the oesophagus, from which she died on 13th March 1996, aged 57.
#
"Fourth Wish, The",324,0,g,0
\ITelevision series, first broadcast 1974; film, released 1976\i
\B1.\b\i The script for this unusual and moving series was written by actor \JMichael Craig\j and sold to the ABC. It concerned Casey, a single father whose young son Sean is diagnosed with a fatal illness and who wants to grant the boy three wishes. Sean does not know of his condition. His wishes are to have a dog, to see his mother and to meet the Queen. The series found a wide audience and won Penguin Awards in 1975 for its script and for \JJohn Meillon\j in the role of the father.
\IProduction company\b\i: ABC, Sydney
\IProducer\b\i: \JEric Taylor\j
\IDirector\b\i: Eric Taylor
\IScriptwriter\b\i: Michael Craig
\IMajor actors\b\i: John Meillon (as Casey), \JNoeline Brown\j, Barry Hill, Barbara Frawley, Joe James, Mark Shields-Brown, Michael Craig (as Dr Richardson)
\B2.\b\i The film remake of the series, also written by Michael Craig and starring John Meillon, was one of several quality family films made by the South Australian Film Corporation. However, it was not as successful as the television series, perhaps because most of the potential audience had already seen the series. John Meillon won the 1977 AFI Award for best actor for his role.
\IProduction company\b\i: South Australian Film Corporation
\IExecutive producer\b\i: \JJill Robb\j
\IProducer\b\i: John Morris
\IDirector\b\i: Don Chaffey
\IScriptwriter\b\i: Michael Craig
\IMajor actors\b\i: John Meillon (as Casey), Robert Bettles (as Sean), \JRobyn Nevin\j, Brian Anderson, Julie Dawson, Ann Haddy, Michael Craig (as Dr Richardson)
#
"Franklin, Richard",325,0,g,0
\I1948-\i
\IFilm director and producer\i
Born in Melbourne, Franklin worked as a cameraman and studied for a time at the Film School of the University of South California in the United States. On his return to Australia he worked at Crawfords and directed some episodes of the television series \J\IHomicide\j\b\i before moving into films.
In America he briefly met Alfred Hitchcock whose work was an influence on the thrillers he later produced. This background also gave him an international view of films and he was keen to import overseas actors into his early Australian films which included the thrillers \IPatrick\b\i (1978) and \IRoad Games\b\i (1981). One of the stars of the latter was the American actor Jamie Lee Curtis, the daughter of the star of Hitchcock's \IPsycho\b\i. After several other Australian projects failed to come to fruition, Franklin left for overseas. His films directed in the United States include \IPsycho II\b\i (1983), the highly rated \ICloak and Dagger\b\i (1984), also a Hitchcock style film, and \IFX2: The Deadly Art of Illusion\b\i (1990).
#
"Fraser, Anne",326,0,g,0
\ISet designer\i
New Zealand-born Fraser worked in advertising before joining the Union Theatre Repertory Company (now the Melbourne Theatre Company) where she designed the set for the 1955 premiere of Roy Lawler's classic play \IThe Summer of the Seventeenth Doll\b\i as well as for its subsequent London production. Following this success, Fraser designed \ISwan Lake\b\i for the Borovansky Ballet; \IThe Gondoliers\b\i, \IThe Mikado\b\i and \IThe Constant Wife\b\i for J.C. Williamson's; and \ISymphony in Gold\b\i for the Australian Ballet. She had engagements with the State Theatre Company of South Australia and later became head of design for the Old Tote Theatre Company.
Since becoming a freelancer, Fraser has worked extensively for the Melbourne Theatre Company; the Victoria State Opera on \IThe Return of Ulysses\b\i, \IDie Fledermaus\b\i, \IEugene Onegin\b\i, \IMy Fair Lady\b\i, \IAndrea Chenier\b\i and Reg Livermore's production of \ILa Traviata\b\i; the South Australian Opera on \ICapriccio\b\i and \ICountess Maritza\b\i and the Australian Ballet on \IDon Quixote\b\i. Fraser was responsible for designing and setting up the Performing Arts Museum at the \JVictorian Arts Centre\j and for designing its opening exhibition, \IThey Call Me Melba\b\i. Fraser won the 1985 Green Room Award for ballet design for her outstanding work on the Australian Ballet's production of \ILa Sylphide\b\i.
#
"Frazier, Ron",327,0,g,0
\I1938-83\i
Ron Frazier, English Australian comedian, was born in England on 7th December 1938. He was well known for his \IMy Second Best Friend\i routine. He was a star of \IThe Mavis Brampston Show\i in the 60s, and in his later life was a part owner of Jools Theatre Restaurant. He was found dead on 8th January 1983, at the age of 55, by good friend Dianna Bubbles Fisher, after he failed to keep an appointment.
#
"Fred and Maggie",328,0,g,0
\IRadio serial, broadcast 1932-53\i
The first situation comedy serial on Australian radio, \IFred and Maggie\b\i ran for 21 years under various titles such as \IMr and Mrs Everybody\b\i and \IFred and Maggie Go Abroad\b\i. Its 15-minute episodes dealt with human interest domestic situations, often based on real incidents in the writers' homes. The serial was not distinctively Australian in either its characters or events and in fact the characters spoke with British accents. It was sold in many parts of the British Empire (later the British Commonwealth).
\IBroadcast by\b\i: Initially ABC, then various commercial networks
Kristian Fredrickson trained in New Zealand at the Wellington School of Design. He spent eight years as resident designer with the Melbourne Theatre Company and has designed many ballet and opera productions such as \IAurora's Wedding,\i \INight Encounter,\i \ICinderella\i and \ICoppΘlia\i for the Australian Ballet. The operas he has designed for the Australian Opera include Mozart's \IThe Abduction from the Seraglio\i and \IDon Giovanni\i (costumes), Donizetti's \ILucrezia Borgia\i and Franz Lehar's \IThe Merry Widow.\i In 1978 he did the designs for the 1978 tour by the 'Stars of the World Ballet' and in 1979 he designed costumes for Deborah Kerr in \IThe Day After the Fair.\i
His other productions include: \INo Names\i ... \INo Pack Drill\i and Shakespeare's \IThe Merry Wives of Windsor\i for the Sydney Theatre Company; \IManon Lescaut\i for the Australian Opera; and \ISchΘhΘrazade,\i \IDaphnis and Chloe,\i \ISalome\i and \IBeauty and the Beast\i for the Sydney Dance Company.
#
"Free, Colin",330,0,g,0
\I1925-\i
\ITelevision and radio scriptwriter and playwright\i
Free had written extensively for radio, including comedy and drama series and individual plays, before the advent of television. He then became one of Australia's most prolific television writers, for many years a mainstay of ABC drama. His mantle of major ABC freelance writer was eventually taken over by \JPeter Yeldham\j. Free's ABC work includes: \J\IBellbird\j\b\i (began 1967); \J\IContrabandits\j\b\i (began 1967); the war series \IOver There\b\i (began 1972) which he devised; \J\IRush\j\b\i (began 1974); one of the plays in the anthology \IThe Seven Ages of Man\b\i (1975); the comedy series \IMenotti\b\i (1981); the police/mystery series \IMissing Persons\b\i (1982) which he devised; and the legal series \ILearned Friends\b\i (1983).
Other television writing includes the Crawford's mini-series \J\IAll the Rivers Run\j\b\i (1983). Free has also written stage plays, several of which have been produced. These include \ICannonade of Bells\b\i and \IA Walk Among the Wheeneys\b\i. His many awards include a Logie, an Awgie and a Penguin.
#
"Friels, Colin",331,fp5039.jpg,c,0
\I1955-\i
\IActor of stage, screen and television\i
A NIDA graduate and former presenter of the children's television program \IPlayschool,\b\i Sydney-based Colin Friels' films include \IHoodwink\b\i (1981); \J\IMonkey Grip\j\b\i (1982); \IBuddies\b\i (1983); \ICoolangatta Gold\b\i (1984); \IKangaroo\b\i (1986); \J\IMalcolm\j\b\i (1986) for which he won the AFI best actor award; \IWarm Nights on a Slow-Moving Train\b\i (1987); \IGround Zero\b\i (1987); \IHigh Tide\b\i (1987); \IGrievous Bodily Harm\b\i (1988); \IDingo\b\i (1990); \IWeekend with Kate\b\i (1990); \IA Good Man in Africa\b\i (1993); \IAngel Baby\i (1995); \IBack of Beyond\i (1995); \ICosi\i (1995); \IMr Reliable\i (1995) and \IDark City\i (1996).
His television performances include \IFor the Term of His Natural Life\b\i (1983); \IPrisoners\b\i (1983); \IThe Burning Piano\b\i (1993), a television documentary tribute to Patrick White; \IThe Last Man Hanged\b\i (1993); a guest appearance in \J\IPolice Rescue\j\b\i (1993); the comedy \IStark\b\i (1993); a guest appearance in \IHalifax f.p\i and a lead role in \IWater Rats\i (1995-97).
His stage performances include \IThe Caucasian Chalk Circle\b\i (1979), \IThe Man from Mukinupin\b\i (1981), \IHamlet\b\i (1981), \IMacbeth\b\i (1982), \IThe Butterflies of Kalimantan\b\i (1982), \IHedda Gabler\b\i (1986) and \JLouis Nowra\j's \IThe Temple\b\i (1993) for the Sydney Theatre Company; \IThe Cherry Orchard\b\i (1992, Queensland Theatre Company) and \IThe Incorruptible\i (1995, Playbox Theatre).
\BDescription:\b Colin Friels.
\BPhoto:\b Shanahan Management.
#
"Friend, Kerrie",332,0,g,0
\I1963-\i
Kerrie Friend, Australian model and actress, was born on 2nd November 1963. She came to fame as hostess of \IPerfect Match.\i In 1995, she undertook some small roles in Hollywood television series. In 1997, she replaced Adriana Xenides on \IWheel of Fortune\i for six months while Adriana rested.
#
"Friend, Rachel",333,0,g,0
\I1970-\i
Rachel Friend, Australian TV actress who starred in \INeighbours,\i was born Rachel Amanda Friend on 8th January 1970. When she left school she wanted to be a ballet dancer, but decided on acting instead. In 1993, she married actor singer Craig McLachlan who wrote a song about her on his Check 1-2 album called 'Amanda.' However, after their careers took them to different parts of the world, they announced they were parting in April 1995. Rachel won the silver Logie in 1989, and later worked as a reporter for Ray Martin's \IMidday Show,\i and in 1993 she joined \IA Current Affair.\i
#
"Frontroom Boys, The",334,0,g,0
\IPlay, first produced 1969\i
\JAlex Buzo\j's play explores Australian male behaviour and the mateship syndrome. The protagonists are a group of young men enslaved by the back-room boys who dictate the daily grind of their office life. The office setting is dominated by tables for the clerks, Robbo, Gibbo, Jacko and the others. There are twelve scenes which follow the yearly cycle of months: the audience lives through the office concert, the Melbourne Cup, the Christmas party and so on. The dialogue is natural and relaxed, as is the loose structure of the plot. The play is a comedy, reflecting the particular rhythm of big-city life with all its frustrations and satisfactions. It also explores the relationship between the bosses and the bossed.
\IFirst performed\b\i: The Australian Theatre Company at the Australian Arts Laboratory, Sydney in 1969; directed by Clem Gorman
\IFirst full-scale production\b\i: \JAustralian Performing Group\j (APG) for the 1970 Perth Festival at the original Hole in the Wall Theatre at Leederville
\IOther major productions\b\i: APG at \JLa Mama Theatre\j and Melbourne University in 1970; the Royal Court Upstairs, London in 1970
#
"Fuller, Benjamin",335,0,g,0
\I1875-1952\i
\IEntertainer, theatre-owner and theatrical entrepreneur\i
Benjamin Fuller and his brother John Fuller (1879-1959) were born in London, sons of tenor singer and theatrical entrepreneur John Fuller. Benjamin played juvenile roles in England before coming to Australia in 1894 to join his father, then working in the theatre in Adelaide, and the rest of his family. The Fullers settled in Auckland, New Zealand, where they toured with a show that included waxwork displays, magic lantern shows and Benjamin in a comedy act. They were so successful on the vaudeville circuit that they were able to buy the theatres they played; in 1907, by then known as John Fuller and Sons, they expanded into the moving picture business.
In 1912, while retaining their New Zealand interests, they extended their activities to Australia, taking over John Brennan's vaudeville circuit. From 1923 the Fullers moved into musical comedy and in 1928 Benjamin signed up \JGladys Moncrieff\j to star in the successful \IRio Rita\b\i. In 1934 Benjamin Fuller lost heavily in a venture to establish a permanent opera company in Australia; from 1939 he was associated with fellow entrepreneur Garner H. Carroll, and from 1946 was governing director of the Carroll-Fuller Theatre Company, sponsor of the Old Vic Theatre Company 1948 tour featuring Laurence Olivier.
Benjamin Fuller was knighted in 1921 in recognition of his bequests to the University of Sydney.
#
"Fullers'",336,0,g,0
\INew Zealand-based theatrical organisation in Australia\i
Fullers' was a New Zealand-based theatrical organisation which competed with the Tivoli Circuit in each of the five major Australian cities. Founded by John Fuller as John Fuller and Sons, by 1912 it owned six theatres in the four main New Zealand cities and in that year took over the Australian vaudeville circuit of James Brennan, which it quickly expanded.
At its peak the organisation had 40 companies presenting revues, opera and drama. Fullers' was notable for encouraging Australian performers, and brought to prominence several major stars, including the comedians \JGeorge Wallace\j and \JRoy Rene\j. Fullers also showed films; in 1950 the film interests of Fullers' Theatres Ltd and Hoyts Theatres Limited were merged.
#
"Gaal, Mark",337,0,g,0
\IStage director\i
Sydney-based Gaal graduated from the University of Queensland and studied at NIDA. He was artistic director of the Australian Theatre for Young People (ATYP) from 1988 to 1991 and was awarded a Goethe Institute Scholarship and the 1989 Ministry for Performing Arts Scholarship. He has directed works for a variety of companies including \IThe Bitter Tears of Petra von Kant\b\i and \IThe Trackers of Oxyrhynchus\b\i for the Sydney Theatre Company; \IRomeo and Juliet\b\i and \JMichael Gow\j's \IAll Stops Out\b\i for ATYP; and Martin Buzacott's \IDrums of Thunder\b\i and \IThe Cockroach Opera\b\i for the Belvoir Street Theatre.
Gaal also has a deep interest in directing opera and his first operatic engagement for the Australian Opera (AO) was for the 1987 National Opera Workshop. He was assistant and transfer director for the AO's productions of \IDon Giovanni,\i \ITristan and Isolde\i and \IOrphΘe et Eurydice.\i In 1994 he directed Alban Berg's \ILulu\i for the Australian Opera.
#
"Gaden, John",338,arts-24.jpg,c,0
\IStage actor and director, and actor of film and television\i
John Gaden's early stage work includes \IFlash Jim Vaux\b\i (1971), \IYoung Mo\b\i (1975) and \IKold Komfort Kaffee\b\i (1979), all for the Nimrod Theatre Company; for the Old Tote Theatre Company \IMacbeth\b\i (1974); for the State Theatre Company of South Australia \IA Handful of Friends\b\i (1975); and for Belvoir Street \IScandals\b\i (1981) with \JRobyn Archer.\j
For the Sydney Theatre Company his work includes \IThe Sunny South\b\i (1980), \IThe Man from Mukinupin\b\i (1981), \IHamlet\b\i (1981), \IAmadeus\b\i (1982), \IAs You Desire Me\b\i (1982), \IThe Way of the World\b\i (1983), \IThe Pillars of Society\b\i (1984), \IA Dream Play\b\i (1989), \J\IMoney and Friends\j\b\i (1992), \IDeath and the Maiden\b\i (1993), \IArcadia\i and \IWho's Afraid of Virginia Woolf.\i
His films include \J\ICaddie\j\b\i (1975), \IMad Dog Morgan\b\i (1976), \IThe F.J. Holden\b\i (1977), \IOn Our Selection, Children of the Revolution\i and \IThank God He Met Lizzie.\i His television work includes episodes of \J\IHomicide,\j\b\i \ILuke's Kingdom,\i \J\IMother and Son\j,\i \IHalifax\i and \IFrontier.\i
From late 1980 to late 1983 Gaden was associate director at the Sydney Theatre Company, and productions he directed during this period include \IThe Portage to San Cristobal of A.H.\b\i (1983) and Robyn Archer's \IThe Conquest of Carmen Miranda\b.\i In 1986 he became artistic director of the State Theatre Company of South Australia, and with \JGale Edwards\j co-directed a number of productions including \IThe Real Thing,\b\i \IThe Winter's Tale,\b\i \IPravda\b\i and \IThe Tempest\b.\i He also directed both the original and the touring productions of \IThe Life and Adventures of Nicholas Nickleby\b.\i
\BDescription:\b John Gaden.
\BPhoto:\b International Casting Service and Assoc.
#
"Gallipoli",339,0,g,0
\IFilm, released 1981\i
One of the foremost Australian films of the 1980s, \IGallipoli\b\i was made by \JPeter Weir\j after he had established himself as a leading director. He had been determined to use the Gallipoli story as a subject since visiting the site in 1976 but years elapsed in raising funds (eventually provided by a company formed by expatriate Australians \JRupert Murdoch\j and Robert Stigwood) and simplifying the original script. The central characters are Frank and Archy, two members of the Australian Light Horse and both amateur runners, trained in Egypt and then sent to the slaughter of Gallipoli. Running forms a continuing theme with Frank at the end running desperately but too late to bring a message to stop the attack and Archy being killed sprinting as in a race across no-man's land. The early scenes set in the Western Australian countryside allow the film to unite elements of the Australian bush and Anzac legends. Its success was reflected in the 1981 AFI awards, where it won nine categories including best film.
\IProduction company\b\i: Associated R&R Films
\IExecutive producer\b\i: Francis O'Brien
\IProducers\b\i: Robert Stigwood, \JPatricia Lovell\j
\IDirector\b\i: Peter Weir
\IScreenplay\b\i: \JDavid Williamson\j
\IMajor actors\b\i: \JMel Gibson\j (as Frank), Mark Lee (as Archy), \JBill Hunter\j, Robert Grubb, Tim McKenzie, David Argue, Bill Kerr
#
"Garden of Granddaughters, The",340,0,g,0
\IPlay, first produced 1992\i
\JStephen Sewell\j has set this play, commissioned by the Playbox Theatre Company, in the bosom of the family. The patriarch Max, a world-renowned Australian conductor and ex-Warsaw Jew who has escaped the Holocaust, tours the world with his wife Moriley. During his visits home he lectures his three daughters, Michelle, Fay and Lisa, and his three grandchildren on the issues of love, life and acceptance. So engrossed is he in imparting his love for his family that he overlooks their need to live their own lives.
\IFirst produced\b\i: Sydney and Playbox Theatre Companies (directed by \JGeorge Ogilvie\j), 1992
#
"Garner, Helen",341,0,g,0
\I1942-\i
\INovelist and film writer\i
Born in Geelong, Victoria, Garner is well-known as a novelist. Her work in the film industry began with her collaboration with director \JKen Cameron\j on the screenplay for \J\IMonkey Grip\j\b\i (1981), the film version of her semi-autobiographical novel. She went on to write the scripts for the highly regarded telemovie \ITwo Friends\b\i (1986), directed by \JJane Campion\j, and for \IThe Last Days of Chez Nous\b\i (1992), forming a creative partnership with producer \JJan Chapman\j and director \JGillian Armstrong\j.
#
"Garrick Theatre, Sydney",342,0,g,0
\ISydney theatre which became the Tivoli\i
The Garrick Theatre, built in 1890, stood in Castlereagh Street, Sydney on a site which had seen a number of music halls, including the Victoria Hall and the Academy of Music. In 1893 it was taken over on an eight-year lease by \JHarry Rickards\j and renamed the Tivoli Theatre.
See \JTivoli Theatre, Sydney\j
#
"Gasworks Theatre, Melbourne",343,0,g,0
\IMulti-purpose theatre facility in a former gasworks\i
The Gasworks Theatre utilises four of the original gasworks buildings in a complex that includes an auditorium with a large performance space and seating for 250. A major concern in the refurbishment of the buildings was that their industrial character should be retained; after existing features were repaired the form and appearance of new constructions were carefully matched to them. The work was principally funded by the City of South Melbourne, with assistance from the Victorian Ministry for the Arts and from the Gas and Fuel Corporation. Since 1992 the Anthill Theatre company has been based at the Gasworks.
#
"Gauci, John",344,0,g,0
\I1942-\i
\ITelevision producer and director\i
Gauci worked in theatre in Melbourne in the 1960s, running the Arrow Theatre in partnership with Louise Hall, as well as producing plays in open-air venues. He also began directing television drama for the ABC in the 1960s. His credits include \J\IBellbird\j\b\i (began 1967), the adventure mini-series \ICatspaw\b\i (1978), the anthology series \ILawson's Mates\b\i (1980) and the historical mini-series \ILucinda Brayford\b\i (1980).
Gauci then moved into production and produced \II Can Jump Puddles\b\i (1981) and was involved in the development of the children's series \IHome\b\i (began 1983). In 1981 Gauci joined with Hall to set up LJ Productions, the name based on their initials. Its productions, mainly children's drama, include the series \ISugar and Spice\b\i (began 1989 on the Seven network) and \IPugwall's Summer\b\i (began 1989 on the Nine network), both directed by Gauci. He also co-produced the film \IThe Bit Part\b\i (1986), released on video.
#
"Gavin, Agnes",345,0,g,0
\IWriter of silent films\i
Born in Sydney, Agnes Gavin was involved with her husband, actor/director \JJohn Gavin\j, in the production of early Australian films. Her many screenplays include \IBen Hall and his Gang\b\i (1911), \IThe Drover's Sweetheart\b\i (1911), \IThe Martyrdom of Nurse Cavell\b\i (1916) and \IHis Convict Bride\b\i (1918).
#
"Gavin, John",346,0,g,0
\I1875-1938\i
\IActor and director/producer of silent films\i
Born in Sydney, Gavin became an actor, mainly featuring in outback and Wild West stage extravaganzas. In 1910 he made his first films--\IThunderbolt\b\i as actor and \IMoonlite\b\i as actor/director. This led to four films made in 1911 for the Stanley Crick-Herbert Finlay partnership, all with bushranging and colonial themes. He then formed his own company. His films continued on colonial themes, usually written by his wife Agnes and with himself as the hero. They include \IThe Drover's Sweetheart\b\i (1911) and \IHis Convict Bride\b\i (1918). From 1918 to 1925 Gavin and his wife were in Hollywood where he had some acting parts in Westerns.
#
"Geoghegan, Edward",347,0,g,0
\I1813?-?\i
\IConvict dramatist\i
Irish convict Geoghegan was a medical student in Dublin in the 1830s. Convicted for falsely obtaining papers, he was transported to Australia for seven years; on his arrival in Sydney in 1840 at 27 years of age he got a job as a medical dispenser at a prison on Cockatoo Island in Sydney Harbour. During his weekly shore leave he copied parts for the Royal Victoria Theatre where he knew \JFrancis Nesbitt\j, the leading tragic actor, from his student days in Dublin.
Geoghegan made his writing debut at the Royal Victoria with \IHibernian Father\b\i, which opened for a seven-performance run in 1844 with Nesbitt as the star. The playwright was unrecognised as the author of the piece because he was a convict. Another Geoghegan play, \IThe Currency Lass\b\i, a light-hearted comedy, was staged in 1844. Made a free man in 1846, the ex-convict was free to submit a play to the Colonial Secretary using his own name. Unfortunately, it was never performed.
#
"Getting of Wisdom, The",348,0,g,0
\IFilm, released 1977\i
In 1974 \JBruce Beresford\j acquired the rights to the Henry Handel Richardson novel, published in 1910, following a long-held ambition to make a film based on it. Set in 1900, the novel tells of the troubles of Laura, an intelligent and sensitive country girl, also wilful and passionate, enduring the ladylike confines of the Presbyterian Ladies' College in Melbourne. Some critics considered the film made too much of nostalgia and was therefore dull, but most found it evoked turn-of-the-century Melbourne mores with delicacy and control. It was selected for the 1978 London Film Festival.
\IProduction company\b\i: Southern Cross Films
\IProducer\b\i: \JPhillip Adams\j
\IDirector\b\i: Bruce Beresford
\IScreenplay\b\i: \JEleanor Witcombe\j (from the novel by Henry Handel Richardson)
Belinda Giblin, Australian actress, was born on 2nd March 1950. After winning a ballet scholarship, she opted to study Japanese and Italian at university, and worked as a Japanese interpreter at Expo 70. She then enrolled at NIDA in Sydney, and then worked in radio, her favourite media. She appeared in the television series \IMatlock Police,\i \IDivision 4, Homicide, The Box, The Sullivans, Skyways, Cop Shop\i and \ISons and Daughters.\i Her many stage appearances include \IHenceforward, How the Other Half Loves\i and \IThe Increased Difficulty of Concentration.\i
#
"Gibson, Grace",350,0,g,0
\I1905-89\i
\IRadio producer\i
Born in the United States, Gibson came to Australia in 1934, having worked for one of the early American radio drama production companies. She founded her Sydney-based company, Grace Gibson Productions, in 1944 and ran it until 1978. It made and sold radio serials for longer than any other company, mainly employing writers to adapt overseas scripts, usually from the United States, producing them at the company's studio with especially hired actors and selling the final production to a sponsor. Gibson was thus in part responsible for the domination of Australian radio by American transcriptions, but also responsible for providing work for a large number of Australian actors and writers.
Her productions included the long-running \J\IDr Paul\j\b\i (1949-71) and \J\IPortia Faces Life\j\b\i (1954-70). These were only a few of many--Gibson estimated that from 1944 to 1978 the company produced and sold 30,000 fifteen-minute serial episodes, mainly dramatic but including some educational programs, and that in 1955 her three studios produced 66 fifteen-minute shows for Sydney alone. Though adversely affected by the advent of television, Gibson refused to turn to television production and continued to produce radio serials, concentrating more on `mini-dramas' consisting of very short (four-minute) episodes, such as \II Killed Grace Randon\b\i (1970). These sold not only to country stations, which had become the backstop of radio producers, but also in the capital cities.
Grace Gibson Productions, sold by Gibson herself in 1978, still operates, selling old programs and some new mini-series to country radio stations.
#
"Gibson, Mel",351,mel.jpg,c,0
\I1956-\i
\IActor of stage and screen and film director\i
American-born Mel Gibson arrived in Australia with his family at the age of twelve. After graduating from NIDA in 1977 he pursued a successful stage career with roles such as the lead in \IRomeo and Juliet,\b\i \IOn Our Selection\b\i and \IDeath of a Salesman\b\i at the Nimrod Theatre, and \INo Names ... No Pack Drill,\b\i \IShorts\b\i and \IRaindancer\b\i for the Sydney Theatre Company.
His first film part in \ISummer City\b\i (1977), was followed by \ITim\b\i (1979) for which he won the AFI Award for best actor and the Sammy Award for best new talent. Later films include \IAttack Force Z\b\i (1980); \J\IGallipoli\j\b\i (1981) for which he won the AFI best actor award; \IThe Year of Living Dangerously\b\i (1982); and the two \J\IMad Max\j\b\i films in 1979 and 1982. The second of these, released as \IRoad Warrior\b\i in the United States, led to him becoming an international star; in 1985 he made \IMad Max III: Beyond Thunderdome\b.\i In 1984 he played Fletcher Christian in the British remake of \IMutiny on the Bounty\b.\i
His American films include \IThe River\b\i (1984); \IMrs Soffel\b\i (1985); \ILethal Weapon\b\i (1987); \ILethal Weapon II\b\i (1989); \IBird on a Wire\b\i (1990); the lead in Franco Zeffirelli's \IHamlet\b\i (1990); \ILethal Weapon III\b\i (1992); \IForever Young\b\i (1992); \IThe Man Without a Face\b\i (1994), of which he was director as well as co-star; \IMaverick\b\i (1994) which he also produced; \IBraveheart\i (1995) in which he starred and directed, earning an Oscar for best director and best film; and \IRansom\i (1996).
Gibson's television work includes appearances in the series \J\ICop Shop\j\b\i and \IThe Sullivans\b.\i
Mel Gibson was awarded an Order of Australia in 1997.
It was reported in 1997 that Mel Gibson would receive up to $50 million to appear in the movie \ILethal Weapon 4.\i
Mike Gibson, Australian press journalist and radio talk-back host, was born in Sydney on 27th May 1940. He started out at the \ISydney Telegraph\i as a sports journalist. In the 1970s, he joined 2SM as a radio talk host and later signed with Channel Nine to host \IWorld of Sport.\i In the 1980s he joined Channel 10 to host \IGood Morning Australia.\i
He returned to the \ITelegraph\i as a weekly columnist, and in 1996 and 1997 he hosted the 2GB morning show. He ended his first marriage to Helen in 1995, he then married for a second time, but it only lasted a few months before marrying again for a third time in 1996.
#
"Gillies, Max",353,arts-33.jpg,c,0
\I1941-\i
\IActor of stage, screen and television and director\i
Gillies was born in Melbourne and was a drama teacher before becoming a professional actor in the early 1970s. He became known for his comedy roles and close attention to physical and vocal detail. He was a co-founder of Melbourne's Pram Factory and helped establish the Australian Performing Group (APG) based there. Productions in which he appeared at the Pram Factory include \IDimboola\i, \IMarvellous Melbourne\b\i, \IBedfellows\b\i and \IA Stretch of the Imagination.\i
Following the disbanding of the APG in 1980 Gillies began a series of highly successful one-man shows of political satire--he opened in Adelaide in 1981 with \ISquirts\b\i, later called \IA Night with the Right\b\i, in which he played seventeen individual characters, including Sir Robert Menzies and Sir John Kerr. His next solo show, \IA Night of National Reconciliation\b\i (1983), led to two 1984 ABC television series--\IThe Gillies Report\b\i and \IThe Gillies Republic\b\i. In 1985 he was back on the stage with \IThe Gillies Summit\b\i. In the late 1980s and early 1990s he returned to more traditional theatre, taking the lead for the Melbourne Theatre Company in \IA Chorus of Disapproval\b\i; David Williamson's \IThe Department\b\i at the Seymour Centre in Sydney; touring with \I'Allo 'Allo\b\i; and in 1992 starring in \IFiddler on the Roof\b\i for the Australian Opera.
His film appearances include \J\IStork\j\b\i (1971); \ILibido\b\i (1973); \IThe Cars That Ate Paris\b\i (1974); \IThe True Story of Eskimo Nell\b\i (1975); \IThe Firm Man\b\i (1975); \IThe Great McCarthy\b\i (1975); \IPure S\b\i (1976); \IThe Trespassers\b\i (1976); \IDimboola\i (1979), of which he was also associate producer; \IThe Coca-Cola Kid\b\i (1985); and \IAs Time Goes By\b\i (1987).
\BDescription:\b Max Gillies.
#
"Gilling, Rebecca",354,0,g,0
\I1953-\i
Rebecca Gilling, Australian actress, was born in Sydney on 3rd November 1953. After leaving school, she became one of Australia's highest paid models. Later as an actress she turned down a five figure sum to appear nude in \IPlayboy.\i She starred in the Ten Network's \IReturn To Eden\i in 1985 and the film \IThe Man From Hong Kong\i. She married carpenter Tony Pringle in 1985 and they have two sons, Hamish (1987) and Billy (1990). In 1993, she hosted the Nine Network's lifestyle show \IOur House\i and in 1994 starred in the television movies \Ihalifax f.p.\i.
#
"Ginnane, Antony",355,fp5040.jpg,c,0
\I1949-\i
\IFilm producer\i
Ginnane was born in Melbourne and trained as a lawyer although his prime interest was in films. His films have been shown all over the world and have achieved both critical acclaim and box office success.
He has filmed extensively in Australia and other countries including New Zealand, the Philippines, Yugoslavia, the USA and Canada.
While at Melbourne University from 1968-76, Ginnane was extensively involved in film journalism, distribution and exhibition and wrote, produced and directed his first feature \ISympathy in Summer\i (1970).
He was a writer and film critic for various Melbourne and regional newspapers and in the early 1970s established his own distribution company, Studio Films. His success in the overseas marketing of \IThe True Story of Eskimo Nell\b\i (1975) for the Filmways company led to him producing films for Filmways in association with \JRichard Franklin,\j the director of \IEskimo Nell\b.\i \IFantasm\b\i (1976) and \IFantasm Comes Again\b\i (1977) were commercially successful erotic comedies, made in Los Angeles. In 1977 Filmways set up the Australian International Film Corporation, with Ginnane at its head. A change of style occurred with its first production, the family film \IBlue Fire Lady\b\i (1977).
Subsequent films were mainly of the suspense and action genre, including \IPatrick\b\i (1977) which won the Jury Prize at both the Sitges Festival and the prestigious Avoriaz Festival and \IThirst\b\i (1978) which won Best Special Effects Prize at the Sitges Festival. Subsequent films include \IDead Kids\b\i (1981), made in New Zealand with an international cast, \ITurkey Shoot\b\i (1982) and \IFatal Sky\b\i (1989).
As a theatrical distributor he has overseen start-up operations in the speciality film releasing business in Australia and New Zealand - consulting to Filmpac Holdings Ltd (then Australasia's largest independent mainstream theatrical distributor) from 1985 to 1988. He was a partner in joint venture theatrical and video distribution companies in Hong Kong and the Philippines from 1986-88.
In 1988 Ginnane's films received a total of 20 nominations at the Australian Film Institute Awards - the highest number of nominations ever achieved by one producer.
Ginnane moved his base to Los Angeles in 1991 where he had a non-exclusive 'first look' deal with Fries Entertainment and developed a group of international productions with them including \IScreamers,\i a science fiction thriller by Dan O'Bannon. Between 1992 and 1995 Ginnane served as consultant to Fries Distribution for international sales and in 1995 and 1996 he held the title of Executive Vice President - Theatrical for Chuck Fries Productions Inc., developing and packaging a number of productions. His film \IThe Whole of the Moon\i was awarded best film, best director, best actress, best cinematography and best production design at the 1996 New Zealand Film Awards.
In 1996 Ginnane served as executive producer on \IMen With Guns\i for Norstar. At Cannes in 1996 he relaunched his own international sales entity IFM Film Associates Inc. which is a full voting member of the American Film Marketing Association and has output deals with Daro Film of Monaco and Blackwatch Communications of Montreal, among others. IFM acquired international rights to over a dozen titles during its first year of operation.
Recent films Ginnane has been executive producer for include \IReaper\i (1997), \IThe Truth About Juliet\i (1997), \IReluctant Angel\i (1997), \IThe Hunter\i (1997) and \ICaptive\i (1997).
\BDescription:\b Antony Ginnane.
\BPhoto:\b Antony Ginnane and IFM Film Assoc.
#
"Gleitzman, Morris",356,0,g,0
\I1953-\i
\IPlaywright and film and television writer\i
Gleitzman was born in England. Since coming to Australia he has become well known as a writer of children's books and a newspaper columnist. His plays include \ISkin Free\b\i (1986), \INot a Papal Tour\b\i (1987, co-author) and \ITwo Weeks with the Queen\b\i (1992), based on his children's book of the same name (1990). The last named has been produced several times, successfully appealing to both adults and children.
Gleitzman's film writing includes \IMelvin: Son of Alvin\b\i (1984) for which he won an Awgie Award. Television work includes \IThe Norman Gunston Show\b\i (1976-80), the ACTF children's series \IWinners\b\i (1986) and \IKaboodle\b\i (1987), the telemovies \IHarbour Beat\b\i (1989) and \IEmpty Stockings\b\i (1991), and the children's mystery mini-series \IGood Vibrations\b\i (1992).
#
"Gloria Payten Foundation/Gloria Dawn Foundation",357,0,g,0
\IBequest providing fellowships to actors and directors\i
Gloria Payten was a leading theatrical agent who established International Casting Service in 1961. The Gloria Payten Foundation and the Gloria Dawn Foundation, established in 1994, represent her entire estate and was intended by Gloria Payten to honour the contribution to the performing arts of actor \JGloria Dawn\j.
The Foundations provide Fellowships for professional actors and directors in theatre, film and television to travel overseas to broaden their professional knowledge; Fellows must return to Australia to work in the industry and so share their knowledge. The Foundations are administered by the \JNational Institute for Dramatic Art (NIDA)\j.
#
"Goodbye Paradise",358,0,g,0
\IFilm, released 1982\i
This Raymond Chandler-style private eye film is set in Surfers Paradise, Queensland, and centres around an alcoholic ex-police chief, Michael Stacey. The fact that the film is intended to be satirical is brought out by the humorous narration style. The storyline involves various aspects of Gold Coast life, such as escort agencies and religious cults, and features an attempted coup which allows satire of the way politics were conducted in the Queensland of Sir Joh Bjelke-Petersen. Many felt the film to be marred by the final scenes in which the coup culminates in a full-scale battle--both critics and audiences found this hard to take seriously and it also failed as humour. In spite of this, the film did well at the 1982 AFI Awards, where it won best screenplay and \JRay Barrett\j won best actor.
\IProduction company\b\i: Petersham Productions, New South Wales Film Corporation
\IProducer\b\i: Jane Scott
\IDirector\b\i: Carl Schultz
\IScreenplay\b\i: \JBob Ellis\j, Denny Lawrence
\IMajor actors\b\i: Ray Barrett (as Stacey), \JRobyn Nevin\j, Janet Scrivener, \JKate Fitzpatrick\j, Robert 'Tex' Morton, Don Pascoe
#
"Gordon, Hayes",359,ghayes.jpg,c,0
\I1920-\i
\IActor, producer and director\i
American-born Hayes Gordon came to Australia as the lead in the musical \IKiss Me Kate\b\i in 1952, and stayed to take the male lead (with fellow American Evie Hayes in the female lead) in \IAnnie Get Your Gun\b\i, \IOklahoma!\b\i and the J.C. Williamson's productions of \ICall Me Madam\b\i (1954) and \IKismet\b\i (1955). In 1958 Gordon founded the \JEnsemble Theatre Company\j, of which he is still director and which, at the Ensemble Theatre on the shores of Sydney Harbour, gave Australia its first experience of theatre-in-the-round. Many Australian actors have trained at the Ensemble Studios, which Gordon set up in association with the theatre. In 1967 Gordon returned to the stage as the star of J.C. Williamson's \IFiddler on the Roof\b\i, a role he again performed in 1983 for the Australian Opera.
\BDescription:\b Hayes Gordon \I(Fairfax Photo Library)\i
#
"Gordon, Vic",360,0,g,0
\I1912-\i
Vic Gordon, Australian actor and comedian, was born in London on 4th March 1912. A veteran of Australian stage and television he was a stalwart for years at Tikki & John's theatre restaurant in Melbourne during the 1960s. He starred in the long running television series, \IMatlock Police,\i in the 1970s.
#
"Gore, Sandy",361,fp5041.jpg,c,0
\IStage, film and television actor\i
Sandy Gore was a NIDA graduate in 1969 and her extensive theatre work includes the Melbourne Theatre Company's productions of \IElectra,\b\i \IThe Removalists,\b\i \IPygmalion,\i \IUncle Vanya,\i \ISons of Cain,\i \IAs You Like It,\i \IThe Rivals,\i \IThe Alchemist,\i \IThe Doll Trilogy, Other Times, Summer of the Seventeenth Doll, Macassar Reef, Much Ado About Nothing, Pericles, Caralie Landsdowne Says No, President Wilson in Paris\i and \IJugglers Three;\i the Sydney Theatre Company's \IPillars of Society, Extremities, Sons of Cain\b\i (as Nicole), \IThe Gift of the Gorgon, Medea, Les Parents Terrible, Antony and Cleopatra, The Normal Heart,\i and \IA Happy and Holy Occasion.\i Other theatre work includes \IDaylight Savings, Party Wall, Big River Bees, Kid Stakes, Widower's House, Legend of King O'Malley, Halloran's Little Boat\i and \IRooted.\i
Films she has appeared in include \IStreet Hero\b\i (1984), \ILuigi's Ladies\b\i (1988), \IBodily Harm, Evil Angels, Mimi Goes to the Analyst\i and \IPaws.\i Her television work includes the series \IA Country Practice,\b\i \J\IPrisoner,\j\i \IGP, Chances, Rafferty's Rules, Flying Doctors\i and \IBellbird.\i Other television appearances include the ABC mini-series \J\IBrides of Christ\j\b\i (1991) in which she received acclaim in the role of Mother Ambrose, \INewlyweds, Halfway Across the Galaxy and Turn Left, The Clean Machine, Twenty Good Years\i and \IThe Lawler Trilogy.\i
\BDescription:\b Sandy Gore.
\BPhoto:\b Barbara Leane and Assoc.
#
"Gow, Michael",362,fp5042.jpg,c,0
\I1957-\i
\IDramatist, theatre director and actor\i
Gow was born in Sydney and began his theatrical career in the Sydney University Dramatic Society (SUDS). His first play, \IThe Kid,\b\i was written in 1981 and premiered at the Nimrod Theatre in 1983 with a revival in 1987. Gow went on to write \IEurope\b\i for the 1986 Adelaide Festival and \J\IAway\j\b\i in the same year. \IAway\b\i brought Gow immediate popular success when it was performed by the Griffin Theatre Company at the Stables in Sydney; it won the New South Wales Premier's Award for best play in 1986, and, in 1987, an Awgie Award and the Sydney Theatre Critics' Circle Award. The less successful \I1841\b\i opened the 1988 season of the State Theatre Company of South Australia in association with the Australian Bicentennial Authority.
Michael Gow has appeared in the stage play \IHamlet\i at the 1986 Adelaide Festival, in \IBent\i for the State Theatre Company of South Australia and in \IBig and Little\i for the Sydney Theatre Company. He has also had long running roles in the television series \IThe Young Doctors\i and \IPossession.\i
His adaptation of Sumner Lock Elliot's \IEden's Lost\i for the ABC was critically acclaimed here and in Europe and received an AFI award for best script in 1988.
In 1991 Gow's play \IFurious\b\i opened at the Wharf and he received a grant from the Literature and Performing Arts boards of the Australia Council and the STC. The Playbox Theatre, Melbourne, in collaboration with the Sydney Theatre Company, presented \ISweet Phoebe\b\i in Sydney in 1994 and in Melbourne in 1995.
Gow was appointed chairman of the \JGriffin Theatre Company\j board in 1986 and member of the Australian Theatre for Young People (ATYP) board in 1989-95. In 1991 he became associate director of the \JSydney Theatre Company (STC)\j and from 1991-94 was artistic director of its 1991 innovation, New Stages (a research and development wing housed in the Wharf Studio, which strives to provide the theatre-going public with opportunities to alter their approach to the theatre). In this role Gow staged the first professional Sydney production of Racine's \IPhedra\b\i in a new translation by Julie Rose; this was followed by US playwright John Patrick Stanley's \IThe Dreamer Examines his Pillow\b.\i Shakespeare's bloodthirsty and rarely-performed play \ITitus Andronicus\b\i was on the menu at the Wharf in 1993 in a highly-proclaimed production; Gow also directed Durrenmatt's \IThe Visit\b\i at the Drama Theatre of the Sydney Opera House in the same year. In 1994 Gow directed \IOleanna\b\i at the Wharf Studio before it transferred to the York Theatre at Sydney's Seymour Centre.
\BDescription:\b Michael Gow.
\BPhoto:\b Robyn Gardiner Management.
#
"GP",363,0,g,0
\ITelevision serial, broadcast 1989 to 1996\i
\IGP\b\i was devised by the ABC and Roadshow Coote and Carroll with the idea of sharing in the success enjoyed by medical series on some of the commercial stations, but orienting it towards urban rather than rural concerns. The series is set in the Sydney inner-city suburb of Glebe and its weekly one-hour episodes are shown in an adult time-slot, appropriate to its exploration of adult issues and problems relating to the doctors as well as to the patients.
The series centres around a group of main characters who work at the medical practice housed in the downstairs rooms of the large two-storey home of Dr William Sharp. His family have practised medicine for generations. William is the key character, played by \JMichael Craig\j who became known in Australia with another medically-based program, \IThe Fourth Wish\b\i, which he wrote and acted in as a doctor. Other main characters have included William's brother Robert (up to his death), the young doctor Steve, his wife Su Lin, the woman doctor Cathy, later replaced by Tessa whose psychiatrist husband Ian works in the practice, the receptionist Julie and the homosexual doctor Martin, brought into the practice after the departure of Steve and Su Lin. Tessa, Ian and their family were written out of the series at the end of 1994 and the practice gained a new doctor, Sonja Kapek. Each episode concentrates on one of the main characters with the others involved to a lesser extent; stories featuring guest stars are being increasingly used.
\IGP\b\i has had consistent ratings and has won several awards, including a Human Rights Award in 1989 for its story of a young child suffering from AIDS and the top Awgie Award in 1991 for Keith Thompson for an episode contrasting the multi-million dollar dealings of the money market with the lot of a poor single mother. The series was bought by Thames Television in Britain in 1990.
\IProduction company\b\i: Roadshow Coote and Carroll and the ABC
\IDirectors\b\i: Greg Shears, Kate Woods, Peter Andrikidis, \JMichael Carson\j, Graham Thorburn, \JGeoffrey Nottage\j
\IScriptwriters\b\i: Greg Millin, Jennifer Mellet, Sheila Sibley, Chris McCourt, Rick Maier, Betty Quin, Margaret Kelly, Luis Bayonas, Keith Thompson
\IMajor actors\b\i: Michael Craig (as William), John McTernan (as Robert), Michael O'Neill (as Steve), Sarah Chadwick (as Cathy), Denise Roberts (as Julie), Marilyn Paspaley (as Tessa), Tony Llewellyn-Jones (as Ian), Theresa Wong (as Su Lin), Damian Rice (as Martin), ZoΘ Carides (as Sonja)
#
"Graham, Ron",364,arts-45.jpg,c,0
\IStage and television actor\i
Ron Graham has been one of Australia's leading actors since the 1960s when he played the lead in \IKing Lear\b\i at Sydney's Old Tote Theatre. His many roles include Laurie in \IThe Club\b\i at the Nimrod Theatre and in its London tour; Frank in \J\ITravelling North\j\b\i for the Queensland Theatre Company; Doug in \IThe Blind Giant is Dancing\b\i for the Sydney Theatre Company and Antonio in \IThe Merchant of Venice\b\i at the Nimrod. For seven years he was leading male actor with the National Theatre of Perth, playing about 80 parts including the leads in \ICat on a Hot Tin Roof\b\i and \IMacbeth\b.\i He has appeared in almost all the major Australian television serials including \ICertain Women, Division 4\i and \I1915\i and in several films, including \J\IGallipoli\j\b\i (1981) and \J\ISilver City\j\b\i (1984).
\BDescription:\b Ron Graham.
\BPhoto:\b International Casting Service and Assoc.
#
"Gray, Ugly Dave",365,0,g,0
\I1934-\i
Ugly Dave Gray, English comedian, was born in England on 26th December 1934. He came to Australia as a stand-up comedian on the Graham Kennedy \IIn Melbourne Tonight\i television show, and later became host of the show himself after Kennedy retired. He also starred on \ICelebrity Squares\i and \IBlankety Blanks\i, and now lives in Queensland with his second wife.
#
"Green, Cliff",366,0,g,0
\I1934-\i
\IFilm and television writer\i
Born in Victoria, Cliff Green was a primary school teacher before becoming a full-time writer. As well as books and plays he has written for film and prolifically for television. His films include \J\IPicnic at Hanging Rock\j\b\i (1975), \IBreak of Day\b\i (1976) and \ISummerfield\b\i (1977). Television work includes \IMarion\b\i (1973), \ILucinda Brayford\b\i (1980) and episodes of \J\IHomicide\j\b\i (1969-79), \IMatlock Police\b\i (1969-71), \J\IRush\j\b\i (1974), \J\IPower Without Glory\j\b\i (1975-76), \ILawson's Mates\b\i (1978-79), \II Can Jump Puddles\b\i (1980-81), \IA Country Practice\b\i (1984), \IThe Flying Doctors\b\i (1988-90) and \IPhoenix\b\i (1992). Green has won several awards, including Awgies for \IMarion\b\i and \ILawson's Mates\b\i and the Liv Ullman Peace Prize 1990, and was a foundation member and board member of the Victorian Film Corporation.
#
"Green Room Awards",367,0,g,0
\IMelbourne-based awards for excellence in live theatre\i
The Green Room Awards Association was founded in Melbourne in 1982. They recognise excellence in performance, production, direction and design in the four categories of opera, dance, music theatre and drama on the Melbourne stage. First winners included John Mehan (male artist in a leading role) and \JJudi Connelli\j (female artist in a leading role); more recent winners are Phantom of the Opera stars Anthony Warlow and Marina Prior. Lifetime Achievement Awards have been made to John Sumner, Dame Peggy van Praagh, Betty Pounder (dancer and choreographer), Edna Edgley (entrepreneur), \JJohn McCallum\j and \JJohn Truscott\j.
The awards take their title from the 'green room', the name traditionally given to the performers' waiting room near the stage, which in turn was named for such a room at London's Theatre Royal, Drury Lane, originally decorated in green (although it is also said that all these rooms were painted green to relieve the eyes from the glare of the stage).
#
"Gregan McMahon Players",368,0,g,0
\ISemi-professional repertory group\i
The Gregan McMahon Players, a semi-professional repertory group, was formed in Melbourne in 1929 by \JGregan McMahon\j after he had left the Tait family and joined the Fullers organisation. Earlier, at the instigation of the Tait brothers, he had established the Gregan McMahon Play Company with which he hoped to establish professional repertory theatre in Australia. Although it opened to enthusiastic audiences in both Melbourne and Sydney, the venture was ultimately unsuccessful, for the Taits depleted the company by luring the best of its actors into their commercial productions. For this reason McMahon chose not to renew his contract with the Tait organisation--he instead joined Fullers, and founded his Players. In 1936 George Bernard Shaw allowed the Gregan McMahon Players to present the English-language premiere of \IThe Millionairess\b\i in Melbourne. By the late 1930s the company had more than 2000 subscribers.
#
"Gribble, David",369,0,g,0
\I1946-\i
\ICinematographer\i
Sydney-based Gribble began working as co-cameraman and co-director of photography on short films and documentaries in the late 1960s and also worked as cameraman on the television series \J\ISkippy\j\b\i (1967-68) and \IThe Godfathers\b\i (1971). He was director of photography on telemovies such as \IThe Lost Islands\b\i (1975) and \IPolly Me Love\b\i (1977). His feature films as cinematographer include \IThe F.J. Holden\b\i (1977), \IThe Best of Friends\b\i (1982), \J\IMonkey Grip\j\b\i (1982), \IFast Talking\b\i (1983) and \IFires Within\b\i (1990), directed in the United States by \JGillian Armstrong\j.
#
"Griffin Theatre Company",370,0,g,0
\ISydney-based company dedicated to local work\i
The Griffin Theatre Company was formed in the late 1970s to develop and perform new Australian work in much the same way as Melbourne's \JLa Mama Theatre\j Company. Scripts from local playwrights are evaluated, the best are read at workshops and then developed for stage production. Some are subsequently performed in mainstream theatre, such as Griffin's production of Timothy Daly's \IKakfa Dancing\b\i which was picked up by the Sydney Theatre Company for its 1994 program. The company is based in the Stables Theatre (the building which was the original home of the Nimrod Theatre Company) and operates under the control of an eight-member board, all of whom are volunteers.
#
"Grimshaw, Tracy",371,0,g,0
\I1964-\i
Tracy Grimshaw, Australian television reporter, newsreader and host of the \IToday Show\i was born in Melbourne on 3rd June 1964. She started out as a newsreader for the Nine Network in Melbourne in 1987; in 1995 she co-hosted the \IMidday Show\i with David Reyne and in 1996 hosted \IAnimal Hospital.\i Tracy joined the \IToday Show\i in April 1997, replacing Liz Hayes who went to \I60 Minutes.\i
#
"Gross, Yoram",372,0,g,0
\I1926-\i
\IDirector of animated films\i
Born in Poland, Yoram moved to Israel in 1950 where he directed advertising films and some animated features. In the late 1960s he came to Australia and opened Yoram Gross Film Studios in Sydney. He is best known for the animated feature \IDot and the Kangaroo\b\i (1977) which was followed by nine sequels up to 1988. In 1990 he made an animated feature film of \IBlinky Bill\b\i.
#
"Grundy, Reg",373,0,g,0
\I1924-\i
\ITelevision producer\i
Born in Sydney and educated in Adelaide, Reg Grundy decided on a radio career after serving in World War II. He became a sports broadcaster and then moved onto running radio quizzes, packaging \IWheel of Fortune\b\i for Sydney station 2CH. When television started in Australia he sold the same idea to Sydney television station TCN-9 and in 1960 \IWheel of Fortune\b\i became Australia's first television quiz program, shown live in the daytime and hosted and produced by Grundy. His packaging company, Reg Grundy Enterprises, was set up in 1960. It became the Grundy Organization in 1978 and more recently Grundy Television Pty Ltd.
Grundy's early shows were all quiz or game programs but he later expanded his base to include soap operas. Early quiz shows included \IThe Marriage Game\b\i and \IBlind Date\b\i. Subsequent long-running successes included the quiz show \ISale of the Century\b\i (began as \IThe Great Temptation\b\i) and the soap opera serials \IThe Young Doctors\b\i (began 1976), \J\IPrisoner\j\b\i (began 1979), \J\ISons and Daughters\j\b\i (began 1982) and \J\INeighbours\j\b\i (began 1985). Grundy has ensured that these programs have appeared on different networks, after the experience of dealing with Channel 9 only in the early 1960s and then having his contract cancelled. In 1990 he entered a co-production arrangement with the ABC for the first time with the \J\IEmbassy\j\b\i series.
Reputed to be one of Australia's richest people and something of a recluse, Grundy moved to Bermuda in 1982. Working on the basis of the success of \IPrisoner\b\i on American cable television, Grundy during the 1980s became a major force in United States daytime television, producing a number of successful game shows. With the success of Australian soap operas such as \INeighbours\b\i in Britain in the late 1980s, Grundy turned his attention to Europe. He started a European quiz program, \IGoing for Gold\b\i, for the BBC and has entered into partnership with several European television companies. In New Zealand Grundys has produced the \INeighbours\b\i-type serial, \IShortland Street\b\i. Meanwhile Grundy's production in Australia has continued with such programs as the crime/action series \IBoney\b\i (1992) and the historical/romantic mini-series \IThe Other Side of Paradise\b\i (1992), both co-productions with overseas companies.
By 1993 Grundys had become the largest television program packager in the world. Grundy sold his television company to the UK-based Pearson Group in 1995.
#
"Gulpilil, David",374,gulp.jpg,c,0
\I1953-\i
\IActor and dancer\i
David Gulpilil was born in Arnhem Land in the Northern Territory. He is a member of the Mandalbingu people and grew up in a traditional Aboriginal environment. He later worked as an assistant at a mission school teaching Aboriginal dance. In the 1960s he toured overseas in an Aboriginal dancing group. His films include the lead role in \J\IWalkabout\j\b\i (1971), \J\IStorm Boy\j\b\i (1976), \IMad Dog Morgan\b\i (1976), \IThe Last Wave\b\i (1977), \J\ICrocodile Dundee\j\b\i (1986), \IDark Age\b\i (1987) and the US film \IThe Right Stuff\b\i (1983). He has led Aboriginal dance groups on national and overseas tours, appeared at Expo 85 in Japan and in New York in 1990. He has taught mime in the United States.
In 1987 David Gulpilil was awarded an OAM (Medal of the Order of Australia) for his services to the arts.
\BDescription:\b David Gulpilil \I(Fairfax Photo Library)\i.
#
"Gurton, Shaun",375,0,g,0
\ISet designer\i
Adelaide-based Gurton has engaged in all facets of the theatre--as actor, director and designer. He worked in Melbourne as design director for St Martins Arts Centre, shortly after it opened. It was the first multi-media arts complex in Australia directed at young people. He designed several of \JRodney Fisher\j's productions including Hewett's \IThe Man From Mukinupin,\b\i Williamson's \IThe Perfectionist\b\i and \IThe Department\b\i as well as \IThe Fields of Heaven\b\i and \IMaster Class\b.\i He was the first resident designer for the Adelaide Festival Trust and for the State Theatre Company of South Australia and designed \IOld Times,\b\i \IHow Does Your Garden Grow?,\b\i \IThe Duchess of Malfi\b\i and \IBig and Little Scenes\b.\i For the Melbourne Theatre Company his designs include \IA Handful of Friends,\b\i \IThe Club,\b\i \ISons of Cain\b\i and \ITom and Viv\b.\i
Gurton's opera credits include \ICosi fan tutte,\i \IFly,\i \ICarmen,\i \IThe Consul\i and \IThe Flying Dutchman\i for the Victoria State Opera. He received an Australia Council grant which enabled him to travel to England and assist Timothy O'Brien and Tazeena Firth on \IEvita.\i He returned to supervise the Australian production of the show. Gurton was resident designer with the State Theatre Company of South Australia in 1993.
#
"Gyngell, Bruce",376,0,g,0
\I1929-\i
\IMedia administrator\i
Bruce Gyngell, born in Melbourne and educated in Sydney, was a radio announcer in 1956 when he joined TCN-9, Australia's first commercial television station. His was the first face to appear on Australian television screens when he introduced the first broadcast in September 1956. From 1969 to 1971 he was managing director of the Seven network. After a period overseas he returned to Australia in 1977 to become Foundation Chairman of the Australian Broadcasting Tribunal, a post he held until 1980 when he became chief executive of the Special Broadcasting Service (SBS), set up by the federal government to introduce multicultural television. In 1984 he went to London to manage TV-am, a London breakfast television station. He returned to Australia in 1993 to take up the position of executive chairman of Nine Network Australia Limited.
#
"Gyngell, Kym",377,0,g,0
\I1952-\i
Kym Gyngell, Australian comedian and actor, was born in Sydney on 15th April 1952. He has appeared in many stage productions since 1972 and won the AFI (Australian Film Industry) award for best supporting actor for \IBoulevard of Broken Dreams\i in 1988. He came to fame as Colin Carpenter in the comedy series \IThe Comedy Company\i and later starred in his own show called \IColin Carpenter.\i His other TV work includes \IHouse Rules,\i \IThe Flying Doctors,\i \IFast Forward\i and \IFull Frontal.\i His film credits include \IWills and Burke, Untold Story, Backstage, Ground Zero, Once Upon a Weekend, Bushfire Moon,\i and \IBoulevard of Broken Dreams.\i
#
"Haag, Stefan",378,0,g,0
\I1925-87\i
\ITheatrical director and administrator, television and theatre producer and arts festival administrator\i
As a child Stefan Haag sang with the Vienna Boys' Choir (1936) and the Vienna Mozart Boys' Choir (1937-39). After moving to Australia he became a producer for the \JNational Theatre Movement\j in Victoria (1948-50). In 1950 he returned to Europe on a Victorian government scholarship to study opera production. In 1956 he became production director of the newly-formed Australian Elizabethan Theatre Trust opera company; from 1960-62 he was the company's artistic director; and from 1963-69 was executive director of the Australian Elizabethan Theatre Trust. Since 1969 he has worked as a television and theatre producer and has also been artistic director of several arts festivals. He was awarded the OBE in 1968.
#
"Haddrick, Ron",379,0,g,0
\I1929-\i
\IStage actor\i
Ron Haddrick was born in Adelaide, where be began his acting career. In 1948 he appeared at the Tivoli in Sydney. He spent 1954-59 in England, becoming a leading member of the Stratford Memorial Theatre (now the Royal Shakespeare Company). After his return to Australia he joined the Trust Players and, playing the lead, toured England with \IThe One Day of the Year\b\i. He later joined the Old Tote Theatre Company and appeared in its first production, \IThe Cherry Pickers\b\i (1963), and subsequently played some 40 other leading roles with the company. In 1974 he appeared in London's West End with the Old Tote production of \IWhat if You Died Tomorrow?\b\i
He has appeared with leading theatre groups throughout Australia, including the Nimrod Theatre Company, the Melbourne Theatre Company, the Queensland Theatre Company, the State Theatre Company of South Australia and Marian Street. His many plays for the Sydney Theatre Company include \ICat on a Hot Tin Roof\b\i (1981); \ICyrano de Bergerac\b\i (1981); \IThe Man from Mukinupin\b\i (1981); \IGossip from the Forest\b\i (1983); \INicholas Nickleby\b\i (1983); John Romeril's \IThe Floating World\b\i (1986); Michael Gow's \IOn Top of the World\b\i (1986); the title role in \IKing Lear\b\i (1991); \IThe Crucible\b\i (1991 and 1992); \IMuch Ado About Nothing\b\i (1992); and \IThe Garden of Granddaughters\b\i (1993). In 1987 he won the Sydney Critics' Circle Award for \ILong Day's Journey Into Night\b\i at Marian Street and \II'm Not Rappaport\b\i for Gary Penny Productions. Haddrick is also known for his readings of drama and poetry. His film work includes roles in \IRide a Wild Pony\b\i (1975), \IThe Fourth Wish\b\i (1976), \IDawn!\b\i (1979), \IShort Changed\b\i (1985) and \IGreat Expectations: the Untold Story\b\i (1987).
In 1974 he was awarded the MBE for services to the arts.
#
"Hagg, Russell",380,0,g,0
\I1938-\i
\ITelevision and film script editor, director and producer\i
Originally trained as an architect in Melbourne, Hagg worked in films in Britain as a designer in the late 1960s and early 1970s. On his return he was script editor on Crawfords' \IMatlock Police\b\i series (began 1971), eventually producing some episodes. He then joined with \JPatrick Edgeworth\j to form Homestead Films which produced the historical series \ICash and Company\b\i (1975) and its sequel \ITandarra\b\i (1976) for the Seven network. Hagg directed both of these and co-produced \ITandarra\b\i. He also directed and co-produced a feature film, \IRaw Deal\b\i (1977), made by Homestead in the same 'Australian Western' genre. After this the company was dissolved. Hagg was later script editor on the feature \IHarlequin\b\i (1979) and wrote the original screenplay on which Edgeworth based the script for \IBMX Bandits\b\i (1983).
#
"Hall, Ken G(eorge)",381,0,g,0
\I1901-94\i
\IFilm director and producer and television executive\i
Kenneth G. Hall was born in Sydney and entered the film world after gaining a publicity job with Union Theatres and First National Pictures of America. This led to a study tour of the United States in 1925. Back in Australia in 1931, he persuaded Union Theatres to adopt a film sound-recording system invented by Arthur Carrington Smith of Tasmania. Thus Cinesound Productions was established, for which Hall directed seventeen feature films, also producing most of them. The first of these was \J\IOn Our Selection\j\b\i (1932), chosen because of the continuing popularity of \JBert Bailey\j's play and the success of the earlier silent film version. Hall made use of the sound technique to evoke the Australian bush, with an opening sequence of morning bird calls. This film broke Australian box-office records. Hall's other films include \IThe Silence of Dean Maitland\b\i (1934), \IStrike Me Lucky\b\i (1934), \ITall Timbers\b\i (1937), \J\ILet George Do It\j\b\i (1938) and \IDad and Dave Come to Town\b\i (1938).
In 1932 Hall was involved in establishing Cinesound Newsreels which, along with Fox Movietone News, dominated the field of newsreels and documentary production in Australia for decades. From the 1940s the parent company, Greater Union Theatres, restricted Cinesound to this kind of production, unprepared to take the risk of feature films. Those produced and directed by Hall include Damien Parer's \IKokoda Front Line\b\i (1946) which won an Oscar. Also in 1946 Hall produced and directed \ISmithy\b\i, based on the life of Sir Charles Kingsford Smith, for Columbia Pictures in the United States.
Hall was general manager of Cinesound until 1956 after which he was chief executive of Television Corporation Ltd in Sydney until his retirement in 1966. In 1977 he received the first Raymond Longford Award of the AFI. His view of the Australian film industry of his day is given in his autobiography \IDirected by Ken G. Hall\b\i (1976) and in \IAustralian Film: the Inside Story\b\i (1980).
#
"Hall, Stephen",382,0,g,0
\I1936-\i
\IProducer, director and arts administrator\i
Born in Sydney, Stephen Hall studied at Sydney University before becoming a journalist. He spent from 1963 to 1965 in London, training as a stage manager at the Royal Opera, Covent Garden. After returning to Australia, he became coordinator of the Elizabethan Trust Opera Company in 1967. In 1970, after the AETT opera company was reorganised as the Australian Opera, he became its administrator and in 1971 its artistic director.
During his years at the AO he produced fifteen operas including \ITurandot\b\i (1967); six new Gilbert and Sullivan productions (1969, 1970, 1971); and the first performances of two Australian operas, Felix Werder's \IThe Affair\b\i and Larry Sitsky's \ILenz\b\i (1973). He also designed the lighting for many productions. In 1975 Hall accepted the challenge of reviving Sydney's Waratah Festival, which he turned into the popular Sydney Festival and Carnivale. Hall was general manager of the festival from 1976 to 1994, earning himself the nickname 'Festival Hall'.
In 1975 Stephen Hall became a member of the general division of the Order of Australia (AM) for his services to the performing arts, particularly as a producer and an administrator.
#
"Ham Funeral, The",383,0,g,0
\IPlay, first produced 1961\i
\JPatrick White\j wrote this play in London, fourteen years before it was first performed. Thus, it is not surprising that it is set in London, although in the bygone year of 1919. Unlike other of White's early plays, this one is dramatically vigorous and focuses directly on the subject at hand, interesting itself in the social niceties of Australians.
\IFirst produced by\b\i: \JAdelaide University Theatre Guild\j, directed by \JJohn Tasker\j, 1961.
\IOther major productions\b\i: Sydney Theatre Company (directed by \JNeil Armfield\j), 1989. This production was later shown on ABC TV.
Handspan Theatre is a visual theatre company. Its innovative performance techniques include placing puppets and puppeteers on the stage with other performers. Since its formation in 1977 the company has created more than forty full-length productions for both adult and young audiences and has produced numerous one-off performances specifically designed for festivals and other special events.
As well as touring nationally, Handspan has an extensive international reach. In 1983 it presented Nigel Triffit's \ISecrets\b\i at Italy's Spoleto Festival, the first Australian company to perform there. 1984 saw the production of \ICho Cho San\b\i, a music theatre work based on the Madame Butterfly story. \IHandspan Women Alone\b\i, a collection of solo pieces presented by the female members of the company, won the Award for Excellence at the 1990 Adelaide Fringe Festival. Handspan's production of Ariette Taylor's interpretation of Picasso's \IFour Little Girls\b\i toured nationally in 1988, and in 1994, following a tour of Columbia, won the UNESCO award for the promotion of the arts.
Other productions have included \IThe Wooden Child\b\i (1991), which uses the tale of Pinocchio to explore the theme of fatherhood and the contemporary male; \IAsk for the Captain\b\i (1992), based on T.S. Eliot's \IWasteland\b\i; \IGulliver's Travels (1992) with the Melbourne Theatre Company; and Viva La Vida Frida Kahlo\b\i (1994), directed by \JAngela Chaplin\j and based on the life of Frida Kahlo, Mexican surrealist painter and wife of muralist Diego Rivera. Handspan's productions for young people include \IThe Bunyip of Berkeley's Creek\b\i (1980) and \IJandy Malone and the Nine O'Clock Tiger\b\i (1981)--both adaptations of Australian children's literature; \IWe Repeat Ourselves\b\i (1989); \IReading Boy\b\i (1991); \IThe Paper Bag Princess\b\i (1994) and\I Tin Soldier\b\i (1994).
#
"Hanna, Pat",385,0,g,0
\I1888-1973\i
\IActor and film producer\i
New Zealand-born Hanna began his performing career as a troops entertainer in Europe in World War I. His `Diggers' entertainment troupe retained its popularity into the 1920s, touring Australia and New Zealand. Hanna developed an impersonation of the Australian character which is seen as a forerunner to that created by \JChips Rafferty\j in \J\IForty Thousand Horsemen\j\b\i.
In 1931 he starred in, wrote and co-directed (with Frank Thring) a film which was an adaptation of the Diggers' most popular sketches, also named \IDiggers\b\i. In this he made the character of Chic Williams famous. Two subsequent films--\IDiggers in Blighty\b\i (1933) and \IWaltzing Matilda\b\i (1933)--carried on the same idea. Hanna produced and directed these through his own company Pat Hanna Productions. He also made several short films.
#
"Hannam, Ken",386,0,g,0
\I1929-\i
\IFilm and television director\i
Born in Melbourne, Hannam became a television director after acting for radio and television. He joined the ABC in 1963. His work there included the series \J\IContrabandits\j\b\i. He also produced and directed several film documentaries including \IRupert Murdoch\b\i (1967). From 1968 Hannam worked in television in London, directing episodes of such successful series as the BBC's \IZ Cars\b\i and \IDr Finlay's Casebook\b\i.
He was attracted back to Australia by the revival of the film industry and in particular by a script sent to him by producer \JGil Brealey\j, a former associate at the ABC. Hannam offered to direct the film that became \J\ISunday Too Far Away\j\b\i (1975), thus starting his career in feature films with a work widely considered to be among the first of the serious offerings of the new Australian cinema. The production of this film, however, was not smooth. Disagreement with Brealey over the editing left Hannam dissatisfied with the final film, successful though it was. His next film, \IBreak of Day\b\i (1976), received mixed reviews, with many appreciating its understated nostalgia. This was followed by \ISummerfield\b\i (1977) and \IDawn\b\i (1979), based on the life of Dawn Fraser, neither of which were successful. At the end of the 1970s Hannam, described as a gentle and sensitive film-maker, also sensitive to criticism, returned to television work in London.
#
"Hannan, Jimmy",387,0,g,0
\I1934-\i
Jimmy Hannan, Australian television compere, was born in Sydney in 1934. He appeared in Bruce Gyngell's television show \IName That Tune,\i and went on to become the host of a number of game shows for Grundy's including \ICelebrity Squares.\i He worked for 3UZ in Melbourne in the 60s and later 2GB in Sydney, retiring to his Bellingen property in 1988. He had a hit in the 60s with 'Beach Ball'. His other television shows include \ISay When, Take A Letter, Generation Gap, Spending Spree, Split Second, Let's Make a Deal, Have a Go\i and \IMoney Maker.\i
#
"Hansen, Gary",388,0,g,0
\I1942-82\i
\ICinematographer\i
Born in Sydney, Hansen joined with Donald Stanger to form Stasen Films in 1959 to make documentaries and short films. In the late 1970s he shot several television productions, such as the series \IBurke and Wills\b\i (1976) and \IImage of Death\b\i (1978). He received high praise as director of photography on several feature films, including \J\IManganinnie\j\b\i (1979), \ICathy's Child\b\i (1979) and \IWe of the Never Never\b\i (1982), before his untimely death in a helicopter crash.
#
"Harcourt, Jessica",389,0,g,0
\I1908-88\i
Jessica Harcourt, Australian actress who starred in the 1927 Australian classic \IFor the Term of His Natural Life,\i was born in 1908. She started out on stage with J. C. Williamsons and became a star of silent films. Her face graced the top of thousands of chocolate boxes sold at the movies, as she toured Australia introducing her films. Her career was over with the introduction of "talkies" from America. Harcourt died in Ipswich, Queensland on 23rd August 1988, aged 80.
#
"Hard God, A",390,0,g,0
\IPlay, first produced 1973\i
\IA Hard God\b\i is widely considered to be \JPeter Kenna\j's best and most enduring work. Like most of his plays it focuses on family life. The Cassidy family is working class, of Irish stock, forced off the land during the Depression. The central characters, three brothers and their wives, have all been raised as strict Catholics and the strain is showing. At the heart of the play the audience is confronted with the paradox of the nature of God: how can a loving and personal God wreak havoc on the lives of those struggling to keep his commandments? \IA Hard God\b\i is the first of a trilogy of plays about the Cassidys. The later plays are \IFurtive Love\b\i and \IAn Eager Hope\b\i.
\IFirst produced\b\i: Nimrod Theatre, 1973 and toured nationally in 1974. This production was televised by the ABC.
\IOther major productions include\b\i: Adelaide Festival, presented together with the two other Cassidy plays as \IThe Cassidy Album\b\i, 1978.
\IA TV adaptation\b\i: Commissioned in 1979 for broadcast in 1981.
#
"Hardy, Mary",391,0,g,0
\I1931-85\i
Mary Hardy, former Melbourne TV and radio personality, was born at Bacchus Marsh near Ballarat on 14th October 1931. She was the younger sister of controversial author Frank Hardy, who wrote \IPower Without Glory.\i Mary started out playing Shakespeare, and over the years was nominated for the best actress of the year award. Before she was 20 she became Australia's first woman stand-up comic, and eventually came to fame on Graham Kennedy's \IIn Melbourne Tonight\i show in 1964. A short time later she teamed up with Noel Ferrier on radio 3UZ's 9-noon show which lasted five years.
She has won seven Logies and also won the Logie for best female personality. She had been unable to find work since her ten year long TV show \IPenthouse Club\i folded, and her radio show on 3AW was also axed in 1979 after five years. She was taken off television after she uttered the "magic word" when she hit her finger with a hammer during a comedy skit. Her stage credits include \IPeter Pan, Merchant of Venice, Charley's Aunt, Mame, Salad Days,\i and \IThe Bells are Ringing.\i She was found dead in her bath on 7th January 1985, aged 53.
#
"Hardy, Rod",392,0,g,0
\I1949-\i
\ITelevision director\i
Based in Melbourne, Hardy worked as a director on many Crawfords series, including \IDivision 4\b\i (began 1969), \IMatlock Police\b\i (began 1971), \IThe Box\b\i (began 1974), \IThe Sullivans\b\i (began 1976) and \J\IPrisoner\j\b\i (began 1979). He has since directed mini-series including the South Australian Film Corporation's \ISara Dane\b\i (1982), \J\IReturn to Eden\j\b\i (1983),\I Under Capricorn\b\i (1984), Crawfords' \IMy Brother Tom\b\i (1986), \IShadows of the Heart\b\i (1990) and \IHalfway Across the Galaxy and Turn Left\b\i (1992). He also directed the feature film \IThirst\b\i in 1979. In the 1990s he has worked in the United States, directing telemovies such as \IGrounds for Murder\b\i (1993).
#
"Hargreaves, John",393,jhargrve.jpg,c,0
\I1946-1996\i
\IFilm and television actor\i
John Hargreaves was born in Murwillumbah, New South Wales, and graduated from NIDA in 1970. His television appearances include the series \IPig in a Poke\b\i (1976) and \IYoung Ramsey\b\i and the mini-series \IAnd the Big Men Fly\b\i (1973), \IThe Dismissal\b\i (1983) and \IThe Great Gold Swindle\b\i (1984). His performance in \IA Good Thing Going\b\i (1979) won him both a Logie and a Sammy Award for best actor in a single TV performance. His film appearances include \IThe Removalists\b\i (1975); the title role in \J\IDon's Party\j\b\i (1976); \IMad Dog Morgan\b\i (1976); \IDeathcheaters\b\i (1976); \ILittle Boy Lost\b\i (1978); \IThe Long Weekend\b\i (1978); \IThe Odd Angry Shot\b\i (1979); \IThe Killing of Angel Street\b\i (1981); \IHoodwink\b\i (1981); \J\ICareful, He Might Hear You\j\b\i (1983) for which he won the AFI best supporting actor award; \IMy First Wife\b\i (1984) for which he won the AFI best actor award; \ISky Pirates\b\i (1985); \J\IMalcolm\j\b\i (1986) for which he again won the AFI best supporting actor award; \IThe Place at the Coast\b\i (1986); \IBoundaries of the Heart\b\i (1988); \IEmerald City\b\i (1988); and \IWaiting\b\i (1990).
His stage work includes \IThe Sunny South\b\i (1980) and \ICat on a Hot Tin Roof\b\i (1981) for the Sydney Theatre Company.
\BDescription:\b John Hargreaves \I(Shanahan Management)\i
#
"Harmer, Wendy",394,0,g,0
\I1955-\i
\IComedy writer and performer\i
Wendy Harmer was born in Yarrum, Victoria, and worked as a journalist until 1984. She was a writer on the \IGillies Report\b\i (1984-85, ABC TV) and \IThe Big Gig\b\i (1989, ABC TV) and also wrote a number of comedy shows including \IHarmer and Stubbs\b\i (1985) performed at Last Laugh, Melbourne, and the Edinburgh Festival, Scotland, \IStop Laughing This is Serious\b\i (1985) performed at the Melbourne Concert Hall and \IBackstage Pass\b\i (1989) which toured schools with the Toe Truck Theatre as well as seasons at the Adelaide Fringe Festival, Sailors Home and the Belvoir Street Theatre.
Her first one-woman show, \ILove Gone Wrong\b\i, based on a book she wrote of the same name, premiered in Edinburgh in 1990, where it won two critics' awards and toured with a London season. In 1992 she presented her second one-woman show, \IPlease Send More Money... Travels With Wendy\b\i, which ran in Melbourne, Sydney, Brisbane and Hobart. Her television shows include \IThe Big Gig\b\i, which she based on the British \IFriday Night Live\b\i hosted by Ben Elton and which ran for five seasons; the chat show \IIn Harmer's Way\b\i; and she was a regular competitor in \IWorld Series Debates\b\i. In 1993 she joined Sydney radio station 2DAY-FM as a breakfast announcer.
Wendy Harmer won the 1993 Mo award for female comedy performer.
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"Harmon, Bill",395,0,g,0
\I1915-81\i
\ITelevision producer\i
Born in New York, Harmon came to Australia in 1961 to join show business agent Jack Neary and performer \JBobby Limb\j in their company NLT, which was packaging musical and variety programs such as \IThe Bobby Limb Show\b\i for TCN-9, and looking to widen its base. Other Americans, including Don Cash and Mary Nelson, were also recruited. Some initial situation comedy series and soap operas, including \IThe Private World of Miss Prim\b\i (1966), featuring Limb's wife \JDawn Lake\j had little or no success. But for a while in the late 1960s the company became the second biggest television drama packager in Australia after Crawfords, its successes including the adventure series \IThe Rovers\b\i (1969-70) on which Harmon was executive producer. After NLT ran into financial problems and closed down in 1971, Harmon and Cash set up their own company, Cash-Harmon.
After some success with the comedy series \IThe Group\b\i shown on ATN-7 in 1971, they launched the bawdy soap opera \J\INumber 96\j\b\i on the Ten network in 1972, with Harmon as executive producer. This was an immediate hit and ran successfully until 1977, with Harmon continuing alone after the death of Cash in 1973. However, the company was unable to secure another success and did not survive long after the ending of \INumber 96\b\i.
Harmon's son Paul Harmon (1951-) also came to Australia in 1961 and has done some work as a film director, his films including \IDark Room\b\i (1982).
#
"Harrison, Wayne",396,0,g,0
\I1953-\i
\IStage director\i
Sydney-based Harrison grew up in Melbourne and was dancing on the Melbourne stage at the age of five. As a child actor he played the part of the Red Goblin in \INoddy in Toyland\b\i at the Comedy Theatre and was a chorus boy with J.C. Williamson's. After completing a Masters degree in drama and history at the University of New South Wales, he was, for five and a half years, the first resident dramaturge with the Sydney Theatre Company to director \JRichard Wherrett.\j In 1987 Harrison was appointed assistant director of the Northside Theatre Company (Marian Street), where he directed the award-winning \IBreaking the Code\b\i (1987), as well as \ICurtains\i and \IShellcove Road.\i
He formed Dramaturgical Services Inc. with Phillip Parsons, a company dedicated to producing Elizabethan plays such as \IHamlet\b\i and \IHenry IV\b\i in the tradition of the Elizabethan theatre. In 1990, after four months spent in the National Theatre of Great Britain's education department, Harrison was appointed director of the \JSydney Theatre Company (STC),\j taking over from Richard Wherrett. Harrison's directing credits for the company include \ILate Arrivals\b\i by Pamela Van Amstel (1985), \IBurn This\b\i by Lanford Wilson (1990), the popular \IShadowlands\b\i and the musical \IInto the Woods\b\i (1992), \ITop Girls\b\i (1993), the Sydney production of Peter Shaffer's \IThe Gift of the Gorgon\b\i and the musical \IFalsettos\b\i (1994) and \ITwo Weeks with the Queen\b\i by \JMorris Gleitzman\j (adapted by Mary Morris) for the Arts Council of the Transvaal in Johannesburg, with a mixed Sydney and South African cast.
#
"Harvey, Frank",397,0,g,0
\I1885-1965\i
\IWriter and actor of film, stage and radio\i
Born in the Channel Islands, Harvey trained in London with Sir Herbert Beerbohm Tree and acted in Shakespeare at the Lyceum Theatre. He came to Australia in 1914 to act in J.C. Williamson's productions. He became the leading stage actor in the country, from the 1930s also acting in films and writing for Cinesound. His films include \IA Ticket in Tatts\b\i (1934), \ITall Timbers\b\i (1937) and \IBroken Melody\b\i (1938). However, his best-known work is probably the writing of humorous films, including \J\ILet George Do It\j\b\i (1938) and \IDad and Dave Come to Town\b\i (1938).
He also worked in radio and was rated as one of the finest radio actors, later producers, in the early years of broadcasting in Australia. His roles included Scott in \J\IFire on the Snow\j\b\i for its original broadcast in 1941, while his noted radio productions included \IMacbeth\b\i and \IWaterloo Bridge\b\i, both in 1948.
#
"Harwood, A.R. (Alexander Roy)",398,0,g,0
\I1897-1980?\i
\IFilm exhibitor and producer/director\i
Born in Melbourne, A.R. Harwood, known as Dick Harwood, began producing and exhibiting low-budget films in the late 1920s. His interest was entrepreneurial rather than serious film-making. At the beginning of the sound era he formed A.R. Harwood Talkie Productions and in 1931 presented the first program of Australian sound features, \ISpur of the Moment\b\i and \IIsle of Intrigue\b\i, just beating his rival F.W. Thring. In 1938 Harwood, then head of New Era Films, lost his financial backing due to Britain withdrawing its guaranteed release of films from the Dominions. He left the film industry but in 1952 returned with a comeback film, \INight Club\b\i, which he wrote and directed.
#
"Harwood, Ena",399,0,g,0
\I1913-93\i
Ena Harwood, Australian media personality, was born in 1913. She starred as an "agony aunt" in the television series \IBeauty and the Beast\i in 1965 and its revival in the 1980s. Married to a doctor, she is the mother of television and radio host Andrew Harwood. Ena also starred in the television series \ICarsons Law,\i appeared on the \IMike Walsh Show,\i did some work for 2UE, and wrote a column for the \IDaily Telegraph.\i She died at her Double Bay home in Sydney on 22nd July 1993, aged 80.
#
"Hayes, Evie",400,0,g,0
\I1911-88\i
Evie Hayes, American actress, ventriloquist, teacher, and showbusiness legend, was born in Seattle, Washington, USA on 1st June 1911.
She first went on the stage at 18 months when she played Cupid in a charity show. At six, she toured the States as a children's song-and-dance act before settling down in Los Angeles, and making numerous musical shorts for Warner Bros. In her early years, Evie mixed with Cecil B. De Mille and Irving Berlin.
Her Australian career commenced in 1938 when she came to Australia on her honeymoon in 1938 with husband Will Mahoney and starred in \IAnnie Get Your Gun\i for the Tivoli circuit. This show was the highlight of her theatrical career, which in the role of Annie Oakley, she played 3500 times around Australia. She was a regular on Graham Kennedy's \IIn Melbourne Tonight,\i had her own \IEvie Hayes Show,\i and was a judge on \INew Faces,\i as well as Johnny Young's \IYoung Talent Time.\i Her 70-year career spanned vaudeville, radio and television in two continents.
Her husband Will collapsed after a performance of \IFunny Girl\i in 1996, in which he starred with Evie, and he died two months later; they had no children. She died in Melbourne from a heart attack, aged 77, on 26th December 1988, after battling multiple sclerosis for 14 years.
#
"Hayes, Nancye",401,fp5045.jpg,c,0
\I1944-\i
\IActor, dancer and singer\i
Nancye Hayes is best known for her roles in musicals such as \IChicago\b\i and \I42nd Street\b.\i In 1992 she was nominated for a Mo Award for her supporting role in \I42nd Street\b\i and in that year staged her own show, \INancye with an E\b.\i She was one of the four Australian female 'legends' who put on a show of that name at Sydney's Tilbury Hotel in 1991. This returned to the Tilbury in 1994 and went on to play at the Sydney Opera House. Hayes has also appeared in many straight acting roles on the stage and on television, including a noted performance as Rex Connor's secretary in \IThe Dismissal\b.\i Other stage roles include \IThe Mourning After\i (1996-97) at the Playbox Theatre and \IDeath Defying Acts\i (1997) at the Marian Street Theatre.
She has also choreographed several musical productions including \IGuys and Dolls\i (1995) for third year NIDA students, \IAladdin\i (1996) for the State Theatre, \IMerrily We Roll Along\i (1996) for the Sydney Theatre Company and \IMy Fair Lady\i (1996) for the Victorian State Opera.
\BDescription:\b Nancye Hayes.
\BPhoto:\b Shanahan Management.
#
"Hayes, Terry",402,0,g,0
\IFilm and television scriptwriter and producer\i
Hayes was a journalist and radio producer before joining the Kennedy Miller company to work as writer and producer on their television mini-series, the first of which was \IThe Dismissal\b\i (produced 1981-82, screened 1983). Following the death of \JByron Kennedy\j in 1983, Hayes joined George Miller as one of the principals of the company, concentrating on the mini-series while Miller concentrated on feature films.
Subsequent mini-series were \J\IBodyline\j\b\i (1984), \IThe Cowra Breakout\b\i (1985), \J\IVietnam\j\b\i (1987), \IThe Dirtwater Dynasty\b\i (1988) and \J\IBangkok Hilton\j\b\i (1989). The style of these series, with their complicated, psychologically aware narratives, owed much to Hayes. He was closely involved in all of them as producer and scriptwriter (scriptwriter only on \IBodyline\b\i) except for \IThe Cowra Breakout\b\i which was handled by an outside producer.
Hayes also wrote the script for the Kennedy Miller film \J\IDead Calm\j\b\i (1987) and shared producer credits on \IThe Year My Voice Broke\b\i (1987), first made as a telemovie but then given a successful cinema release. In 1990, when Hayes was reputedly working on another mini-series to be called \IHotel Australia\b\i, Kennedy Miller became involved in a dispute with the Nine network over future contracting. Soon after the company virtually ceased to operate in Australia and became an overseas operation. Hayes moved to Los Angeles to work in the American television industry.
#
"Hayseeds, The",403,0,g,0
\ISeries of silent films, black and white, released 1917-23; sound film, black and white, released 1993\i
\B1.\b\i The first of Beaumont Smith's comic \IHayseed\b\i films was \IOur Friends, the Hayseeds\b\i, followed also in 1917 by \IThe Hayseeds Come to Sydney\b\i and \IThe Hayseeds' Back-Blocks Show\b\i, and in 1918 by \IThe Hayseeds' Melbourne Cup\b\i. The series was well established, widely popular and profitable by 1919. The final silent film in the series was \IPrehistoric Hayseeds\b\i, made in 1923. The stories were broadly farcical and the characters caricatures of Australian country people, the selectors. These films have not survived.
\IProduction company\b\i: Beaumont Smith Productions
\IProducer, director, screenplay\b\i: Beaumont Smith
\IMajor actors\b\i: \IOur Friends, the Hayseeds\b\i: Roy Redgrave, Walter Cornock, Pearl Hellmrich, Margaret Gordon. \IOther 1917 and 1918 films\b\i: Tal Ordell, Fred McDonald, Harry McDonna, Gladys Leigh. \IPrehistoric Hayseeds\b\i: Hector St Clair, Lotus Thompson, Gordon Collingridge, J.P. O'Neill
\B2.\b\i Smith, with the backing of Cinesound, decided to return to the \IHayseeds\b\i after the success of Ken Hall's \J\IOn Our Selection\j\b\i. The sound film is not just a reworking of the silent films. It shows the influence of Hall's films in its evocative scenes of the bush and its 'country battler' speeches. It also has an element of nationalism and Empire spirit, typical of the times. Some of its scenes are clumsy, if not bizarre, and it was not well received by the critics. However, it returned a good profit, while never gaining the popularity of Hall's Rudd family films.
\IProducer, director, screenplay\b\i: Beaumont Smith
\IMajor actors\b\i: Cecil Kellaway, Katie Towers, Tal Ordell, Phyllis Steadman, Stan Tolhurst
#
"Haywood, Chris",404,fp5046.jpg,c,0
\I1948-\i
\IActor of film, stage and television\i
British-born Chris Haywood studied acting at the East 15 acting college in London's East End. After his arrival in Australia in 1970 he joined the Old Tote Theatre Company.
His films, many of them by director \JPaul Cox,\j include \IThe Cars That Ate Paris\b\i (1974); \IThe Great McCarthy\b\i (1975); \IThe Removalists\b\i (1975); \IThe Trespassers\b\i (1975); \IDeathcheaters\b\i (1976); \J\INewsfront\j\b\i (1978) for which he won a Sammy Award for best actor; \IIn Search of Anna\b\i (1979); \IAttack Force Z\b\i (1980); \I...Maybe This Time\b\i (1980); \J\IBreaker Morant\j\b\i (1980); \IFreedom\b\i (1981); \J\IHeatwave\j\b\i (1981); \IWrong Side of the Road\b\i (1981); \IThe Return of Captain Invincible\b\i (1982); \IRunnin' On Empty\b\i (1982); \IWithout Prejudice\b\i (1982); \IThe Man From Snowy River\b\i (1982); \IThe Clinic\b\i (1982); \ILonely Hearts\b\i (1982); \J\IMan of Flowers\j\b\i (1983); \IStrikebound\b\i (1984); \IRazorback\b\i (1984); \IThe Coca-Cola Kid\b\i (1985); \IA Street to Die\b\i (1985) for which he won the AFI best actor award; \IWills and Burke\b\i (1985); \J\IMalcolm\j\b\i (1986); \IDogs in Space\b\i (1986); \IThe Tale of Ruby Rose\b\i (1987); \IThe Bit Part\b\i (1987); \J\IEmerald City\j\b\i (1988) for which he won the AFI best supporting actor award; \IThe Navigator: A Medieval Odyssey\b\i (1988); \IManifesto\b\i (1988) made in the former Yugoslavia; \IIsland\b\i (1990); \IGolden Braid\b\i (1990); \IConfidence\b\i (1990); \IAya\b\i (1990); \IQuigley Down Under\b\i (1990); \IMuriel's Wedding\i (1993); \IShine\i (1995); \ICabbie of the Year\i (1996) short film; \IBlackrock\i (1996); \IOscar and Lucinda\i (1996) and \IKiss or Kill\i (1997).
His appearances at the Nimrod Theatre, the Pram Factory and with the Old Tote Theatre Company, playing mostly character roles, include \IThe Resistible Rise of Arturo Ui,\b\i \IThe Government Inspector,\b\i \IThe Legend of King O'Malley,\b\i \IThe Removalists\b\i and \IThe Recruiting Officer\b.\i In 1993 he appeared in the Sydney Theatre Company production of \IThe Rise and Fall of Little Voice\b.\i
Television appearances include \IMurder Call, Water Rats, One Way Ticket\i and \IThe Man From Snowy River.\i
\BDescription:\b Chris Haywood.
\BPhoto:\b Shanahan Management.
#
"Hazlehurst, Noni",405,jeh.jpg,c,0
\I1954-\i
\IActor of film, television and stage\i
Noni Hazlehurst was born in Melbourne; her English-born parents were both in show business. Her father taught her singing and she studied drama at Flinders University in South Australia where for twelve months she was the lead singer in a rock band. She made her stage debut in Adelaide in a series of Japanese No plays. Her later theatre credits include \J\IOn Our Selection\j\b\i and \ITraitors\b\i for the Nimrod Theatre Company; \INo Names...No Pack Drill\b\i (1980), \IThe Precious Woman\b\i (1980), \IThe Man from Mukinupin\b\i (1981), \IHamlet\b\i (1981) in which she played Ophelia and \IThe Conquest of Carmen Miranda\b\i (1984) for the Sydney Theatre Company and, in London, the cabaret \ICut and Thrust\b\i (1983).
Her films include \J\IFatty Finn\j\b\i (1980); \J\IMonkey Grip\j\b\i (1982) for which she won the AFI best actress award; \IFran\b\i (1985) for which she also won the AFI best actress award; \IAustralian Dream\b\i (1986); and \IWaiting\b\i (1990).
Her television work includes roles in the series \IDivision 4,\b\i \IThe Box,\b\i \IThe Sullivans\b\i and \IMatlock Police\b\i; in the mini-series \J\IRide on Stranger,\j\b\i \IWaterfront,\b\i \INaked Under Capricorn\b\i and \IThe Shiralee\b\i; and she is well-known as co-presenter of the long-running ABC children's program \IPlayschool\b.\i She is most recently seen on Channel 7 co-hosting the infotainment show \IBetter Homes and Gardens\i with her husband, John Jarratt.
Noni Hazlehurst directed the telemovie \IThe Fish Are Safe\b\i (1986). She released her first album \IShout and Whisper\b\i in 1989.
\IPlay, first produced 1987; film, released 1993\i
\B1.\b\i Richard Barrett's play about a love relationship between a young schoolteacher and one of her male pupils at a Melbourne inner-city high school proved a popular success, particularly among the young, after opening in Sydney in 1987. Its emotional and social setting allows it to explore issues of ethnicity and cultural background. The teacher, Christina, is from a Greek background and feels trapped by her family-supported engagement to be married, as well as by her career as a teacher of a class of uninterested kids. It is against this background that the relationship between her and Nick develops.
\IMajor actors\b\i: Gia Carides (as Christina), Tony Poli (as Nick), Arky Michael
\IOther productions include\b\i: Hunter Valley Theatre Company, 1988; Athenaeum Theatre, Melbourne, 1989; Riverina Theatre Company at the Q Theatre, Penrith, 1989; Ensemble Theatre, Sydney, 1993
\B2.\b\i The film, written by Barrett in conjunction with director \JMichael Jenkins\j, opened the 1993 Sydney Film Festival and was subsequently commercially released to popular acclaim, its lively and emotional nature proving a crowd-pleaser. It is only loosely based on the play and takes the sexual relationship much further than does the play, attracting some criticism that the moral consequences of this are not dealt with. The end, in fact, is left open to audience interpretation. Claudia Karvan won the Australian Film Critics' Circle Award for best actress for her role. The film also had some success overseas and won best screenplay at the 1993 World Film Festival at Montreal, Canada.
A television spin-off series, \I\BHeartbreak High\b\i, was produced during 1993 and went to air on the Ten network in early 1994. It starred the male lead of the film, Alex Dimitriades.
\IProduction company\b\i: View Films
\IProducer\b\i: Ben Gannon
\IDirector\b\i: Michael Jenkins
\IScreenplay\b\i: Richard Barrett, Michael Jenkins
\IMajor actors\b\i: Claudia Karvan (as Christina), Alex Dimitriades (as Nick), Steve Bastoni (as the fiancΘ), Doris Younane, Nico Lathouris, William McInnes
\BDescription:\b Actors in the spin-off series \IHeartbreak High\i \I(Network Ten)\i
#
"Heath, George",407,0,g,0
\I1901-68\i
\ICinematographer\i
Born in Sydney, Heath began his career as a newsreel and laboratory photographer before becoming associate cameraman to \JFrank Hurley\j on the Cinesound features \IStrike Me Lucky\b\i (1934) and \IGrandad Rudd\b\i (1935). He went on to be Cinesound's main cameraman, his work including \ITall Timbers\b\i (1937), \IThe Broken Melody\b\i (1938), \J\ILet George Do It\j\b\i (1938) and \IDad Rudd MP\b\i (1940). He was chosen to work with Charles Chauvel on \J\IForty Thousand Horsemen\j\b\i (1940) and \IThe Rats of Tobruk\b\i (1944) and filmed Ealing Studio's huge Australian production \IThe Eureka Stockade\b\i (1949). In the 1950s and 1960s he photographed numerous documentaries for Cinesound.
#
"Heatwave",408,0,g,0
\IFilm, released 1982\i
Based on real events in Kings Cross, Sydney, in the 1970s, this film deals with the conflict between a property developer and a residents' action group in an old inner-city suburb. The central characters are a female activist, Kate Dean, and her middle-class architect boyfriend Stephen. One of the characters, Mary Ford, is clearly based on Juanita Neilsen, who disappeared in Sydney in 1975. Kate takes over the leadership of the protest after Mary's disappearance and finds herself at the centre of violent action by the hired thugs of the developer, Peter Houseman, who is being backed by a Mr Big of crime. Slowly the architect of the project comes to support the protesters. The tense atmosphere of the film is increased by the all-pervading oppressive summer heat, which gives the film its title. In spite of an unconvincing final shoot-out scene, the film was one of the more successful of Australian 'social issue' films.
\IProduction company\b\i: A. Preston Cruthers-M&L Productions
\IProducers\b\i: Hilary Linstead, Ross Matthews
\IDirector\b\i: \JPhil Noyce\j
\IScreenplay\b\i: Marc Rosenberg, Phil Noyce
\IMajor actors\b\i: \JJudy Davis\j (as Kate), \JRichard Moir\j (as Stephen), \JChris Haywood\j (as Peter Houseman), \JBill Hunter,\j John Gregg, Anna Jemison, Carole Skinner (as Mary), Dennis Miller
#
"Her Majesty's Theatre, Brisbane",409,0,g,0
\IEarly Brisbane theatre\i
This theatre, in Queen Street, Brisbane, opened in 1888 as Her Majesty's Opera House, but the name soon changed to Her Majesty's Theatre. Divided into three floors, it could seat 2200--400 in the dress circle and 600 in the family circle, both of which had separate entrances, and the rest in the pit and stalls. Demand for seats on opening night was so great that 500 extra chairs were placed along the aisles. In 1929, by which time it was known as His Majesty's Theatre, a complete reconstruction of the interior removed all posts and pillars and transformed it into a one-tier house without a gallery. It reopened for a performance by Anna Pavlova. For a time during World War II it was used for touring shows but, like many other old theatres, it became a cinema.
#
"Her Majesty's Theatre, Melbourne",410,0,g,0
\ILong-lived Melbourne theatre\i
Built in 1886 as the Alexandra Theatre, Her Majesty's received its current name when taken over by the J.C. Williamson organisation in 1900. Williamson completely refurbished the building, equipping it with a new dress circle entrance, marble staircase, open-air balconies and suites of dressing rooms for the actors; in 1911 it was redecorated in honour of a visit by Nellie Melba. The J.C. Williamson production of \IMy Fair Lady\b\i opened there in 1959. It survived the 1970s, when many commercial theatres were demolished, due to a strong campaign of support and, still going strong in 1994, was the venue for a new production of \IA Chorus Line\b\i (first staged in Melbourne in 1977).
#
"Her Majesty's Theatre, Sydney",411,0,g,0
\IGrand and well-equipped Victorian theatre\i
Her Majesty's Theatre, Sydney, opened under the management of \JGeorge Rignold\j in 1887 with seating for up to 2500 in its grand, three-tiered auditorium. It was the first theatre in Australia to use mechanical means to shift entire stage sets on and off the stage, rather than using the groove system where a set slid off stage to reveal another behind it. The theatre had both gas and electric lighting. In 1902 J.C. Williamson staged a lavish production of \IBen Hur\b\i, reported at the time as 'the most superb and artistic spectacle ever presented in Australia', which included a chariot race where two horses galloped at full speed on a treadmill. After a disastrous fire later that year the interior was completely rebuilt--the three tiers were changed to two, reducing the seating to about 2000 (at the expense of the cheaper seats, as was the trend of the time). The hard economic times of the 1930s coupled with the advent of 'talkies' forced the closure of the theatre in 1933.
In 1960 the old Empire Theatre was renamed Her Majesty's for the opening of the J.C. Williamson organisation's \IMy Fair Lady\b\i. When destroyed by fire in 1970, the Empire-cum-Her Majesty's was the last of Sydney's old-style theatres. In 1973 the new one-tier Her Majesty's Theatre, seating 1490, opened on the site with a production of \IA Little Night Music\b\i.
#
"Hewett, Dorothy",412,0,g,0
\I1923-\i
\IPlaywright and poet\i
Perth-born Hewett is the daughter of a wheat farmer who by the time she had completed a BA at the University of Western Australia had already had her verse published in a number of magazines. At the age of nineteen she joined the Communist Party (remaining a member until 1959). Soon after, Hewett married a law student; when the marriage broke up a few years later, she moved to Sydney. Although she wrote her novel \IBobbin' Up\b\i at this time, it wasn't published until 1959. Hewett spent the next nine years living with Communist boilermaker and union organiser Les Flood. For a Communist the 1950s were turbulent years, with much anti-Communist feeling rife in the community.
In 1960 she married poet and author Merv Lilley and moved to Perth. Hewett wrote her first play, \IThis Old Man Comes Rolling Home\b\i in 1965; subsequent plays include \IMrs Porter and the Angel\b\i, \IThe Chapel Perilous\b\i (1971), \IBon-Bons and Roses for Dolly\b\i and \ICatspaw\b\i (a rock opera). Hewett and her family moved to Sydney in 1974, helped by an Australia Council grant. After this she wrote \IJoan\b\i (1975), \IPandora's Cross\b\i (1978), \IThe Man from Mukinupin\b\i (1979), \IThe Fields of Heaven\b\i (1982) and two plays for children, \IGolden Valley\b\i (1981) and \ISong of the Seals\b\i (1983). In recent years much of Hewett's writing has concerned itself with the ageing process, loss of beauty and the struggle to retain a sense of lasting worth amid decay.
#
"Heylen, Sid",413,0,g,0
\I1922-96\i
Syd Heylen, Australian comedian and actor, was born Harold Charles Heylen at Renmark, South Australia on 25th May 1922. He moved to Sydney as an infant, left home when he was 12, and worked at various guest houses in Melbourne's Dandenong Ranges. He worked in a number of Army shows during WWII. He was a huge hit on the club and pub circuit in the 1960s, and was a star of the Melbourne television show, \ISunnyside Up.\i
He married one of the show's glamorous singers in 1961 and had two children, Syd junior and Julie. In 1982 Heylen became a big star as \ICookie\i in 900 episodes of the television series \IA Country Practice\i for ten years until 1992. In 1994, he was named \IVariety's\i first National Living Treasure. His films include \ICaddie, Heatwave, Starstruck\i and \IMad Max 2.\i His last television appearance was in \IFallen Angels,\i shown after his death. He died on 4th December 1996, aged 74.
#
"Hibberd, Jack",414,0,g,0
\I1940-\i
\IPlaywright, poet, director and doctor\i
Born in Warracknabeal in north-western Victoria, Hibberd went to school in Bendigo and studied medicine at the University of Melbourne, graduating in 1964. He wrote poetry and film criticism in his student years and by the late 1960s had become involved with the \JAustralian Performing Group\j at the \JLa Mama Theatre\j and the Pram Factory in Melbourne. \IWhite with Wire Wheels\b\i, his first play, was performed at Melbourne University in 1967. After this several university student groups commissioned plays.
Hibberd has always been interested in popular theatre with music and audience participation. Some of the plays that exemplify this approach are \IMarvellous Melbourne\b\i (1970), which he wrote with \JJohn Romeril\j; \IDimboola\i (1969); \IA Stretch of the Imagination\b\i and \ICaptain Midnight\b\i (1972); \IThe Les Darcy Show\b\i (1974); \IA Toast to Melba\b\i (1976), which was broadcast on ABC TV in 1980; \ISin\b\i (1978), commissioned by the Victoria State Opera; and \IThe Old School Tie\b\i (1983).
Hibberd was awarded a fellowship from the Literature Board of the Australia Council in 1973 and gave up his medical practice in 1975 to concentrate on writing plays. He was appointed a member of the Theatre Board of the Australia Council in 1977, serving until 1979, and was founding president of the Melbourne Writer's Theatre. He stopped writing for the theatre in 1984 and returned to his medical practice in 1986.
#
"Higgins, Arthur",415,0,g,0
\I1891-1963\i
\ICinematographer\i
Born in Tasmania, Arthur Higgins arrived in Sydney in 1908 in the wake of his brother Ernest\b\i (1871-1945), also a cameraman. They formed a partnership with exhibitor and showman Cozens Spencer to make newsreels. In 1913 a third brother, Tasman\b\i (1888-1953), arrived from Tasmania and the three formed Higgins Brothers, a cinematographic company which was taken over solely by Ernest in 1917.
Arthur Higgins became known as one of the leading cinematographers of the silent film era in Australia, especially noted for his work in association with \JRaymond Longford\j, though his career extended into the 1950s. His numerous films include: \IThe Fatal Wedding\b\i (1911); \IThe Sentimental Bloke\b\i (1919); \IGinger Mick\b\i (1920); \IRudd's New Selection\b\i (1921); \IFisher's Ghost\b\i (1924); \IThe Kid Stakes\b\i (1927); \IThe Adorable Outcast\b\i (1928); the sound remake of \IThe Sentimental Bloke\b\i (1932); \IDiggers in Blighty\b\i (1933); \IA Ticket in Tatts\b\i (1934); and \IThe Power and the Glory\b\i (1941). When Australian feature film production wound down in the 1940s, Higgins continued his photography work in documentary films--his last being \IFarm Machinery Maintenance\b\i (1959).
#
"Higgins, Ross",416,arts-46.jpg,c,0
\IRadio and television actor and singer\i
Higgins began his career as a cadet announcer at Sydney radio station 2GB, a position he took up immediately after leaving school, and within a year had his own radio show. He later worked on both stage and television. His work in all the media has been marked by variety and has included popular singing, voice-overs and character voices, radio and television variety shows, chorale singing, and compering of both adult and children's shows.
His radio shows included the popular ABC/RS productions \IChuck Chunder of the Space Patrol\b\i and \IDoctors and Nurses\b.\i For six years he was performing compere of the \ICoca-Cola Radio Show\b\i and at the same time the ABC's \IChildren's TV Club\b.\i
Television acting work has included most notably the Seven network's \IThe Naked Vicar Show\b\i and \IKingswood Country,\b\i as well as parts in the ABC's \J\ICertain Women\j\b\i and \J\IRush\j\b\i and the continuing role of Sergeant Dan Costello in the Grundy serial \IRichmond Hill\b.\i He has also played in several other soap operas. Film work has included the creation of the major voices for Yoram Gross's animated productions of \IDot and the Kangaroo\b\i and the part of Mr Flogswell in \IGinger Meggs\b\i (1982).
In 1997 Ross completed the television series titled \IBulpitt,\i in which he recreated the role of Ted Bulpitt from the earlier \IKingswood Country\i television show.
\BDescription:\b Ross Higgins.
\BPhoto:\b International Casting Service and Assoc.
His Majesty's Theatre, Perth, built in 1904, is a beautiful Edwardian Theatre resplendent with ornate gilded foyers, a superb marble staircase and a domed auditorium seating 1263 people in three tiers. It was built by T. G. Molloy and designed by New York born architect, William Wolfe. The Theatre attracts the very best of drama, opera, ballet, dance and musicals in Australia.
The Theatre was completely refurbished in 1980 and is currently home to both the Western Australian Opera and Ballet. His Majesty's Theatre Foundation has been established to preserve and enhance His Majesty's Theatre as a grand theatrical landmark and a place of excellence for the performing arts. A treasure trove of performing arts memorabilia is to be found in the Performing Arts Museum within the building.
\BDescription:\b His Majesty's Theatre, Perth.
\BPhoto:\b His Majesty's Theatre, Perth.
#
"Hoddinott, Judith",418,0,g,0
\ISet and costume designer\i
Sydney-based Hoddinott was educated at the University of New England and then at NIDA, where she gained a diploma in design. She has worked for most of the major theatre companies in Australia as both a costume and set designer. Her production credits include \IPhedre\b\i, \I\JAway\j\b\i, \IAnthony and Cleopatra\b\i and \IOleanna\b\i for the Sydney Theatre Company, \IAll's Well That Ends Well\b\i for the Nimrod Theatre, \IGuys and Dolls\b\i for the New Moon Theatre Company, \IThe Merchant of Venice\b\i for the \JBell Shakespeare Company\j, \IThe Eye\b\i, Theatre of the Deaf, \IThe Heartbreak Kid\b\i, \IArms and the Man\b\i, and \IWhen I was a Girl\b\i for the Hunter Valley Theatre Company, \IA Face in the Street\b\i and \IThe Lion, the Witch and the Wardrobe\b\i for the Jigsaw Theatre Company and productions at the Entertainment Centre and Sydney's Performance Space.
For the \JGriffin Theatre Company\j Hoddinott has designed \IWhen Are We Going to Manly\b\i, \IThe Secret House\b\i, \IOnly Heaven Knows\b\i, \IAfter Dinner\b\i and \IChild Dancing\b\i; for the Q Theatre the \IMan from Mukinupin\b\i, \IKenny's Coming Home\b\i and\I Lumps\b\i and, for the Ensemble Theatre, \IA Hard God\b\i, \IMacbeth\b\i, \IThe Deal\b\i, \IThe Seahorse\b\i, \IThe Old Boys\b\i, \ILips Together Teeth Apart\b\i, \IEducating Rita\b\i, \ISight Unseen\b\i, \J\IEmerald City\j\b\i and \IThe Last Yankee\b\i. Hoddinott's designs have been exhibited at Sydney's S.H. Ervin Gallery and as part of an Australian design exhibition in Prague. She has taught theatre design at East Sydney Technical College and at the University of Western Sydney.
#
"Hodgman, Roger",419,0,g,0
\I1943-\i
\ITheatre director\i
Hodgman was born in Tasmania where he went to school and attended university. From 1965-70 he trained as a producer with the ABC, directing and sometimes writing a range of programs including drama, music, sport, current affairs and film documentaries. In 1971 he directed three plays for the Tasmanian Theatre Company and was assistant director on two productions for Sydney's Old Tote Theatre Company. Hodgman spent the years from 1972 to 1977 teaching at London's East 15 Acting School and directed more than twenty productions. From there he went to Canada where he was assistant principal of the Playhouse Acting School in Vancouver and associate director of the Vancouver Playhouse from 1977-79.
Hodgman returned to Australia in 1983, taking up the position of Dean, School of Drama, at the Victorian College of the Arts, and from 1984 also filling the role of associate director of the Melbourne Theatre Company. In 1987 Hodgman became co-director of the company and from 1988 has been its artistic director and chief executive.
A versatile director, Hodgman has directed classics as well as plays by well-known Australian playwrights for the MTC. These include Nowra's \IVisions\b\i (1985), Gow's \IEurope\b\i (1988) and a number of Balodis' plays including \IToo Young for Ghosts\b\i (1985), \IWet and Dry\b\i (1986), \IHeart for the Future\b\i (1989) and \INo Going Back\b\i (1992). More recently he has directed Marston's \IThe Dutch Courtesan\b\i and Gardner's \II'm Not Rappaport\b\i in 1993; Steinbeck's \IThe Grapes of Wrath\b\i and Ibsen's \IThe Lady from the Sea\b\i in 1994 and Sondheim's \IAssassins\b\i in 1995.
#
"Hogan, Paul",420,cd2062.jpg,c,0
\I1940-\i
\IActor of film and television and scriptwriter\i
Paul Hogan was born in Lightning Ridge, New South Wales, and had a variety of jobs, including being a rigger on the Sydney Harbour Bridge, before coming to notice in 1972 on \INew Faces\b\i, a television talent show. He brought his laconic, identifiably Australian sense of humour to his own television show, \IThe Paul Hogan Show\b\i, which ran during the 1970s. He came to international attention through a series of tourism commercials he made in the mid-1980s to promote Australia in the United States. In 1986 he scripted and starred in the internationally successful film \J\ICrocodile Dundee\j\b\i; this was followed by \ICrocodile Dundee II\b\i (1988), \IAlmost an Angel\b\i (1991), \ILightning Jack\b\i (1994) and \IFlipper\i (1995).
\BDescription:\b Paul Hogan \I(Fairfax Photo Library)\i
#
"Hole in the Wall Theatre Company, Perth",421,0,g,0
\IAlternative theatre company\i
The Hole in the Wall Theatre Company, Perth, was founded in 1965 by Frank Baden-Powell and John Gill, and was originally based around a breakaway group from the state company, the \JNational Theatre Company of Perth\j. It has been active in several venues, beginning as a tiny theatre-in-the-round before moving to an open air auditorium. In 1968 the company converted a factory into a thrust stage theatre, and there presented mainly local plays. From 1985 to 1990 the company was based at the refurbished Subiaco Theatre Centre. In December 1990 it merged with the Western Australian Theatre Company to form the State Theatre Company (this company closed in 1993). The main auditorium at the Subiaco Theatre Centre is called the Hole in the Wall Theatre.
#
"Holmes, Cecil",422,0,g,0
\I1921-94\i
\IFilm director\i
Born in New Zealand, where he became a newsreel editor and director of documentaries, Holmes came to Australia in 1949. He became involved with Associated TV, making puppet shorts intended for American television and advertising films.
In 1951 the producers of Associated TV decided to make a feature film and Holmes was chosen to direct \ICaptain Thunderbolt\b\i, released 1953. Though this was successful, the later closure of Associated TV, which had been set up with the long-term aim of gaining a Sydney commercial television licence but was forced out by the established press and radio groups, left Holmes without a base. He was later approached by author Frank Hardy to make a film of his short story \IA Load of Wood\b\i, which was subsequently joined to two other short films to make the feature-length \IThree in One\b\i (1956). Though well received at overseas film festivals (winning a prize at Karlovy Vary in Czechoslovakia as the best work of a young director), it was not released in Australia, though later shown on television. Holmes' potential as a feature film director was thus not able to be fulfilled in the unfavourable circumstances of the Australian film industry of the time. He continued the work of his small distribution company, New Dawn Films, set up earlier in the 1950s, distributing foreign, mainly Russian, films in Australia and returned to documentary and television work. As a director with the Commonwealth Film Unit (later Film Australia) his work included the short fiction film \IGentle Strangers\b\i (1972).
#
"Home and Away",423,0,g,0
\ITelevision serial, broadcast 1988 to present\i
This long-running serial was devised as an in-house production by the Seven network to run in opposition to \INeighbours,\b\i which had itself begun life on Seven but been taken over in a revamped format by the Ten network. \IHome and Away\b\i went back to the working-class setting in which \INeighbours\b\i had started. The setting is the fictional town of Summer Bay. The original theme was centred on the homeless or orphaned teenagers fostered by two sets of parents, Pippa and Tom and Alf and Ailsa, in addition to their own natural families. After Tom's death in a car crash, Pippa's new husband Michael continued as the second foster father until his tragic death. Moving through the serial were the young people who entered their homes and eventually moved on. The series has since become a more generalised soap opera about the lives of teenagers in Summer Bay. But there is still a lot of scope for emphasis on teenage problems--rebellion, street life, single parenthood and so on.
By 1993 more than 1000 half-hour episodes had been produced and the serial had become established as one of the most popular of the Australian soap operas. One of its stars, Craig McLachlan, won the popular vote for the most outstanding actor in the 1991 Logies.
In 1995 Dieter Brummer (Shane) and Melissa George (Angel) won both popular vote logies. The series has been sold in Britain where it began a three-year contract with ITV in 1992.
\IProduction company\b\i: ATN Channel 7
\IExecutive producers\b\i: Des Monaghan, Andrew Howie
\IProducer\b\i: John Holmes
\IDirectors\b\i: Various
\IScriptwriters\b\i: Various; originally devised by Bevan Lee
\IMajor actors past and present\b\i: Craig McLachlan, Ray Meagher (as Alf), Justine Clarke, Judy Nunn (as Ailsa), Nicolle Dickson, Norman Coburn, Rebekah Elmaloglou, Roger Oakley, Vanessa Downing, Dieter Brummer, Melissa George, Tina Thompson, Mat Stevenson, Les Hill, Erik Matsak, Alex Papps, Rox Newston, Debra Lawrence (as Pippa), Dee Smart, Emily Symons, Richard Newton, Craig Thompson, Dennis Coard, Isla Fisher, Kristy Wright, Kate Richie, Tempany Deckert
#
"Homicide",424,0,g,0
\ITelevision series, broadcast 1964-76\i
This crime series was pivotal in the development of Australian television drama. It was the first Australian series to become really popular and its success led to the establishment of local series as part of the staple of Australian television programming. Each story centred on the solution of a murder by a team of city detectives, of which key members were Inspector Connolly, Inspector Lawson and Detective Sergeant Mackay, later joined by Detective Peter Barnes. The emphasis was on male-dominated action and adventure rather than social issues or the personal relationships of the detective heroes. Episodes, which were one hour long and shown once a week on the Nine network, eventually totalled just over 500.
\IProducers\b\i: Igor Auzins, \JDon Battye\j, Ian Crawford, Paul Eddey, Nigel Lovell, Vincent Monton, Ted Ogden, Simon Wincer
\IDirectors\b\i: Graeme Arthur, Igor Auzins, Peter Bray, Bill Catmull, Gary Conway, Alex Emmanuel, Ian Jones, David Lee
\IScriptwriters\b\i: Luis Bayonas, \JSonia Borg\j, Phil Freedman, Vince Moran, Della Foss Paine
\IMajor actors\b\i: Jack Fegan (as Insp. Connolly), \JLeonard Teale\j (as Det. Sgt Mackay), \JCharles Tingwell\j (as Insp. Lawson), George Mallaby (as Det. Barnes), Don Barker, Gary Day, Alwyn Kurts, Terry McDermott, Mike Preston, John Stanton, Norman Yemm
#
"Hoopla Theatre Foundation",425,0,g,0
\IAlternative theatre company in Melbourne\i
The Hoopla Theatre Foundation was established in Melbourne in 1976 by \JGraeme Blundell\j, Carrillo Gantner and Garrie Hutchinson as an alternative to both the Melbourne Theatre Company and the \JAustralian Performing Group\j. It aimed to provide theatre that was 'contemporary, important, alive, Australian and fun'. Although it concentrated on Australian playwrights, it also presented innovative work from overseas.
Hoopla's first production, Alma de Groen's \IChidley\b\i, in late 1976, was directed by Hutchinson and featured Blundell and Gantner. In 1977, with the help of the Victorian Ministry of the Arts, the Hoopla company took over the Playbox Theatre in Exhibition Street, where its first presentation was the touring Nimrod production of Spears' \IThe Elocution of Benjamin Franklin\b\i. In 1979, in conjunction with the Australian National University, Hoopla presented \IYamashita\b\i, a play about the Japanese conqueror of Singapore, and a musical, \IBertolt Brecht Leaves Los Angeles\b\i.
See also Playbox Theatre Company, Melbourne
#
"Hopgood, Alan",426,fp5047.jpg,c,0
\I1934-\i
\IWriter and actor of stage, film and television\i
Melbourne-based Hopgood became widely known in the role of Dr Reed in the long-running ABC television serial \J\IBellbird\j\b.\i In the 1960s he was with the Union Theatre Repertory Company (now the Melbourne Theatre Company) where his roles included J.J. Forbes in his own successful play \IAnd the Big Men Fly,\b\i a comedy about Australian Rules football, first produced 1963 (published 1969). Other plays written by him include \IThe Golden Legion of Cleaning Women,\b\i first produced 1964 (published 1979). In 1973 Hopgood's idea and script for an Australian sex comedy were chosen by \JGraeme Blundell\j out of several submitted to become the film \J\IAlvin Purple\j\b.\i
Other screenplays include \IAlvin Rides Again\b\i (1974, co-writer), \IThe True Story of Eskimo Nell\b\i (1975, co-writer), \IPacific Banana\b\i (1980) in which he also acted, and \IA Slice of Life\b\i (1982). His television writing includes \IBellbird,\b\i the Awgie-Award-winning play \IThe Cheerful Cuckold\b\i (1968), a serial adaptation of \IAnd the Big Men Fly\b\i (1974) and a sequel \IAnd Here Comes Bucknuckle\b\i (1980), the \IAlvin Purple\b\i spin-off series (1976) and \IPugwall\b\i (1989). He was a contributing writer for the mini-series \IAll the Way\b\i (1988), the series \IThe Flying Doctors\b\i (1988) and the children's series \ISugar and Spice\b\i (1989).
\BDescription:\b Alan Hopgood.
\BPhoto:\b Alan Hopgood.
\BPic2:\b arts-02.jpg
\BDescription2:\b Bay Street Productions.
\BPhoto2:\b Alan Hopgood.
#
"Hopkins, Francis",427,0,g,0
\I1849-1916\i
\IPlaywright\i
Hopkins was born at Colaba near Bombay and educated in England. A writer for the English press, he emigrated to Victoria in 1965 and took up farming on land near the Murray River. Spending his spare time writing, Hopkin's first play, \IAll for Gold\b\i, was adapted from EugΘne Sue's popular novel \IThe Wandering Jew\b\i. Actor, manager and producer \JAlfred Dampier\j produced it in 1877 and subsequently produced other of Hopkins' plays including the final act of \IGood for Evil\b\i (1877), \IOnly a Fool\b\i (1880), \IMichael Strogoff, the Courier of the Czar\b\i (1882) and \IL.S.D.\b\i (1882).
Besides writing plays, Hopkins edited \IThe Australian Ladies' Annual\b\i (1878) and published a book of essays titled \IConfessions of a Cynic, Social, Moral, and Philosophical\b\i (1882), a book of verse, \IGum Leaves Old and Gum Leaves New\b\i (1902), and two books of short stories, \IBirds of Passage\b\i (1908) and \IThe Opium Runner\b\i (1909).
#
"Horin, Ros",428,0,g,0
\IActor and stage director\i
Born and educated in Melbourne, Horin was an active participant in student theatre at Melbourne University from 1967 to 1970. After working as a drama teacher in a number of Melbourne high schools, she trained at the Drama Centre in London. Beginning her theatrical career as an actor, her best-known roles include Kerry in the Pram Factory's premiere production of \J\IDon's Party,\j\b\i the lead in \IA Bit of Rough\b\i at Melbourne's Playbox Theatre Company and Maya in \IVoices\b\i for the Australian Performing Group.
The plays she has directed include \IBleedin' Butterflies,\b\i \INice Girls\b\i and \IEarly Days Under the Old Hat\b\i at the Playbox Theatre, Melbourne; \ITissue\b\i at Sydney's Jane Street Theatre; \IAnnie's Coming Out\b\i for Sydney's Toe Truck Theatre Company; \IWhore in a Madhouse\b\i at the Belvoir Street Theatre; \ISalonika,\b\i \IDiving For Pearls\b\i and \IJulia\b\i for the Melbourne Theatre Company; \IPushin' Up Daisies,\b\i \ILike Whiskey on the Breath of the Drunk That You Love\b\i and \IGlycerine Tears\b\i at the \JGriffin Theatre Company\j and \J\IKafka Dances\j\b\i for the Sydney Theatre Company.
Horin has filled many important teaching roles including acting tutor at the Victorian College of the Arts and at NIDA. She was also the founder and artistic director of Playworks, the Women Writers' Workshop. She is currently artistic director of the Griffin Theatre Company.
#
"Howard, John (actor)",429,arts-25.jpg,c,0
\I1952-\i
\IStage, film and television actor, particularly noted for stage work\i
Since graduating from NIDA in 1978, Howard has appeared with most of the major theatre companies in Australia. His roles include Loparkin in \IThe Cherry Orchard\b\i for the Sydney Theatre Company; Nicholas in \IThe Life and Adventures of Nicholas Nickleby\b\i for the STC/Theatre Royal production; Horse in \IGod's Best Country\b\i for the West Australian Theatre Company; Edmund in \IKing Lear\b\i for the State Theatre Company of South Australia; Torvald in \IA Doll's House\b\i for the Belvoir Street Theatre, Sydney; Trevor Fredericks in \ITop Silk\b\i for the Queensland Theatre Company; John Proctor in \IThe Crucible\b\i for the STC; Edmund Burke in \IMongrels\b\i for the Ensemble Theatre; the title role in \ICoriolanus\b\i for the STC; Damson in \IThe Gift of the Gorgon\b\i for the QTC; and the lead role in David Williamson's \IDead White Males\b\i for the STC.
He has appeared in several films including \IThe Club\b\i (1980), \J\IYoung Einstein\j\b\i (1985), \IDating the Enemy\i and \IBlackrock.\i He has also appeared in many television series and mini-series including \IA Town Like Alice\b\i (1981), \IA Country Practice,\i \IThe Girl From Tomorrow, Joh's Jury\i and \IWildside.\i
In 1991 he won the Sydney Critics' Circle Award for best stage actor for his performances in \IThe Crucible\b\i and \IMongrels.\i
\BDescription:\b John Howard.
\BPhoto:\b International Casting Service and Assoc.
\BPic2:\b fp5048.jpg
\BDescription2:\b John Howard.
\BPhoto2:\b International Casting Service and Assoc.
#
"Howson, Frank",430,0,g,0
\I1952-\i
\IFilm producer, director and writer\i
Melbourne-born Howson was a child actor and later performed in musicals as a singer and dancer. In the 1970s he began to write songs (including `Suicide Boulevard', recorded by the Little River Band) and musical shows for children. Howson and a partner set up Boulevard Films in 1981. Its first production, \IBackstage\b\i (1987), was eventually taken over by the co-producers after disagreements and was not a successful film. Howson disapproved of the final version, though his name was left in the credits as co-producer and co-writer. He proceeded to develop another screenplay which became \IBoulevard of Broken Dreams\b\i (1988); \JJohn Waters\j, playing an expatriate Australian actor dying of cancer in Los Angeles, won the AFI Award for best actor for this film which was, however, criticised for its excess of sentimentality. It was successful enough, though, to allow Boulevard to raise funds for further films. These, all with Howson as producer and writer or co-writer, include \IWhat the Moon Saw\b\i (1988), \IBeyond my Reach\b\i (1989) and \IMy Forgotten Man\b\i (1993, originally made as \IFlynn\b\i in 1989). Many of Howson's films reflect his theatrical background.
#
"Howson, John Michael",431,0,g,0
\I1940-\i
John Michael Howson, Australian movie critic and interviewer, was born in Mildura, Victoria on 8th August 1940. After his parents divorced and his mother re-married, he moved to Western Australia. He started out as an actor and became a scriptwriter for children's television shows such as \IAdventure Island\i on the ABC. He became a movie gossip columnist and appeared on the \IMike Walsh\i and \IRay Martin Midday\i shows through the 70s and 80s. He now works as a freelance reporter in Hollywood, filing stories to Australia. On 4th November 1990 Howson married Harriet Sagalow.
#
"Hughes, Wendy",432,fp5049.jpg,c,0
\I1950-\i
\IActor of stage, film and television\i
Wendy Hughes was born in Melbourne where she studied ballet before switching to acting. At the age of sixteen she won a scholarship to NIDA. Her first role after graduating was in the Harry M. Miller production of \IButterflies are Free\b.\i Her film appearances include \IPetersen\b\i (1974); \ISidecar Racers\b\i (1975); \IHigh Rolling\b\i (1977); \J\INewsfront\j\b\i (1978); \J\IMy Brilliant Career\j\b\i (1979); \ITouch and Go\b\i (1980); \IHoodwink\b\i (1981); \IDuet For Four\b\i (1981); \ILonely Hearts\b\i (1981); \IA Dangerous Summer\b\i (1982); \J\ICareful, He Might Hear You\j\b\i (1983) for which she won the AFI best actress award; \IMy First Wife\b\i (1984); \IAn Indecent Obsession\b\i (1985); \IWarm Nights on a Slow-Moving Train\b\i (1987); \IEchoes of Paradise\b\i (1987); \IBoundaries of the Heart\b\i (1988); \ILuigi's Ladies\b\i (1989); \ITwo Shades of Blue\i and \IParadise Road.\i
In 1988 she moved to Los Angeles where she has worked in a number of US television mini-series and appeared in two US films. In 1993 she appeared in her first British film, \IPrincess Caraboo\b.\i
Her Australian television work includes the mini-series \J\IRush\j\b\i (1975), \J\IPower Without Glory\j\b\i (1976), \ILucinda Brayford\b\i (1979), \J\IReturn to Eden\j\b\i (1983), \IThe Man From Snowy River\b\i (1994), \IA Woman Named Jackie, Donor, The Puzzle, The Outsiders, Star Trek\i and \IState Coroner.\i Her stage work includes \ICat on a Hot Tin Roof\b\i (1981) for the Sydney Theatre Company; \ITouch of the Poet, An Ideal Husband, Cherry Orchard, Tom\i and \IDanton's Death\i for the Melbourne Theatre Company; and \IButterflies are Free\i for Harry M. Miller Productions.
\BDescription:\b Wendy Hughes.
\BPhoto:\b Barbara Leane and Assoc.
#
"Humphries, Barry",433,bhumphri.jpg,c,0
\I1934-\i
\IWriter and performer of satirical comedy\i
Melbourne-born Barry Humphries won international recognition for his creation and portrayal of several caricatures from Australian life, in particular Edna (later Dame Edna) Everage. His first show \IA Nice Night's Entertainment\b\i was produced in 1962, followed by \IExcuse I\b\i (1965), \IJust a Show\b\i (1968), \IA Load of Old Stuffe\b\i (1971), \IAt Least You Can Say You've Seen It\b\i (1974), \IIsn't It Pathetic At His Age?\b\i (1978), \IA Night With Dame Edna\b\i (1978-79), \IAn Evening's Intercourse\b\i (1981-82), \ITears Before Bedtime\b\i (1985) and \ILook at Me When I'm Talking To You\b\i (1993).
His comic strip, \IThe Adventures of Barry McKenzie\b\i, appeared in the British magazine \IPrivate Eye\b\i from 1963 to 1974. In 1972 Humphries wrote the screenplay for a film of the same name in which he acted the part of Edna Everage; Edna became a Dame in the sequel \IBarry McKenzie Holds His Own\b\i (1974). Other film appearances include \IThe Getting of Wisdom\b\i (1977) in a straight role; \ILes Patterson Saves the World\b\i (1987) which he co-wrote and acted in; and \IThe Marsupials: The Howling III\b\i (1987).
In 1988 Humphries was named Show Business Personality of the Year by the Variety Club of Great Britain; in the same year his show \IBack With a Vengeance\b\i played on London's West End and he made the television series \IThe Dame Edna Chat Show\b\i. In 1991 he revived one of his earlier and lesser known characters, Sandy Stone, in a one-person television series. He was named Australian show business ambassador at the 1994 Mo Awards.
Humphries has also released several albums.
\BDescription:\b Barry Humphries \I(Fairfax Photo Library)\i
#
"Hunter, Bill",434,0,g,0
\I1941-\i
\IActor well-known for his film work\i
Bill Hunter was born in Melbourne and was a schoolboy swimming champion and member of the 1956 Australian Olympic team. His work as an extra on the film \IOn the Beach\b\i (1959) led him to an acting career. After studying in Melbourne he won a scholarship to the Northampton Repertory Company in England. On his return he gained several film and television roles, but because of his build was usually cast as a 'heavy'. His early film appearances include \INed Kelly\b\i (1970), \IStone\b\i (1974), \IThe Man from Hong Kong\b\i (1975), \IMad Dog Morgan\b\i (1976), \J\IEliza Fraser\j\b\i (1976) and \IBackroads\b\i (1977).
His big break came with the role of an idealistic news cameraman in \J\INewsfront\j\b\i (1978) for which he won the AFI best actor award. Later film appearances include \IWeekend of Shadows\b\i (1978), \IIn Search of Anna\b\i (1979), \IHard Knocks\b\i (1980), \I... Maybe This Time\b\i (1980), \J\IHeatwave\j\b\i (1981), \J\IGallipoli\j\b\i (1981) for which he won the AFI best supporting actor award, \J\IFar East\j\b\i (1982), \IThe Return of Captain Invincible\b\i (1982), \IStreet Hero\b\i (1984), \IDeath of a Soldier\b\i (1985), \IFever\b\i (1987), \IMull\b\i (1988), \IRikky and Pete\b\i (1988), \IThe Last Days of Chez Nous\b\i (1992) and \J\IStrictly Ballroom\j\b\i (1992) which together won him the Australian Film Critics' Circle Award (shared with \JBarry Otto\j), \IBroken Highway\b\i (1993), \IMuriel's Wedding\i (1994) and \IThe Adventures of Priscilla, Queen of the Desert\b\i (1994).
His television appearances include the mini-series \I1915\b\i (1981), \IThe Dismissal\b\i (1983), \J\IScales of Justice\j\b\i (1983) and the comedy \IStark\b\i (1993).
#
"Hutchinson, Ivan",435,0,g,0
(1928-95)
Ivan Hutchinson, Australian film critic and band leader, was born in Melbourne on 11th February 1928. He started out working as a public servant by day and playing piano at night. In 1960, he joined the HSV-7 band and worked on \ISunnyside Up\i and the \IPenthouse Club\i and later became the Network's musical director. In the 1970s he was asked to host a movie review show, which led him to host the midday movie segment nationally.
He wrote movie reviews for the \ICatholic Weekly,\i the Melbourne \ISun,\i and \ITV Week.\i Married to Grace, with four children, Mark, Ruth, Joanne, David and seven grandchildren, he was diagnosed with a brain tumour in late 1994. He died in hospital at Heidelberg on 6th October 1995, aged 67.
#
"Independent Theatre Company, Sydney",436,0,g,0
\ITheatre company dedicated to presenting quality theatre\i
The Independent Theatre Company, founded by \JDoris Fitton\j in May 1930 to present the best of the world's plays, was named after an English experimental theatre. Its first production, \IBy Candlelight\b\i, opened in Sydney's St James Hall in August 1930, with Fitton playing one of the leads. From 1931 the Independent Theatre gave Saturday evening performances at the Savoy, a small city cinema. In 1939 it transferred to what was to be its permanent home, an Edwardian vaudeville house (later converted to a cinema) in North Sydney.
At a time when good theatre was rare, the Independent offered a broad range of productions, ranging from Shakespeare to Noel Coward. In 1948 it premiered Sumner Locke Elliott's \J\IRusty Bugles\j\b\i, directed by Fitton. Australian writers whose works were performed at the Independent include \JRuth Park\j, \JEleanor Witcombe\j, \JDouglas Stewart\j, \JPeter Kenna\j and \JAlan Seymour\j. The many Australian actors who gained experience with the Independent include \JJohn Meillon\j, \JJune Salter\j, \JRuth Cracknell\j, \JMichael Pate\j, \JLeonard Teale\j and \JHelen Morse\j. The Independent became a repertory company in 1967. Financial difficulties and lack of government support led to its closure in July 1977.
From 1983 to 1990 \JHayes Gordon\j's acting school was based in the Independent's former North Sydney venue. In 1988 the Australian Elizabethan Theatre Trust acquired the property, intending to use it as its new home. In 1993 the property was purchased for restoration and a return to its use as a theatre by the Seaborn, Broughton, Walford Foundation (a foundation established in 1986 to promote the performing arts).
#
"Inner Voices",437,0,g,0
\IPlay, first produced 1977\i
\JLouis Nowra\j's \IInner Voices\b\i is set in imperial Russia in the 1760s. Although Catherine II is on the throne at this time, the rightful ruler is claimed to be Ivan VI. He, however, has been incarcerated in a fortress and on Catherine's orders brought up speechless, only knowing his own name. Some officers find him and teach him to speak, hoping that as his trainers they will be able to control him. Unfortunately for them, Ivan turns out to be almost as imperious as Catherine when he comes to power. No-one is the winner in this power struggle, for poor damaged Ivan has much to contend with himself as he struggles to make sense of the new world he has been thrown into. He hears inner voices which disturb and frighten him. By the end of the play, he has all but lost the battle to retain his sanity.
\IFirst produced\b\i: Sydney's Nimrod Theatre in 1977
#
"James, Clive",438,cjames.jpg,c,0
\I1939-\i
\ITelevision broadcaster, writer and critic\i
Clive James was born in Sydney and left for London where he now lives in 1962. From 1972 to 1982 he was the television critic for the British Sunday newspaper \IThe Observer\b\i. He has gained wide recognition both in the United Kingdom and in Australia with his television shows which include the \IPostcard\b\i series, \ISaturday Night Clive\b\i and \IFame in the 20th Century\b\i, presented with what is seen as a laconic Australian style of wit.
His publications include books of literary criticism, collections of his television journalism and his three volumes of partly fictional autobiography. The first of these, \IUnreliable Memoirs\b\i (1980), gives a humorous account of his growing up in Sydney. This was followed by \IFalling Towards England: Unreliable Memoirs II\b\i (1985) and \IMay Week was in June: Unreliable Memoirs Continued\b\i (1990). In 1994 James toured Australia with a one-man show.
\BDescription:\b Clive James \I(Fairfax Photo Library)\i
#
"James, Ken",439,0,g,0
\I1948-\i
Ken James, Australian actor, was born in Sydney on 16th November 1948. He started out in commercials while still at school and knocked back a scholarship to study at NIDA in the 1960s when he scored a role in \ISkippy\i. He went on to star in series such as \IMatlock Police\i, \IDivision Four\i and \ISkyways\i.
#
"James, Peter",440,0,g,0
\I1947-\i
\ICinematographer\i
Sydney-born James began his career as a focus-puller and assistant photographer on television series such as \IRiptide\b\i (1968-69). He began working in film in the early 1970s and was co-cameraman on \IThe Cars That Ate Paris\b\i (1974) and cameraman on \IThe Removalists\b\i (1975). His films as director of photography include, in Australia, \J\ICaddie\j\b\i (1976), \IThe Irishman\b\i (1978), \IThe Killing of Angel Street\b\i (1981), \IRebel\b\i (1985) and \IThe Right Hand Man\b\i (1986). He won the AFI Award for cinematography in two successive years for the last two films.
James has since worked overseas with director \JBruce Beresford\j, directing the photography of \IDriving Miss Daisy\b\i (US, 1989) and \IBlack Robe\b\i (Aust./Canada 1990), which won many cinematography awards, including the 1992 Cinematographer of the Year award of the ACS (Australian Cinematographers Society). James won this award again in 1993 for \IAlive\b\i.
#
"Jane Street Theatre, Sydney",441,0,g,0
\IExperimental theatre company formed to present Australian plays\i
The Jane Street Theatre was established in 1966, with the help of the University of New South Wales Drama Foundation, supported by the Calouste Gulbenkian Foundation of Lisbon, to present Australian plays. It was based in a former church hall, seating only about 100, in Randwick, Sydney. It staged its first Australian play season in 1966, presented by senior graduates of NIDA. In 1970 it premiered \IThe Legend of King O'Malley\b\i directed by \JJohn Bell\j, and two years later staged a production by John Clark (director of both the Jane Street Theatre and NIDA) of \J\IDon's Party\j\b\i which had been extensively rewritten after a performance in Melbourne. The building used by Jane Street was sold by the owner in 1981 and was no longer available for productions.
#
"Jarratt, John",442,0,g,0
\I1952-\i
John Jarratt, Australian actor, was born in Wollongong, New South Wales on 5th August 1952. He appeared in television's \IThe Ned Kelly Story\i and his films include \IPicnic at Hanging Rock, We of the Never Never, The Last Outlaw\i and \INext of Kin.\i In 1996-97, he and his actress wife Noni Hazlehurst co-hosted the award-winning \IBetter Homes and Gardens\i show on the Seven Network. They fell in love while filming \IThe Australian Dream\i in 1985 and were married in 1989. They have two children Charlie (1989) and William (1994).
#
"Jedda",443,0,g,0
\B(in the US, Jedda the Uncivilised)\b
\IFilm, released 1955\i
Faced with antipathy on the part of the production companies towards Australian feature films, \JCharles Chauvel\j floated his own public company in 1951 and \IJedda\b\i was its first production. It is an Aboriginal love story which also deals with problems faced by Aboriginal people in being integrated into the European community. Jedda has been brought up by white station owners and promised in marriage to a half-Aboriginal stockman, Joe. But she is attracted to a full-blood tribal Aborigine, Marbuck, and is torn between the prospect of tribal life and her comfortable life in the European world. Marbuck abducts her and takes her on a long, dangerous journey to his own people. Finally, Marbuck is sung to death by his tribal elders for taking an outsider as his wife and the terrified couple, pursued also by Joe and the police, jump to their deaths from one of the Northern Territory's high ochre cliffs.
The film was unusual in that it used unknown Aboriginal people as lead actors and experimented with colour stock for the first time in an Australian feature. The making of the film was also adventurous, being filmed on location in the Northern Territory and involving huge journeys for the production team. It premiered in Darwin and was released also in Britain and the United States. Though well received, the film's returns were not sufficient for Chauvel's company to survive. However, interest in Britain led to the Chauvels being commissioned to produce the very popular television travel documentary series on central Australia, \IWalkabout\b\i (1958), shown in Australia and Britain.
\IProduction company\b\i: Charles Chauvel Productions
\IProducer and director\b\i: Charles Chauvel
\IScreenplay\b\i: Charles Chauvel, \JElsa Chauvel\j
\IMajor actors\b\i: Ngarla Kunoth (as Jedda), Robert Tudawali (as Marbuck), Betty Suttor, Paul Reynall (as Joe)
#
"Jeffrey, Tom",444,0,g,0
\I1938-\i
\IFilm director and administrator\i
Sydney-born Jeffrey worked in television for the ABC and the BBC in Britain, mainly in the area of current affairs, children's and education programs, before gaining his first opportunity to direct drama with the ABC series \IPastures of the Blue Crane\b\i in 1969. Over the following three years he built a reputation directing further drama series for the ABC. Turning to independent feature film production in 1973, he directed \IThe Removalists\b\i (1975) and then variously produced, directed and/or wrote \IWeekend of Shadows\b\i (1978), \IThe Odd Angry Shot\b\i (1979), \IFighting Back\i (1981), \IThe Best of Friends\i (1982) and \IGoing Sane\i (1985).
Through the 1980s, Jeffrey also produced a number of programs for television including the award-winning children's mini-series \IFive Time Dizzy\i (1986). From 1989 to 1993 he was head of training at the Australian Film TV and Radio School.
Jeffrey has made a major contribution to the Australian film industry as chairman and member of industry boards and committees and as an advocate for the development of the local industry. He was president of the Producers and Directors Guild of Australia 1971-72; chairman of the Film, Radio and Television Board of the Australia Council 1975-76; chairman of the Australian Film, Television and Radio School 1976-81; a member of the Government inquiry into the NSW Cinematograph Films Act 1983; a board member of the Australian Children's Television Foundation 1983-84, chair of Arts Training NSW 1994-96; board member of Arts Training Australia 1994-96; board member of CREATE Australia 1996; and council member of the Screen Producers Association of Australia 1996.
In 1981 Jeffrey was appointed a Member of the Order of Australia for his services to the Australian film and television industries.
#
"Jenkins, Michael",445,0,g,0
\I1946-\i
\IFilm and television writer and director\i
Sydney-born Jenkins began writing for television with the long-running ABC series \J\IBellbird\j\b\i. He co-wrote \IWater under the Bridge\b\i (1980) and some of the episodes of \J\ISpring and Fall\j\b\i (1980-81). His first film screenplay was \J\ICareful, He Might Hear You\j\b\i (1983), for which he won the AFI Award for best adapted screenplay. The same year he directed the ABC television series \J\IScales of Justice\j\b\i, having previously directed some episodes of \IBellbird\b\i and \J\ICertain Women\j\b\i (1974). Subsequent film work includes \IRebel\b\i (1985, director, co-writer), \J\IEmerald City\j\b\i (1988, director) and the very successful \IThe Heartbreak Kid\b\i (1993, director, co-writer).
Further television work includes the series \IThe Leaving of Liverpool\b\i (1992), like \IThe Scales of Justice\b\i noted for its intelligent probing of a social issue, and like \IThe Heartbreak Kid\b\i showing an ability to encourage fine performances from young actors.
#
"Jenner, Andrea",446,0,g,0
\I1890-1985\i
Andrea, famous Australian radio star, was born Andrea Dorothy Jenner in Narrabri, New South Wales on 1st March 1890. She went to Hollywood in the 1920s and eventually obtained an autographed photo of herself with Rudolph Valentino. She made her name as Australia's first female war correspondent during WWII. On her return to Australia, she became a broadcaster with 2GB. She died in Sydney on 24th March 1985, aged 95.
#
"Jenyns, Essie",447,0,g,0
\I1865-1920\i
\IActor of melodrama and Shakespearean roles\i
Essie Jenyns was born Elizabeth Jennings in Brisbane. After her father's death her mother appeared on the stage under the name of Kate Arden and later married actor and theatrical producer William J. Holloway. Essie's first speaking role was in Hobart in 1879 as the page in \IRichelieu\b\i. She came to wider public notice in 1883 in Sydney when she appeared in George Darrell's play \IThe Sunny South\b\i. In the following year the family went to England, and on their return to Australia Holloway formed a Shakespearean company in which Essie found great success, playing in both Sydney and Melbourne. In 1888 she married (against the wishes of her mother and stepfather) and left the stage forever.
#
"Joan Sutherland Performing Arts Centre, Penrith",448,fp5055.jpg,c,0
\ICentre for performing arts in western Sydney\i
The Joan Sutherland Performing Arts Centre at Penrith, on the western edge of Sydney, opened in 1990. The Centre's Richard Bonynge Concert Hall, an auditorium capable of seating 660, is noted for its high-grade acoustic qualities and recording facilities--ABC-FM has broadcast nationally from there. A secondary performance space, the Allan Mullins Room, seats 140 and caters for recitals, seminars and cultural festivals. The Penrith Conservatorium of Music operates from the Teaching Wing.
\BDescription:\b Joan Sutherland Performing Arts Centre.
\BPhoto:\b Joan Sutherland Performing Arts Centre management.
#
"John, Bartholomew",449,0,g,0
\I1952-\i
Bartholomew John, Australian actor and singer, was born on 24th August 1952. He starred in the television series \IThe Young Doctors\i and \ISkyways,\i and on stage in \IThe Sound of Music, The Pirates of Penzance, The Mikado\i and \IHMS Pinafore.\i
#
"Jones, Annie",450,0,g,0
\I1967-\i
Annie Jones, Australian actress, was born to Hungarian parents in Adelaide on 13th January 1967, and raised in Coober Pedy. She started out as a part time model and auditioned for a film, \IRun Chrissie Run,\i which became her debut to acting. After becoming a regular in \IThe Henderson Kids\i at 17, she then starred in the Australian TV series \ISons and Daughters, Neighbours,\i and the 1990 mini-series \IJackeroo.\i Annie is married to Penguin award winning TV and movie director Paul Maloney. Her passion is fishing and she even farms her own worms in the backyard of her Melbourne home. She has also starred in the movie \IRobbery Under Arms.\i
#
"Jones, Ian",451,0,g,0
\ITelevision writer, director and producer\i
After a brief career in journalism, Jones became a director at HSV-7 in Melbourne. He left in the early 1960s and joined Crawfords where he wrote, directed and produced. The many series he worked on include \J\IHomicide\j\b\i (began 1964, director), \IMatlock Police\b\i (began 1971, deviser, executive producer), \IThe Box\b\i (began 1974, deviser, executive producer, scriptwriter) and \IThe Sullivans\b\i (1976, deviser, executive producer, director).
In 1977 he left Crawfords and together with another former Crawfords employee, researcher and writer Bronwyn Binns, set up his own television packaging company, Pegasus. Their main aim was to produce mini-series and their first project, inspired by the American series \IRoots\b\i, was an Australian historical drama which became \J\IAgainst the Wind\j\b\i (1978), produced in association with the Seven network and having a claim to be the originator of Australian mini-series. This was very successful and was followed by another historical series based on the life of Ned Kelly. Kelly was a personal interest of Jones who had co-written the screenplay for Tony Richardson's 1970 film. However, \IThe Last Outlaw\b\i, scripted by Jones and Binns and produced by Roger Le Mesurier, and shown on the Seven network in 1980, was not so well received. Pegasus also produced a feature film, \IThe Lighthorsemen\b\i (1987), with Jones as producer and writer. The company has since ceased operation.
#
"Kafka Dances",452,0,g,0
\IPlay\i
Timothy Daly's popular play brings Franz Kafka to life and we see him fighting for his life like the heroes of so many of his stories. His emotions during the action are focused on his relationship with his fianc└) └e of six years, Felice Bauer, a beautiful but empty-headed German accounts clerk to whom he wrote many letters but who he didn't see very often. During the course of the play, Daly introduces an eccentric Yiddish theatre troupe from Poland (complete with violins) which Kafka saw in 1912 and which provides him with solace from his crippled family relationships and his life as a Czech-Jewish insurance clerk. Kafka escapes for a time into a fantasy world where three members of the troupe double as members of his own family group. The piece has some funny moments and portrays the intense feelings of a man at a turning point in his life. It won the 1993 Sydney Critic's Circle Award. Daly's other plays include \IQuiz King\b\i and \ICalliper\b\i.
\IFirst produced\b\i: By the Griffin Theatre Company at Sydney's Stables Theatre in 1993. The play was directed by \JRos Horin\j and starred Cate Blanchett, Anna Broinowski, Ronald Falk, Jane Harders and Lech Mackiewicz. A second production was produced by the Sydney Theatre Company at its Wharf Theatre, in collaboration with Griffin, in 1994.
#
"Kaye, Norman",453,0,g,0
\I1927-\i
\IActor of film, television and stage\i
Norman Kaye was born in Melbourne where he pursued his first career in music before turning to acting and an informal ten-year training period with St Martin's Theatre. He has subsequently worked for both the New South Wales and Victorian state theatre companies. His early television work includes the ABC productions \IThe First Joanna\b\i, \ISix Characters in Search of an Author\b\i and the series \J\IBellbird\j\b\i. Most of his film work has been with director \JPaul Cox\j, including \IIlluminations\b\i (1976), \IInside Looking Out\b\i (1977) on which he was also responsible for the music, \IKostas\b\i (1979), \ILonely Hearts\b\i (1981) where again he was also responsible for the music, \J\IMan of Flowers\j\b\i (1983) for which he won the AFI best actor award, \ICactus\b\i (1986) and \IIsland\b\i (1989). His other film work includes \IMad Dog Morgan\b\i (1976), \IThe Killing of Angel Street\b\i (1981), \IBuddies\b\i (1983), \II Own the Racehorse\b\i (1985), \IUnfinished Business\b\i (1985), \IFrenchman's Farm\b\i (1986), \IWarm Nights on a Slow-Moving Train\b\i (1987) and \IBoundaries of the Heart\b\i (1988).
His stage work includes the Sydney Theatre Company productions \IThe Lady of the Camellias\b\i (1979), \IThe Seagull\b\i (1986), \IBig & Little\b\i (1988), \IThe Revenger's Tragedy\b\i (1991) and Louis Nowra's \IThe Temple\b\i (1993).
#
"Kellaway, Cecil",454,0,g,0
\I1893-1973\i
\ICharacter actor of stage and film\i
South African-born Cecil Kellaway was a veteran stage actor when he played the role of Dad Hayseed in the 1933 Australian film \IThe Hayseeds\b\i. He wrote and acted in Ken Hall's \IIt Isn't Done\b\i (1937). His brother Leon Kellaway\b\i was a dancer and choreographer--under his stage name Jan Kowsky he danced with Anna Pavlova and Olga Spessivtseva, and came to Australia in 1934 with the DandrΘ-Levitoff Russian Ballet. Another brother, Alec Kellaway\b\i, appeared in a number of films including \ILet's Do It\b\i (1938), \IDad and Dave Come to Town\b\i (1938) and \IGone to the Dogs\b\i (1939) and in the 1955 production of the stage musical \IPaint Your Wagon\b\i.
#
"Kenna, Peter",455,0,g,0
\I1930-87\i
\IPlaywright and radio actor\i
Born in Sydney's Balmain, Kenna left school at fourteen and began performing with amateur theatre groups. He became a radio actor in the 1950s and when the Elizabethan Theatre Trust was founded in 1954 he became fully involved with the theatre. Kenna came to the attention of theatre-going audiences in 1959 with his third play, \IThe Slaughter of St Teresa's Day\b\i. The work won the General Motors-Holden national playwrights' competition and since that time has enjoyed many performances, including radio and television adaptations.
Kenna travelled overseas in 1960, living and working in London until 1964. During this time, \ITalk to the Moon\b\i was staged at the Hampstead Theatre Club in 1963 and his television play \IGoodbye Gloria\b\i was screened by the BBC. Kenna returned to Australia in 1971, after undergoing treatment for illness, and subsequently had a number of major productions including the 1972 Australian premiere of \ITalk to the Moon\b\i; \IA Hard God\b\i, the first play of a trilogy (1973); \IMates\b\i (1975); \ITrespassers Will Be Prosecuted\b\i (1976); and \IFurtive Love\b\i (1978).
Kenna was awarded a three-year Commonwealth Literature Board grant in 1973 to complete his trilogy. In 1977, he was writer-in-residence at the New South Wales Institute of Technology. \IThe Umbrella Woman\b\i starring Rachel Ward, \JBryan Brown\j and \JSam Neill\j was filmed in 1986 and released in 1987, the year of his death.
#
"Kennedy, Byron",456,0,g,0
\I1952-83\i
\IFilm producer\i
Born in Melbourne, Kennedy had a small production company there when he met \JGeorge Miller\j at a film school workshop and proceeded to make with him the short film \IViolence in the Cinema Part 1\b\i (1971). Thus began the partnership that made \J\IMad Max\j\b\i in 1979. Its success led to Kennedy and Miller being courted in the United States, where Kennedy studied distribution methods. After the development of the idea for \IMad Max II\b\i, it was Kennedy who suggested they avoid the Hollywood studios and return to Australia to make the film. Its great success when released in 1981 confirmed the future of the Kennedy Miller production company they had formed. The partnership also made the television mini-series \IThe Dismissal\b\i (1983) before Kennedy's death in a helicopter crash.
#
"Kennedy, Gerard",457,0,g,0
\I1932-\i
\IActor well known for his television work\i
Gerard Kennedy has appeared in many Australian television series including \IHunter\i (1967-68), \IDivision 4\i for which he won Logies in 1970 and 1971 for best actor and best personality (1968-74), \ITandarra\i (1976), \IAgainst the Wind\i (1978), \ISkyways\i (1980-81), \ICoral Island\i (1982) and \IFlying Doctors\i (1989) and the television features \IMama's Gone a-Hunting\i (1977) and \IThe Trial of Ned Kelly\i (1977).
His film appearances include \I\JEliza Fraser\j\i (1976), \IRaw Deal\i (1977), \IThe Irishman\i (1978), \I\JNewsfront\j\i (1978), \IThe Last of the Knucklemen\i (1979), \IFatty Finn\i (1980), \IThe Plains of Heaven\i (1982), \IThe Lighthorsemen\i (1987), \IGarbo\i (1990) and \IInner Sanctuary\i (1996). Gerard Kennedy also appeared in the stage play \IWest Side Story\i (1995-96).
#
"Kennedy, Graham",458,0,g,0
\I1934-\i
\IFilm actor and radio and television compere\i
Graham Kennedy was born in Melbourne and during his long media career claims to have worked on all radio and television stations in Australia. From 1957 to 1975 (with some breaks) he hosted the nightly television show \IIn Melbourne Tonight\b\i, a role which earned him the popular nickname `The King'. This was followed by \IThe Graham Kennedy Show\b\i, the game show \IBlankety Blanks\b\i and \IGraham Kennedy Coast to Coast\b\i. It was Kennedy who suggested the name `Logie' for the annual television awards, after John Logie Baird, the Scottish inventor of television; Kennedy himself is the recipient of a number of gold and silver Logies.
His film appearances include \IThey're a Weird Mob\b\i (1966), \IThe Box\b\i (1975), \J\IDon's Party\j\b\i (1976), \IThe Odd Angry Shot\b\i (1979), \IThe Club\b\i (1980), \IThe Return of Captain Invincible\b\i (1982), \IStanley\b\i (1983), \IThe Killing Fields\b\i (UK, 1983) and \J\ITravelling North\j\b\i (1986).
Kennedy made a comeback to TV in the late eighties and early nineties with a late night news and information show and \IGraham Kennedy's Funniest Home Videos.\i
#
"Kennerley, Kerri-Anne",459,0,g,0
\I1953-\i
Kerri-Ann Kennerley, Australian television host of the Nine Network's \IMidday Show\i, was born Kerri-Ann Wright in Brisbane on 22nd September 1953, and grew up in the Brisbane suburb of Sandgate. She started out presenting a children's television show and, after leaving school, went to secretarial college but soon drifted back to television. An accomplished singer at 19, she became a successful club singer and entertainer before joining Network 10 as showbizz reporter and later moving to host her own shows.
Divorced after a brief marriage to a television producer, she married her second husband, former Vernon Soccer Pools executive, Englishman John Kennerley. The couple live at Clareville on Sydney's northern peninsula. Kerri-Ann was the longest serving hostess of the Ten Network's \IGood Morning Australia\i, before leaving in 1993after 12 years.
In 1994 she was appointed manager and breakfast announcer of John Singleton owned radio 2CH. However, she only lasted in both roles for three months, before returning to afternoon television on the Ten Network in 1995. In 1996, she joined the Channel Nine \IMidday Show\i.
#
"Kerr, Bill",460,0,g,0
\I1924-\i
\IFilm and television actor and radio comedian\i
Bill Kerr was born in Wagga Wagga, New South Wales, and began his stage career as a child actor in Melbourne. In the 1940s he was a performer on the Tivoli Circuit and was the comedian in the 4th Division Concert Party that entertained Australian troops awaiting possible invasion in remote parts of northern Australia. In 1947 he went to the UK where he became well known for his radio comedy roles, in particular in the long-running shows with Tony Hancock and Sid James, and appeared in many films there, including \IThe Dambusters\b\i.
His Australian film appearances include \IHarmony Row\b\i (1933), \IThe Silence of Dean Maitland\b\i (1934), \IThe Shiralee\b\i (1957), \J\IGallipoli\j\b\i (1981), \IThe Year of Living Dangerously\b\i (1982), \IDusty\b\i (1982), \IPlatypus Cove\b\i (1983), \IThe Settlement\b\i (1983), \IRazorback\b\i (1985), \IThe Coca-Cola Kid\b\i (1985)\I, Relatives\b\i (1985), \IBushfire Moon\b\i (1987), \IRunning from the Guns\b\i (1987), \IThe Lighthorsemen\b\i (1987), \IKokoda Crescent\b\i (1989), \IConfidence\b\i (1990). His television appearances include \IDeadline\b\i (1981), \J\IReturn to Eden\j\b\i (1983) and the series \IGlenview High\b\i (1977).
#
"Kid Stakes, The",461,0,g,0
\ISilent film, black and white, released 1927\i
One of the surviving classics of the Australian silent film industry, \IThe Kid Stakes\b\i is set in the city but has much of the ethos of the Australian bush legend. In its story of sporting competitiveness overcoming class barriers, the 'good' working-class world of Woolloomooloo, Sydney, where the hero Fatty Finn lives, is seen as preferable to the upper-class world of Potts Point and the 'bad' working-class world of the gang of the bully, Bruiser.
\IDirector and screenplay\b\i: Tal Ordell (concept based on the comic strip characters of Syd Nicholls)
\IMajor actors\b\i: 'Pop' Ordell, Charles Roberts, Ray Salmon, Frank Boyd
See also \JFatty Finn\j
#
"Kidman, Nicole",462,nkidman.jpg,c,0
\I1968-\i
\IActor of film and television\i
Born in Sydney, Kidman attended the Australian Theatre for Young People and had her first professional part at the age of fifteen. She came to public attention with her roles in the television blockbusters \IVietnam\i and \IBangkok Hilton.\i She won the Australian Film Institute (AFI) Award for Best Television Actress for the former.
In 1988 she played on the stage in \ISteel Magnolias\i at the Seymour Centre, Sydney, and also had a part in the film \I\JEmerald City.\j\i However, her appearance in the film \IDead Calm\i (1990) was the turning point in her career. This brought her to international attention and to the notice of United States actor Tom Cruise, who requested that a part be created for her in \IDays of Thunder,\i the racing car film of which he was producer and director, released in 1990.
Other appearances in films include: \IBush Christmas\b\i (1983) and \IBMX Bandits\b\i (1983), \IWills and Burke\b\i (1985), \IWindrider\b\i (1986), \IThe Bit Part\b\i (1987), \IFlirting\b\i (1990), \IFar and Away\b\i (US, 1991), \IBilly Bathgate\b\i (US, 1991), \IMy Life\b\i (1993), \IMalice\b\i (1993).
Kidman and Tom Cruise were married in a secret ceremony on Christmas Eve 1990. Since then she has worked in Hollywood. In 1995 she appeared in the mega successful \IBatman Forever\i and \ITo Die For,\i for which she won a Golden Globe best actress award.
John Krummel trained as an actor at NIDA, graduating in 1965. He came into the national arena as the host Michael in the original Australian production of \Ithe Boys in the Band\i in 1968. Since then he has appeared with most of Australia's state theatre companies in leading roles. Ron Blair wrote \IPresident Wilson in Paris\b\i for him, which premiered at the Nimrod Theatre in Sydney. By 1978 he was resident director of the \JQueensland Theatre Company (QTC)\j where his productions have included \IHabeas Corpus,\b\i \IBreaker Morant,\b\i \IDeathtrap,\b\i \IThe Man Who Came to Dinner,\b\i \IGypsy,\i \IThe Front Page,\i \IThe Barretts of Wimpole Street\i and \IThe Cherry Orchard.\i
Krummel was director of Sydney's Marian Street Theatre (Northside Theatre Company) from 1982-90 where his productions included \I84 Charring Cross Road,\b\i \IMorning's at Seven,\i \ISeason's Greetings,\i \IBlithe Spirit,\i and \ILong Day's Journey Into Night.\i
In 1989 he was awarded both the Sydney Critics' Circle Best Actor Award and the Variety Club of Australia Award for his performance as Alan Turing in Marian Street's production of \IBreaking the Code.\i
In 1991 Krummel starred in the one-man play \ICalliper!\b\i by Timothy Daly at the Parade Theatre, Kensington, and played the part of Andrew Wyke in \ISleuth\b\i at the Sydney Opera House. In 1992 he returned to NIDA as production coordinator of the Power Play season and directed \IDon Juan In Hell\b\i (in which he also played the Devil).
He was reappointed director of Marian Street in 1994. His subsequent productions have included \IThe Chalk Garden, Death Defying Acts, Livingstone, Communicating Doors\i and \IDracula.\i He also appeared as Sir Thomas Beecham in \IBeecham\i (1995 Norman Kessell Memorial Best Actor Award), Truman Capote in \ITru\i (1996 Norman Kessell Memorial Best Actor Award), and Wilhelm FurtwΣngler in \ITaking Sides.\i
\BDescription:\b John Krummel.
\BPhoto:\b John Krummel, Company B and Branco Gaica.
#
"La Boite, Brisbane",464,arts-32.jpg,c,0
\IOpen-stage theatre suitable for experimental productions\i
The La Boite, Brisbane, is designed for theatre-in-the-round performances and can seat some 200 patrons. It opened in 1972 with a Brisbane Repertory Company production.
\BDescription:\b The La Boite, Brisbane.
\BPhoto:\b La Boite Management.
#
"Lake, Dawn",465,0,g,0
\I1927-\i
\ISinger and comedy performer\i
Sydney entertainer who with her husband \JBobby Limb\j worked on television and on the stage in the UK from 1953 to 1957. In the 1960s she appeared with her husband in numerous television variety shows. Her film appearances include \ISqueeze a Flower\b\i (1970), \IWake in Fright\b\i (1971) and \ISunstruck\b\i (1972).
#
"La Mama Theatre",466,fp5057.jpg,c,0
\IMelbourne venue for experimental work and new play writing\i
The Melbourne-based La Mama Theatre aims to nurture new Australian theatre. A vital performance space and prolific production house, it is committed to innovation and to exploring minority as well as general concerns and to a diversity of artistic approach. Since 1967 it has produced more than 800 works, has given initial exposure to a large number of playwrights, actors, directors and technicians as well as poets, musicians, performance artists and experimental film-makers, and has been host to a variety of experimental artists and new and ethnic music groups.
La Mama was established in 1967 by Betty Burstall, modelled on theatre workshops in New York and named after a cafe-theatre there. While living in New York in the 1960s Burstall had been impressed by the informal audience-actor relationship in such venues. In 1967, after her return to Melbourne, she leased a two-storey former shirt factory (built in the 1880s as a printing house), fitted it out as an intimate playhouse where the audience sat only a metre or so from the actors, and made it available to any writer who could organise a group to perform their work.
First to make use of La Mama was \JJack Hibberd,\j whose play \IThree Old Friends\b\i officially opened La Mama in 1967; it was followed by \IWitzenhausen, Where Are You?\b\i by \JBarry Oakley.\j Hibberd's \IDimboola\i premiered there in 1969. La Mama has also premiered the works of Alex Buzo, Barry Dickins, David Williamson, Tes Lyssiotis and Andrew Borell among others and over the years has been home for the \JAustralian Performing Group,\j Tribe and Australian Nouveau Theatre (pre-Anthill.)
\BDescription:\b The La Mama Theatre.
\BPhoto:\b La Mama Management.
\BPic2:\b arts-31.jpg
\BDescription2:\b La Mama Theatre logo.
\BPhoto2:\b La Mama Management.
#
"Lamond, John",467,0,g,0
\I1947-\i
\IFilm director and producer\i
Born in Melbourne, Lamond began working in films as an editor of documentaries. He has also been a film promoter, doing the publicity for \IThe Naked Bunyip\b\i (1970) and \IThe Adventures of Barry McKenzie\b\i (1972). After working as a distributor with the film production and distribution company Roadshow, he turned to production with two sex documentaries. These were followed by a drama feature also on the theme of sex--\IFelicity\b\i (1979), on which Lamond was director and co-producer. In spite of Lamond's boast that it was filmed in the same style as the French film \IEmmanuelle\b\i, it was not greatly successful; however, it led to the South Australian Film Corporation asking Lamond to make a sex comedy for them. This was \IPacific Banana\b\i (1980) which he produced and directed. Subsequent films include \IBreakfast in Paris\b\i (1982) and \ISky Pirates\b\i (1984), made by his own production company.
#
"Lamond, Toni",468,0,g,0
\IStage and television actor and singer\i
Lamond comes from a noted Australian show business family and this tradition has been continued in her son, Tony Sheldon. On the stage since a child, she starred in several musicals. A pioneer in Australian television, she and her husband Frank Sheldon were the first act to appear on opening night of GTV9 Melbourne. She became the first woman in the world to host a tonight show, when in 1962 she compered and starred in \IIn Melbourne Tonight.\i She appeared in night clubs and BBC TV in Britain and recorded two singles for Phillips, London. Her stage and television career in the United States spanned 20 years to 1996 when she returned permanently to Australia to star in musicals, films and television. Her autobiography reached No. 1 on the best seller list. She has won two Logies for best entertainer on television and the Mo Award and Variety Club Award for best actress in a musical for \I42nd Street.\i
#
"Lane, Richard",469,0,g,0
\I1918-\i
\IRadio and television scriptwriter\i
Lane had a long career as a radio writer, noted for adaptations of novels, as well as his own plays and transcriptions of overseas series. His first radio play was \INo Escape,\b\i broadcast by Sydney station 2CH in 1936. After this he wrote for the ABC until 1942 when he joined 2GB-Macquarie where he quickly became chief writer/adaptor for the\I Macquarie Theatre\b\i series of radio plays.
In 1951 Lane turned freelance, writing and producing for most of the Sydney commercial radio stations. His work included the direction of the series \J\IDr Paul\j\b\i, for which he also wrote the scripts after the original American scripts ran out. With the advent of television he changed media and wrote the script for \IAutumn Affair\b\i, the program reputed to be the first serial on Australian television, produced by ATN Channel 7 in 1958 in an attempt to adapt the radio serial format to television. It was followed by \IThe Story of Peter Grey\b\i (1961), a program in a similar vein, also written by Lane. He then wrote for the ABC's \J\IBellbird\j\b\i (began 1967). The success of \IBellbird\b\i inspired the commercial channels to again try Australian soap opera and Lane was one of the writers of \IMotel\b\i (which began in 1968) for ATN-7. He also brought his experience in novel adaptation to the script of the series \IYou Can't See Round Corners\b\i (1967), based on the novel by Jon Cleary. His other work includes a history of Australian radio drama, \IThe Golden Age of Australian Radio Drama 1923-1960\b\i (1994).
Lane was one of the founders of the Australian Writers' Guild and has himself won four Awgie Awards, including one for a \IBellbird\b\i script.
#
"Lang, Ethel",470,0,g,0
\I1902-95\i
Ethel Lang, Australian radio actress, was born in Sydney, the daughter of a well-known interior decorator, on 28th June 1902. Her father went to work in South Africa when she was two and he never returned. She started her radio career with Sydney's 2FC in 1924, when it was owned by Farmers stores. She came to fame as Meg Macarthur in the famous radio serial \IThe Lawsons\i and later \IBlue Hills.\i
In 1923, she married James Brunton Gibb and they acted together in ten minute radio sketches from 1924 until their first child Peter was was born in 1925. They had a total of four children, with daughters Wendy and Barbara, and sons Peter and David. She also worked in commercial radio, starring in 2SM's \IOne Man's Family,\i and in 1943 began her most famous role as Aunt Jenny in \IAunt Jenny's Real Life Stories.\i She died in Sydney on 1st November 1995, aged 93.
#
"Lashwood, Hal",471,0,g,0
\I1919-\i
\IStage and radio comedy actor and television performer and producer\i
Hal Lashwood began his long show business career as a specialty dancer with J.C. Williamson's at the age of 16. He later worked in a number of stage and radio shows, best known as a partner of \JRoy Rene\j for whom he played the straight man. He later filled a similar role when working with Jack Davey in the Colgate-Palmolive Radio Unit. He converted his skills easily to the new medium of television and produced and performed in variety and quiz shows. His productions included \IShower of Stars\b\i for Channel 7, Sydney, and \IHal Lashwood's Minstrels\b\i and \IQuiz Kids\b\i for the ABC.
In 1973 Lashwood was appointed a commissioner of the ABC by the Whitlam government, becoming its first 'worker-director' (as he was still employed by the ABC as a producer). He found himself often in conflict with the mainly conservative membership of the commission over issues such as increased Australian content in drama programs and was removed by the Fraser government in 1976. He was closely involved in Actors' Equity for all his working life and was its president when he retired in the late 1970s. He was also a member of the UNESCO committee on Mass Communication. Later in life he was elected to the Waverley Municipal Council in Sydney as a Labor alderman.
#
"Last Wave, The",472,0,g,0
\IFilm, released 1977\i
This drama of the supernatural stemmed from director \JPeter Weir\j's interest in dreams and visions and his own experience of the latter, the idea for the film being fleshed out with Aboriginal lore. In an Australia that is experiencing strange and unnatural weather conditions, lawyer David Burton is called on to defend an Aborigine. Among the Aborigine's friends he recognises a man he has already seen in a dream. As the film unfolds, Burton, though a lawyer (thought of as the epitome of rationalism), comes to realise that what is happening externally and within himself is announcing a coming apocalypse within an endless cycle of destruction and renewal.
The film enjoyed success at several international festivals before its Australian premiere when it was greeted with some caution and mystification as one of the most imaginative Australian films. It also did reasonably well in the United States and Britain.
\IProduction company\b\i: Ayer Productions
\IProducers\b\i: Hal and \JJim McElroy\j
\IDirector\b\i: Peter Weir
\IScreenplay\b\i: Peter Weir, \JTony Morphett\j, Petru Popescu
\IMajor actors\b\i: Richard Chamberlain (as David Burton), Olivia Hamnett, \JDavid Gulpilil\j, Frederick Parslow, Vivean Gray, Nandjiwarra Amagula
#
"Lawler, Ray",473,0,g,0
\I1921-\i
\IPlaywright\i
Born in Melbourne, Ray Lawler left school at an early age; while working in factories he went to drama classes and began writing his own plays. He gained a job with a variety artist and also wrote shows for children. However, it was not until his tenth play, \J\ISummer of the Seventeenth Doll\j\b\i, was produced in Melbourne in 1955 that he achieved success and renown. Lawler himself played one of the characters in this production, in the 1956 Elizabethan Theatre Trust production in Sydney and also in the subsequent successful London production which won the Evening Standard Award in 1957.
Lawler lived for many years in Denmark, England and Ireland, returning to Australia in 1975 after which he completed the \IDoll\b\i trilogy with \IKid Stakes\b\i (1975) and \IOther Times\b\i (1976). The \IDoll\b\i is considered a landmark in Australian drama because of its pioneering use of ordinary Australian characters and speech patterns and its questioning of some long-held Australian myths and stereotypes. \ISummer of the Seventeenth Doll\b\i was made into a film in 1959; the trilogy was first performed in full by the Melbourne Theatre Company in 1977, and later televised; it was revived by the Sydney Theatre Company in 1985 to celebrate its thirtieth anniversary.
Lawler was appointed deputy artistic director of the Melbourne Theatre Company in 1975, a position he retained until his retirement in 1987. He received the OBE in 1980.
#
"Lawrence, Bruno",474,0,g,0
(1941-95)
Bruno Lawrence, Australian and New Zealand actor and musician, was born David Charles Lawrence in Brighton, England on 12th February 1941. His family came to New Zealand when he was five. Bruno Lawrence started his career as a jazz drummer in the Australian group Max Merritt and the Meteors and turned to acting in the 1970s. His TV credits include \IFrontline,\i and \IThe Great Bookie Robbery.\i His films include \ISmash Palace, The Quiet Earth, Goodbye Pork Pie, Spotswood, Grievous Bodily Harm\i and \IThe Delinquents.\i
He died from lung cancer at his Hawkes Bay home in New Zealand on 10th June 1995, aged 54, and was survived by his wife Veronica, five children and five grandchildren.
#
"Lawrence, Denny",475,0,g,0
\I1951-\i
\IFilm, television and theatre writer and director\i
Sydney-born Lawrence graduated from NIDA and worked as an actor before becoming well-known as a writer and director. He co-wrote \J\IGoodbye Paradise\j\b\i (1982) with \JBob Ellis\j, winning the AFI Award for best screenplay, and wrote and directed the television series \J\IBodyline\j\b\i (1984). He moved into film directing with some shorts, followed by \IEmoh Ruo\b\i (1985), the telemovie \IArcher\b\i (1986) and \IAfraid to Dance\b\i (1988). He has also directed theatre productions, being unusual in feeling comfortable in both mediums. His stage work includes John Misto's play \ISky\b\i in 1993.
#
"Lawrence, Michael",476,0,g,0
\I1935-\i
\ITelevision actor and scriptwriter\i
After working as a radio performer as a child, Lawrence began his television career as an actor. In 1971 he joined with fellow actor \JRobert Bruning\j to form Gemini Productions which was commissioned by the Nine network to produce a situation comedy series they had devised--\IThe Godfathers\b\i. This ran from 1971 to 1973 with both Lawrence and Bruning as principal actors in the early episodes and Bruning also producing while Lawrence wrote the scripts. Lawrence later left the cast to concentrate on writing. Gemini was bought out by Bruning when it failed to sell further series, and later was absorbed into Grundys. Lawrence continued as a freelance writer of high standing. His other work includes the children's series \IThe Lost Islands\b\i (1976) which he devised with producer Roger Mirams and which was also released as a feature film, and several series which he wrote for producer \JHal McElroy\j-- \J\IReturn to Eden\j\b\i (1983-86), \IThe Last Frontier\b\i (1986) and \IWhich Way Home\b\i (1991).
#
"Le Mesurier, Roger",477,0,g,0
\I1949-\i
\ITelevision and film producer\i
Canberra-born Le Mesurier began his career as a production assistant for Channel 7 in Sydney. From 1971 to 1974 he worked with Crawfords as a script editor on such programs as \IDivision 4\b\i. After travelling overseas he rejoined Crawfords in 1977 to work on scripts of \IThe Sullivans\b\i. From 1977 to 1979 he was a producer with South Pacific Television in New Zealand where his productions included \IChildren of Fire Mountain\b\i, written by \JRoger Simpson\j and subsequently sold widely overseas. He then produced \IThe Last Outlaw\b\i (1980, a mini-series about Ned Kelly) for \JIan Jones\j and Bronwyn Binns' Pegasus company.
Le Mesurier's association with Roger Simpson led to the formation of the Melbourne-based company Simpson Le Mesurier in 1980. He produced the feature film \ISquizzy Taylor\b\i for the company the next year. Though praised by critics, the film was not a huge success financially and Simpson Le Mesurier moved back to concentrating on television. Several mini-series, including \ISword of Honour\b\i (1986) and \IDarling of the Gods\b\i (1989), were made with Le Mesurier as producer. \ISword of Honour\b\i won a Logie Award in 1986 for best mini-series. For a while in 1990 they had a contract with the Nine network in Melbourne for a weekly series about policewomen, \ISkirts\b\i. They returned to television mini-series with \ISnowy\b\i (1993) and successfully re-entered film production with \IThe Nostradamus Kid\b\i (released 1993), with Terry Jennings, an experienced film producer now part of the company, as producer and Le Mesurier as executive producer. A recent project is \IHalifax f.p.\b\i (1994), a series of six telemovies for the Nine network.
#
"Lee, Mark",478,0,g,0
\I1958-\i
Mark Lee, Australian actor who starred in the film \IGallipoli\i, was born in Sydney on 19th May 1958, the son of a fireman. He started out at the Independent Theatre in North Sydney, when he was only a child, and at the age of 11 appeared in his first film \IStrange Holiday.\i He also played electric guitar with the rock group One Way Ticket, writing and producing many of the songs. Along with his sister Tracey Anne Lee, they were the support act to Roy Orbison during a concert at the Sydney Opera House. His television work includes \INumber 96, Restless Years,\i and \ISeven Ages of Man.\i
#
"Lee, Nancy",479,0,g,0
\I1906-91\i
Nancy Lee, the most popular female radio star Melbourne has ever produced, was born Kathleen Lindgren in November 1906, the daughter of a civil engineer. She started out singing onstage with her ukulele, singing the Chum's song. Nancy became famous as a children's show host on 3AW with \IChatterbox Corner\i in the 1930s, with her future husband the famous Nicky -- Clifford Nicholls Whitta -- the man who later discovered Graham Kennedy.
Nancy had two sons, Gary and Michael, both of whom entered radio in the 60s. Her husband Nicky died in the driveway of the family home at Ivanhoe on 8th September 1956. He was Melbourne radio's highest ever rating radio personality with 73% of the audience in the 30s and 40s with \IChatterbox Corner\i on 3AW, and later his breakfast show on 3KZ. He became a superstar of the 40s and 50s, when he dominated the housewife audience between 9 and noon on 3UZ.
Nancy wrote a book in 1979 about their life together called \IBeing a Chum Was Fun.\i She died in her sleep on 23rd August 1991, aged 84.
#
"Legend of King O'Malley, The",480,0,g,0
\IPlay, first produced 1970\i
Written by \JBob Ellis\j and Michael Boddy, this highly successful play features the Texan-born King O'Malley, one of the architects of Federation. The playwrights turned his adventures into a swashbuckling musical which included hymns and songs and which borrowed tricks and effects from raucous pantomime, irreverent revue, vulgar music hall and slapstick vaudeville. The only serious part of the play is the mini-debate for and against conscription made by the characters of the then Prime Minister, Billy Hughes, and King O'Malley himself. Conscription was a topical issue for audiences at the time, faced with the nightmare of the twenty-year-olds' birthday ballot to fight in the Vietnam War.
\IFirst produced by\b\i: Sydney's Jane Street Theatre in 1970, directed by \JJohn Bell\j. The cast included John Paramor (as O'Malley), Nick Lathouris, \JRobyn Nevin\j, \JKate Fitzpatrick\j and Rex Cramphorn. The production transferred to the Parade Theatre, went on an interstate tour and returned to Sydney in 1971. The play won four Awgies and the 1970 James Cook Bicentenary Prize.
#
"Lehman, Val",481,0,g,0
\I1943-\i
Val Lehman, Australian actress and theatre director who played Bea Smith in the television series \IPrisoner\i, was born in Perth on 15th March 1943. She studied at the National Theatre and Drama School, and then studied writing, directing and performing review at the Melbourne Institute of Technology. She later spent five years with the Children's Arena Theatre. Her television appearances include \IBellbird\i, \ITandara\i, \IPower Without Glory\i, \IOutbreak of Love\i, and \IA Fortunate Life\i. She won three \Itelevision Week\i Logie awards for her role as Bea in \IPrisoner\i. She now lives near Chiltern in north eastern Victoria.
#
"Lemon, Genevieve",482,fp5051.jpg,c,0
\IStage, film and television actor\i
Lemon was a founding member of the Rocks Players in Sydney in 1977 and for the next four years performed in a variety of roles with them including Celia in \IAs You Like It\b\i and Kath in \IEntertaining Mr Sloane\b.\i In 1982-83 and again in 1985 she toured Australia in David Morley's production of \ISteaming\b.\i Other theatre credits include \IA Midsummer Night's Dream\b\i at the Nimrod in Sydney in 1985, \IThe Seagull\b\i for the Sydney Theatre Company in 1986, David Morley's production of \IWhen I Was a Girl I Used to Scream and Shout\b\i in 1987, \ISummer Rain\i for the Queensland Theatre Company in 1996, \ISummer of the Seventeenth Doll\i for the Melbourne Theatre Company in 1996, \IMerrily We Roll Along\i and \IMiracle City\i for the Sydney Theatre Company in 1996, and \IGulls\i for the State Theatre of South Australia in 1997. She was noticed in \IWhen I Was a Girl I Used to Scream and Shout\i by \JJane Campion\j and invited to play the title role in Campion's noted film \J\ISweetie\j\b\i (1989). She has also appeared in several television series including \IThree Men and a Baby Grand\i (1994) and \IAfter the Beep\i (1995) and is a member of the women's trio The Other Woman.
Film appearances include \IThe Piano\i (1992), \IBilly's Holiday\i (1994) and \IThe Well\i (1996). She has also starred in the cabaret \ILonestar Lemon\i - Wagga and Tasmanian tour 1997.
\BDescription:\b Genevieve Lemon.
\BPhoto:\b International Casting Service and Assoc.
\BPic2:\b fp5052.jpg
\BDescription2:\b Genevieve Lemon.
\BPhoto2:\b International Casting Service and Assoc.
#
"Leslie, Ian",483,0,g,0
\I1944-\i
Ian Leslie, Australian television journalist was born on 6th July 1944. He came to fame as one of the three original reporters on Channel Nine's \I60 Minutes.\i In 1989, he joined Channel 10 to produce documentaries, however in 1990 he was elevated to read the nightly news bulletin. He was forced off the air with laryngitis for two months and was eventually replaced by Eric Walters.
He returned to \I60 Minutes\i to do the odd report and was featured in a Woolworths national advertising campaign when the company was publicly floated. He was also the spokesman for Arnott's biscuits after the 1997 extortion attempt.
#
"Let George Do It",484,0,g,0
\IFilm, black and white, released 1938\i
One of several films produced by Cinesound featuring vaudevillian comic star \JGeorge Wallace\j, this is generally rated the best. The script, dealing with an unemployed stagehand trying to escape from gangsters who have discovered he is heir to a fortune, was more carefully adapted for the screen than the earlier 1930s films and more use was made of cinematic techniques.
\IProduction company\b\i: Cinesound Productions
\IProducer and director\b\i: \JKen Hall\j
\IScreenplay\b\i: George Wallace, Frank Harvey
\IMajor actors\b\i: George Wallace, Letty Craydon, Joe Valli, Alec Kellaway, Gwen Munro
#
"Levey, Barnett",485,0,g,0
\I1798-1837\i
\IMerchant and theatrical entrepreneur\i
Barnett Levey was born in England and came to Sydney in the early 1820s to join his brother, emancipated convict Solomon Levey; Barnett Levey was the first Jewish free settler in Australia. He became an auctioneer and in 1826 began construction of a hotel, the Royal Hotel, and an adjoining warehouse complex containing a temporary theatre (these latter buildings he was forced to sell in 1830).
In 1833, after repeated applications, Levey was finally granted a theatre licence, the first in the colony; his first production, staged in his Royal Hotel, was \IBlack-eyed Susan\b\i. In 1833 he opened Sydney's first permanent theatre--the Theatre Royal--built behind his hotel. After his death, four years later, his widow was unable to continue the business and the theatre closed in 1838.
#
"Levy, Sandra",486,0,g,0
\ITelevision producer\i
Levy started her career as a trainee with the ABC, spent some time with Film Australia and returned to the ABC as a director, working on such shows as \IThe Oracle\b\i (1979). She then became a contract producer for the ABC, establishing her credentials with her first assignment, the highly praised drama anthology \J\ISpring and Fall\j\b\i (1980). Other successes for the ABC included the mini-series \IPalace of Dreams\b\i (1985) about a migrant family in Australia, based to some extent on the experience of Levy's family as Russian Jewish immigrants in the early part of the century. She also produced, with \JAntony Ginnane\j, the feature film \IHigh Tide\b\i (1986).
In 1987 Levy was appointed head of television drama at the ABC, the first woman in this position. She led the ABC in the direction of co-productions with independent producers, such as \IThe Alien Years\b\i (1988) with Resolution Films and \IDarlings of the Gods\b\i (1989) with Euston Films, Simpson Le Mesurier and Thames TV. In 1989 Levy left the ABC to become an independent operator herself. With writer, researcher and producer John Edwards she set up Xanadu Entertainment which in alliance with the distribution and finance-raising company Southern Star Entertainment became Southern Star Xanadu. This brought to three the production companies operating under the Southern Star umbrella, the others being the companies of \JErrol Sullivan\j (Southern Star Sullivan) and \JHal McElroy\j (Southern Star Hal McElroy). Xanadu has mainly packaged for the ABC, being particularly noted for the successful action series \J\IPolice Rescue\j\b\i (began 1992).
#
"Liebmann, Steve",487,0,g,0
\I1944-\i
Steve Liebmann, Australian radio and television host, was born on 4th May 1944. He started out in radio at 2XL Cooma and 2CA in Canberra. He first worked in television at Channel CTC-7 Canberra, where he was news reader. He became a huge success for many years on 2UE, before hosting Channel 7's \I11 am\i program and then the \IToday Show\i for the Nine Network in 1982 for four years. From 1986-89, he was the main news anchor at Channel 7, before returning to Nine in 1990 to once again host the \IToday Show.\i
#
"Life with Dexter",488,0,g,0
\IRadio serial, broadcast 1953-64\i
This family situation comedy developed from the American \IBlondie and Dagwood\b\i series. After legal action prevented the continuation of an Australian adaptation of that series, Willie Fennell wrote, produced and eventually sold a series based on similar characters--the dithery Dexter Dutton, his wife Jessie, children Ashleigh and Janie ('Compost' and 'Death Adder' to each other), K.G. Wilmot, Dexter's boss, and his wife Clara--all recognisable suburban characters. The half-hour episodes of the series were recorded in front of a studio audience at the Macquarie Auditorium. The show was also sold in South Africa and New Zealand and continued well after the introduction of television. It had a repeat run in 1981.
\IBroadcast and produced by\b\i: Macquarie network
\IProducer\b\i: Willie Fennell
\IWriter\b\i: Willie Fennell
\IMajor actors\b\i: Willie Fennell (as Dexter), Moya O'Sullivan, later Margaret Christensen, later Diana Perryman, later Margo Lee (as Jessie), Ray Hartley (as Ashleigh), Amber Mae Cecil (as Janie), Kevin Brennan (as K. Wilmot), \JGwen Plumb\j
#
"Limb, Bobby",489,0,g,0
\I1924-\i
\IBand leader and comedy performer\i
Adelaide-born entertainer Bobby Limb became Australia's youngest professional band leader in 1948. From 1953 to 1957 he worked on the stage and in radio and television in London with his wife \JDawn Lake\j. In the twelve years following his return to Australia he made a number of television variety shows including \IThe Mobil-Limb Show\b\i and \IBobby Limb's Sound of Music\b\i which earned him ten Logie Awards including, in 1963, the Gold Logie. NLT, the film and television production company he formed with \JBill Harmon\j in the 1960s, produced the film \J\IWake in Fright\j\b\i (1971) and the television series \IThe Rovers\b\i (1969-70). His stage work includes \IOut on a Limb\b\i (at the Phillip Theatre), the musical \INo No Nanette\b\i and \INorman is That You?\b\i In 1993 Bobby and Dawn toured New South Wales with their show \IBobby, Dawn and Friends\b\i.
Limb received the OBE in 1967 for his services to entertainment.
#
"Lincoln, W.J.",490,0,g,0
\I?-1917\i
\IWriter, director and producer of silent films\i
Lincoln was one of the directors involved in the proliferation of Australian films in the few years before World War I. Having been a stage actor and playwright, he began exhibiting films in 1904 and then turned to writing and directing. His early films, for N. & J. Tait and Amalgamated Pictures, include \IIt is Never Too Late to Mend\b\i (1911), based on Charles Reade's novel about the English penal system, and \IThe Mystery of a Hansom Cab\b\i (1911), the first Australian feature with a mainly urban setting. He made another five films during 1911 and several in 1912. In 1913 he formed Lincoln-Cass Films with actor Godfrey Cass and the company made eight films before being forced to sell out by the 'combine', the amalgamation of several companies to form the monopolistic Australasian Pictures.
Lincoln formed a new company in 1916 with G.H. Barnes and made several more films, including \IThe Life's Romance of Adam Lindsay Gordon\b\i (1916), before his death in 1917. Very little of his films survive. They were in general adaptations from novels and plays, on familiar themes such as convicts, the romance of the bush, and so on, and many were probably more like filmed versions of stage tableaux. The most popular seem to have been the early 1911 epics.
#
"Little, Jeannie",491,0,g,0
\I1941-\i
Jeannie Little, Australian television personality, was born in Sydney on 11th May 1941. She started out as a secretary and came to fame with her crazy fashions, high-pitched voice and unusual home-spun philosophies on the \IMike Walsh Show\i on Channels 10 and 9 in the 1970s and 1980s. She hosted her own \IJeannie Little Show\i on the Seven Network in 1977. She married interior decorator Barry Little on 23rd October 1971 and they have a daughter Kate (1975). In 1992, she starred in the stage production of \IJerry's Girls\i.
#
"Livermore, Reg",492,0,g,0
\I1938-\i
\IStage actor, singer and playwright\i
Reg Livermore was born in Sydney on 11th December 1938. He did his early training with the Independent Theatre School. He then studied with \JHayes Gordon\j and was a foundation member of the \JEnsemble Theatre Company.\j His stage work includes \IThe Drunkard,\b\i \IThe Canterville Ghost\b\i and \IThe Thracian Horses\b\i for the Ensemble Theatre; for Melbourne's Union Theatre Repertory Company \IDracula,\b\i \IThe Season at Sarsaparilla\b\i and \IMacbeth\b\i; for the Old Tote Theatre Company \IThe Importance of Being Earnest\b\i; for the Tivoli \IThe Wizard of Oz,\b\i and for the Phillip Street Theatre \IThe Knack\b\i and \IA Cup of Tea, a Bex and a Good Lie Down\b.\i In 1970 he took over the lead in the rock musical \IHair,\b\i and later appeared in his own musical \ILasseter\b\i for the Old Tote, in \IJesus Christ Superstar\b\i at the Nimrod and was the original Australian Frank 'n' Furter in the \IRocky Horror Show\b.\i
Livermore wrote and starred in the one-person revues \IBetty Blokk Buster Follies\b\i (1975) and \IWonder Woman\b\i (1976); in 1978 he wrote and directed the musical \INed Kelly\b\i for the Adelaide Festival trust, followed by \ISacred Cow\b\i (which he took to London in 1980), \ISon of Betty,\b\i \IBig Sister\b\i (1988), \IMother Goose\b\i (1993), an adult pantomime, and \IWish You Were Here\b\i (1994).
From 1996 Reg appeared on the television show \IOur House.\i
#
"London, Len",493,0,g,0
\I1922-92\i
Len London, Australian radio announcer, was born in 1922. He started out with a Sydney advertising agency, but left during WWII to serve with the Infantry Battalion in New Guinea. His deep rounded voice was heard on Sydney radio for 50 years as a newsreader, actor, compere, disc jockey and commentator. In 1951, he became compere and director of 2UW's \IAmateur Hour\i as well as landing leading roles in Tivoli Theatre musicals.
After a 22-year career with 2UE from 1952-74, he joined 2CH and remained there for 13 years until he retired in 1987. He was also heard on the Cinesound Newsreels and was a regular commentator of Anzac Day broadcasts. He died in Sydney on 12th November 1992, aged 70.
#
"Long, Joan",494,fp5059.jpg,c,0
\IFilm writer and producer\i
Born in Victoria, Joan Long began working in the film industry as an assistant for the Commonwealth Film Unit (later Film Australia) in 1948, and in the early 1950s wrote and directed documentaries and educational films. After some years spent bringing up her family she returned to the Unit, first as a freelance scriptwriter in 1963, then as a staff scriptwriter in 1967. She wrote, among other scripts, the two-part film history of the Australian cinema, \IThe Pictures That Moved\b\i (1969) and \IThe Passionate Industry\b\i (1972, also director). Both scripts won Australian Writers Guild awards for documentary, and they also won a Vittoria de Sica award from Italy for script. She also wrote the script for a short fiction film, \IPaddington Lace\b\i (1971), that was influential at the time.
Long resigned from the Commonwealth Film Unit in 1973 to concentrate on her first feature-length screenplay, \J\ICaddie\j\b\i (1976). While the finance was being raised she developed the idea for \IThe Picture Show Man\b\i (1977, director John Power), which she wrote and produced through the company she formed in 1975, Limelight Productions. She co-produced \IPuberty Blues\b\i (1981) with scriptwriter Margaret Kelly (director Bruce Beresford). She produced \J\ISilver City\j\b\i (1984, director Sophia Turkiewicz) and \J\IEmerald City\j\b\i (1989, director Michael Jenkins). Long's feature films have received a total of 23 AFI nominations and have won in seven categories. \ISilver City\i was voted best feature film in 1985 by the Sydney Critics Circle.
Long was president of the Australian Writers Guild 1972-73 and a member of the Australian Film Council 1970-73. She has served on Government committees, including the Interim Commission to the Australian Film Commission (1974), the Council of the Australian Film and Television School (1973-75), the Interim Committee for the National Film and Sound Archive (chairperson 1984-85 and committee member 1987-91). Long was co-author with Martin Long of \IThe Pictures That Moved, a Pictorial History of the Australian Silent Cinema\i (1981). She wrote a two-part article on early Australian women film directors and producers in \ICinema Papers\i (1976). She has given many talks on the Australian film industry over the years.
In 1980 Long was awarded an AM for services to the Australian film industry. In 1991 she was awarded the Dorothy Crawford award by the Australian Writers Guild. She is a BA (Hons) in History from Melbourne University.
Born in Victoria as John Longford, he worked as a stage actor in India, New Zealand and Australia before entering the film industry, working on Cozen Spencer's documentary \IThe Burns-Johnson Fight\b\i in 1908. Having been a member of the Dampier stage company, he acted in early films made by \JAlfred Rolfe\j and Lily Dampier and was given a permanent position with Spencer's Pictures. His directing debut was with \IThe Fatal Wedding\b\i (1911), followed by \IThe Romantic Story of Margaret Catchpole\b\i (also 1911), among others. He continued to act in some of his early films, along with \JLottie Lyell\j who became his companion and partner in creative enterprises. Spencer's was able to build a new studio at Rushcutter's Bay, Sydney, with the profits from Longford's films. \IAustralia Calls\b\i (1913), an atypical propaganda film warning of Asian invasion, was the last of Longford's films for Spencer. After the amalgamation of Spencer's Pictures and three other companies to form a combine, there was a guaranteed supply of imported films. This, as well as World War I, caused a drop in Australian film production.
Then came \IA Sentimental Bloke\b\i (1919). It took Longford a long time to arrange funding and a release venue for this film which became the most successful film of its day and is still regarded as one of the classics of Australian cinema. In this he left behind the melodrama of his earlier films and developed the technique of using outside locations to add to realism. Subsequent notable films directed and written by Longford include \J\IOn Our Selection\j\b\i (1920), \IGinger Mick\b\i (1920), \IThe Dinkum Bloke\b\i (1923) and \IFisher's Ghost\b\i (1924). In most of these cameraman \JArthur Higgins\j made a substantial contribution.
Of particular significance was the collaboration of Lottie Lyell who co-wrote the scripts, took part in editing and art direction, and supervised the business side of the operation. Her early death in 1925 adversely affected Longford's career, as did the growth of the large film companies. The last film which he directed was \IThe Man They Could Not Hang\b\i (1934). He ended his working life as a nightwatchman. However, there has been a revival of recognition of his mastery of film technique, his unorthodoxy and his contribution to the establishment of the Australian film industry. From 1977 the AFI has presented an annual special award in his name.
#
"Lovejoy, Robin",496,0,g,0
\I1923-1985\i
\IStage actor, director and designer\i
Born in Fiji, Lovejoy came to Australia with his parents as a boy. He began his career in theatre as a designer with the old Metropolitan Theatre, Sydney, and created the masks and some of the costumes for the world premiere of John Antill's Australian ballet \ICorroboree\b\i in 1950. By the late 1950s he was directing and designing for the Australian Elizabethan Theatre Trust and was a driving force in the establishment of NIDA and the Old Tote Theatre Company. In 1959 he founded the Trust Players whose role was to present classics and contemporary plays, including new Australian plays. These were performed at the Elizabethan Theatre, Newtown, and then at the Palace Theatre in central Sydney. They include \ILong Day's Journey into Night\b\i, \IThe Hostage\b\i and \IThe One Day of the Year\b\i.
From 1965 to 1969 Lovejoy was co-director of the Old Tote Theatre Company, and director from 1969 to 1974. In December 1977 he was made a member of the board of the Australian Elizabethan Theatre Trust. During the last ten years of his life he produced for the Australian Opera and the Victoria State Opera and was head of directing and design courses at NIDA. Robin Lovejoy was awarded an OBE in 1974 for his services to theatre.
#
"Lovell, Patricia",497,arts-39.jpg,c,0
\IFilm producer\i
Sydney-born Pat Lovell was familiar to television audiences as an actor, panelist and morning show host, particularly the ABC's \IMr Squiggle\b\i and Channel Seven's \IToday Show\i and \IBeauty and the Beast.\i She gave up television work in 1974 to concentrate on film-making. In 1971, when Australian films were undergoing a renaissance, she conceived the idea of making a film from the novel \J\IPicnic at Hanging Rock\j\b.\i She negotiated the rights with author Joan Lindsay, helped develop the screenplay and involved director \JPeter Weir.\j Hal and Jim McElroy came in as co-producers to the production and Lovell appeared in the credits as executive producer when the film was released in 1975.
Subsequent films as producer include \IBreak of Day\b\i (1976), \ISummerfield\b\i (1977), \J\IGallipoli\j\b\i (1981), \J\IMonkey Grip\j\b\i (1982) and the telemovie \IThe Perfectionist\b\i (1985). All her productions except for \ISummerfield\i won industry awards and Lovell was awarded an MBE for her services to film and television in 1978, and an AM for services to the Australian film industry in 1986. Her autobiography, \INo Picnic,\i was published in 1995.
\BDescription:\b Patricia Lovell.
\BPhoto:\b Patricia Lovell and the Australian Film, Television and Radio School.
#
"Lovely, Louise",498,0,g,0
\I1895-1980\i
Louise Lovely, Australian silent film and vaudeville star, was born in Sydney on 28th February 1895, the daughter of an Italian musician father and a French-speaking Swiss mother. She went to Hollywood in 1914 when she was only 19 and her films included \IThe Wreck of the Dunbar, The Last of the Duanes, The Wings of the Morning\i and \IJewelled Nights.\i
In 1912, she married writer-actor Wilton Welch; they divorced in 1928 and she married Andrew Cowen, a Melbourne theatre manager. In 1949, they moved to Tasmania, where he managed the Hobart's Prince of Wales Theatre. She lived another 30 years until her death, aged 85 in 1980.
#
"Lowenstein, Richard",499,0,g,0
\I1959-\i
\IFilm director\i
Melbourne-born Lowenstein had been a cameraman and had a little directing experience when he made his first feature, \IStrikebound,\b\i in 1983. This story of a miners' strike in the 1930s was written by Lowenstein, based on a book by his mother Wendy Lowenstein. It developed from his documentary \IEvictions\b\i (1979), maintaining a documentary-like directness. Two characters were played by people who had actually been involved in the strike. The film, though unusual, was critically praised, as was Lowenstein's next feature \IDogs in Space\b\i (1986), an uncompromising and unpatronising depiction of inner-city youth culture, including drug involvement. The screenplay was again written by Lowenstein who, as in \IStrikebound,\b\i used oral history and accounts of real-life experience as his base. He describes his films as idealistic and as demonstrating that challenging accepted social norms can be a creative and productive way of living. His next film, \ISay a Little Prayer\b\i (1993), carried on this theme. Based on a novel by Robin Klein, it deals with a young boy entranced by an older drug-addicted girl.
Lowenstein also has a reputation as a director of rock videos, making his name with work for INXS. He has travelled extensively in Eastern Europe and South America making video clips and in 1990, while in Nicaragua for this purpose, ended up making an election campaign advertisement for the Sandinistas.
His most recent screenplay, \IHe Died With a Felafel in His Hand\i - adapted from the book by John Birmingham, was shot in 1997 with Richard directing.
#
"Luhrmann, Baz",500,0,g,0
\I1962-\i
\IFilm, stage and opera director\i
Born near Wauchope, New South Wales, Luhrmann attended NIDA in the early 1980s where he gained a reputation as a dark, brooding figure, capable of bringing a surprising element of comedy to his work. He and fellow students devised the dance drama \IStrictly Ballroom\b\i as a second-year project at NIDA. This won best direction at the World Youth Theatre Festival in Czechoslovakia in 1986 and was performed by the Six Years Old Company set up by Luhrmann and colleagues in 1988. There was widespread criticism of other productions of this company but Luhrmann went on to great success with the film version of \J\IStrictly Ballroom\j\b\i (1992) (which, among many other awards, won the AFI 1992 best direction award). Working closely with designer \JCatherine Martin,\j Luhrmann has directed a number of award-winning operas for the Australian Opera, including Puccini's \ILa BohΦme\i (1992, revived 1996) and \IA Midsummer Night's Dream\i (1993, revived 1996). Another of Luhrmann's highly successful films include \IRomeo and Juliet\i in 1996.
#
"Lunn, Don",501,0,g,0
\I1936-\i
Don Lunn, former top Melbourne DJ of the 60s, was born in Tasmania on 5th December 1936. He worked on radio 3UZ in Melbourne and was king of the one-line joke book style pattern. In 1977, he was program manager of 5KA Adelaide and in the 1980s he hosted a Saturday night oldies show on 3KZ, now GOLD-104.
#
"Lyell, Lottie",502,lottie.jpg,c,0
\I1890-1925\i
\IActor, writer and producer of silent films\i
Sydney-born Lottie Lyell is best known as an actor with outstanding horse-riding skills and is sometimes referred to as Australia's first film star. However, she also wrote the scripts of many of her films and played a significant part in the production of the films of \JRaymond Longford\j with whom she was personally and creatively associated after their meeting as actors in the early film \ICaptain Midnight\b\i (1911).
Her other films as actor include \IThe Fatal Wedding\b\i (1911), \IMutiny on the Bounty\b\i (1916, co-writer), \IThe Sentimental Bloke\b\i (1919) in which she played Doreen, \IGinger Mick\b\i (1920, co-writer) and \IRudd's New Selection\b\i (1921). She was the co-producer and assistant director for \IThe Dinkum Bloke\b\i (1923) and wrote the script for \IThe Pioneers\b\i (1926), which appeared after her death from tuberculosis. However, these credits do not do justice to the vital production and administrative role she played in Longford's films. Her premature death appears to have been one of the main factors in the decline of his career.
\BDescription:\b Lottie Lyell \I(Film Australia and Dr Gordon Smith)\i
#
"Mad Max",503,0,g,0
\IFilm, released 1979\i
\IMad Max\b\i, one of the most successful Australian films ever made, was not released until two years after it was shot. It was the idea of producer \JByron Kennedy\j and director George Miller who had earlier made a short film satirising the debate about film violence. Following this theme through, \IMad Max\b\i is a kind of surrealistic horror fantasy. Set in an Australia of the future, it is about the struggles between a gang of motorcycle riders, led by The Toecutter, who terrorise all and sundry and the leader of a special police road unit, Max Rockatansky. It was financed entirely by private money and the exigencies of organising this held up post-production for some time. Once finished, it was taken up by the Roadshow film production and distribution house who sold it into the United States, thus achieving an international release. It was hugely popular and widely praised for its unusual but gripping story and technical excellence.
\IProduction company\b\i: Mad Max Pty Ltd
\IProducer\b\i: Byron Kennedy
\IDirector\b\i: \JGeorge Miller\j
\IScreenplay\b\i: James McCausland, George Miller
\IMajor actors\b\i: \JMel Gibson\j (as Mad Max), Joanne Samuel, Hugh Keas-Byrne (as The Toecutter), \JSteve Bisley\j, Tim Burns, Roger Ward, Vincent Gil
#
"Mad Max II",504,0,g,0
\B(In the US, Road Warrior)\b
\IFilm, released 1982\i
Following the huge success of \I\JMad Max\j\i, a large budget was forthcoming for the Kennedy and Miller team to make a sequel, using some of the residual ideas from the first film. Though backed by Warner Bros in the United States, \IMad Max II\i was made in Australia, with the country around Broken Hill being used as the setting for the arid, desolate future world devastated by global conflict. As The Toecutter was killed at the end of the first film, the main enemy of ex-policeman Max is now the giant Humungus who, with his gang of barbarian road warriors, is besieging the petrol refinery because fuel has become a precious commodity. Unlike many sequels, the film was very successful. The third and final Mad Max film, \IMad Max III: Beyond Thunderdome\i (1985), made after the death of Byron Kennedy, was less so.
\IProduction company\b\i: Kennedy Miller Entertainment
\IProducer\b\i: \JByron Kennedy\j
\IDirector\b\i: \JGeorge Miller\j
\IScreenplay\b\i: Terry Hayes, George Miller, Brian Hannant
\IMajor actors\b\i: \JMel Gibson\j (as Mad Max), \JBruce Spence\j, Vernon Wells, Emil Minty, Mike Preston, Kjell Nilsson (as Humungus), \JMax Phipps\j
#
"Magistrate, The",505,0,g,0
\ITelevision mini-series, first broadcast 1989\i
A co-production between Australian, Italian and British television companies, this major undertaking was set up by writer Chris Warner and his producer partner Kim Dalton. It is a complex political thriller with a central theme of organised crime and corruption. The action moves between Calabria in Italy and Australia and was shot in both locations. Paolo Pizzi is a Calabrian magistrate locked in battle with the local mafia. He has an Australian wife, Jean, acquired when he immigrated many years earlier, and from whom he has separated. Jean visits him in Italy to tell of the disappearance of their son Robbie and to enlist his help in the search. After their intimate reunion Jean is murdered by Paolo's political enemies and he returns alone to Australia to take up the search. There he is assisted by Detective Sergeant Roger Davies, a down-to-earth honest Australian policeman he had previously met in Calabria, and by Claire Boyd, a clever and determined investigative journalist. In the course of finding Robbie they uncover a multi-layered intrigue of police and political corruption on an international scale.
\IThe Magistrate\b\i was widely praised, its three two-hour episodes structured to be suspenseful and engrossing. A shortened film version was made and released in some overseas countries.
\IProduction company\b\i: ABC, Warner Dalton Productions, Rete Italia Spa (Italy), TVS TV (UK)
\IExecutive producers\b\i: Graham Benson, Ross Dimsey, Patrizia de Crescenzo
\IProducers\b\i: Kim Dalton, Chris Warner
\IDirector\b\i: \JKathy Mueller\j
\IScriptwriter\b\i: Chris Warner
\IMajor actors\b\i: Franco Nero (as Paolo), Catherine Wilkin (as Claire), \JJulia Blake\j (as Jean), Dennis Miller (as Roger Davies), Steve Bastoni, Victoria Rowlan
#
"Majestic Theatre, Sydney",506,0,g,0
\IMelodrama theatre and cinema\i
The Majestic Theatre in Newtown, Sydney, was designed by Henry E. White and opened in 1917. It seated 1550 and was notable for its Louis XV-style auditorium with baroque panelling and balcony fronts. It was part of the Fullers organisation. In 1955 it was leased by the newly-formed Australian Elizabethan Theatre Trust, which reopened it in 1955 as the Elizabethan Theatre.
#
"Malcolm",507,0,g,0
\IFilm, released 1986\i
This film grew from the desire of husband-and-wife team David Parker and Nadia Tass to make a film outside the commercialised `junk' (as they saw it) of much of the films made in the 1980s. They formed Cascade Films, mortgaged their house and eventually managed to raise financial backing. With the main character based on Parker's brother John, \IMalcolm\b\i is an original and moving comedy about a mentally retarded man, presenting eccentricity free of the usual traces of condescension. A surprise popular success, it also scooped the pool at the 1986 AFI Awards, winning eight prizes including best film, best direction and best actor.
George Mallaby, Australian actor, was born George Frederick Mallaby in Durham, England, on 4th November 1939. He starred in a number of television series, such as \IHomicide\i, \ICop Shop,\i \IPower Without Glory\i, and \IPower and the Passion\i. Mallaby's films include \IEnd Play\i, \IPetersen\i, \IEliza Frazer\i and a bit part in the 1977 James Bond film, \IThe Spy Who Loved Me\i. In the 1990s, he suffered from ill health.
#
"Man From Snowy River, The",509,0,g,0
\ISilent film, black and white, released 1920; sound film, released 1982 with sequel 1988; television mini-series broadcast 1994\i
\B1.\b\i The first film based on the poem by A. B. ('Banjo') Paterson was planned by \JBeaumont Smith\j to be one of a series of new 'super-Australian' films. On its release in Brisbane it was hailed as the best Australian film so far. However, it did not have the high budget Smith originally envisaged and appears to have been shot to formula rather than being innovative. The film has not survived.
\IProduction company\b\i: Beaumont Smith Productions
\IProducer, director, screenplay\b\i: Beaumont Smith
\IMajor actors\b\i: Cyril Mackay, Stella Southern, Tal Ordell, Hedda Barr, John Cosgrove
\B2.\b\i The 1982 film is only loosely based on Paterson's poem, which is the starting point for an old-fashioned action/romance film. The 'Man' is Jim Craig, a youth who is befriended by Spur, an old mountain man, after the death of his father. Jim finds work on a cattle station where he falls in love with Jessica, the daughter of the owner, Harrison. Looked down on as a 'mountain man', Jim's prospects improve when he rescues Jessica, caught out in the mountains in a storm. He finds that Spur and Harrison are in fact brothers, separated by a family feud. Jim is finally completely accepted after his feat of chasing and bringing back a valuable colt that has escaped and joined up with the wild horses. This thrilling scene is the highlight of the film (all of which was shot in the Victorian High Country, rather than in the Snowy Mountains).
In fact, the photography was the sole aspect of the film that appealed to the critics but the film was an immediate and great success with the public. The sequel, \IThe Man From Snowy River II\i (1988), was not so successful, though rated technically as good as if not better than its predecessor.
\IProduction company\b\i: Michael Edgley International-Cambridge Films
\IExecutive producers\b\i: \JMichael Edgley\j, Simon Wincer
\IProducer\b\i: Geoff T. Burrowes
\IDirector\b\i: \JGeorge Miller\j
\IScreenplay\b\i: John Dixon, from original by Fred Cullen (based on the poem by A. B. Paterson)
\IMajor actors\b\i: Kirk Douglas (as Spur and Harrison), \JJack Thompson\j, \JTom Burlinson\j (as Jim Craig), \JSigrid Thornton\j (as Jessica), \JLorraine Bayly\j, Terence Donovan
\B3.\b\i The mini-series was made during 1992, with sales to the United States as a main aim. The story line involved the Man (Matt) becoming involved with a widowed neighbour, Kathleen O'Neill, and an American nephew arriving with a mission to prove that his father, Dan, was as heroic as Uncle Matt. Screening was held up by a copyright challenge from the makers of the two films. It was eventually shown in the US in late 1993 and in Australia on the Nine network in 1994.
\IProduction company\b\i: Pro Film
\IProducer\b\i: Richard Becker
\IDevelopment producer\b\i: \JLynn Bayonas\j
\IScriptwriters\b\i: Peter Shreck (lead), also Ted Roberts, Everett de Roche, Peter Kinloch, Margaret Kelly, David Phillips
\IMajor actors\b\i: Andrew Clarke (as Matt), \JWendy Hughes\j (as Kathleen)
#
"Man of Flowers",510,0,g,0
\IFilm, released 1983\i
Some say this was the best film made by director \JPaul Cox\j while others regard it as unbearably pretentious. Based on a storyline developed by Cox during a period of frustration with film-making and with dialogue scripted by \JBob Ellis\j, the film followed Cox's idea of making Australia's first 'really erotic' film and was made on a very small budget. The central character, Charles Bremmer, is obsessed and inward-looking, filling his big lonely house with flowers and writing long letters to his dead mother to exorcise his childhood memories and his voyeuristic attraction to beautiful women such as Lisa, an artist's model. He moves into positive action when he helps Lisa arrange the death of her violent artist lover, David, and has the corpse bronzed and presented to the city as a statue. Very successful at art-house cinemas in Australia and overseas, the film won the Grand Prix at the Chicago Film Festival and lead actor \JNorman Kaye\j won best actor at the AFI Awards.
\IProduction company\b\i: Flowers International
\IProducer\b\i: Jane Ballantyne
\IDirector\b\i: Paul Cox
\IScreenplay\b\i: Paul Cox, Bob Ellis
\IMajor actors\b\i: \JNorman Kaye\j (as Charles), Alyson Best (as Lisa), \JChris Haywood\j (as David), Sarah Walker, \JJulia Blake\j, Werner Herzog, Hilary Kelly
#
"Manganinnie",511,0,g,0
\IFilm, released 1980\i
The first of only two features made by the Tasmanian Film Corporation, \IManganinnie\b\i tells of a woman separated from her people during the rounding up of the Tasmanian Aborigines in the 1830s and her journey with a lost white child, Joanna. The Aboriginal lead actor spoke in her own language, sometimes translated by the child. The film was modestly successful and more than recovered its costs.
\IProduction company\b\i: Tasmanian Film Corporation
\IExecutive producers\b\i: \JGil Brealey\j, Malcolm Smith
\IProducer\b\i: Gilda Baracchi
\IDirector\b\i: John Honey
\IScreenplay\b\i: Ken Kelso (from the novel by Beth Roberts)
\IMajor actors\b\i: Mawuyul Yanthalawuy (as Manganinnie), Anna Ralph (as Joanna), Phillip Hinton, Elaine Mangan
#
"Mann, Collette",512,0,g,0
\I1950-\i
Collette Mann, Australian comedienne and actress, was born in Melbourne in 1950. She starred in the television series \IPrisioner\i and \IThe Don Lane Show\i and the stage production \IA Couple of White Chicks.\i In 1988-89, she hosted the morning radio show on Melbourne's 3UZ and in 1991 \ILet's Go Cooking\i on Channel 9.
#
"Mann, Tracy",513,0,g,0
\I1957-\i
\IActor of film, television and stage\i
Born in Adelaide, Tracy Mann appeared as a child with the Adelaide Repertory Company and as a teenager was a founder member of the State Theatre Company of South Australia's Saturday Company. Her theatre work includes \IWinnie the Pooh\b\i (1973, Harry M. Miller Organisation); \IThe Rape of Lucretia McColl\b\i (1982, Griffin Theatre Company); \IPeter Pan\b\i (1982, Regent Theatre Company); \ICatholic Schoolgirls\b\i (1984) which she co-produced and performed in; \ICrystal Clear\b\i (1986, at the Wharf, Sydney) for which she won the Theatre Critics' Circle Award; \IThe Recruiting Officer\b\i (1988, Queensland Theatre Company) and \IThe Heidi Chronicles\b\i (1992).
Her film work includes \IThe Box\b\i (1975), \IHard Knocks\b\i (1979) for which she won the AFI best actress award and a Sammy Award for best new talent, \IGoing Down\b\i (1980), \IFast Talking\b\i (1983) and \IReckless Kelly\b\i (1991).
Her television work includes the series \IThe Box\b\i, \IThe Sullivans\b\i, \J\ICop Shop\j\b\i, \J\IPrisoner\j\b\i and \ISkirts\b\i, and the mini-series \IThe Cowra Breakout\b\i and \ISword of Honour\b\i (for which she won a Logie as the best actress in a mini-series).
#
"Marian Street Theatre, Sydney",514,fp5053.jpg,c,0
\ITheatre in suburban Sydney\i
The Marian Street Theatre was the dream of English-born actor \JAlexander Archdale\j who settled in the northern suburbs of Sydney in 1960. In 1965 he founded the Community Theatre Limited, with a paid-up membership of 500. In 1968 the company moved into its permanent home, a community hall which had been renovated with the assistance of the local Ku-ring-gai Council. Its first production there was John Osborne's \IThe Entertainer,\b\i starring Archdale, who remained artistic director of the theatre until 1970. Later productions include \ISide By Side By Sondheim\b\i (with \JBarry Creyton),\j \IA Christmas Carol\b\i (with \JNoel Ferrier),\j \I84 Charing Cross Road\b\i (with \JLeonard Teale\j and \JJudi Farr)\j and \IBreaking the Code\b\i (with \JJohn Krummel).\j
In 1974 the theatre took the name Marian Street Theatre and although this was changed to Northside Theatre Company during the 1980s, it returned to the former name in 1990. In 1983 the company was awarded the Sydney Critics' Circle Award for the most significant contribution to Sydney theatre. In early 1994 financial difficulties forced the theatre to cease trading; subsequently, John Krummel, director from 1982-89, was reappointed to that position and the theatre reopened in early 1995.
Marian Street's hall dates from 1906, and was used as a Soldiers' Memorial Hall after World War I. In the late 1940s it was used for local dramatic productions for both amateurs and professionals \J(Peter Finch\j and \JMichael Pate\j appeared there). Since becoming the home of the Marian Street Theatre, it has been refurbished several times, in 1979, 1982 and again in 1990.
\BDescription:\b Marian Street Theatre production of Gone To Bali, starring Jason Chong, Tony Llewellyn Jones and Kate Manning.
\BPhoto:\b Marian Street Theatre Management and Branco Gaica.
\BPic2:\b arts-34.jpg
\BDescription2:\b Marian Street Theatre logo.
\BPhoto2:\b Marian Street Theatre Management.
#
"Marinos, Lex",515,0,g,0
\I1950-\i
\IActor and theatre director\i
Marinos grew up in Wagga Wagga, New South Wales, the son of Greek parents. He left his home town at the age of thirteen to attend a Sydney high school, later studying arts at the University of New South Wales and acting at NIDA. In 1978 his acting career began with a workshop reading of \INo Room for Dreamers\b\i and by 1980 he was working as an announcer on radio station 2JJ (now Triple Jay). In 1981 he coordinated a season of short Australian plays at Sydney's Stables Theatre and in 1982 played the detective, Con Kandos, in the movie \IHoodwink\b\i written by Bob Ellis.
Marinos became a high-profile actor when he accepted the role of the Italian son-in-law Bruno in the TV series \IKingswood Country\b\i which ran until 1984. He made his debut as a film director in 1985 with \IAn Indecent Obsession\b\i, based on a novel by Colleen McCullough, and directed the telemovie \IPerhaps Love\b\i in 1986. By 1991 he was directing the ABC comedy series starring \JMax Gillies\j and from 1992-94 he was a regular presenter on the Controversy Corner panel of the ABC's series \ILive and Sweaty\b\i. In 1993 he played the role of Dr Feldman, a psychiatrist, in the two-handed play \IDuet for One\b\i in Melbourne's George Fairfax Studio.
#
"Marionette Theatre of Australia",516,0,g,0
\IExperimental puppet theatre\i
The Marionette Theatre of Australia (MTA) was formed by the Australian Elizabethan Theatre Trust in 1965. It grew out of an earlier company, Tintookies, founded in 1956 by Peter Scriven, MTA's artistic director from 1965 to 1976. Productions under Scriven included \ITintookies\b\i, \IThe Magic Pudding, The Water Babies\b\i, \IThe Explorers\b\i, \ILittle Fellow Bindi\b\i and \IThe Return of the Magical Tintookies\b\i. Following the appointment of Richard Bradshaw as artistic director in 1976 the company became more involved in exploring various forms of puppet theatre--rod puppets were used in \IRoos\b\i (1977) and \IAlitji in Wonderland\b\i (1977) was an Australian adaptation for shadow puppets of the classic Lewis Carroll story.
In 1978 MTA produced \IThe King of Bungawallop\b\i for ABC television and in 1979 \IThe Mysterious Woman\b\i played in Hobart, Sydney, Canberra and Melbourne and was presented at the Asian-Pacific Puppetry Festival in Tokyo. \ICaptain Lazar and his Earthbound Circus\b\i, MTA's first adult production, opened the 1980 Adelaide Festival and was followed in the same year by a new version (using rod puppets) of Norman Lindsay's \IThe Magic Pudding\b\i. 1981 saw \ISmiles Away\b\i, in which the puppeteers were on stage with their almost life-size puppets as 'extras'. In 1983 MTA moved into its own theatre in Sydney's historic Rocks district and there staged \IRapunzel in Suburbia\b\i, created by designer \JKim Carpenter\j and based on poems by \JDorothy Hewett\j. \IThe Wind in the Willows\b\i (1986) featured incidental music written by jazz composer Judy Bailey. \JMax Gillies\j provided the voices in the 1988 production of \IThe Magic Pudding\b\i. In 1990 funding difficulties caused the disbandment of MTA and its puppets were auctioned off.
#
"Martin, Catherine",517,0,g,0
\ICostume and set designer\i
Sydney-based Catherine Martin completed one year at Sydney College of the Arts in 1983 and spent from 1986 to 1988 studying design at \JNIDA.\j Her best-known theatrical work includes sets and costumes for \J\IStrictly Ballroom\j\b\i and \IHaircut\b\i directed by \JBaz Luhrmann\j; designs for \ICoc- Cola Bottlers Dance Hall\b\i with Pardon Me Boys (Festival of Sydney); set designs for \IDiary of a Madman\b\i (Belvoir Street Theatre) and costume designs for \ITales of the Vienna Woods\b\i (NIDA). Her film and video designs include production design for \IStrictly Ballroom\b\i and design of John Paul Young's re-released video clip \ILove is in the Air\b\i (Sony Music). She shares a love of opera with her partners Baz Luhrmann and \JBill Marron\j and has designed several productions for the Australian Opera. For her first Australian Opera engagement in 1988 she co-designed the sets and costumes for \ILake Lost--The Ra Project.\i She has since designed the sets and costumes for Puccini's \ILa BohΦme\i (1992) and Benjamin Britten's \IA Midsummer Night's Dream\i (1993).
Her awards include the 1989 Victorian Green Room Award in design, the 1990 Loudon Sainthill Memorial Scholarship, the Prix de la Jeunesse for best film and runner-up in the Camera d'Or prize section, Cannes Film Festival, the 1992 AFI Award for production design for \IStrictly Ballroom,\b\i and the 1993 British Academy Film & Television Award for production design.
#
"Mason, Richard",518,fp5056.jpg,c,0
\I1926-\i
\IFilm producer\i
Sydney-born Mason worked for many years with the Commonwealth Film Unit (later Film Australia), writing and producing documentaries. He was a member of the first council of the Australian Film and Television School, formed in 1973. In 1978 he resigned from Film Australia after the cancellation of one of its features, \IThe Unknown Industrial Prisoner,\b\i which he was to have produced, and as head of Alfred Road Films and later Astra Films went into commercial film production. His films include \J\IWinter of our Dreams\j\b\i (1981), \J\IFar East\j\b\i (1982), \IOne Night Stand\b\i (1983), \IRedheads\b\i (1991), \IThe Boy Who Had Everything\i and \IBroken Highway.\i
\BDescription:\b Richard Mason with his son Steven (Director of Photography).
\BPhoto:\b Richard Mason.
#
"Mason, Steve",519,0,g,0
\I1954-\i
\ICinematographer\i
Sydney-born Mason became widely known as one of a new breed of Australian cinematographers with his work on \J\IStrictly Ballroom\j\b\i (1992). His earlier work had included several television documentaries and the films \ILuigi's Ladies\b\i (1989) and \IWaiting\b\i (1990); more recent film work includes \IRedheads\b\i (1991), \IBroken Highway\b\i (1992) and \IThe Custodian\b\i (1993).
#
"Mavis Bramston Show, The",520,0,g,0
\ITelevision revue show, broadcast 1964-68\i
The background of this program of satirical sketches was multifold--influences from the BBC satirical revue \IThat Was the Week That Was\b\i can be detected, while it can also be seen as a development of the long-running stage show, the \IPhilip Street Revue\b\i. Several of the key performers, such as \JGordon Chater\j, Carole Raye, \JBarry Creyton\j and \JJune Salter\j, were experienced revue entertainers. The show went to air on the Seven network in a late Saturday night timeslot and became almost obligatory viewing for a large section of the population who enjoyed its poking fun at various sacred cows.
\IProduction company\b\i: ATN-7
\IProducers\b\i: Various
\IDirectors\b\i: Various
\IScriptwriters\b\i: Various, including \JEleanor Witcombe\j
\IMajor actors\b\i: Gordon Chater, Carol Raye, June Salter, Barry Creyton, Barbara Wyndon, Ron Frazer, \JBryan Davies\j, Bunny Gibson, Johnny Lockwood, Miriam Karlin, John Bluthal, \JNoeline Brown\j
#
"McAlpine, Donald",521,0,g,0
\I1934-\i
\ICinematographer\i
Born in New South Wales, Don McAlpine worked for the ABC as assistant cameraman from 1962 and joined the Commonwealth Film Unit (later Film Australia) in 1966, becoming chief cameraman in 1968. He moved from documentary filming to feature films at the beginning of the film industry revival in the 1970s and was director of photography on many of the key films of the period, often working in collaboration with director \JBruce Beresford\j.
His work includes \IThe Adventures of Barry McKenzie\b\i (1972); \IBarry McKenzie Holds His Own\b\i (1974); \J\IDon's Party\j\b\i (1976); \IThe Getting of Wisdom\b\i (1977); \IThe Money Movers\b\i (1978); \J\IMy Brilliant Career\j\b\i (1979) for which he won the AFI Award for cinematography; \IThe Odd Angry Shot\b\i (1979); \IThe Club\b\i (1980;) \J\IBreaker Morant\j\b\i (1980), for which he again won the AFI Award for cinematography; \IPuberty Blues\b\i (1981) and \IThe Fringe Dwellers\b\i (1986). McAlpine has also worked extensively overseas since 1981, his films including \IThe Tempest\b\i (UK, 1981), \IMoscow on the Hudson\b\i (US, 1984) and \JPhillip Noyce\j's \IPatriot Games\b\i (US, 1992). Much of his recent work has been with American director Paul Mazursky.
#
"McCallum, Charles",522,0,g,0
\I1901-92\i
Charles McCallum, Australian actor and pioneer broadcaster, was born in 1901. He came to fame as the cantankerous Uncle Ed in ABC radio's long running serial \IBlue Hills,\i which ran for 5,795 episodes. Uncle Ed was regarded by author of the series, Gwen Meredith, as one of her all time favourite characters. He appeared in the stage production of \INed Kelly, Call Me Madam\i and \ISail Away.\i
His film credits include the 1927 version of \IFor The Term of his Natural Life\i and \IThe Devil's Playground.\i His television appearances include \IBodyline, The Last Bastion, A Country Practice\i and \IReturn to Eden.\i He died in Sydney on 13th February 1992, age 91.
#
"McCallum, John",523,0,g,0
\I1918-\i
\IActor of stage and film, theatre director and film producer\i
John McCallum was born in Brisbane, trained at RADA in London and worked in repertory theatre in the United Kingdom before World War II. In 1955, with his wife \JGoogie Withers\j, he toured Australia for J.C. Williamson's with the comedy \ISimon and Laura\b\i and \IThe Deep Blue Sea\b\i. He returned to Australia in 1958 with the comedy \IRoar Like a Dove\b\i and stayed on to become managing director of J.C. Williamson's, a position he held until 1966. He returned to the stage as co-star with Googie Withers in \IRelatively Speaking\b\i (1968) which he also co-produced. In 1993 the pair toured regional New South Wales with \IHigh Spirits\b\i, a show devised and directed by McCallum.
His films in Australia include \IA Son is Born\b\i (1946), \J\ISmiley\j\b\i (1956), \J\IThey're a Weird Mob\j\b\i (1966) as executive producer, \IThe Intruders\b\i, again as executive producer, \IThe Nickel Queen\b\i (1971) as director, producer and co-writer, and \IAttack Force Z\b\i (1980) and \IHighest Honour\b\i (1984), both as executive producer. His television work includes the series \J\ISkippy\j\b\i and \IBoney\b\i, both as executive producer.
It was while working as executive producer on \IThey're a Weird Mob\b\i that McCallum met \JLee Robinson\j and with solicitor Bob Austin as a partner the three set up Fauna Productions. Their first production was the highly successful television series \ISkippy\b\i (first produced in 1968), which they shot in colour, although colour television had not yet reached Australia--the series was bought by the Nine network and was also sold into more than one hundred overseas markets. A second series, \IBarrier Reef\b\i (1969-70), was less successful, but a third, \IBoney\b\i, featuring an Aboriginal detective and shot on location in the Northern Territory, made up for this. Fauna's last production was the police adventure series \IShannon's Mob\b\i.
#
"McCreadie, Tom",524,0,g,0
\I1907-92\i
Tom McCreadie, Australian film director, producer and pioneer, was born in 1907. He directed many films and documentaries in the post WWII period. His movies include \IAlways Another Dawn, Into the Straight,\i and \IKangaroo Kid.\i He died on 23rd August 1992, aged 85.
#
"McDonagh, Paulette",525,0,g,0
\I?-1978\i
\IFilm producer and director\i
Born in Sydney, Paulette McDonagh and her sisters Phyllis (?-1978) and Isobel (?-1981) used their family wealth to set up a film production company, McD Productions. Their aim was to emulate Hollywood and make Australian films of a higher class than what they saw as 'Dad 'n' Dave idiot stupidity'. They used their palatial home as a location setting.
Paulette studied film technique by watching American films and became the producer and director of their films, as well as writing scripts. She was one of the very few women directors in the world at the time. Phyllis was art director and business and publicity manager and Isobel, who had some film acting experience, played the lead female roles under the pseudonym Marie Lorraine. Their first films were society dramas. \IThose Who Love\b\i (1926), was co-directed by P.J. Ramster and received muted acclaim. Their next production, \IThe Far Paradise\b\i (1928), was one of the most successful Australian films of the 1920s. \IThe Cheaters\b\i (1930) could not compete with the first of the American sound films entering Australia at the time, in spite of the later addition of some sound sequences.
The McDonagh sisters made some sound featurette documentaries in the early 1930s, followed by their only full sound feature, \ITwo Minutes Silence\b\i (1933). Based on an anti-war play, this represented a complete change of style from their previous films. Though it received wide pre-publicity and was regarded by Paulette McDonagh as the best of their films, it was not well received by the public. In spite of Paulette's efforts to continue in film production, the financial failure of this film led to the disbandment of the McDonagh company.
#
"McDonald, Garry",526,gmcdonld.jpg,c,0
\I1948-\i
\IActor, known especially for comedy roles\i
Garry McDonald was born in Sydney and after graduating from NIDA in 1967 appeared in a number of Old Tote Theatre Company productions including \IThe Legend of King O'Malley\b\i, \IArturo Ui\b\i and \IThe Government Inspector\b\i; for the Nimrod he appeared in \IMeasure for Measure\b\i and \IYoung Mo\b\i; and for the Sydney Theatre Company his appearances include \IThe Floating World\b\i (1986), \J\IEmerald City\j\b\i (1988, including the London season), \ILoot\b\i (1988) and \IMuch Ado About Nothing\b\i (1992).
His talent for comic satire became apparent in the \IAunty Jack\b\i television shows of the mid-1970s where the Norman Gunston character first appeared. McDonald's later television work includes \IWollongong the Brave\b\i; \IThe Norman Gunston Show\b\i; \IThe Garry McDonald Show\b\i; \IMy Name's McGooley--What's Yours?\b\i; \ISnake Gully With Dad 'n' Dave\b\i; the highly successful comedy series \J\IMother and Son\j\b\i with \JRuth Cracknell\j, which ran from 1984; and \IEggshells\b\i (1993).
His film appearances include \J\IPicnic at Hanging Rock\j\b\i (1975), \IThe Picture Show Man\b\i (1977), \IGinger Meggs\b\i (1982), \IWills and Burke: The Untold Story\b\i (1985), \IThose Dear Departed\b\i (1987) and \IStruck By Lightning\b\i (1990). He has also released several comedy albums including \ISalute to Abba\b\i and \INylon Degrees\b\i.
His alter-ego, Norman Gunston, made a comeback in the early nineties before McDonald suffered a mental breakdown. In 1995 he was honoured by the program \IThis is Your Life,\i appeared in the televison series \IFire II,\i and also the theatrical production \IAladdin.\i His latest television role was \IFallen Angels\i for the ABC.
Jackie McDonald, Queensland television personality, was born in Brisbane on 26th November 1953. She was raised at Blackall in Central Queensland and spent eight years at boarding school at the New England Girls School. She started in television as compere of a children's show on QTQ9 in 1973, and later became weather girl. She joined Digby Wolfe on the Seven Network for the Australian \ILaugh-In\i series, but it never eventuated.
She then joined Brisbane's Channel 0 and hosted \IBreakfast with Jackie Mac.\i In 1979 she joined the Nine Network for \IHey Hey it's Saturday\i and has won a total of eight Logies. She retired from the show in 1989 to concentrate on having a family. She married Queensland dermatologist Dr Michael Pitney in 1984 and gave birth to daughter Lucy Kate on 6th June 1990; her other children include Thomas (1993) and Emma Rose (1995).
In 1991 she returned to television hosting the National Nine Network's \IAustralia's Funniest Home Video Show\i and in 1992 joined Network Ten to host a lifestyle show and also promoted a fashion range for K-Mart stores. She has more recently appeared on \IHealthy Wealthy and Wise\i and \IMidday\i with Derryn Hinch. In 1996 she hosted \IFox Travel\i on Foxtel cable television.
#
"McDonald, Pat",528,0,g,0
\I1922-90\i
Pat McDonald, Australian actress, was born in Melbourne on 1st August 1922. She starred as the nosy Dorrie Evans in the hit Australian television soap, \INumber 96.\i Her father was chief engineer at AWA and was often transferred overseas, which saw her attending schools in England and Germany. She appeared in many plays and her television work included \IHomicide, Division 4\i and \ISons and Daughters.\i She died from cancer in a Sydney hospital on 10th March 1990, aged 68.
#
"McElroy, Hal and Jim",529,fp5058.jpg,c,0
\IHal 1946- and Jim 1946-\i
\IFilm and television producers\i
The Melbourne-born McElroy twins pursued separate careers in radio, television and film before joining up in Sydney in 1970 when both were assistant directors on Tony Richardson's \INed Kelly\b.\i They formed a partnership and began joint production with \IThe Cars That Ate Paris\b\i (1974) which became the first Australian film to gain international recognition at the Cannes Film Festival; their production company McElroy and McElroy played an important part in the rebirth of the Australian film industry.
Subsequent productions include \J\IPicnic at Hanging Rock\j\b\i (1975), \IThe Last Wave\b\i (1977), \IBlue Fin\b\i (1978, Hal McElroy producer) and \IThe Year of Living Dangerously\b\i (1982, Jim McElroy producer). In the 1980s the McElroys moved into television, with productions including \J\IReturn to Eden\j\b\i (1982), \ILate Night with Jono and Dano\b\i (1986) and \IShark's Paradise\b\i (1987). Jim McElroy has also continued producing films, such as \JJohn Seale\j's first feature \ITill There Was You\b\i (1989), Pauline Chan's feature debut \ITraps\b\i (1994), \IA Dangerous Summer, Remember Me\i and \IMr Reliable.\i
In 1992 Hal and Jim amicably decided to go their separate ways and Hal set up a new joint venture entitled Hal McElroy - Southern Star.
Hal released a successful feature film \IThe Sum of Us\i in 1994. It won best screenplay adaptation at the AFI awards and best actor, best support, and again best adapted screenplay at the Film Critics Circle of Australia awards.
Hal created \IBlue Heelers\i for the Seven Network in 1994 and this drama became the No. 1 drama show on Australian television in 1994. Continuing still, \IBlue Heelers\i is the No. 1 show across Australia and has been sold in 55 countries. Hal also launched the successful series \IWater Rats\i in 1996 for the Nine Network. More recently, Hal created, with Jennifer Rowe, a murder mystery series for the Nine Network called \IMurder Call.\i
\BDescription:\b Hal McElroy
\BPhoto:\b Hal McElroy and Southern Star.
\BPic2:\b arts-22.jpg
\BDescription2:\b Southern Star logo.
\BPhoto2:\b Hal McElroy and Southern Star.
#
"McFarlane, Andrew",530,fp5054.jpg,c,0
\I1952-\i
\IActor of film, television and stage\i
Andrew McFarlane was born in Melbourne and graduated from NIDA in 1973. Film work includes \IBorn to Run\b\i (1975), \IBreak of Day\b\i (1976) and \IDoctors and Nurses\b\i (1981). His television work includes the series \IDivision 4,\b\i \J\ICertain Women,\j\b\i \IThe Sullivans,\b\i \IPatrol Boat,\i \IThe Flying Doctors\i and \IThe Violent Earth.\i His stage work includes \IThe Club,\b\i \IThe Day After the Fair,\b\i \IA Chorus of Disapproval,\b\i \ITalley's Folly,\i \IGulliver's Travels\i and \IThe River\i and the Sydney Theatre Company productions of \IThe Normal Heart,\b\i \ICyrano De Bergerac,\i \IKing Lear\i and \ITwo Weeks with the Queen.\i
\BDescription:\b Andrew McFarlane.
\BPhoto:\b International Casting Service and Assoc.
#
"McGregor, Julie",531,fp5060.jpg,c,0
\I1948-\i
\IComedy actor and singer\i
Julie McGregor is based in Sydney. Her stage work includes touring with the \IRocky Horror Show\b\i (1974), \IPandora's Cross\b\i (1978, Paris Theatre), \IBackyard\b\i (1980, Nimrod), \IAs You Like It\b\i (1982, Nimrod) and \IThe Sentimental Bloke\b\i (1986, Melbourne Theatre Company tour). Her film appearances include \IBackroads\b\i (1977), \IPalm Beach\b\i (1979) and \IRunning Man\b\i (1982). Her television work includes the telemovie \IDeadline\b\i (1981), appearances in the series \J\ISons and Daughters\j\b\i and \IA Country Practice,\b\i the comedy show \IThe Naked Vicar Show,\b\i the mini-series \IThe Last Resort\b\i (1988) and an ongoing role in the comedy series \IHey Dad!\b\i (1987-94).
In 1988 McGregor formed the Madrigirls singing group, an a capella singing group which performed in cabaret shows at the Belvoir Street Theatre, Sydney, and among other appearances gave two shows at the Sydney Opera House. Opera singer Jennifer McGregor is her sister.
\BDescription:\b Julie McGregor.
\BPhoto:\b June Cann Management.
#
"McGuire, Eddie",532,0,g,0
\I1964-\i
Eddie McGuire, Melbourne television and radio presenter, was born in Melbourne on 29th October 1964, and grew up in Faulkner. In 1994, he was appointed host of the Nine Network's Melbourne edition of \IThe Footy Show\i, which soon became Victoria's most popular television show. He married Carla Galloway in Melbourne on 8th February 1997. He is also heard on the 2MMM-FM drive-time show and Friday night \ISports Show.\i
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"McIntosh, Hugh",533,0,g,0
\I1876-1942\i
\ISporting and theatrical entrepreneur\i
Hugh McIntosh was born in Sydney and began his career selling food at sporting events, eventually building up a chain of restaurants. In 1908 he promoted a boxing match between world heavyweight boxing champion Tommy Burns and the Australian Bill Squires, erecting a huge unroofed structure at Rushcutter's Bay, Sydney, that was the forerunner of the Sydney Stadium. He staged several other fights on the same site, including the racially-charged bout between Burns and black American boxer Jack Johnson (which Johnson won), before selling the enterprise to athlete and movie star 'Snowy' Baker in late 1912. In the same year he bought Harry Rickard's Australia-wide Tivoli Circuit, beginning a new career in vaudeville management. He opened a new theatre in Brisbane in 1915 and had great success with revues (in particular the Tivoli Follies, which featured local artists and over a two and a half year period gave more than 1000 performances in Australia and New Zealand).
Following his 1919 and 1920 successes with the musicals \IThe Lilac Domino\b\i and \IChu Chin Chou\b\i he sold the rights to J. C. Williamson Ltd. Later ventures were not so profitable and he died penniless in England.
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"McKenna, Elaine",534,0,g,0
\I1937-92\i
Elaine McKenna, Melbourne television personality and singer, was born in Melbourne in 1937. In the 1960s, she was one of the Nine Network's brightest stars and was the permanent singer on \IIn Melbourne Tonight.\i She married American comedian Tim Evans who came to live in Australia. They had three children: Julie-Ann (1965), Andy (1967), and Glen (1972). She died from cancer in Melbourne on 8th January 1992, aged 54.
#
"McKern, Leo",535,0,g,0
\I1920-\i
\IActor of stage, film and television\i
Leo McKern, now based in London, was born in Sydney where he first worked in engineering and commercial art. In the mid-1940s, early in his acting career, he toured military camps and bases near Sydney with the Metropolitan Players. He moved to England in the late 1940s, where he worked on the stage and in film and television. He is best known for his leading role in the British television series \IRumpole of the Bailey\b\i. Most of his work has been done outside Australia and includes \IThe Mouse That Roared\b\i (1959), the Beatles' film \IHelp\b\i (1965) in which he played the villain, \IA Man for All Seasons\b\i (1966), \IRyan's Daughter\b\i (1970) and \IThe French Lieutenant's Woman\b\i (1981).
His first Australian film was \J\ITravelling North\j\b\i (1986) for which he won the AFI best actor award. In 1994 he was set to play Dad in a Mel Gibson remake of the Steele Rudd classic \J\IOn Our Selection\j\b\i.
In 1953, as a member of the Stratford-upon-Avon Memorial Theatre Company, he toured Australia for J.C. Williamson's. In 1989 he toured in the play \IBoswell for the Defence\b\i.
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"McLachlan, Craig",536,0,g,0
\I1965-\i
Craig McLachlan, Australia actor, was born in Sydney on 1st September 1965. After working as a model he had his own pop group The Y-Fronts. He then gained bit parts in television commercials before coming to fame in \ISons and Daughters, Neighbours\i and \IHome and Away.\i He won the Silver Logie for the most popular television actor in Australia in 1989.
Divorced from his childhood sweetheart Karen Williams, he married actor Rachel Friend in 1993. His 1990 hit song, 'Amanda', was dedicated to his wife Rachel whose middle name is Amanda. However in April 1995, he announced that he was separating from Rachel because their careers took them to different parts of the world. In 1991, he hosted \IVizard's Tonight Live\i for one week, made a brief re-appearance in \IHome and Away\i and had a part in the television mini-series \IHeroes 2.\i
He had moderate success with the songs 'Amanda', 'Mona' and 'On My Own'. In 1992, he starred as Frank N Furter in the stage production of \IThe Rocky Horror Show.\i In July 1993, he starred in \IGrease\i at London's Dominion Theatre.
#
"McLean, John",537,fp5072.jpg,c,0
\I1939-\i
\ICinematographer\i
Born in New South Wales, John McLean began his career as a photographic laboratory assistant in the early 1950s. He worked as focus-puller, then camera operator, on a number of overseas film productions in Australia, such as \ISmiley Gets a Gun\b\i (1958) and \IThe Age of Consent\b\i (1969), and since has been director of photography on several films including \IThe Cars That Ate Paris\b\i (1974), \ITouch and Go\b\i (1980), \ITurkey Shoot\b\i (1982) and \IDaisy and Simon\b\i (1988). His work in Australia has been interspersed with trips to the United States where he has worked in both television and film. John McLean also shot Paul Gallico's famous book \ISmall Miracle\i in Italy for the Hallmark Hall of Fame and won best Australian feature film for \IHands of Cormac Joyce\i (which also received an Emmy nomination). In 1994, McLean shot a television special \ILifeline to Laos\i and now works primarily overseas.
\BDescription:\b John McLean at work on set.
\BPhoto:\b John McLean.
\BPic2:\b fp5073.jpg
\BDescription2:\b John McLean.
\BPhoto2:\b John McLean.
#
"McLean, Ron",538,0,g,0
\ITelevision scriptwriter and producer\i
Ron McLean was one of the writers of \IThe Rovers\b\i (1969), the last production of NLT Productions. After the company's demise, McLean joined with \JRoger Mirams\j to make \ISpyforce\b\i (began 1971) and \ISilent Number\b\i (began 1974), for both of which he was associate producer as well as chief writer. Both were well-made but after the lack of success of the latter, McLean and Mirams separated and McLean began writing for Grundys. His credits include \IKing's Men\b\i (1976), \IGlenview High\b\i (1977), \ICase for the Defence\b\i (1978) and \IBellamy\b\i (1981).
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"McMahon, Gregan",539,0,g,0
\I1874-1941\i
\IActor and theatrical producer\i
Gregan McMahon was born in Sydney. He worked briefly for a law firm before turning to the stage in 1900 and by 1906 was firmly established as a character actor. His ambition was to direct ensemble productions of contemporary playwrights such as G. B. Shaw and W. B. Yeats, and to this end in 1911 he founded the \JMelbourne Repertory Theatre\j which in the following seven years introduced Melbourne audiences to a range of modern English and European dramas as well as Australian works.
McMahon moved to Sydney in 1918 to work in the commercial theatre as a producer for J. C. Williamson Ltd, then coming under the control of the Tait family. In 1920, in an arrangement with the Taits, McMahon set up the Sydney Repertory Theatre to present 'special repertory plays'. In 1928 his proposal for a single full-time professional company to serve both Sydney and Melbourne resulted in the formation of the short-lived Gregan McMahon Play Company, entirely sponsored by Williamsons. It did not see out the year, and McMahon returned to Melbourne where he set up the semi-professional repertory group, the \JGregan McMahon Players\j. He eventually staged some ninety plays, including, in 1936, the English-language premiere of G. B. Shaw's \IThe Millionairess\b\i.
McMahon was awarded the CBE in 1938 in recognition of his services to theatre.
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"McMahon, Julian",540,0,g,0
\I1968-\i
Julian McMahon, actor and model, was born in Sydney on 27th July 1968. The son of former prime minister Billy McMahon, and Sonia, he starred in the TV mini-series \IThe Pride and the Passion\i and the soap \IHome and Away.\i On 2nd January 1994 he married singer Dannii Minogue. However by January 1996 they had separated and divorced 12 months later. In 1997 he starred in the American TV series, \IProfiler.\i
#
"Meadows, Gary",541,0,g,0
\I1939-82\i
Gary Meadows, Australian television and radio personality, was born in Perth in 1939. He was the original Australian host of the television quiz show \IThe Price is Right\i. He made a name for himself in radio and television in Perth where he was the morning radio king for many years. He died on 22nd July 1982, aged 43, at the studios of 3DB in Melbourne, when he arrived to do his new nightly radio show.
#
"Meagher, Ray",542,arts-35.jpg,g,0
\I1944-\i
Ray Meagher, Australian actor, was born in Roma, Queensland on 4th July 1944. He played rugby union and represented his state before working as a rugby commentator for QTQ-9 for two years. He worked as salesman and other assorted jobs before drifting into acting, and by 1992 had become a household name as Alf Stewart in the television soap \IHome and Away.\i
His other television appearances include \IMatlock, Number 96, Rush, The Restless Years, Glenview High, The Oracle, Prisoner, Cop Shop, Kingswood Country, Waterloo Station, Vietnam, The Shiralee, A Fortunate Life, True Believers\i and \ISpit Macphee.\i He has starred on stage in \IDimboola, Biggles Street Opera, Comedians, Over There\i and \IThe Big Men Fly.\i
Ray's film credits feature \IThe Bee Eater, The Earthling, The Journalist, Newsfront, Do I Have To Kill My Child, Money Movers, The Chant of Jimmy Blacksmith\i and \IMad Dog Morgan.\i
#
"Media, Entertainment and Arts Alliance",543,arts-35.jpg,c,0
\IArts trade union\i
The Media, Entertainment and Arts Alliance (MEAA) is the trade union for actors, dancers, amusement workers, crew and technicians in the theatre, television and film industries. It was formed in 1992 by the amalgamation of the Australian Journalists Association with Actors Equity of Australia (which had been formed in 1939 with a history dating back to the Actors Federation of Australia formed in 1919) and the Australian Theatrical and Amusement Employees Association (formed 1915, succeeding the Australian Federated Stage Employees Association of 1910).
MEAA also represents musicians employed in the major symphony orchestras (previously known as the ABC Orchestras). The professional interests of musicians are represented by the Musicians' Union.
\BDescription:\b Media, Entertainment and Arts Alliance logo.
\BPhoto:\b Media, Entertainment and Arts Alliance.
#
"Meillon, John",544,0,g,0
\I1934-89\i
\ILeading actor of film, television and theatre\i
John Meillon was born in Sydney and began his acting career at the age of eleven in the ABC radio serial \IStumpy\b\i; in the following year he made his first appearance on the stage. At sixteen he joined the Shakespeare Touring Company. His first film appearance was a small role in \IOn the Beach\b\i (1959). He worked in London from 1959 to 1965. His films include \IThe Sundowners\b\i (1960), \J\IThey're a Weird Mob\j\b\i (1966), \J\IWalkabout\j\b\i (1971), \J\IWake in Fright\j\b\i (1971), \ISunstruck\b\i (1972), \IThe Dove\b\i (US, 1972), \IThe Cars That Ate Paris\b\i (1974), \ISide Car Racers\b\i (1975), \IInn of the Damned\b\i (1975), \IBorn to Run\b\i (1975), \IThe Fourth Wish\b\i (1977) for which he won the AFI best actor award, \IThe Picture Show Man\b\i (1977), \J\IHeatwave\j\b\i (1982), \IThe Wild Duck\b\i (1983), \IFrenchman's Farm\b\i (1986), \J\ICrocodile Dundee\j\b\i (1986), \IThe Everlasting Secret Family\b\i (1987) and \ICrocodile Dundee II\b\i (1988).
His television work includes the series \IMy Name's McGooley--What's Yours?\b\i (1966-68), \ILuke's Kingdom\b\i (1976), \J\IScales of Justice\j\b\i (1983) and the mini-series \IThe Dismissal\b\i (1983). His stage work includes \IDeath of a Salesman\b\i and \IRattle of a Simple Man\b\i.
#
"Melba Story, The",545,0,g,0
\IRadio serial, first broadcast 1949\i
This combination of music, drama and narration told the life story of Dame Nellie Melba in 26 half-hour episodes. It had great success in Australia and also ran in Fiji, Rhodesia (now Zimbabwe), Hong Kong, Malta, New Zealand, Singapore, South Africa and Trinidad.
\IBroadcast by\b\i: Commercial networks
\IProduction company\b\i: Crawford Productions
\IProducer\b\i: \JDorothy Crawford\j
\IMusical director\b\i: \JHector Crawford\j
\IWriter\b\i: John Reid
\IMajor actors/singers\b\i: Glenda Raymond (as Nellie Melba), Careen Wilson (Nellie as a child), Eric Pearce (announcer)
#
"Melbourne Film Festival",546,fp5098.jpg,c,0
\IFestival of Australian and international films\i
The Melbourne International Film Festival was founded in 1952, and is the oldest established film festival in the Southern Hemisphere. It is a showcase for a variety of films, including features, documentaries, experimental films, retrospectives, animation and shorts from around the world. The Festival traditionally begins in late July in a number of the city of Melbourne's most celebrated cinemas and theatres.
\BDescription:\b Melbourne Film Festival.
\BPhoto:\b Melbourne Film Festival.
#
"Melbourne International Comedy Festival",547,arts-16.jpg,c,0
\IAnnual gathering of comedians\i
The Melbourne International Comedy Festival, with Montreal and Edinburgh, is one of the three largest comedy festivals in the world and one of Melbourne's most high profile and well-attended cultural and tourist events. The first festival took place in 1987 and it continues to showcase and celebrate the best of Australia's comic artists, nurture and develop new work and present the finest of international comic talent through a huge program of plays, cabaret, theatre sports, exhibitions, film, television, radio, music and street entertainment.
\BDescription:\b Melbourne International Comedy Festival logo.
\BPhoto:\b Melbourne International Comedy Festival Management.
#
"Melbourne Festival",548,fp5100.jpg,c,0
\IAnnual art festival in Melbourne\i
The Melbourne Festival is held over seventeen days in October and November and features opera, music, theatre, dance, visual arts and a writers' week. It began in 1986 as the third in the worldwide Spoleto Festival series, all founded by composer Gian Carlo Menotti--the first, in the town of Spoleto, Italy, began in 1957 and the second in the United States in 1977. Melbourne's Spoleto Festival changed its name to the Melbourne International Festival of the Arts in 1990 and to Melbourne Festival in 1997. Menotti was founding director of the festival, followed by \JJohn Truscott,\j \JRichard Wherrett,\j Leo Schofield and, in 1997, Clifford Hocking. The 1998 and 1999 festivals will be directed by Sue Nattrass.
\BDescription:\b Melbourne Festival.
\BPhoto:\b Melbourne Festival.
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"Melbourne Repertory Theatre",549,0,g,0
\ISuccessful repertory theatre group\i
The Melbourne Repertory Theatre was founded in 1911 by actor and director \JGregan McMahon\j. In its first seven years it staged Australian plays as well as the best of overseas drama--works by Chekhov, Ibsen and Shaw. In 1918 McMahon was signed up by the Tait family of theatrical management to produce repertory theatre in Sydney. There he established the Sydney Repertory Theatre and throughout the 1920s directed both companies. The Taits made available to the Melbourne Repertory Theatre their Comedy Theatre, Melbourne, which opened in 1928, and proposed that the Sydney Repertory Theatre should become a full-time professional touring company, supported in part by the subscriptions of both the Sydney and Melbourne groups. When this was rejected by both groups McMahon parted company with the Melbourne Repertory Theatre and formed the \JGregan McMahon Players\j; the Sydney Repertory Theatre was wound up. \JDoris Fitton\j, who later established the Independent Theatre, Sydney, was a student in both the Melbourne and Sydney groups.
#
"Melbourne Theatre Company (MTC)",550,fp5108.jpg,c,0
\IState theatre company in Victoria\i
In 1968 the Union Theatre Repertory Company (UTRC) changed its name to the Melbourne Theatre Company. In the same year it was chosen by the Australia Council for the Arts for major subsidy, and assumed the responsibilities of a state theatre company. In 1973 MTC extended its operations from Russell Street to the 404-seat St Martin's Theatre in Toorak (which used to be called the Little Theatre), and in 1977 exchanged this venue for the Athenaeum Theatre in Collins Street, a larger theatre with seating for 880. Since 1984 the Playhouse at the \JVictorian Arts Centre\j has been used along with Russell Street. In 1995 MTC moved into the Fairfax, a 400-seat venue, in the Victorian Arts Centre after Russell Street was closed.
\JJohn Sumner\j was the founding director, Ray Lawler and Wal Cherry worked with the company while it was the UTRC. He directed until 1987, and was followed by \JRoger Hodgman.\j The company has produced works by most of Australia's main playwrights, works by contemporary foreign dramatists and also classic works. In the 44 years since Sumner founded the UTRC, the company has produced more than 600 plays, of which over 200 are Australian. Writers, directors and actors associated with the MTC over this period include \JZoe Caldwell,\j \JSimon Chilvers,\j \JBarry Humphries,\j \JAlan Hopgood,\j \JRay Lawler,\j \JReg Livermore,\j \JKeith Michell,\j \JAlan Seymour,\j \JPatrick White\j and \JDavid Williamson.\j
\BDescription:\b The Melbourne Theatre Company.
\BPhoto:\b The Melbourne Theatre Company.
\BPic2:\b fp5101.jpg
\BDescription2:\b The Melbourne Theatre Company.
\BPhoto2:\b The Melbourne Theatre Company.
#
"Mellor, Aubrey",551,0,g,0
\I1947-\i
\ITheatre director\i
Queensland-born in Gayndah, Mellor is a graduate of NIDA where he also worked as resident director. Awarded a Churchill Fellowship in 1972, he travelled to many Eastern countries to study techniques of theatre and ritual, including the art of No. Building on this interest, he was a member of the first Australian Theatre People's Tour to China.
Mellor was appointed deputy director of NIDA in 1986 due to his reputation as one of Australia's leading acting tutors and his experience in directing training productions. He took up the position of artistic director of the Queensland Theatre Company late in 1988 and has directed productions such as \JDorothy Hewett\j's \IThe Man from Mukinupin\b\i and \JDavid Williamson\j's \ITop Silk\b\i. In the Queensland Theatre Company's twentieth anniversary year of 1991 he directed \IThe Cherry Orchard\b\i and two Australian world premieres: \IOn the Whipping Side\b\i by Errol O'Neill and \J\IMoney and Friends\j\b\i by David Williamson, which he also directed for the 1992 season at the Sydney Theatre Company. As one of Australia's leading directors, Mellor has directed for most of Australia's best-known theatre companies, including a period spent as co-artistic director of Sydney's Nimrod Theatre Company with \JJohn Bell\j from 1981. His notable productions at Nimrod include many Australian plays such as \JMichael Gow\j's \IThe Kid\b\i and the premiere of \JStephen Sewell\j's \IBurn Victim\b\i. In 1990 he directed the world premiere of \JHannie Rayson\j's \IHotel Sorrento\b\i for Melbourne's Playbox Theatre. This production transferred to the STC in 1991 and in 1993 he directed Williamson's \IBrilliant Lies\b\i at the STC.
In 1994 Mellor took up the position of artistic director at Melbourne's Playbox Theatre Company when Carrillo Ganter stepped down.
#
"Melville, Henry",552,0,g,0
\I1800-73\i
\IPlaywright\i
Born in England as Henry Saxelby Melville Wintle, Melville came to Australia in 1827 and established himself in Tasmania as a newspaper proprietor, publisher and landowner. He printed and published \IQuintus Servintor: A Tale Founded on Incidents of Real Occurrence\b\i which had been written anonymously by Henry Savery in 1831 and was the first novel to be published in Australia. Melville's play \IThe Bushrangers\b\i (or \INorwood Vale\b\i), another landmark in Australian history, was the first play written by a resident to be produced in Australia and to deal with an Australian subject.
#
"Mendelsohn, Ben",553,0,g,0
\I1969- \i
Ben Mendelsohn, Australian actor, was born in Melbourne on 3rd April 1969. He started out in the television mini-series version of \IThe Young Doctors\i, and later appeared in \IThe Henderson Kids\i, \IThe Special Squad\i, \IA Country Practice\i, and \INeighbours\i. He won the AFI award for best supporting actor for his first major role in \IThe Year my Voice Broke\i in 1987.
His other films include \IReturn Home\i, \IThe Big Steal\i, \INirvana Street Murder\i, \IQuigley Down Under\i, \ISpotswood\i and \IShine\i. His stage performances include Steele Rudd's \IOn Our Selection\i, staged in Melbourne in 1992.
#
"Mercurio, Gus",554,0,g,0
\I1928-\i
Gus Mercurio, Australian actor and boxing referee, was born in Wisconsin, America on 10th August 1928. He served three years as a US Marine and fought 65 amateur bouts as a boxer. He turned professional while in the Marines to help pay for his studies as a chiropractor, fighting 36 bouts as a professional. He came to Australia as a spectator at the 1956 Olympics in Melbourne and stayed. He practised as a chiropractor for 13 years and began refereeing boxing matches for television, as well as a working as a commentator with \IWorld of Sport.\i
He is also a parachute expert, a crack pistol shooter, a horseman, and a member of the Victorian Boxing Control Board. He appeared in the television series \ICash & Co,\i and \ITandarra.\i His movies include \IAlvin Rides Again, Eliza Frazer, Raw Deal, The Man From Snowy River\i and \IThe Return of Captain Invincible.\i In 1991, he produced a video \IYour Back and How To Take Care of It.\i His son \JPaul Mercurio\j (1963) starred in the award-winning 1992 movie \IStrictly Ballroom.\i
#
"Mercury Players, Sydney",555,0,g,0
\ISmall theatre company known for its quality productions\i
The Mercury Players, which grew out of the earlier company the Metropolitan Players, was founded in Sydney in 1946 by a group led by Sydney John Kay, musical arranger for the Colgate Palmolive Radio Unit; co-founders with Kay were the Players' director and star actor, \JPeter Finch\j, drama critic Allan Ashbolt, radio producer John Wiltshire and commercial radio manager Colin Scrimgeour. The company aimed to present the best of European theatre, and so opened with three classic one-act plays: \IDiamond Cuts Diamond\b\i by Nikolai Gogol, \IThe Pastry Maker\b\i by Lope de Vega and \IThe Broken Pitcher\b\i by Heinrich von Kleist. Finch gave lessons in an acting school associated with the Players before departing for England in 1948, and Ashbolt lectured on theatre history.
In 1947, unable to find a permanent home, the company formed the Mercury Mobile Players, and with a folding stage and a truck full of props, took their plays to the people. In 1952 they moved into the 360-seat St James Hall (renamed the Mercury Theatre) and there presented plays in repertory--sometimes a different play every night. It was not a financial success, and closed in late 1953 (the theatre space was taken over in 1954 by the Playgoers' Cooperative and became the Phillip Street Theatre). Actors who appeared for the Mercury include \JAlexander Archdale\j, \JRuth Cracknell\j, \JPeter Finch\j and \JRod Taylor\j. \JRobin Lovejoy\j directed some of their plays.
#
"Meredith, Gwen",556,0,g,0
\I1907-\i
\IPlaywright and radio serial writer\i
Born in Orange, New South Wales, Gwen Meredith started a book club and dramatic society in Sydney after graduating from university. She and others of the group experimented with playwriting and several of her plays, including the divorce comedy \IWives Have Their Uses\b\i, were produced during the 1930s and early 1940s.
In 1939, like other playwrights of the time, Meredith began writing for radio. After creating some episodes of \J\IFred and Maggie\j\b\i, she was appointed by the ABC to write \IThe Lawsons\b\i, a serial about country people. This ran from 1943 to 1949 by which time Meredith wanted to change the series and introduce new characters. The result was the renowned serial \J\IBlue Hills\j\b\i, which ran until 1976 and became part of Australian legend. Its success has been put down to the realism of its characters and situations, compared with the caricatures of 'Dad and Dave'. Meredith herself saw it as being 'typical of Australia'. She assiduously researched the backgrounds of episodes and visited all places in which incidents were set--taking this as far as attending AA meetings when a character had a drinking problem and going to England and returning by ship to find out about migrants' experiences. She herself made the decision to end the series.
#
"Mervale, Gaston",557,0,g,0
\IActor, director of silent films and stage producer\i
A former stage actor, Mervale was one of the leading directors of films in the short golden age of free entrepreneurial production before World War I. His films include \IA Tale of the Australian Bush\b\i (1911), \IHands Across the Sea\b\i (1912) and \IThe Wreck of the Dunbar\b\i (1912). In 1913 he went to the United States and resumed acting. After his return to Australia he worked as a stage producer for N. & J. Tait and also acted in some films, including \IThe Far Paradise\b\i (1928).
#
"Michell, Keith",558,0,g,0
\I1928-\i
\IActor and director now based in Britain\i
Keith Michell was born in Warnertown, South Australia. He trained as an art teacher in Adelaide and worked there as a set designer and actor in amateur theatre before admission to the Old Vic Theatre School in London in 1951. He was a member of the original Young Vic Theatre Company and in 1951-52 toured England and Europe playing mainly Shakespearian roles. He was a leading actor with the Shakespeare Memorial Theatre Company from 1952-56 and during that time toured Australia with the company. He joined the Old Vic Company in London in 1965. In the late 1960s he appeared with Diana Rigg in the controversial play \IAbelard and Heloise\b\i which helped to make him a star on the London stage. He has become well known for his stage musical roles.
Michell was artistic director of the Chichester Festival Theatre in England from 1974 to 1977 and toured Australia with some Chichester productions including \IThe Apple Cart\b\i and \IOthello\b\i. His television credits include a number of dramas, such as the 1969 series \IThe Six Wives of Henry VIII\b\i, as well as variety shows. He won an Emmy Award for the film version of \IThe Six Wives of Henry VIII\b\i.
#
"Mignon, Jean-Pierre",559,0,g,0
\I1952-\i
\ITheatre director\i
Born in Lorraine, France, Mignon went to Paris at the age of sixteen. He began his theatrical career in 1967 with the Paris-based Compagnie Marc Renaudin, touring with them throughout France, Europe and Northern Africa. He arrived in Australia from France in 1978 and directed \IThe Astounding Optimissimos\b\i by Tim Gooding for the Actor's Company at the Sydney Festival which then toured to the Pram Factory in Melbourne. In 1980 he founded the Australian Nouveau Theatre (ANT) in Melbourne where he directed \ISamuel Beckett: Three Short Plays\b\i.
In 1981, ANT, now Anthill Theatre, moved to the former Temperance Hall in Napier Street, South Melbourne. The company moved again in 1992 to the refurbished Gas and Fuel site, renamed the Gasworks Theatre. Mignon's work as a theatre director includes Moliere's \IDon Juan\b\i for the 1984 Adelaide Festival; \IThe Misanthrope\b\i and \IThe Seagull\b\i for the Sydney Theatre Company; and \IThe Marriage of Figaro\b\i in 1987. He directed a non-naturalistic production of Lawler's \IThe Summer of the Seventeenth Doll\b\i which his Anthill theatre company took to the 1988 Singapore Festival. He rejoined the STC in 1992 to direct \JGreta Scacchi\j in \IMiss Julie\b\i and in the same year directed Anthill's Australian premiere production of Bulgakov's \IThe Crimson Island\b\i at the Adelaide Festival. Mignon was awarded the Order of Australia for his services to the Australian performing arts in 1989, mainly for his dynamic work with the Anthill Theatre.
#
"Milgate, Rodney",560,0,g,0
\I1934-\i
\IPlaywright\i
Born at Kyogle, New South Wales, Milgate studied drama, teaching and visual arts. During the 1950s and 1960s he acted with the Australian Elizabethan Theatre Trust's Trust Players and the Phillip Street Revue, as well as in radio and television. \IA Refined Look at Existence\b\i (1966) was the first of his plays to be produced at the Jane Street Theatre. This rather confusing extravaganza had a pop-singer, Donny Smith, as its hero and was an eclectic ragbag of Greek legend, song and dance, and home-spun philosophy. The piece was produced about a dozen times before being put aside but was a powerful example of what could be achieved in 1960s Australian theatre. This was followed by \IAt Least You Get Something Out of That\b\i (1968); \IGrass Up to Your Ears; Buckets with Holes in Them;\b\i and \IA Golden Pathway to Europe\b\i (1980). Other plays include \IArchibald Prize\b\i, \IIntruders\b\i and \IAnniversary Waltz\b\i.
Milgate has had a number of one-man art exhibitions, has won the Blake Prize for religious art and has written poems and novels as well as plays. In 1968 he was Harkness Fellow in New York and in 1987 was Dean of Postgraduate Studies at City Art Institute, Sydney.
#
"Miller, George",561,fp5102.jpg,c,0
\I1945-\i
\IFilm and television director and producer\i
Born in Brisbane, Miller graduated as a doctor in Sydney, but was already a confirmed film buff. He practised medicine for a brief time and then met \JByron Kennedy\j at a film school. Together they made the short film \IViolence in the Cinema Part 1\b\i (1971), a satirical look at the contemporary debate on film violence. After being shown at the 1972 Sydney Film Festival this was distributed in Australia and some overseas countries. The partnership thus established between Miller and Kennedy led to the very successful \J\IMad Max\j\b\i (1979), which also approached violence in an unconventional way. After this Miller was recognised as a major director.
Miller and Kennedy formed the Kennedy Miller production company that produced the subsequent \IMad Max\b\i films and Miller continued producing with this company after Kennedy's death in 1983. Its productions include the films \J\IDead Calm\j\b\i (1987, released in 1989) and \IThe Year My Voice Broke\b\i (1987), and the noted television series \IThe Dismissal\b\i (1983) of which Miller directed one episode himself, \J\IBodyline\j\b\i (1984), \IThe Cowra Breakout\b\i (1985), \J\IVietnam\j\b\i (1988) and \J\IBangkok Hilton\j\b\i (1989).
Miller's success in Australia led to directing work in the United States, including a segment of \ITwilight Zone--The Movie\b\i (1983) and \IThe Witches of Eastwick\b\i (1987). After the making of the latter, Miller returned to Australia declaring himself disillusioned with Hollywood but was drawn back for \ILorenzo's Oil\b\i (1992). Though funded in the United States, this was mainly the work of the Kennedy Miller company, with Miller co-producing and co-writing as well as directing. It was nominated for best screenplay in the 1993 Academy Awards. Telling the story based on fact of a couple's struggle to find a cure for their young son's fatal disease, it incurred the disapproval of the medical profession, Miller's old milieu.
Kennedy Miller also produced the highly successful film \IBabe\i (1996).
\BDescription:\b George Miller.
\BPhoto:\b George Miller.
#
"Miller, George T.",562,arts-21.jpg,c,0
\I1943-\i
\IFilm and television director\i
The 'other' George Miller was born in Scotland and came to Australia as a child. He started his television career at Crawfords in Melbourne, directing serials such as \IMatlock Police\b\i (began 1971) and \IThe Sullivans\b\i (began 1976). In the mid-1970s he became a freelance director, increasingly concentrating on mini-series and feature films. His television credits include \ICash and Company\b\i (1975), \J\IAgainst the Wind\j\b\i (1978), \IThe Last Outlaw\b\i (1980), \J\IAll the Rivers Run\j\b\i (1983), \IANZACS\b\i (1985) and \IThe Far Country\b\i (1987).
Miller's film work includes \IThe Man from Snowy River\b\i (1982), \ICool Change\b\i (1985), \ILes Patterson Saves the World\b\i (1986), the children's film \IBushfire Moon\b\i (1987), \IThe Never Ending Story II\b\i (US, 1989), \IOver the Hill\b\i (1991) and \IGross Misconduct\i (1992).
In the late 1980s Miller joined with \JPino Amenta\j and others to form Telltale Films which produced the television series \IAll Together Now\b\i (1991-93). Miller's recent television credits include the US telemovie \IFrozen Assets\b\i (1991).
More recent credits include: \IAndre\i US feature 1994 and \IZeus and Roxanne\i US feature 1996. US telemovies include: \IRobinson Crusoe\i (1995), \ISilver Strand\i (1994), \IElephant Boy\i (1995) and \ITidal Wave No Escape\i (1997).
\BDescription:\b George T. Miller with actress Naomi Watts on the set of Gross Misconduct 1992.
\BPhoto:\b Jenny Tosi.
#
"Milli Award",563,0,g,0
\ICinematography award\i
The Milli is awarded by the Australian Cinematographers Society to the Cinematographer of the Year. Past winners include \JRussell Boyd\j (1975, for \IBetween Wars\b\i and 1981, for \IGallipoli\b\i), \JGeoff Burton\j (1977, for \IStorm Boy\b\i), \JDon McAlpine\j (1980, for \IMy Brilliant Career\b\i), \JPeter James\j (1992, for \IBlack Robe\b\i) and Martin McGrath (1994, for \ISeventh Floor\b\i).
See also \JAustralian Cinematographers' Society (ACS) Awards\j
#
"Milliken, Sue",564,fp5071.jpg,c,0
\I1940-\i
\IFilm producer\i
Sue Milliken began producing in the late 1970s with Tom Jeffrey. Together they produced \IWeekend of Shadows\b\i (1977), \IThe Odd Angry Shot\b\i (1978) and \IFighting Back\i (1981).
In 1980 she set up the Australian operation of the completion guarantor, Film Finances Limited. She acted as Film Finances' representative for five years and continues to manage Film Finances' Australian activities through Samson Productions.
Her feature film credits include \IThe Fringe Dwellers,\i Australia's official entry at the 1986 Cannes Film Festival, \IBlack Robe,\i \ISirens,\i \IDating the Enemy\i and \IParadise Road.\i In 1993 she was awarded the Australian Film Institute's Raymond Longford Award for her contribution to Australian film industry. Milliken served as chairperson of the Australian Film Commission and chairperson of the Commercial Television Production Fund from 1994-97.
The Minerva Theatre was built for David N. Martin (who was later to take over the Tivoli Circuit) and opened in May 1939. The original policy of presenting a mixture of good commercial entertainment and more serious drama was continued by Whitehall Productions, which took over the Minerva in 1941. The building became a cinema in 1948.
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"Mirams, Roger",566,0,g,0
\I1918-\i
\ITelevision producer\i
Born in New Zealand, Mirams was a war cameraman during World War II and afterwards set up a film production company, Pacific Productions, in Wellington. In 1956 he moved the operations of this company to Melbourne and made some documentary films before starting his career as a producer of children's television series. The first of these was \IThe Adventures of the Terrible Ten\b\i, which he sold to both GTV-9 (began 1960) and the ABC (began 1964). Subsequent children's series included \IAdventures of the Seaspray\b\i (began 1967 on the ABC), made on board a schooner in the South Pacific. In partnership with writer \JRon McLean\j he also made some adult series, notably the war drama \ISpyforce\b\i (began 1971 on the Nine network). Mirams returned to children's series, and to his interest in South Pacific settings, with \IThe Lost Islands\b\i (began 1976), devised by himself and produced for the Ten network. He also produced a feature film of the same name (released 1975).
In 1977 he joined Grundys where his children's series have included the very successful \ISecret Valley\b\i (began on the ABC in 1984), \IProfessor Poopsnaggle's Steam Zeppelin\b\i (began 1986) and \IMission Top Secret\b\i (began 1993). In all Mirams' work there is a strong commercial sense of the appeal of a continuous narrative of adventure, danger and rescue with little attempt at realism. A recent venture has been \ISouth Pacific Adventures\b\i, presold in Britain.
#
"Misto, John",567,0,g,0
\I1952-\i
\IWriter for television, film and plays\i
Sydney-born Misto graduated with a degree in Arts/Law from the University of New South Wales in 1977 and from the Australian Film and Television School in 1980. His scripts for television include \IThe Young Doctors\b\i (1981-83); episodes 3 and 10 of \IPalace of Dreams\b\i for ABC Television (1984) for which he won an Awgie Award for best series episode and a Penguin certificate of commendation for episode 10; episodes 2 and 3 of \IDancing Daze\b\i and the award-winning telemovie \INatural Causes\b\i (1985) for ABC TV; three episodes of \IPrime Time\b\i and episodes 1 and 2 of \IDusty\b\i (1986); the telemovies \IPeter and Pompey\b\i, \IBennett--The Fall of a General\b\i and \IThe Story of Mary MacKillop\b\i (1987); \IRafferty's Rules\b\i (1988); \IGP\b\i (1989); \IGP\b\i and \IA Country Practice\b\i (1991); \IThe Damnation of Harvey McHugh\b\i (1992 and 1993/94)--the episode `Hey St Jude' won the 1994 AFI Award for best screenplay for television.
Misto's plays include \IBlood Call\b\i workshopped at the Griffin Theatre in 1991; \ISky\b\i produced by Sydney's Ensemble Company and Melbourne's Universal Theatre in 1992 and \IThe Shoe-Horn Sonata\b\i first produced at the Ensemble Theatre in 1995.
#
"Mitchell, Mark",568,0,g,0
\I1954-\i
Mark Mitchell, Australian comedian, was born in Melbourne on 29th September 1954. He started out as a school teacher and resigned in 1982 to become an actor. However life wasn't easy and his next jobs included singing telegrams dressed as Little Boy Blue and the Devil. Married to actress Di Mitchell, they have two sons and a daughter.
His first television appearance was on \ICarsons Law\i before moving to comedy with the Seven Network show \IThe Eleventh Hour\i. He then came to fame in the Ten Network's \IComedy Company,\i playing Con the Fruiterer and his wife Marika, as well as the short-lived \IThe Big Time\i, and \ILarger Than Life\i. He compared the 1990 TV Week Logie Awards, and starred as Con the Fruiterer in a number of Ford commercials.
In 1991 he was a regular guest on the \IRay Martin\i and \ISteve Vizard\i shows. He is currently appearing on Channel Ten hosting \ICon's Bewdiful Holiday Videos\i.
#
"Moffatt, Tracey",569,0,g,0
\I1960-\i
\IFilm and television producer and director\i
Born in Brisbane, Moffatt studied film and video at the Queensland College of the Arts before moving to Sydney. Since 1983 she has worked as an independent film-maker, producing her own films as well as work for SBS Television and Aboriginal organisations. Her short film \INight Cries\b\i (1989) was selected for official competition at the 1990 Cannes Film Festival. Her 1993 video clip for INXS has been shown worldwide.
#
"Moir, Richard",570,0,g,0
\I1950-\i
\IActor of film and stage and film editor\i
Queensland-born Richard Moir has worked as a film editor as well as an actor of stage, film and television. Films he has appeared in include \IIn Search of Anna\b\i (1976), \IThe Odd Angry Shot\b\i (1979), \IChain Reaction\b\i (1980), \J\IHeatwave\j\b\i (1981), \IRunnin' on Empty\b\i (1982), \IPlains of Heaven\b\i (1982), \ISweet Dreamers\b\i (1982), \IGoing Down\b\i (1982), \IWrong World\b\i (1984), \IAn Indecent Obsession\b\i (1985) and \IJilted\b\i (1987).
His television work includes \IPlayers to the Gallery\b\i for which he won a Sammy Award; the mini-series \I1915\b\i (1981) and \IRound the Twist\b\i (1990); and appearances in the series \J\ICop Shop\j\b\i, \J\IPrisoner\j\b\i, \IThe Sullivans\b\i, \IA Country Practice\b\i, \IRafferty's Rules\b\i, \J\IGP\j\b\i and \IPhoenix\b\i. His stage work includes \IThe Speakers\b\i for the Nimrod Theatre Company, \IGodsend\b\i for the Melbourne Theatre Company, \IVocations\b\i for La Boite and \IBetrayal\b\i for the Queensland Theatre Company.
#
"Money and Friends",571,0,g,0
\IPlay, first produced 1991\i
In this play, \JDavid Williamson\j explores the 1980s issues of money and ethics. Set in a trendy, thinly-disguised town on the northern New South Wales coast, a group of friends discuss what would happen if they got into financial difficulties--would any member of the group be prepared to lend a friend $10000? Looking back on a period dominated by financial wizards with feet of clay, it explores how friendship cuts across business and financial considerations.
\IFirst production\b\i: Queensland Theatre Company in Brisbane (directed by \JAubrey Mellor\j), 1991. Starred \JJohn Gaden\j and \JRobyn Nevin\j and subsequently toured nationally.
#
"Monkey Grip",572,0,g,0
\IFilm, released 1982\i
Based on \JHelen Garner\j's semi-autobiographical novel, this was the first feature film directed by \JKen Cameron\j. Its theme of sex, drugs and rock music made it difficult to raise funds--in fact, producer \JPat Lovell\j made \IGallipoli\b\i during a period when shooting of \IMonkey Grip\b\i was postponed due to lack of money. Another problem was the fact that the lead actors, \JNoni Hazlehurst\j and \JColin Friels\j, were little known at that time. The story, set in the inner Melbourne suburb of Carlton, revolves around Nora, a part-time journalist who writes some songs for a rock band, and her stormy relationship with Javo, an actor with a drug habit. Its honest portrayal of inner-city life, feminine sensuality and the anguish and warmth of close relationships made it much more successful than had been predicted and Noni Hazlehurst won best actress at the AFI Awards.
\IProduction company\b\i: Pavilion Films
\IExecutive producer\b\i: Danny Collins
\IProducer\b\i: Patricia Lovell
\IDirector\b\i: Ken Cameron
\IScreenplay\b\i: Ken Cameron, Helen Garner (from the novel by Helen Garner)
\IMajor actors\b\i: Noni Hazlehurst (as Nora), Colin Friels (as Javo), Alice Garner, Lisa Peers, Harold Hopkins, Candy Raymond, Tim Burns
#
"Monton, Vince",573,0,g,0
\I1944-\i
\ICinematographer and film director\i
Sydney-based Monton worked as photographer on several documentaries in the early 1970s. His first feature film as director of photography was \IThe True Story of Eskimo Nell\b\i (1975). This was followed by numerous films including \IThe Long Weekend\b\i (1978), \J\INewsfront\j\b\i (1978), \IRoad Games\b\i (1980), \J\IHeatwave\j\b\i (1982), \IHostage\b\i (1983), \IMoving Out\b\i (1983) and \IStreet Hero\b\i (1984). His work on the last film led to the offer of the chance to direct his first film, \IWindrider\b\i (1986), also about sex and rock music. He was also an assistant director on \J\IDead Calm\j\b\i (1987, released 1989) and directed \IFatal Bond\b\i (1991).
#
"Moorhouse, Jocelyn",574,0,g,0
\I1960-\i
\ITelevision and film writer; film director and producer\i
Born in Melbourne, Moorhouse's interest in film was crystallised while still at school when she saw Schepisi's \IThe Devil's Playground\b\i. She attended the Australian Film and Television School 1981-83 and after graduation worked for Channel 7 in Sydney where in 1984-85 she developed the series \IOutback\b\i, writing the pilot episode and supervising the scripts of subsequent episodes. In 1986 she created a children's television series, \IThe Bartons\b\i, that became an ABC co-production. This series was based on her short film \IThe Siege of Barton's Bathroom\b\i, made in 1985 and shown at the Melbourne Film Festival.
While continuing to write television scripts, Jocelyn worked for several years on the script of the film \J\IProof\j\b\i. This, her first feature film, which she directed in 1990 and which was released in 1991, was a huge success and established Moorhouse as one of the high-profile contemporary Australian film directors and writers. It was produced through the company House and Moorhouse which she set up with producer Lynda House. For \IProof\b\i she received the 1991 AFI Award for best direction and the 1992 Sutherland Trophy at the British Film Institute Awards (for most original first or second feature film). She has since directed episodes of the television series \IThe Flying Doctors\b\i. Returning to film, she co-produced with Lynda House the successful feature \IMuriel's Wedding\b\i (1994), directed by her husband P.J. Hogan. Also in 1994, she was invited by US director and producer Steven Spielberg to direct a feature for his production company. \IHow to Make an American Quilt\b\i was released in 1995.
#
"Morgan, Denise",575,0,g,0
\ITelevision scriptwriter\i
Morgan began writing for television with \J\IPrisoner\j\b\i (began 1979) and has since written high-quality scripts for a variety of programs. Her credits include \IPossession\b\i (began 1985), Grundy's soap opera series about the rich and famous; \IThe Flying Doctors\b\i series (began 1986); the ABC's legal series \IInside Running\b\i (1989); \J\IEmbassy\j\b\i (began 1990); the successful ABC crime series \IPhoenix\b\i (began 1991); and Grundy's romantic mini-series \IThe Other Side of Paradise\b\i (1992). She also wrote the screenplay for the feature film \IAn Indecent Obsession\b\i (1984), based on the novel by Colleen McCullough.
#
"Morice, Tara",576,fp5061.jpg,c,0
\I1965-\i
\IActress of stage and film\i
Hobart-born actor Tara Morice graduated from NIDA in 1987. She is an experienced singer and also trained in dance. She gained international recognition for her portrayal of Fran in the film \J\IStrictly Ballroom\j\b\i (1991), a role she first played in the Sydney Theatre Company's original production in 1988. Her stage work includes performances with the State Theatre Company of South Australia, the Sydney Theatre Company, the Bell Shakespeare Company for whom she played Portia in \IThe Merchant of Venice\b\i (1992) and the Griffin Theatre Company in \IThe Moonwalkers\i (1995) and \IWolf Lullaby\i (1996). Other film work includes \IMetal Skin\b\i (1993), \ISquare One\b\i (1994), \IHotel Sorrento\i (1994) and the short film \IJesus and the Rabbit of Damnation\i (1996). For her role in \IStrictly Ballroom\b\i she won the 1992 Variety Club Heart Award for best film actress. Her television appearances include \IGP\i (1996) and \IBig Sky\i (1997).
\BDescription:\b Tara Morice.
\BPhoto:\b Shanahan Management.
#
"Morphett, Tony",577,0,g,0
\I1938-\i
\IFilm and television writer\i
Born in Sydney, Morphett began his career as a journalist. He worked for the ABC and the \IDaily Telegraph\b\i before becoming a screen writer, particularly noted for his work for ABC television. He wrote the \IDynasty\b\i series (1970) based on his book of the same name (1967) and originated \J\ICertain Women\j\b\i (1973) which he co-authored. Other television work includes episodes of \IBen Hall\b\i (began 1975) and \IThe Sullivans\b\i (began 1976), \J\IAgainst the Wind\j\b\i (1978, co-author), \IUnder Capricorn\b\i (1982), \IThe Shiralee\b\i (1988) and the telemovies \ISkytrackers\b\i (1990) and \ICrime Broker\b\i (1992). Morphett has won several Awgie and other television awards. His film writing includes \IThe Last Wave\b\i (1977, co-writer), \J\IRobbery Under Arms\j\b\i (1984, co-writer), \IThe Boys in the Island\b\i (1988, co-writer) and \ISweet Talker\b\i (1990).
#
"Morris, Judy",578,arts-26.jpg,c,0
\I1947-\i
\IActor of stage, film and television\i
Queensland-born Judy Morris graduated from NIDA in 1966 and began her acting career on Queensland television. Her films include \ILibido: The Child\b\i (1973) for which she won the AFI best actress award, \IAvengers of the Reef\b\i (1973), \IBetween Wars\b\i (1974), \IThe Great McCarthy\b\i (1974), \IScobie Malone\b\i (1975), \IThe Trespassers\b\i (1976), \IThe Picture Show Man\b\i (1976), \IIn Search of Anna\b\i (1979), \IThe Plumber\b\i (1979), \I...Maybe This Time\b\i (1980), \J\IPhar Lap\j\b\i (1983), \IRazorback\b\i (1984), \IGoing Sane\b\i (1985), \INiel Lynne\b\i (1985), \IThe More Things Change...\b\i (1985) and \ILuigi's Ladies\b\i (1989) which she directed and co-scripted. Her television work includes \IMama's Gone a-Hunting\b\i (1977), \ICass\b\i (1978) and the series \J\ICertain Women,\j\b\i \IOver There,\b\i \J\IMother and Son\j\b\i and \IEggshells\b.\i Her stage work includes the Sydney Theatre Company productions \IThe Butterflies of Kalimantan\b\i and \IThe Pillars of Society\b.\i
\BDescription:\b Judy Morris.
\BPhoto:\b International Casting Service and Assoc.
#
"Morse, Helen",579,kms9510a.jpg,c,0
\I1946-\i
\IFilm and stage actor\i
Born in London, Helen Morse came to Australia as a child and graduated from NIDA in 1965. She made her first professional appearance in \IA Taste of Honey\b\i at the Cell Block Theatre in Sydney and then toured New South Wales in a number of Shakespearean productions. She has played a wide range of roles for the Independent Theatre, the Old Tote Theatre Company, the Nimrod Theatre, the Melbourne Theatre Company (MTC) and the Sydney Theatre Company (STC). More recently she has appeared in \IA Streetcar Named Desire\b\i (1987), \ITwelfth Night\b\i (1987), \IThe Recruiting Officer\b\i (1987), \IThe Rivers of China\b\i (1988) and \IThe Tempest\b\i (1990), all for the MTC; and Ariel Dorfman's \IDeath and the Maiden\b\i (1992) for the STC, playing Paulina, wife of the human rights lawyer Gerado Escobar. She has also appeared with small regional theatres such as the Harvest Theatre Company in Adelaide and the Hunter Valley Theatre Company in Newcastle, New South Wales.
Her film work includes \IAdam's Woman\b\i (1969), \IPetersen\b\i (1974), \IStone\b\i (1974), \J\IPicnic at Hanging Rock\j\b\i (1975), \J\ICaddie\j\b\i (1976), \IAgatha\b\i (US, 1979) and \J\IFar East\j\b\i (1982). Her television work includes \IA Town Like Alice\b\i (1981), \ISilent Reach\b\i (1982) and the series \IMarion\b\i (1974).
Her awards include the AFI 1976 best actress award and a Sammy award for \ICaddie\b\i and a best actress Logie for \IA Town Like Alice\b.\i
\BDescription:\b Helen Morse \I(Fairfax Photo Library)\i.
\BPic2:\b fp5063.jpg
\BDescription2:\b Helen Morse.
\BPhoto2:\b Julian Belfrance and Assoc.
#
"Mother and Son",580,0,g,0
\IPlay, first produced 1923; television series, first broadcast 1985\i
\B1.\b\i \JLouis Esson\j was trying to capture what he felt should be 'new' in Australian drama in \IMother and Son\b\i. The naturalistic three-act play was never really successful as it is set amidst a harsh Australian bush landscape peopled with unsympathetic drovers, selectors and other outback characters: too bleak a scene for most audiences to warm to.
\IFirst produced by\b\i: The Pioneer Players in Melbourne in 1923.
\B2.\b\i At the time of this book's preparation six series, each of seven half-hour episodes, had been made of this very successful ABC situation comedy, unrelated in theme to the earlier play. The sixth series began screening in 1994. The central mother and son characters are Maggie Beare and her son Arthur--the elderly and increasingly vague Maggie refuses to stand back from her adult, live-in bachelor son and give him any independence--or domestic peace. More peripheral characters are Arthur's orthodontist brother Robert and his wife Liz. Though some with aging relatives have found the program too painful to watch, all the series have had high ratings. Some of the series have been shown on the Ten network as well as the ABC, as the result of a rental agreement. Maggie and Arthur are on the verge of becoming Australian legends. The program has also been shown in many overseas countries including Britain, the US and Germany.
A situation comedy with clear origins in the English pantomime tradition, \IMrs 'Obbs\b\i was created by Dan Agar, whose background was in musical stage shows. He had earlier teamed with Athol Tier to create a show featuring two gossiping pantomime dames, \IMrs 'Arris and Mrs 'Iggs\b\i. When Tier died, Agar continued the idea alone. Mrs 'Iggs became the gentle Mrs 'Obbs, with her lazy, unrefined husband Alfie, her niece Blossom, her friends Mrs Bottomley and Mrs Jeffries and her enemy, the upper-class Mrs Jupley. As in pantomime, the female lead, Mrs 'Obbs, was in fact played by a man--and spoke with a combination of an English cockney and an Ocker accent. Much of the comedy centred around her efforts to persuade her husband to take up paid employment. The show was extremely popular and ran for more than 2000 15-minute episodes.
\IWriter\b\i: Tom Swain (based on the ideas of Dan Agar)
\IMajor actors\b\i: Dan Agar (as Mrs 'Obbs), Owen Ainley (as Alfie), Rita Pauncefort (as Mrs Bottomley), Bebe Scott (as Blossom), Fifi Banvard (as Mrs Jupley), Nellie Lamport (as Mrs Jeffries)
#
"Muddle-Headed Wombat, The",582,0,g,0
\IChildren's radio serial, broadcast 1957-71\i
The characters in this much-loved series were the invention of writer \JRuth Park\j. The bumbling Wombat, with his nasal, roaring voice, was helped out of trouble by his sensible friend Mouse and her also sensible Aunty Bun. The bad sport of the series was the whining Tabby Cat. By the time the series finished in 1971, to much protest, Ruth Park had written a series of books immortalising the characters. In 1981-82 the ABC reproduced and rebroadcast some episodes, with some of the original actors playing the same parts.
\IProduced and broadcast by\b\i: ABC
\IProducers\b\i: Richard Parry and others
\IWriter\b\i: Ruth Park
\IMajor actors\b\i: \JLeonard Teale\j, later \JJohn Ewart\j (as Wombat), Gina Curtis, later Barbara Frawley (as Mouse), Winifred Green (as Aunty Bun), John Appleton (as Tabby Cat), Athol Fleming (narrator)
#
"Mueller, Kathy",583,0,g,0
\I1948-\i
\ITelevision director\i
Mueller was born in the United States and moved to Australia in 1969 where she became a drama teacher and also wrote and directed several plays. In the 1980s she moved into television and has become a highly regarded director of quality drama productions. Mueller's work includes the docudrama mini-series \ICyclone Tracy\b\i (1986, co-director) made for the Nine network; the ABC's social investigative series \IStringer\b\i (1988); the highly rated ABC international co-production \IThe Magistrate\b\i (1989); and the children's series \IThe Girl from Tomorrow\b\i (1990 and 1993), Film Australia's first television production for children. She also directed the feature film \IDaydream Believer\b\i (1992).
#
"Muir, Rod",584,0,g,0
\I1941-\i
Rod Muir, former Sydney and Tasmanian disk jockey, was born Roderick Leonard Muir in Lower Hutt, New Zealand on 12th October 1941, and raised at Smithton in Tasmania. He made 2SM a huge success in the 70s and became the founder of 2MMM-FM, later selling out after six years to Hoyts Media. Married twice with three children, he became fully involved in yachting, such as the famous \IDoctor Dan\i. In 1997, he returned to 2SM as an adviser and employed his brother-in-law Doug Mulray to host the drive-time show.
#
"Mulray, Doug",585,0,g,0
\I1951-\i
Doug Mulray, former top Sydney disc jockey, was born in Manly, Sydney on 1st December 1951, the son of a barrister. He started out as a disc jockey and starred on 2GO Gosford and then 3AW in Melbourne in the 1970s with Brian Lehmann, calling themselves Mulray and the Man. In the 1980s he took 2MMM to number one with his breakfast show. He is married to Liz Muir, sister of former radio guru Rod Muir. He retired briefly in August 1986 but made a successful return seven months later. He announced in 1990 that he would retire from 2MMM in July 1992 but returned after six months and stayed until June 1993, where he became embroiled in a radio war with his opposite number 'Agro the puppet' on 2DAY-FM.
In 1994 until June 1995, he hosted the successful \IDoug Mulray Show\i on Channel 7 on Saturday nights. In 1997, he came out of retirement to host the new 2SM drive-time show, and doubled the ratings in eight weeks.
#
"Murphy, Maurice",586,0,g,0
\I1939-\i
\IFilm and television director and producer\i
Based in Sydney, Murphy became a noted director of ABC television comedy with \IThe Aunty Jack Show\b\i (1971-73), which he also produced. He then produced several ABC comedy series including \IA Nice Day at the Office\b\i (1972), \IFlash Nick from Jindavik\b\i (1974), a satire on bushranging starring several of the Aunty Jack cast, \IThe Norman Gunston Show\b\i (from 1975, executive producer) and the \J\IAlvin Purple\j\b\i spin-off series (1976, producer and executive producer). In the 1980s he moved into directing feature films with \J\IFatty Finn\j\b\i (1980) and \IDoctors and Nurses\b\i (1982) for which he also conceived the original idea. His recent work includes the US film \IExchange Lifeguards\b\i (1992).
#
"Murray, John",587,0,g,0
\I1931-\i
\IFilm producer and director\i
Born in Melbourne, Murray had already produced, directed and written several short films and documentaries when he joined with \JPhillip Adams\j to make \IThe Naked Bunyip\b\i (1970). This feature-length documentary about Australian sexual attitudes, interspersed with comic 'interviews' featuring \JGraeme Blundell\j, was the result of careful research by Murray into what kind of Australian productions would enjoy local support. Its success and its challenge to film censorship were factors in the production of the subsequent sex comedies, such as \J\IStork\j\b\i and \J\IAlvin Purple\j\b\i, that formed part of the Australian film renaissance of the early 1970s.
Murray became president of the Producers and Directors Guild of Australia in Victoria and directed one of the four segments of \ILibido\b\i made by the Guild in 1973; he was co-producer of the whole film. As head of production of the newly-formed Adams-Packer Productions, Murray was producer of \IWe of the Never Never\b\i but was replaced during the troubled production and appeared as co-producer when the film was released in 1982. He was immediately given the role of producer on \JPaul Cox\j's \ILonely Hearts\b\i (1981). Subsequent productions include \IDevil in the Flesh\b\i (1985).
#
"My Brilliant Career",588,0,g,0
\IFilm, released 1979\i
The film version of Miles Franklin's autobiographical novel was the first major Australian feature film to be directed by a woman since the productions of the McDonagh sisters. \JGillian Armstrong\j worked on the preparation of the film with producer \JMargaret Fink\j who had had the idea of using Franklin's story of an idealistic teenage girl in the 1890s rebelling against life on her parents' farm and her inevitable fate as either a governess or wife. The heroine, Sybylla Melvyn, ultimately rejects her attractive and eligible suitor, Harry Beecham, and sends off to a publisher a copy of the autobiographical book she has written.
The film was accepted as an entry in the 1979 Cannes Film Festival where it was well received, as also at later international festivals. In Australia it was hailed as one of the major achievements of the film industry renaissance.
\IProduction company\b\i: Margaret Fink Films, in association with New South Wales Film Corporation, GUO Film Distributors
\IProducer\b\i: Margaret Fink
\IDirector\b\i: Gillian Armstrong
\IScreenplay\b\i: \JEleanor Witcombe\j (from the novel by \JMiles Franklin\j)
This Seven network situation comedy series developed out of the success of Seven's earlier satirical program, \IThe Mavis Bramston Show\b\i, and starred one of the \IBramston\b\i principals, \JGordon Chater\j. Set in the then untrendified working-class suburb of Balmain in Sydney, its humour centred around a family of two generations living together--Dominic McGooley, his daughter Rita and her husband Wally. It was the most successful local comedy series of the early years of Australian television. After 88 half-hour episodes Chater left the series; it continued on for a short time as \IRita and Wally\b\i but was unable to survive without the McGooley character.
\IPlay, first produced 1888; silent film, released 1911; silent film, released 1925\i
\B1.\b\i The five-act drama was adapted from Fergus Hume's 1886 novel by F.T. Vale, who later reduced the piece by two acts.
\IFirst performed\b\i: Six times at the Alexandra, Melbourne, in August 1888
\JGeorge Darrell\j wrote a four-act drama of the same name.
\IFirst performed\b\i: Seven times at the Royal, Adelaide, in October 1888
\IOther major production\b\i: Produced as \IMidnight Melbourne\b\i at the Opera House, Brisbane, in July 1889
\B2.\b\i Little is known of the first film version of Fergus Hume's novel, produced by Amalgamated Pictures and directed by W.J. Lincoln.
\B3.\b\i A remake of the film proved a popular success in the 1920s. The key figure in this production was Arthur Shirley, an Australian actor who had worked in the United States. It featured extensive location shooting in rural NSW and in Melbourne.
\IProduction company\b\i: Pyramid Pictures
\IProducer, director, screenplay\b\i: Arthur Shirley
\IMajor actors\b\i: Arthur Shirley, Grace Glover, Roland Stavely, Cora Warner, Isa Crossley, Godfrey Cass
#
"National Festival of Australian Theatre, Canberra",591,0,g,0
\IShowcase for Australian performing arts\i
Held annually since 1990 in the last two weeks of October, the National Festival of Australian Theatre is based in the Canberra Theatre Centre and presents a mix of theatre, dance and music from the five states and two territories. Highlight of the inaugural festival (under Anthony Steele, director 1990-92) was the presentation of \J\IBran Nue Dae\j\b\i; the 1991 festival featured South Australia's Patch Theatre's \IThe Secret Garden\b\i; funding difficulties caused the abandonment of the 1992 festival.
Under director \JRobyn Archer\j (1993-95) the festival program has included London-based Indian director Jatinder Verma's \IThe Odyssey\b\i (a reinterpretation of Odysseus' travels through Aboriginal and Indian journey stories; a collaboration between the Gilirri community of Arnhem Land and the Siddhi tribe of Karnataka in southern India who migrated there from Africa in the fifteenth century), Perth's Chrissie Parrot Dance Company, Melbourne's Playbox Theatre's production of Michael Gurr's \ISex Diary of an Infidel\b\i, the Tasmanian Symphony Orchestra, Perth's Deck Chair Theatre's production of \INingali\b\i and Townsville's Dance North.
#
"National Film and Sound Archive",592,arts-04.jpg,c,0
\IFederal government body responsible for collecting and preserving Australia's screen and recorded sound heritage\i
The National Film and Sound Archive, a semi-autonomous agency of the federal Department of Communications and the Arts, is based in Canberra (with offices in Sydney and Melbourne) and grew out of the National Historical Film and Speaking Record Library (part of the National Library) formed in 1935. The Archive was established as a separate collecting institution in 1984. As part of the government's wider Cultural Development Program the role of the Archive is to increase knowledge, appreciation, use and enjoyment of Australia's screen and recorded sound heritage by acquiring, preserving and making accessible to the public a national collection of film, television, video, radio and recorded sound materials.
The Archive holds film and television productions, stills, posters and scripts as well as advertising and research material. Its services include study and research, creative and technical consultation, making copies of older films and producing restored versions for public release. It provides viewing areas for a series of popular Australian films, including documentaries and silent films.
The Archive has also held numerous special exhibitions, focusing on different aspects of Australia's audio-visual culture. A continuing exhibition, SAMI (Sound And Moving Image), was established in 1994, and is a popular tourist attraction. Among its sections are a newsreel theatrette; displays of movie and audio equipment; interactive dislays; and special exhibits from Australian movies, such as Australia's first Oscar (won by director/producer Ken G. Hall for \IKokoda Front Line)\i and the detachable car from the popular comedy \IMalcolm\i (1986).
\BDescription:\b National Film and Sound Archive logo.
\BPhoto:\b National Film and Sound Archive.
#
"National Film and Video Lending Service",593,0,g,0
\IFilm and video collection of the National Library\i
The film and video lending collection at the National Library of Australia, Canberra, was established in 1946 with 200 films; it has since grown to more than 25,000 16 mm films and video cassettes. This includes silent features and landmark documentaries as well as various general interest and information films. An important component is the screen studies collection, intended mainly for use in tertiary level screen studies and by community-based groups such as film societies and small specialist cinemas--it comprises more than 5000 titles, both sound and silent, produced in more than forty countries and including feature-length and short fiction, experimental and avant garde films and videos, animation, historically significant and innovative documentaries and television series.
#
"National Folkloric Festival",594,0,g,0
\IAnnual multicultural arts festival in Sydney\i
The week-long National Folkloric Festival is held each June around the Queen's Birthday weekend. The venue is the Sydney Opera House, including outdoor performances on the steps and forecourt. Activities feature song, music and dance from more than thirty countries, a reflection of the cultural diversity of modern Australia.
#
"National Institute for Dramatic Art (NIDA)",595,0,g,0
\INational training school for theatre, film and television\i
The National Institute for Dramatic Art provides training in the fields of theatre, film and television for actors, stage managers, technicians, designers, theatre craft workers, directors, voice and movement teachers, production managers and playwrights. It accepts students from all Australian states and territories, as well as a limited number of overseas students. Entry is very competitive and applicants are selected through audition and interview on the basis of their potential to contribute to the Australian entertainment industry. NIDA is funded by the federal government through the Department of Arts and Administrative Services and is based in the purpose-built NIDA Complex, on a site provided by the University of New South Wales and adjacent to the Parade Theatre. Opened in 1989, the Complex incorporates theatres, rehearsal rooms, teaching studios, workshops and a library.
NIDA was founded in Sydney in 1959 by Robert Quentin. In 1962 it set up the Old Tote Theatre Company to provide a showcase for its graduates. The more than 900 who have graduated from NIDA in the past thirty years include \JMel Gibson\j, \JJudy Davis\j, \JKate Fitzpatrick\j, \JRobyn Nevin\j, \JPamela Stephenson\j, Angela Punch-McGregor, \JTom Burlinson\j, \JGarry McDonald\j, \JHelen Morse\j, \JColin Friels\j, \JGale Edwards\j, \JJim Sharman\j, \JBaz Luhrmann\j, \JHugo Weaving\j, \JTara Morice\j and \JSteve Bisley\j.
#
"National Theatre Company of Perth",596,0,g,0
\IFormer state theatre company of Western Australia\i
In 1953 the \JPerth Repertory Club\j changed its name to the National Theatre Company of Perth and in 1956 it built the Playhouse Theatre. In 1966 it was one of four state companies which toured the country as part of the Australian Elizabethan Trust's Interstate Theatre Season. The National Theatre Company's contribution was Jean-Paul Sartre's \IAltona\b\i. In 1979 the Company's theatre-in-education team formed the Swan River Stage Company and concentrated on the works of \JJack Davis\j, presenting his first play, \IKullark\b\i, with \JErnie Dingo\j in 1979, \IThe Dreamers\b\i in 1983, and \INo Sugar\b\i in 1985. The National Theatre Company became the Western Australian Theatre Company in 1984.
See also \JState Theatre Company, Western Australia\j
#
"National Theatre Movement",597,0,g,0
\IAttempt to establish national theatre companies\i
The Melbourne-based National Theatre Movement was founded in 1935 by \JGertrude Johnson.\j Its immediate aim was to provide employment in Australia for the many local artists who had left the country to work in Europe or the United States and its long-term objective was to form a national touring company made up from the best of the companies it was hoped would operate in each state. The National Theatre staged its first production, \IJoyous Pageant of the Nativity\b\i in Melbourne in December 1936, followed six months later by Shakespeare's \IAs You Like It\b\i and then \IThe Barretts of Wimpole Street\b\i; in 1938 the Movement staged its first opera, \IThe Flying Dutchman\b.\i In the following year it presented its first modest season of opera and ballet at Melbourne's Princess Theatre and during the years of World War II was responsible for producing some fifteen operas, mainly well-known ones but including Gluck's \IIphigenia in Aulis\i and Messager's operetta \IMonsieur Beaucaire.\i The lavish season given in 1948 featured five operas \I(Rigoletto, Aida, Faust, Carmen\i and \IThe Marriage of Figaro)\i and the even more ambitious 1949 season saw six operas, performances by the National Theatre Ballet Company and productions of Shakespeare's \ITwelfth Night\i and Tennessee Williams' \IThe Glass Menagerie.\i
In the late 1940s and early 1950s the National Theatre presented lavish seasons of ballet, opera and drama at the Princess Theatre, and in 1952 its National Theatre Opera Company combined for a season with the Sydney-based National Opera of New South Wales. Hopes that a truly national company would evolve from this were not fulfilled, and in the following year the National Theatre Opera Company withdrew to Melbourne, from where it continued to stage its own productions until the company closed in the late 1950s after the formation of the Australian Elizabethan Theatre Trust. The ballet arm of the Movement, the National Theatre Ballet, followed a similar course. Although Johnson's aim of establishing national companies was not realised, the Movement is generally recognised as providing the grounding for some of Australia's finest performers.
A building fund launched in 1956 resulted in the opening in 1974 of the National Theatre building in Melbourne's St Kilda, which became home to schools associated with Ballet Victoria and the Victorian Opera Company.
#
"Ned Kelly (Stage and Film)",598,0,g,0
\IStage and radio play; film, released 1970\i
\B1.\b\i \JDouglas Stewart\j wrote his stage play, \INed Kelly\b\i, in 1940 when he was literary editor of the \IBulletin\b\i. The ABC broadcast the work as a radio play in 1942. Stewart's choice of the outback theme with its outlaw characters was innovative but was not received with much enthusiasm by its largely middle-class audience. His use of verse based on the natural rhythms of speech is particularly successful and the dialogue is lively and engaging.
\IFirst stage production\b\i: By the Metropolitan Players at the Metropolitan Theatre near Sydney's Circular Quay in 1947
\IOther major production\b\i: Sydney in 1956 by the Australian Elizabethan Theatre Trust (which was a commercial failure). This was at the time of the 1956 Olympic Games in Melbourne
\B2.\b\i An American/British production in Australia, this version of the Kelly story gained most of its publicity from the choice of rock star Mick Jagger for the lead role. It was widely criticised for this miscasting and as being a British misinterpretation of the Australian ethos. Nor was it a popular success, in spite of Jagger as a drawcard.
\IProduction company\b\i: Woodfall
\IProducer\b\i: Nell Hartley
\IDirector\b\i: Tony Richardson
\IScreenplay\b\i: Tony Richardson, Ian Jones
\IMajor actors\b\i: Mick Jagger (as Ned Kelly), Allen Bickford, Geoff Seymour, Mark McManus, Serge Lazareff, \JPeter Sumner\j
#
"Negus, George",599,0,g,0
\I1942-\i
George Negus, ABC television presenter and journalist, was born in Brisbane on 13th March 1942. He started out as a teacher in Queensland and later became a political speech writer in Canberra for various government ministers of the 1974 Whitlam Labor Government. He later worked as an interviewer with the ABC and came to fame as one of the initial reporters on the Nine Network's \I60 Minutes.\i He hosted the \IToday\i show for two years and spent six months on radio in the mid-80s on the CBN Network, 2UE and 3AK. In 1990, he worked for a time with the Seven Network and returned to the ABC in 1992 with a series of specials and a Saturday night show called \IForeign Correspondent.\i Negus is married to fellow journalist Kirsty Cockburn and they have two children; both were born in celebrated home births.
#
"Neighbours",600,0,g,0
\ITelevision serial, broadcast 1985 to present\i
The program that everyone associates with the golden era of Australian television soap operas and that is shown around the world was not successful when first shown on the Seven network. It was cancelled after a six-month run and its producers, the Grundy Organization, sold it to the Ten network where it began on air in early 1986. At that time the serial was revamped to move its emphasis away from the lower end of the socioeconomic ladder. Suddenly most of the Ramsey Street neighbours lived in middle-class homes and many of them were well-dressed and good-looking teenagers. New characters such as Charlene, Scott and Mike appeared. Such was the popularity of the new series that several of the actors playing in lead roles became stars and moved on to success in the wider world of show business--in particular \JKylie Minogue\j and \JJason Donovan\j. The \INeighbours\b\i episode showing the wedding of these two, in their roles of Charlene and Scott, attracted record ratings.
The program was sold to the BBC in Britain in 1986 and since then to twenty other countries. It has been a consistently popular show in Britain, rated in the top three television dramas. By late 1993 over 2000 half-hour episodes had been shown in Australia. By that time the only original cast member remaining was Anne Haddy, playing Helen Daniels, the grandmother figure of Ramsey Street.
\IProducers\b\i: John Holmes, Phil East, \JMarie Trevor\j, Tony McDonald
\IDirectors\b\i: Various
\IScriptwriters\b\i: Various
\IMajor actors\b\i: Kylie Minogue, Jason Donovan, Anne Charleston, Alan Dale, Anne Haddy, Craig McLachlan, Rachel Friend, Elaine Friend, Vicki Blanche, Stefan Dennis, Terence Donovan, Kristian Schmid, \JLorraine Bayly\j, Bruce Samazan, Caroline Gilmer, Tom Oliver, Natalie Imbruglia, Dan Falzon, Sue Jones, Marnie Reece-Wilmore
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"Neill, Sam",601,fp5064.jpg,c,0
\I1948-\i
\IFilm actor\i
New Zealander Sam Neill worked as a director at the National Film Unit in New Zealand and starred in the film \ISleeping Dogs\b\i (NZ, 1977) before coming to Australia in 1977. His films include \IThe Journalist\b\i (1979), \J\IMy Brilliant Career\j\b\i (1979), \IAttack Force Z\b\i (1980), \IFor Love Alone\b\i (1985), \J\IRobbery Under Arms\j\b\i (1985), \J\IDead Calm\j\b\i (1988), \J\IEvil Angels\j\b\i (1988) for which he won the AFI best actor award, \IThe Piano\b\i (1993), \IJurassic Park\b\i (US, 1993), \ISirens\b\i (1994), \IChildren of the Revolution\i (1995), \IThe Revengers Comedies\i (1996) and \IThe Horse Whisperer\i (1997, Touchstone Pictures, director Robert Redford). His television work includes \IThe Sullivans,\b\i the mini-series \ILucinda Brayford\b\i and the British mini-series \IReilly, Ace of Spies\b.\i
\BDescription:\b Sam Neill.
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"Nesbitt, Francis",602,0,g,0
\IActor and theatrical entrepreneur\i
Born Francis Nesbitt McCron in Ireland, Francis Nesbitt studied medicine in Dublin before settling in Australia, where he became the first star of the Australian stage. He was the first actor in Sydney to receive a curtain call; in 1843, following his performance in \IWilliam Tell\b\i at Hobart's Royal Victoria Theatre, he was hailed in the \IColonial Times\b\i as 'by far the best melodramatic actor we have seen on these boards'; in 1844 he played the leading role in Edward Geoghegan's \IThe Hibernian Father\b\i at Sydney's Royal Victorian Theatre. In 1845 in Melbourne he moved into the role of actor-manager when he opened the Queen's Theatre Royal, a new theatre with a capacity of 800 to 900--he was manager and also star of the company. In 1852 Nesbitt returned to Australia after four years working in North America; he died shortly afterwards, largely from the effects of alcoholism.
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"Nevin, Robyn",603,0,g,0
\I1942-\i
\IStage, television and film actor and theatre director\i
Robyn Nevin was educated in Victoria and Tasmania before attending NIDA in Sydney. After graduating from NIDA in 1960 she played the lead role in \IA Taste of Honey\b\i at the Palace Theatre in Sydney before returning to Hobart, where her work as a television announcer won her the first two of her Logie awards. In the 1970s she returned to Sydney and the theatre with roles in \IThe Legend of King O'Malley\b\i, \IJulius Caesar\b\i, \IFlash Jim Vaux\b\i, \IMourning Becomes Electra\b\i and \IWho's Afraid of Virginia Woolf?\b\i In 1976 Robyn Nevin won the National Theatre Award. In 1978 she played in Patrick White's \IA Cheery Soul\b\i for the Paris Theatre Company at the Sydney Opera House. She played Kate in both the Sydney Theatre Company's production of \J\IEmerald City\j\b\i in 1987 and the film version in the following year. Other performances for the Sydney Theatre Company (STC) include \IThe Precious Woman\b\i, \ICyrano de Bergerac\b\i, \IMacbeth\b\i, \IThe Perfectionist\b\i, \IThe Seagull\b\i, \IWoman in Mind\b\i, \IBig & Little\b\i, \IThe Ham Funeral\b\i and \J\IMoney and Friends\j\b\i and she directed the STC productions of \IThe Butterflies of Kalimantan\b\i, \IThe Philadelphia Story\b\i and \IThe Girl Who Saw Everything\b\i. Since 1984 she has been an associate director of the STC.
Her film work includes \ILibido: The Priest\b\i (1973); \J\ICaddie\j\b\i (1976); \IThe Fourth Wish\b\i (1976); \IThe Chant of Jimmie Blacksmith\b\i (1978); \IThe Irishman\b\i (1978); \IGoodbye Paradise\b\i (1982); \IFighting Back\b\i (1982); \J\ICareful, He Might Hear You\j\b\i (1983); \ICoolangatta Gold\b\i (1984) and \J\IEmerald City\j\b\i (1988), and she directed \IThe More Things Change...\b\i (1985). In 1986 and 1992 she won the Sydney Film Critics' Circle Award for best female performer. Her television work includes the mini-series \IWater Under the Bridge\b\i (1980), \IThe Dismissal\b\i (1983), \IPerfect Company\b\i (1983), and the documentary \IThe Burning Piano\b\i (1993), a tribute to Patrick White.
In 1987 Robin Nevin was made a Member of the Order of Australia for her services to theatre.
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"New Fortune Theatre, Perth",604,0,g,0
\IReconstruction of an Elizabethan theatre\i
The New Fortune Theatre in Perth was built in 1964 by the University of Western Australia, and is sited in an open quadrangle within an Arts Faculty building. It is unique in the world in that the dimensions for its stage and the ground plan of its auditorium follow those given in the builder's contract for the Fortune Theatre, which was built in London in 1660. Intended primarily for research, it has also inspired an Australian play, Dorothy Hewitt's \IThe Chapel Perilous\b\i.
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"New South Wales Film Corporation (NSWFC)",605,arts-38.jpg,c,0
\IFilm industry support body in New South Wales\i
The New South Wales Film Corporation was founded in 1977 to invest in and develop the production and marketing of Australian feature films. The New South Wales government had already, in 1976, invested in producer Joan Long's \IThe Picture Show Man\b\i (1977). In its first year of operation the Corporation had success with \J\INewsfront\j\b\i (1978) and in its second year with \J\IMy Brilliant Career\j\b\i (1979); later projects included \IStir\b\i (1980), \J\ICareful, He Might Hear You\j\b\i (1983), \IBliss\b\i (1985) and \IThe More Things Change...\b\i (1985). The NSWFC was disbanded in 1989 and replaced by the New South Wales Film and Television Office (FTO), charged with strengthening and promoting the state's film and television industry.
\BDescription:\bNew South Wales Film and Television Office logo.
\BPhoto:\b New South Wales Film and Television Office.
#
"New Theatre Movement",606,0,g,0
\IMovement of politically aware theatre groups formed to present 'people's theatre'\i
In the 1930s amateur theatrical groups were formed in Sydney, Melbourne, Adelaide, Perth and Brisbane to produce politically oriented plays. In 1936 all staged the anti-Nazi play \ITill the Day I Die\b\i, by Clifford Odets, first seen in New York in the previous year. In Sydney the Workers' Art Club, later renamed the New Theatre League, had its production of the play at a commercial theatre closed down after a complaint by the German consul-general. The Melbourne group of the New Theatre (founded as the Workers' Theatre Group, and renamed the New Theatre Club in 1937) also staged the Odets play. In Perth the play was presented by the Workers' Art Guild, of which writer Katherine Susannah Pritchard was a founding member. Forerunner of the New Theatre in Brisbane was the Student Theatre, for a time called Unity Theatre, which also staged the Odets play.
By the late 1930s the New Theatre movement included theatre professionals, trade unionists, left-wing intellectuals and members of the Communist Party, and through playwriting competitions and theatre workshops offered one of the few openings in Australia for new writers and new plays. However, the banning of the Communist Party during World War II caused the closures of the New Theatres (apart from the Sydney and Melbourne groups, which continued to operate underground) until 1947; in the following year New Theatre Australia was forming, linking all the state groups.
In 1953 the Melbourne New Theatre premiered the Australian folk musical \IReedy River\b\i. In 1968 the New Theatre in Sydney incurred the wrath of the New South Wales Chief Secretary when it presented \IAmerica Hurrah!\b\i, a controversial trilogy of plays by Jean-Claude van Itallie which had grown out of New York cafe-theatre improvisations; public performance of one of the plays, \IMotel\b\i, was banned.
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"Newbould, Julianne",607,0,g,0
\I1957-\i
Julianne Newbould, Australian actress and dancer, was born on 18th March 1957. She started out at 17 as a student of the independent theatre and played six roles in \INicholas Nickelby.\i Married since 1988, she has a daughter Bella (1989). Her television work includes \IShannons Mob\i, \ITrip to Nowhere\i, \IBen Hall\i, \INumber 96\I, \IBluey\i, \IYoung Ramsay\i, \IThe Restless Years\i, \IDaily at Dawn\i, \ISporting Chance\i, \IKingswood Country\i, \IPrisoner\i, \ICarson's Law\i, and \ICaptives of Care\i. Her films include \IHarness Fever\i.
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"Newsfront",608,0,g,0
\IFilm, released 1978\i
The idea for the \INewsfront\b\i story developed in discussions between surfing documentary producer \JDavid Elfick\j, director Phillipe Mora and cameraman Mike Molloy. The basic plan was to combine the drama of actual newsreel footage with a narrative thread. The project was followed through by Elfick who asked \JBob Ellis\j for a screenplay. The final version, completed by director \JPhil Noyce\j, spans ten years of Australian history from 1948. The story of Len and Frank Maquire, newsmen for two rival companies that roughly equate with Cinesound and Movietone, and Chris, Len's young soundman recently arrived from England, incorporates coverage of major 1950s events such as the Communist referendum, the Redex trials, the Maitland floods and the Melbourne Olympics.
The skilful combination of newsreel footage and action and the film's somehow touching naturalness and honesty made it a great critical and popular success, though some have accused it of parochial nationalism. It dominated the 1978 AFI Awards, winning eight prizes including best film, best direction, best screenplay and best lead actor (for \JBill Hunter\j). It was also a surprise success at the Cannes Film Festival and was voted best film of 1979 by the Belgian Film Critics' Association and the British Film Critics' Circle.
\IProduction company\b\i: Palm Beach Pictures, in association with New South Wales Film Corporation, Australian Film Commission
\IProducer\b\i: David Elfick
\IDirector\b\i: Phil Noyce
\IScreenplay\b\i: Phil Noyce (from an original screenplay by Bob Ellis, from a concept by David Elfick and Phillipe Mora)
\IMajor actors\b\i: Bill Hunter (as Len Maquire), \JChris Haywood\j (as Chris), \JWendy Hughes\j, \JGerard Kennedy\j (as Frank Maquire), \JJohn Ewart\j, Angela Punch-McGregor, John Dease
#
"Nicholls, Victoria",609,0,g,0
\I1952-\i
Victoria Nicholls, Australian actress, was born in Malta on 6th February 1952, the daughter of a Royal Australian Air Force pilot. She came to Australia at the age of 18 months following her father's tour of duty. She starred in the Ten Network's series \IThe Restless Years\i and worked as the hostess for two years on Tony Barber's \ISale of the Century.\i She has also done a national advertising campaign for National appliances and many stage shows.
#
"Night the Prowler, The",610,0,g,0
\IFilm, released 1978\i
The film of \JPatrick White\j's short story grew from the collaboration between White and \JJim Sharman\j, director of several of his plays. Adapted by White himself, it tells of over-weight, over-protected Felicity who claims to be raped in her parents' comfortable Centennial Park home in Sydney. This event (later revealed to have been the rape of an inoffensive prowler by Felicity) liberates her to become a black-leathered prowler herself and to try and subsequently reject various alternative lifestyles. Her final liberation from her past comes after she helps a dying old derelict. Offbeat, funny and in the end optimistic, the film was however panned by most critics after it opened the 1978 Sydney Film Festival. Its commercial release was delayed until the following year when it had only a short run.
\IProduction company\b\i: Chariot Films
\IProducer\b\i: \JAnthony Buckley\j
\IDirector\b\i: Jim Sharman
\IScreenplay\b\i: Patrick White (from his short story)
\IMajor actors\b\i: \JKerry Walker\j (as Felicity), \JRuth Cracknell\j, John Frawley
#
"Nimrod Street Theatre, Sydney",611,0,g,0
\IFirst home of the Nimrod Theatre Company\i
An old triangular-shaped building in Nimrod Street, Sydney, in 1970 became the first home of the Nimrod Theatre Company--it seated 140 on steeply raked benches looking over a small diamond-shaped stage. In 1974, the Nimrod Theatre company moved to new premises in a salt-cum-tomato sauce factory in Surry Hills which was converted into a 300-seat open stage theatre. The raked seating of its original space (but in a more comfortable form) was retained. The old Nimrod building was bought by \JBob Ellis\j and \JAnne Brooksbank\j who renamed it the Stables Theatre. It remains a venue for both experiment and the development of talent as well as for the presentation of established works and is currently the home of the \JGriffin Theatre Company\j. The second Nimrod building is now the Belvoir Street Theatre.
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"Nimrod Theatre Company, Sydney",612,0,g,0
\ICompany formed to present radical theatre with emphasis on Australian drama\i
The Nimrod Theatre Company was founded in 1970 by a group of theatre practitioners led by \JJohn Bell\j and Ken Horler to present works by Australian playwrights. Its first production, \IBiggles\b\i, by Michael Boddy, Marcus Cooney and Ron Blair, starred Boddy and \JJohn Hargreaves\j, and was followed by works by \JAlex Buzo\j, \JPeter Kenna\j, Bob Ellis and \JDavid Williamson\j--Williamson's \IThe Removalists\b\i (1972), directed by John Bell, won for both the Nimrod and the writer the George Devine Award for new playwriting, the first time it had been awarded outside Britain. The Nimrod was also making a name for its innovative Shakespearean productions. After the Company moved to its Surry Hills premises (a former factory) in 1974 it began to offer more mainstream fare (its old building became the Stables Theatre).
In 1975 Shakespeare's \IMuch Ado About Nothing\b\i, produced by John Bell, received the Sydney Critics' Circle Drama Award; in the following year this award went to another Nimrod production--Steve J. Spears' \IThe Elocution of Benjamin Franklin\b\i. In the early 1980s the Nimrod began importing big-name overseas stars for its productions in an attempt to be both national and international in character. In 1983 the Nimrod announced it was in financial difficulties, and in the following year decided to pay off its debts by selling its building to a syndicate of theatre workers (this building is now the Belvoir Street Theatre). The Nimrod took its name to a new venue at the Seymour Centre. The Company was, however, doomed, and despite an attempt to remodel it into a classical repertory company in 1985, it closed down in 1986 after the Australia Council and the New South Wales government withdrew their subsidies.
#
"1915 (mini-series)",613,0,g,0
\ITelevision mini-series, first broadcast 1982\i
This large-scale war series had apparent similarities with the successful feature film \J\IGallipoli\j\b\i, released shortly before in 1981. Two country boys, friends since childhood, enlist to fight in the Great War and become part of the Anzac legend. Before Walter and Billy depart they meet and fall in love with two city girls, Frances and Diana. The series deals realistically with both the horror of war as experienced at Gallipoli and the anguish of those left at home. Both Walter and Billy eventually return to Sydney, but separately, and their lives lead in different directions. As well as war and romance, issues such as class and prejudice are woven into the story.
An expensive and demanding ABC co-production, the series had a huge cast, including some of Australia's best-known actors and hundreds of extras. It was shown in seven one-hour episodes and repeated several times, as well as being sold to more than 30 countries. Awards included Logies for best mini-series in 1982-83 and best supporting actor (Adrian Wright) and an Awgie for Peter Yeldham for best television adaptation.
\IProduction company\b\i: ABC and Lionheart Television International Productions
\IProducer\b\i: \JRay Alchin\j
\IDirectors\b\i: Chris Thomson, \JDi Drew\j
\IScriptwriter\b\i: Peter Yeldham, based on the novel by Roger McDonald
\IMajor actors\b\i: Scott McGregor (as Walter), Scott Burgess (as Billy), \JSigrid Thornton\j (as Frances), Jackie Woodburne (as Diana), \JBill Hunter\j, \JLorraine Bayly\j, \JRichard Moir\j, Serge Lazareff, Arna Maria Winchester, \JMartin Vaughan\j, Iona Rodgers, \JColleen Clifford\j, Damon Sanders, Adrian Wright
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"No Sugar",614,0,g,0
\IPlay, first produced 1985\i
\INo Sugar\b\i is the second play in the trilogy \IThe First Born\b\i by Aboriginal playwright \JJack Davis\j: the first and third in the set are \IThe Dreamers\b\i and \IBarungin\b\i. The play was commissioned by the Australian Elizabethan Theatre Trust and records the various run-ins the Wallitches, the central Aboriginal family, have with the authorities, culminating in an Australia Day protest complete with a reworded version of the well-known hymn 'There is a Happy Land'. The action takes place in the Moore River district where Davis himself grew up.
\IFirst produced by\b\i: Western Australian Theatre Company with a cast of five white and eleven black actors at the Maltings (once a brewery) for the 1985 Perth Festival.
\IOther major productions include\b\i: Fitzroy Town Hall in 1986 with original cast; abroad to Expo '86 in Vancouver; return production with same core group at same Melbourne venue in 1988 (this time \IThe First Born\b\i trilogy was performed in chronological order, with \INo Sugar\b\i first, in the same season); the production then toured abroad to London's Riverside Studios.
#
"Noonan, Christopher",615,0,g,0
\I1952-\i
\IFilm and television director; film administrator\i
Born in Sydney, Noonan worked for the Commonwealth Film Unit (later Film Australia) from 1970 and in 1973 was among the first intake of the Film and Television School. His early film work included the short films \ICould It Happen Here?\b\i (1969, made at high school and a prize winner at the Sydney Film Festival) and \ILove at First Sight\b\i (1973). From 1974-79 he made many short films and documentaries for Film Australia. In 1979 he set up his own company, Binnaburra Films, and made the prize-winning documentary \IStepping Out\b\i in 1980. Television work includes \IFamilies in Crisis\b\i (1982), the mini-series \J\IVietnam\j\b\i (1987, co-director with John Duigan) and \IPolice State\b\i (ABC, 1989). Noonan was president of the Australian Screen Directors Association 1987-88 and has been chairman of the Australian Film Commission since 1990.
Christopher Noonan directed the highly successful film \IBabe\i (1995).
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"Norman Gunston Show, The",616,0,g,0
\ITelevision comedy show, broadcast 1975-80\i
The famous Norman Gunston began as a parody of a 'Tonight' show interviewer. Writer Bill Harding and actor \JGarry McDonald\j developed the character, based on McDonald's Wollongong character in \IThe Aunty Jack Show\b\i. His trademarks were stovepipe trousers and a lurex tuxedo, with patches of tissue covering shaving cuts on his face and strips of brilliantined hair brushed forward as if to cover baldness. Though the show was originally an ABC program, running from 1975 to 1977, the Seven network took up the idea and over the next few years made a series of specials featuring Norman interviewing overseas celebrities. McDonald was able to function in these without scripts and the very humorous results were watched by a large audience. Norman Gunston became a never-to-be-forgotten Australian character with the lines between fiction and reality often becoming blurred. This was even more so as McDonald took to turning up at genuine press conferences until politicians and other targets objected.
In 1981 the ABC produced \IGunston's Australia\b\i, a parody of a television travelogue. He also appeared in a stage show (\IYou Can't Stop the Gunston\b\i) and in thirteen United States television shows and many commercials, all of these scripted by Trevor Farrant. By the time Norman Gunston finally went off the air, McDonald had become one of Australia's best-known comic performers. In 1993 an attempt was made to produce a new series but production ceased when writer Farrant withdrew from the project.
\IExecutive producer for the original ABC show\b\i: Maurice Murphy
\IProducer/director for the ABC\b\i: John Eastway
\IWriter for the ABC\b\i: Bill Harding; also John Sweetensen, Peter Thorburn
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"Norris, Terry",617,0,g,0
\I1930-\i
Terry Norris, Australian actor and politician, was born in Melbourne on 9th June 1930. He was a professional actor from 1950 and came to fame as the desk sergeant in the Seven Network's \IDivision Four\i and \ICop Shop.\i He became a member of the Victorian Labor Party in the 70s, and in 1984 was elected to the seat of Noble Park until he retired in 1992. He won the silver Logie for best actor in 1980, and is married to Julia Blake; they have one son and two daughters.
#
"Nottage, Geoffrey",618,fp5070.jpg,c,0
\I1945-\i
\ITelevision director\i
Nottage came to note as a television director with 'Lo-arna', the fourth episode of \J\IWomen of the Sun\j\b\i (1982). He has since been mainly associated with the ABC, with whom his directing credits include the legal series \ILearned Friends\b\i (began 1983); the teenage musical series \ISweet and Sour\b\i (1984) and the subsequent dance series \IDancing Daze\b\i (1986); the migrant series \IPalace of Dreams\b\i (1985); \IThe Last Resort\b\i (began 1988), a not very successful soap opera series; the long-running \J\IGP\j\b\i (began 1989); the very successful series \J\IPolice Rescue\j\b\i (began 1990); first episode of \J\IEmbassy\j\b\i (1991), \IWhite Man's Legend,\i \IMonologues,\i two episodes of \IHeartbreak High,\i \IThree Men and a Baby Grand\i and \IFallen Angels.\i In 1990 he was one of the directors of the American-inspired children's series \IDolphin Cove,\b\i made on the Gold Coast by Paramount Films, and in 1993 was a director of Barron Films' children's series \IShip to Shore\b.\i Other directing credits include \IWater Rats\i and \IMedivac.\i
\BDescription:\b Geoffrey Nottage on location "Key West".
\BPhoto:\b Robyn Gardiner Management.
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"Nowra, Louis",619,0,g,0
\I1950-\i
\IPlaywright and novelist\i
Born in Melbourne, Nowra emerged as a playwright of national stature during the late 1970s. His avoidance of naturalistic writing and his use of music as integral to the action made his style different to his contemporaries. His earliest performed play was \IKiss the One-Eyed Priest\b\i (1973), which was staged at Melbourne's La Mama Theatre. \IAlbert Names Edward\b\i (1976) followed at the same theatre and after that \IInner Voices\b\i (1977) performed at Sydney's Nimrod Theatre and later touring to other states. The Paris Theatre Company in Sydney commissioned \IVisions\b\i in 1978 and in 1979 he was invited to be writer-in-residence at the University of Queensland.
The Sydney Theatre Company performed his play \IThe Precious Woman\b\i in 1980 and also his translation of \ICyrano de Bergerac\b\i. In the same year the Nimrod Theatre commissioned \IInside the Island\b\i. Nowra spent 1982 and 1983 in Adelaide as associate director of Lighthouse (the State Theatre Company of South Australia). While he was there he wrote \ISpellbound\b\i (1982), \ISunrise\b\i (1983) and \IRoyal Show\b\i (1983) for them. More recently his play \IByzantine Flowers\b\i premiered at the STC in 1989, \ISummer of the Aliens\b\i premiered at the Melbourne Theatre Company in 1992, \ICrow\b\i premiered at the SATC in 1994, \ICosi\b\i premiered at the Belvoir Street Theatre in 1992, with the MTC production in 1994, and \IThe Price of Prayer\b\i premiered at the STC with \IThe Incorruptible\b\i receiving its first performance at Melbourne's Playbox Theatre in 1995.
Nowra has received several Literature Board grants and fellowships and has had his plays produced all over the world. Awards Nowra has won include the Prix Italia Award (1990) for the radio play \ISummer of the Aliens\b\i; the 1992 NSW Premier's Literary Prize for his play \ICosi\b\i which was also nominated for the 1993 Sydney Theatre Critics' Award for best new Australian Play or Musical; the 1994 Canada-Australia Award, from the Canada Council and the Australian Literature Board; the 1994 Australian Literary Society Gold Medal and the 1995 Green Room Award for best new play for \ICosi\b\i.
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"Noyce, Phillip",620,0,g,0
\I1950-\i
\IFilm director\i
Born in Griffith, New South Wales, Noyce began making films while at university and was among the first intake of students to the Australian Film and Television School in 1973. In 1974 his documentary \ICastor and Pollux\b\i won the Rouben Mamoulian Award at the Sydney Film Festival; in 1977 and 1978 he won AFI Awards for documentaries made at Film Australia. Noyce's first feature was \IBackroads\b\i (1977), an unconventional film which was better reviewed overseas than in Australia. He came to wide notice in 1978 with the success of \J\INewsfront\j\b\i which, among many other awards, won best director at the AFI Awards. His next major film was \J\IHeatwave\j\b\i (1981). After a period of television directing he returned to film-making with the intention of moving away from the social and political themes of his earlier films and becoming more part of the mainstream. The trouble-beset \IEchoes of Paradise\b\i (1987) was followed by \J\IDead Calm\j\b\i (1988), an unusual thriller released worldwide.
The success of \IDead Calm\b\i led to Noyce becoming based in Los Angeles, where his work has included the popular action film \IPatriot Games\b\i (1992), the erotic thriller \ISliver\b\i (1993) and the techno-thriller \IClear and Present Danger\b\i (1994).
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"Number 96",621,0,g,0
\ITelevision serial, broadcast 1972-77; film released 1974\i
\B1.\b\i This serial played an important role in Australian television history. Though not the first local soap opera, it established the format as one of the staples of Australian commercial television--and its success ensured the continuance of Sydney's Channel Ten, then struggling to achieve viable ratings. The idea for the serial in fact came from Ian Holmes, then at Channel Ten, who asked Don Cash and \JBill Harmon\j to develop the series. \INumber 96\b\i referred to a block of inner-city flats whose residents were the characters of the series. These neighbours, unlike those in the later series \INeighbours\b\i, did not include a lot of good-looking teenagers and the program was not aimed at a teenage audience. Shown in a late viewing time-slot, the show was adult viewing and was innovative for the time in showing sexual scenes. In particular, the actor \JAbigail\j became famous for such scenes, not least the one in which she bared her breasts. The serial was structured so that several storylines ran at once and the characters, who as well as Abigail included Vera Collins, Dorrie and Herb Evans, Adolphus and Rosa, Arnold Feathers, Alf Sutcliffe and Don Finlayson (the first gay male character on Australian television), moved in and out of prominence.
Half-hour episodes were shown five times a week and achieved great popularity. The program was rated number one in 1972, 1973 and 1974 and won many awards. When it began to slip after three years, the writers devised an unusual way of sorting out who were the most popular characters. They wrote in a bomb explosion at the flats and waited for audience letters before revealing who had survived. The program also moved more in the direction of comedy in its later years. Over 1200 episodes, more than half filmed in colour, had been shown when it finished screening.
\IProduction company\b\i: Cash-Harmon Productions
\IExecutive producers\b\i: Bill Harmon, Bob Huber, Johnny Whyte
\IDirectors\b\i: Peter Bernardos, Bill Eve, Brian Phillis, Howard Scrivener
\IScriptwriters\b\i: Johnny Whyte, Lynn Foster, \JRobert Caswell\j, David Sale, Ken Shadie, Derek Strahan, \JEleanor Witcombe\j
\IMajor actors\b\i: Abigail, Pat McDonald (as Dorrie Evans), Ron Shand (as Herb Evans), Elaine Lee (as Vera Collins), Joe Hasham (Don Finlayson), Gordon McDougall, Briony Behets, Tom Oliver, Wendy Blacklock, Chard Hayward, Bunny Brook, Sheila Kennedy, Carol Raye, Mike Dorsey, Jeff Kevin, Johnny Lockwood, Norman Yemm
\B2.\b\i The success of the television series led the producers to make a feature film, using the same actors and scenario. Though quickly and comparatively cheaply made, it was a popular success.
\IProduction company:\b\i Cash Harmon
\IProducer:\b\i Bill Harmon
\IDirector:\b\i Peter Bernardos
\IScriptwriters:\b\i David Sale, Johnny Whyte
\IMajor actors:\b\i Pat McDonald, Johnny Lockwood, Tom Oliver, Joe Hasham, Rebecca Gilling, Jeff Kevin, John Orcsik, Bunny Brook
#
"Oakley, Barry",622,0,g,0
\I1931-\i
\IPlaywright\i
Melbourne-born Oakley had his tertiary education at Melbourne University and wrote his first play, \IFrom the Desk of Eugene Flockhart\b\i (1966), when he was in his mid-twenties. The comedy, set in the office of a public servant in Canberra, sees Mr Flockhart on his retirement day. When the new man comes in, it's Mr Flockhart's duty to instruct him in office etiquette. \IWitzenhausen, Where Are You?\b\i (1967), about a strange messenger in a car company who locks himself in a toilet, was produced at La Mama, where \IA Lesson in English\b\i (1968), based on Oakley's experiences as a pupil at a Christian Brothers college and as a young teacher, was also produced.
Other plays include \IIt's a Chocolate World\b\i (1968) in which the protagonist, Mr Crombie, is a research man in Candy Bar Inc.; \IThe Feet of Daniel Mannix\b\i (1971) about the controversial Roman Catholic Archbishop of Melbourne; \IBeware of Imitations\b\i (1973), featuring a retired Warden of Ports and Brandies, the Garter and the Privy Seal, whose world is now a private nursing home; the widely-produced \IBedfellows\b\i (1975), a biting look at marriage and extra-marital relationships; and \IPolitics--A Farce\b\i (1980).
#
"Oberon, Merle",623,0,g,0
\I1911-79\i
Merle Oberon, former Australian actress, was born Estelle Merle O'Brien Thompson in Tasmania on 19th February 1911. She went to Calcutta when she was seven and later joined an amateur theatre group. Merle Oberon worked in London as a dance hostess under the name of Queenie O'Brien until she was signed by film director Alexander Korda, who later became her first of four husbands.
The Kordas moved to Hollywood in 1936. She was seriously injured in a car accident in 1937 while filming \IClaudius,\i and was suffering from concussion for a number of weeks. Her first husband, Alexander Korda, cast her as Ann Boleyn in \IThe Private Life of Henry VIII.\i Her second husband was cameraman Lucien Ballard. Her other films include \IThe Scarlet Pimpernell, Wuthering Heights, A Song to Remember, Temptation\i and \IInterval.\i She died from a stroke on 23rd November 1979, aged 68.
#
"O'Callaghan, Gary",624,0,g,0
\I1933-\i
Gary O'Callaghan, Sydney radio personality, was born in Sydney on 11th October 1933. He rose to stardom when he covered the Petrov affair at the airport for 2SM in 1954. He joined 2UE in 1956, where he was number one in the radio ratings for 27 years. Following two changes of ownership, he left the station in 1987 and joined 2KY where he lasted 18 months until replaced by the man he replaced, Ron Casey. In 1989 O'Callaghan returned to 2UE to host a one and a half hour breakfast show on Saturdays and Sundays.
#
"Odd Angry Shot, The",625,0,g,0
\IFilm, released 1979\i
Based on the novel by William Nagle that won the 1975 National Book Council Award, \IThe Odd Angry Shot\b\i was the first Australian film about Vietnam and looks at a group of Australian servicemen on duty, the fighting they are involved in and their relationships back home. It concentrates in an often humorous way on the individual experience of war rather than attempting an overall statement about the Vietnam War. The Australian Army and the RAAF gave assistance in the making of the film. Many critics, while admitting it to be enjoyable and well acted, were worried by the lack of a message and saw it in the mould of \IM*A*S*H\b\i. It was well received by the public, becoming one of the most successful Australian films.
\IProduction company\b\i: Samson Productions, in association with Australian Film Commission, New South Wales Film Corporation, Roadshow
Born in Goulburn, New South Wales, Ogilvie moved to Canberra at the age of four. He came to Sydney to study accountancy and went into repertory theatre in England in the late 1950s. He studied mime with Jacques le Coq in Paris and formed a mime troupe which toured Europe. In 1965 he became associate director of the Melbourne Theatre Company and in six years directed 23 major plays for the company. Ogilvie was artistic director of the Sydney Theatre Company from 1972 to 1976 and following this became a freelance director for such companies as the Australian Opera and the Australian Ballet. By 1985 he had won the Melbourne Critics' Award for best director three times.
The operas Ogilvie has directed include \ILucrezia Borgia\b\i (1977) and \IDon Giovanni\b\i (1978) with Dame Joan Sutherland. The plays he has directed include \IDeath of a Salesman\b\i (1982) with Warren Mitchell and \JMel Gibson\j, Willy Russell's \IShirley Valentine\b\i (1989) and \IThe Heiress\b\i (1992), based on a Henry James novel. For television he has directed one episode of \IThe Dismissal\b\i (1983) and shared directing credits for \J\IBodyline\j\b\i. Ogilvie was co-director on the film \IMad Max III: Beyond Thunderdome\b\i. Ogilvie directed \JStephen Sewell\j's \IThe Garden of Granddaughters\b\i at the Wharf Theatre in 1993 and the world premiere of \JNick Enright\j's \IThe Quartet from Rigoletto\b\i at the Ensemble Theatre in 1995.
#
"O'Grady, John",627,0,g,0
\I1931-\i
\ITelevision scriptwriter and producer\i
The son of author John O'Grady who wrote \IThey're a Weird Mob\b\i, O'Grady became a scriptwriter with the Comedy Unit of the ABC after some television experience with Sydney television station TCN-9. His script work included the series \IOur Man in the Company\b\i (1973, writer) and \IOne Day Miller\b\i (1979, script editor). He then moved on to producing, becoming one of the mainstays of the Comedy Unit. His early productions included, as executive producer, \IHome Sweet Home\b\i (began 1980), a comedy series about migrants in Australia, and \ITrial by Marriage\b\i (1980).
O'Grady continued to look for a situation comedy that would become an ongoing success for the Comedy Unit and eventually found it in \J\IMother and Son\j\b\i (began 1985). O'Grady has produced all series of this. Subsequent productions include \IEggshells\b\i (1991), a domestic comedy starring, like \IMother and Son\b\i, \JGarry McDonald\j.
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"Old Tote Theatre Company",628,0,g,0
\ITheatre company formed in association with NIDA which grew into New South Wales' state company\i
The Old Tote Theatre Company was a professional company, formed in association with \JNIDA\j to share use with its students of a theatre building within the grounds of the University of New South Wales. It gave its first performances in 1963 in an old tin shed--the original Old Tote Theatre. The adjoining building, taken over by NIDA in 1961, had once housed the Randwick Racecourse totalisator--hence the name of the theatre. In 1964 the Old Tote had its first major hit, a production by John Clarke of \IWho's Afraid of Virginia Woolf?\b\i With three other state theatre companies (the National Theatre of Perth, the State Theatre Company of South Australia and Melbourne's Union Theatre Repertory Company), it toured nationally in 1966, and in 1969, after receiving a major subsidy from the federal government through the Australian Council for the Arts, the company separated from NIDA. It moved to the Parade Theatre, also on university grounds, and \JRobin Lovejoy\j was appointed sole artistic director of the company.
In 1973 it took on as its second home the Drama Theatre of the newly-opened Sydney Opera House, and in late 1974 began staging productions at a third major venue, the York Theatre at the Seymour Centre. After the resignation of artistic director Robin Lovejoy in 1974, there followed a series of artistic directors, culminating in Sir Robert Helpmann. In 1976 \JJim Sharman\j produced Patrick White's \IThe Season at Sarsaparilla\b\i, and in 1977 White's \IBig Toys\b\i opened at the Parade Theatre to a mixed reception. By this time, however, the company was so deeply in debt that the Australia Council withdrew its subsidy, and in 1978 the Old Tote Theatre Company went into liquidation. It was wound up in the following year, and from its ashes rose the Sydney Theatre Company.
#
"Oliver, Pom",629,0,g,0
\IFilm producer\i
Born in England, Oliver came to Australia in the early 1970s and worked her way up in film production until as production manager on \IBreak of Day\b\i (1976) she drew the attention of producer \JPat Lovell\j who appointed her associate producer of her next film, \ISummerfield\b\i (1977). After going into partnership with \JErrol Sullivan\j, she co-produced with him several films including \ICathy's Child\b\i (1978), \IHoodwink\b\i (1980) and \IThe City's Edge\b\i (1982) and independently produced \IRunning on Empty\b\i (1982) for the Film Corporation of Western Australia. She is now based in England.
#
"Olle, Andrew",630,0,g,0
\I1947-95\i
Andrew Olle, former ABC television and radio broadcaster, was born John Andrew Durrant Olle in Hornsby, Sydney on 28th December 1947, the son of an army major. His parents separated when he was seven and he was sent to boarding schools by his father. He left school at 15 and worked a short time in a car spare parts shop and then for Myer's department store in Melbourne. He became a rebel and was in danger of crossing to the wrong side of the law until taken in hand by a mentor, who helped change his life after Olle was questioned by police at 17. He eventually studied arts and law at the University of Queensland.
He applied for an ABC cadetship in 1967 and was posted to Townsville. He came to fame when he joined the ABC TV current affairs program \IThis Day Tonight\i and in 1977 joined the corporation's flagship, \IFour Corners,\i as a reporter. He later worked on \INationwide\i and \IBig Country,\i before working on the Nine Network's \ISunday\i program for three years. In 1985 he re-joined the ABC as host of \IFour Corners,\i a position he left in 1995to host \IThe 7.30 Report\i. He was removed from the show after the first year and replaced by Kerry O'Brien. He married his wife Annette in 1968 and they had three children Nicholas (1974), Sam (1978), and Nina (1984).
His morning radio show was taken from him and he was to host a drive-time radio show in 1996; the survey published the day he died showed he had increased his morning audience by 2 per cent. He collapsed at his Greenwich home on 8th December 1995 with a brain tumour haemorrhage, and died on 12th December 1995, aged 47, after lying in a coma for four days. Each year the ABC remembers him with the Andrew Olle Media Lecture.
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"Olympic Theatre, Melbourne",631,0,g,0
\IPrefabricated theatre built for a single season\i
The Olympic Theatre, on the corner of Stephen and Lonsdale Streets, Melbourne, could hold 1200 people and was built for \JGeorge Coppin\j in 1855. The glass and iron building was imported in prefabricated form from Manchester, England, and was erected in just six weeks. It was soon nick-named the 'Iron Pot', and was said to be hot in the summer and, as it had no ceiling, just the low pitched corrugated iron roof, cold in winter. Coppin built the Olympic expressly to house a season of visiting Shakespearean tragedy actor Gustavus Vaughan Brooke; in 1856, at the end of Brooke's season, he tried unsuccessfully to sell the building. It became a dance hall in 1857, reopened briefly as a theatre in 1859, in 1860 was converted into a Turkish baths, and by 1890 was being used as a furniture warehouse, before being demolished in 1894. The Comedy Theatre was built on its site in 1928.
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"On Our Selection",632,0,g,0
\IPlay, first produced 1912; silent film, black and white, released 1920; sound film, black and white, released 1932; adapted musical play, first produced 1979; feature film, released 1995\i
\B1.\b\i Steele Rudd's comic but essentially realistic small selectors were brought to the stage by \JBert Bailey\j and Julius Grant, with the backing of \JBeaumont Smith\j. The play was written by Bailey and Edmund Duggan. It was a huge success, described by some as the beginning of 'real Australian' drama.
\B2.\b\i The American Carroll brothers were relying on the popularity of \JSteele Rudd\j's characters and the proven ability of director \JRaymond Longford\j to make films with a strong local appeal when they decided to produce this film and its sequel, \IRudd's New Selection\b\i (1921). A large sum was paid to Steele Rudd for the rights. As opposed to the \IHayseeds\b\i series of Beaumont Smith, the farcical stories of hard-working Australian country people were tempered with realistic details of domestic life and the drama of the battle between the forces of nature and the farmers. Although very successful and profitable in Australia, the \ISelection\b\i films were not marketed overseas as their humour was thought to be too distinctively Australian to be understood.
\IProducer\b\i: E. J. Carroll
\IDirector and screenplay\b\i: Raymond Longford (based on the characters of Steele Rudd, first appearing in sketches in the \IBulletin\b\i from 1895)
\IMajor actors\b\i: Percy Walshe, Beatrice Edmond, Tal Ordell, Arthur Greenaway, Evelyn Johnson, Fred Coleman
\B3.\b\i \JKen G. Hall\j's version of \IOn Our Selection\b\i, billed as 'Australia's first great screen effort', broke Australian box-office records. Hall used the sound technique to good effect to evoke the atmosphere of the Australian bush. It was followed by several reasonably successful sequels, all directed by Hall--\IGrandad Rudd\b\i (1935), \IDad and Dave Come to Town\b\i (1938) and \IDad Rudd MP\b\i (1940). The last two also did well when screened in Britain.
\IProduction company\b\i: Cinesound Productions
\IProducer\b\i: Bert Bailey
\IDirector\b\i: Ken G. Hall
\IScreenplay\b\i: Bert Bailey and Ken G. Hall (based on the play by Bailey and Duggan)
\IMajor actors\b\i: Bert Bailey, Fred MacDonald, Alfreda Bevan, John McGowan, Molly Raynor, Dick Fair
\B4.\b\i In 1979 a new musical stage version of \IOn Our Selection\b\i, rewritten and directed by \JGeorge Whaley\j, opened in Sydney. It proved a popular success in spite of being overly long, in contrast to Steele Rudd's economic style.
\IFirst produced\b\i: NIDA at the Jane Street Theatre, Sydney, 1979; transferred in 1980 to the Nimrod Upstairs
\IDirector\b\i: George Whaley
\IDesigner\b\i: \JKim Carpenter\j
\IMusical director\b\i: Roma Conway
\IChoreographer\b\i: Keith Bain
\IMajor actors\b\i: Don Crosby (as Dad), Henrietta White (as Mum), Geoffrey Rush (as Dave), \JKerry Walker\j, Julieanne Newbould, Jon Blake, \JNoni Hazlehurst\j, John Howard
\IOther productions include\b\i: National Theatre Company, Perth (1980); Q Theatre, Sydney (1981); Queensland Theatre Company (1981); Adelaide Festival Centre (Playhouse, 1982); Melbourne Theatre Company (1982/83/84); Theatre ACT (1982); New Moon Theatre Company (1985); Brisbane Arts Theatre (1993).
\B5.\b\i In 1994 production began on another film version of the Dad and Dave stories. The new \IOn Our Selection\b\i is directed by George Whaley, based on his stage version, and co-financed by the Australian Film Finance Corporation and \JMel Gibson\j's Icon Productions. Cast includes \JLeo McKern\j (as Dad), Joan Sutherland (as Mum), and Geoffrey Rush (as Dave).
See also \JDad and Dave\j
#
"On the Beach",633,0,g,0
\IFilm, black and white, released 1959\i
This was an American production set and shot in Australia rather than a truly Australian film. Based on the novel by Nevil Shute, it centres on Melbourne as the last surviving city on earth after nuclear warfare. Here an American submarine captain falls in love with an Australian woman. It was produced by a leading American director and its cast was led by well-known American actors.
\IProduction company\b\i: Lomitas Productions
\IProducer and director\b\i: Stanley Kramer
\IScreenplay\b\i: John Paxton, James Lee Barrett (from the novel by Nevil Shute)
\IMajor actors\b\i: Gregory Peck, Ava Gardner, Fred Astaire, Anthony Perkins, Donna Anderson, \JJohn Meillon\j
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"One Day of the Year, The",634,0,g,0
\IPlay, first produced 1961\i
When \JAlan Seymour\j wrote his play about Anzac Day, he was walking on sacred ground. While everyone knew that 25th April was a day when you sadly remembered the young Australian and New Zealand soldiers who had died for their countries, nobody voiced the fact that the Diggers also used the day for boozing with their old mates. Seymour uses his older characters Alf Cook and Wacka to voice the opinion of the older generation that Anzac Day is special to them for the focus on mateship and sense of belonging that it provides. Alf's university-student son Hughie and his girlfriend Jan have come to see the day as one giant booze-up; it is these opposing views, with Alf's wife Dot caught in the middle, that form the basis of the play. The play was widely discussed, especially after the Board of Governors of the inaugural 1960 Adelaide Festival rejected it as too controversial and likely to offend ex-servicemen.
\IFirst produced\b\i: Sydney's Palace Theatre in 1961 (there was a bomb threat on opening night)
\IOther major productions\b\i: A revised version was performed by the Melbourne Theatre Company at the Arts Centre in 1986; Christopher Cummins Theatre Productions, Sydney's Bondi Pavilion (directed by Charlie Little), 1994.
#
"Orcsik, John",635,0,g,0
\I1945-\i
John Orcsik, Australian actor and scriptwriter, was born in Austria on 3rd May 1945. The son of Hungarian parents, he settled in Perth, Western Australia. He is married to actress Paula Duncan whom he met when they both co-starred in the television series \ICop Shop\i in the early 1980s. He and his wife separated for a while in the early 1990s but got back together again.
His other television appearances include \INumber 96, Five Mile Creek, Coopers Crossing, A Country Practice,\i and \IThe Last Voyage.\i His films include \II Need More Staff, Peterson, The Man From Hong Kong, Portrait of Jenny, Harvest of Hate\i and \IKokoda Crescent.\i
#
"Osmond, Wendy",636,0,g,0
\ISet designer\i
Sydney-based Osmond graduated with a Diploma of Dramatic Art (Design) from NIDA in 1990. Her theatre work includes set designer for Bram Stoker's \IDracula\b\i (1989), Gorky's \IChildren of the Sun\b\i (1989), Brenton and Hare's \IPravda\b\i for the NIDA Theatre (1990); set and costume designer for Clare McIntyre's \ILow Level Panic\b\i for Sydney's Belvoir Street Theatre (1991), \JPatrick White\j's \IThe Aunt's Story\b\i for NIDA Studio (1991), \IRain Shadow\b\i for Theatre of the Deaf at Sydney's Wharf Studio (1991), Goetz's \IThe Heiress\b\i (1992) and Elizabeth Jolley's \IThe Newspaper of Claremont Street\b\i (1993) for Sydney's Marian Street Theatre; costume design for \IHamlet\b\i for the Bell Shakespeare Company (1992), Chekhov's \IUncle Vanya\b\i and \IThe Seagull\b\i for NIDA (1992) and \IUnidentified Human Remains and the Nature of Love\b\i (1994).
Osmond's film work includes roles as costume designer and supervisor on \IThe Snake\b\i, written by Paul Corcoran (1993), and as wardrobe mistress and buyer on the short film \ISmall Room Confessions\b\i (1994). She was nominated for the 1992 Sydney Theatre Critics' Circle Award for designer for \IThe Heiress\b\i.
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"Otto, Barry",637,fp5065.jpg,c,0
\I1941-\i
\IActor of stage, television and film\i
Brisbane-born Barry Otto has worked for all major Australian theatre companies in productions including \IFrankie and Johnny,\b\i the title role in \IUncle Vanya,\b\i \IThe Three Sisters\b\i and \IWelcome the Bright World\b.\i His work for the Sydney Theatre Company includes \IA Happy and Holy Occasion,\b\i \IAs You Desire Me,\b\i \ITom and Viv,\b\i \IA Little Night Music\b\i and \IThe Marriage of Figaro\b\i; and for the Melbourne Theatre Company, \IFaust\b.\i For the Belvoir Street Theatre he has appeared in \IThe Tempest\i (1995), \IWasp\i (1996) and \INight on Bald Mountain\i (1996). His film appearances include \INorman Loves Rose\b\i (1982), \IUndercover\b\i (1982), \IBliss\b\i (1985), \IThe More Things Change...\b\i (1985), \IThe Marsupials: The Howling III\b\i (1987), \J\IStrictly Ballroom\j\b\i (1992) for which he won (with \JBill Hunter)\j the Australian Film Critics' Circle Award for best supporting actor, \IMr Reliable\i (1995), \ICosi\i (1995), \IOscar and Lucinda\i (1996), \IKiss or Kill\i (1996) and \IDead Letter Office\i (1997). His television work includes the lead roles in the telemovies \IPigs Will Fly,\b\i \ITakeover\b\i and \IThe Last Voyage\b.\i He also appeared in \IMurder Call\i in 1997.
\BDescription:\b Barry Otto.
\BPhoto:\b Shanahan Management.
#
"Otto, Miranda",638,fp5066.jpg,c,0
\IStage and film actor\i
Daughter of veteran actor \JBarry Otto,\j Miranda graduated from \JNIDA\j in 1990 and has since established a reputation as one of Australia's best young actors. Her stage roles have included Betsy in \ISixteen Words for Water\b\i (1991) and Edwina in \IThe Girl Who Saw Everything\b\i (1992), both for the Sydney Theatre Company, and Susy in \IBrilliant Lies\b\i (1993) for the Queensland Theatre Company's national tour. She has been particularly noted for her film work, receiving AFI nominations for her roles as Nell in \IDaydream Believer\b\i (1990) and Annie in \IThe Last Days of Chez Nous\b\i (1991). Other film work includes \IThe Nostradamus Kid\i (1992), \ILove Serenade\i (1995), \ITrue Love and Chaos\i (1996), \IDoing Time for Patsy Cline\i (1996), \IThe Well\i (1996), \IDead Letter Office\i (1997) and \IThe Thin Red Line\i (1997). Television work has included \IHeroes II--The Return\b\i (1991).
\BDescription:\b Miranda Otto.
\BPhoto:\b Shanahan Management.
#
"Overlanders, The",639,0,g,0
\IFilm, black and white, released 1946\i
This film, made by British director and documentary-maker Harry Watts, had a major impact on the Australian film industry--its international success prompted the British company Ealing Studios to produce films in Australia regularly, the first international company to do so. The idea for the film came from the desire of the Australian government to have the country's effort in World War II given more prominence in Britain. Watts researched in Australia for several months before coming up with the story of the overland drive of 100000 cattle from the Northern Territory to the coast of Queensland in the face of an apparently imminent Japanese invasion in 1942. Documentary-style factual material is successfully incorporated into the drama of the story. The team of drovers has often been seen as intended to represent Australian society in microcosm; \JChips Rafferty\j leads the cast in one of his key roles as the legendary Australian bushman.
\IProduction company\b\i: Ealing Studios
\IProducer\b\i: Michael Balcon
\IDirector\b\i: Harry Watt
\IScreenplay\b\i: Harry Watt
\IMajor actors\b\i: Chips Rafferty, John Nugent Hayward, Daphne Campbell, Jean Blue
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"Page, Grant",640,0,g,0
\I1939-\i
\IFilm and television stuntman and actor\i
Born in Sydney, Page achieved the reputation of the leading stuntman in Australia and formed his own company, Cunning Stunts. His films include \IThe Man from Hong Kong\b\i (1975); \IMad Dog Morgan\b\i (1976) on which he also acted; \J\IEliza Fraser\j\b\i (1976); \J\IStorm Boy\j\b\i (1976) on which he was technical adviser; \IDeathcheaters\b\i (1976) in which he co-starred; \IThe Picture Show Man\b\i (1977); \IThe Last Wave\b\i (1977); \IThe Irishman\b\i (1978); \J\IMad Max\j\b\i (1979) in which he also acted; \IThe Odd Angry Shot\b\i (1979); \J\IGallipoli\j\b\i (1981) for which he trained the lead actors; \IWe of the Never Never\b\i (1982); \IThe Year of Living Dangerously\b\i (1982), for which he was underwater coordinator; and \J\IPhar Lap\j\b\i (1983). His television work includes \IThe Kung Fu Killers\b\i (1974) and series such as \IA Country Practice\b\i, \IThe Restless Years\b\i, \IThe Young Doctors\b\i and \J\IAll the Rivers Run\j\b\i.
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"Palace Theatre, Sydney",641,0,g,0
\IVictorian theatre noted for its opulent decor\i
The Palace Theatre was built in 1896 for George Adams, owner of the adjoining Tattersall's Hotel. Its ornate exterior was more than matched by a lavishly decorated interior reminiscent of an Indian temple. Although refurbished in 1924, by the end of the decade the Palace had fallen upon hard times and was being used for mini-golf. It became a cinema until 1961, when it was leased by the Australian Elizabethan Theatre Trust and Melbourne entrepreneur Garnet Carroll and returned to its original function. It was demolished in 1969 and the Sydney Hilton Hotel now stands on the site.
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"Palm Beach",642,0,g,0
\IFilm, released 1979\i
\IPalm Beach\b\i is regarded as a landmark in the history of Australian cinema as a rare avant-garde feature that is non-experimental. It has established a considerable reputation since its controversial premiere at the 1979 Sydney Film Festival. A cacophony of radio music and the social mix of the affluent, the artistic and the drop-out sets that make up the community at Sydney's northern Palm Beach suburb form the backdrop for the activities of the three main characters--Paul, an unemployed youth who tries to rob a supermarket; Kate, a runaway teenage girl being followed by a private eye; and a surfie from the southern beaches looking for available drugs.
\IMajor actors\b\i: \JBryan Brown\j (as Paul), \JJulie McGregor\j (as Kate), Nat Young (as the surfie), Ken Brown, Amanda Berry, John Flaus (as the private eye)
#
"Pannell, Nita",643,0,g,0
\I1904-94\i
Nita Pannell, Australian actress, was born Nita Veronica Hanrahan at Wellington Mills in Western Australia on 1st July 1904. She graduated from the famous Perth Modern School and married a young doctor, Jim Pannell. She co-wrote the one woman show \ISwan River Saga\i with Dame Mary Durack for the State's 150th birthday celebrations and the 1972 Festival of Perth.
Her other roles were in \IAdams Rib, Empress Eugenie, Summer of the 17th Doll, The One Day of the Year, The Shifting Heart, A Cheery Soul,\i and \INight On Bald Mountain.\i She died on 29th September 1994, aged 90, and was survived by her husband, two sons, and a daughter.
#
"Parade Theatre, Sydney",644,0,g,0
\IFirst home of the Old Tote Theatre Company\i
The Parade Theatre, a building on the grounds of the University of New South Wales converted into a 338-seat theatre, became the home of the \JOld Tote Theatre Company\j after its separation from \JNIDA\j in 1969. In 1973 the Old Tote moved to the Sydney Opera House, but continued to use the Parade until the company's demise. The Parade continues as a second venue for NIDA.
#
"Park, Ruth",645,0,g,0
\I1923-\i
\IWriter of plays for radio and television\i
Ruth Park was born in New Zealand and came to Australia in 1942. After World War II both she and her husband D'Arcy Niland became full-time writers. As well as many highly regarded novels, Park has written various kinds of drama. In the 1940s and 1950s she was one of the most prolific of successful Australian radio playwrights. Many of her works were on the theme of discovery, such as \II'll Meet You in Botany Bay\b\i and \IFar From the Land\b\i. She also created the very popular childrens's radio series, \IThe Muddle-Headed Wombat\b\i (1957-71), later published as a series of books. In 1987 she created a dramatised version of her novel \IThe Harp in the South\b\i for radio and television (with Leslie Rees) and this was followed by an adaptation of its sequel \IPoor Man's Orange\b\i. She has since adapted her novel for young people, \IPlaying Beattie Bow\b\i, for television. Her television play \INo Decision\b\i (1961) won an award in Britain.
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"Pate, Michael",646,0,g,0
\I1920-\i
\IActor of film and stage, producer and director\i
Michael Pate was born in Sydney where he began his career in 1938 on ABC radio. He soon moved to radio station 2GB as one of the original members of \IThe Youth Show\b\i and in 1939 starred in \ILux Radio Theatre\b.\i From 1946 to 1950 he played with great success at Sydney's Minerva Theatre and starred in two films, \ISons of Matthew\i and \IBitter Springs\i; in 1950 he left Australia for Hollywood where in the next seventeen years he appeared in more than fifty feature films and 300 television shows. He also played in the United States \ILux Radio Theatre\b\i hosted by Cecil B. de Mille, wrote screenplays, lectured on film acting, produced and directed documentaries and in the theatre played two seasons in \IMedea\b\i with Dame \JJudith Anderson.\j Pate was also a director at the Screen Actors Studio in California. He visited Australia in 1959 for the \IShell Hour Drama Series\b\i and in 1968 returned as associate producer of the film of Norman Lindsay's \IAge of Consent\b.\i He went on to produce a variety of programs, from musicals to police dramas, for the commercial television networks.
His television appearances in Australia include the lead in \IMatlock Police\b\i (1970-74) for which he won the Penguin Award for best actor, the mini-series \J\IPower Without Glory\j\b\i (1977), and the series \IA Dangerous Life\b\i and \IMission Impossible\b.\i His film appearances in Australia include \IMad Dog Morgan\b\i (1976), \IDuet for Four\b\i (1981), \IThe Return of Captain Invincible\b\i (1982), \IThe Wild Duck\b\i (1983) and \IDeath of a Soldier\b\i (1985). Australian films produced by Pate include \IThe Mango Tree\b\i (1977) which he also wrote and \ITim\b\i (1978) which he also wrote, produced and directed. He appeared in the film \IHowling III\i (1987), the telemovies \IThe Tourist\i (1988) and \IFour Day Revolution\i (1988), the television series \IMission Impossible\i (1989) and the CNN Entertainment \IOfficial Denial\i (1993).
His stage work in Australia includes \IThe Human Voice\b\i with Liv Ullman; \IThe Bear\b\i at the Comedy Theatre in Melbourne; and \IMass Appeal\b\i with his son Christopher Pate (1952- ) at the Ensemble Theatre, the Seymour Centre, the Theatre Royal in Hobart and the Ulverstone in Launceston and then later at the Sydney Opera House.
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"Pattinson, Michael",647,0,g,0
\I1957-\i
\IFilm and television director\i
Melbourne-born Pattinson worked as a photographer on some short films, directed episodes of the television series \IThe Young Doctors\b\i (1978) and worked for Grundys on \J\IPrisoner\j\b\i (1979-80) before directing his first feature film, \IMoving Out\b\i (1982). The idea for the story about Italian-Australian school students came from his meeting with \JJan Sardi\j who wrote the script. The film was praised as an original and moving first feature. The association with Sardi continued in his subsequent films. His second film, \IStreet Hero\b\i (1984), developed from the first, dealing with a teenager from an underprivileged background with musical ambitions. It was not successful as a film but proved very popular on television and as a video. Other films include \IGround Zero\b\i (1987), a thriller with an anti-nuclear message, and \ISecrets\b\i (1991).
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"Paul, Queenie",648,0,g,0
\I1901-82\i
Queenie Paul, veteran Australian theatre, radio and television actress, was born Evelyn Pauline Harding in Sydney on 31st December 1901. With her husband, Mike Connors, she worked vaudeville in the Fullers Revue Company during the Stiffy and Mo era of the Depression. She died on 30th July 1982, aged 81.
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"Pavilion Theatre, Melbourne",649,0,g,0
\IMelbourne's first theatre\i
The Pavilion, known originally as the Royal Pavilion Saloon, opened in Bourke Street, Melbourne, in 1841. It had a pit, a series of boxes around the walls and a gallery, and for most of its first year, during which it attracted a notoriously rowdy audience, staged concerts without a theatrical licence. When a licence was granted in 1842, the Pavilion's name was changed to the Theatre Royal Melbourne. The first production there was a benefit performance for the hospital fund, when it presented the first plays to be staged in Melbourne. The building was remodelled shortly afterwards to increase its seating capacity. It closed in 1845, unable to compete with the newly-opened Queen's Theatre, Melbourne.
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"Peach, Bill",650,0,g,0
\I1935-\i
Bill Peach, Australian journalist and former ABC compare of \IThis Day Tonight\i current affairs program, was born in 1935. After hosting a series on Australian travel he set up his own travel company. In April 1992, he released a book called \IThis Day Tonight.\i In the 1990s he ran his own outback touring company. His other television programs include \IPeach's Australia.\i
#
"Pearce, John",651,0,g,0
\I1925-96\i
John Pearce, former Sydney radio presenter, was born at Kogarah, Sydney on 3rd January 1925. After leaving Shore Grammar school he worked as an office boy in an advertising agency, and then as a salesman in a record store while waiting for a job in radio. His first appointment was with 2KM in Kempsey, and a year later he joined 2CA Canberra. When WW2 broke out, he joined the Royal Australian Air Force and became a commissioned pilot and was later posted to Canada as an instructor. After the war in 1946, he returned to country radio and joined 2QN Deniliquin and then 3SH Swan Hill. He joined the Macquarie Radio Network in the early 1950s and was posted to 7HO in Hobart, where he shared a converted garage with Bob Rogers.
Both men dated receptionists at the local hotel and then married them, with Pearce marrying Jo. After the 1954 Royal Tour he was transferred to 2GB in Sydney and founded the Monitor program. He then became executive producer to the 2GB stars. One day when he lost his temper while filling in on air, management found they had a new star on their hands, and for some years he successfully ran the 9.00 am till noon show which was networked around NSW. In 1979, he joined 2CH working behind the scenes, and in 1980 joined 2UE for the 6.00 pm to 9.00 pm shift. He rejoined 2GB in 1984 and began writing his "Last Word" column for the \IDaily Mirror.\i
He was independently wealthy with an inheritance from his family's engineering business. From the mid 1980s until his death, he hosted the Saturday night show from 6.00 pm till midnight on 2GB. In 1971 he was awarded an OBE for services to broadcasting. He wrote a number of books including \IHow To Win Friends and Interview People.\i He died in Sydney on 26th August 1996, while filming a TV commercial for a retirement village. He was survived by his wife Jo and sons Gary, Graeme, Phillip, and Richard; a daughter Carolyn pre-deceased him.
#
"Penguin Awards",652,0,g,0
\ITelevision awards for excellence\i
These annual awards were presented by the Television Society of Australia. Categories included best scriptwriting, best comedy show, best drama serial, excellence in the coverage of a news story, best news program, best current affairs program and best regional program. The award took its name from the supposed resemblance of the trophy--a sculpture of the human ear surrounded by a television screen--to a penguin.
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"Percival, Lacey",653,0,g,0
\I?-1969?\i
\ICinematographer of the silent film era\i
Percival began work in Sydney as a projectionist in 1908. He later worked as a cameraman for many of the major film companies of the day, including Australian Film Syndicate, Australian Photo-Play and Australasian Films, for whom he produced the weekly newsreel \IAustralian Gazette\b\i. From 1927 to 1935 he was with Automatic Film Laboratories and in 1935 he established Percival Film Laboratories which he headed until his retirement in 1948. Feature films photographed by Percival include \IThe Martyrdom of Nurse Cavell\b\i (1916), \IHis Convict Bride\b\i (1918), \IThe Man from Snowy River\b\i (1920), \IThe Dinkum Bloke\b\i (1923), \IPrehistoric Hayseeds\b\i (1923) and \IThe Birth of White Australia\b\i (1928).
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"Perry, Joseph",654,0,g,0
\I1862-1943\i
\IPioneer film-maker\i
Born in England, Perry was taken to New Zealand as a child and trained there as a member of the Salvation Army. After coming to Australia he worked with the Army on the goldfields and in Melbourne became a major, in charge of the Army's Limelight Division from 1892. Supported by his commandant Herbert Booth (General William Booth's son then working in Australia), he used the technique of glass slides projected by magic lantern, or limelight, combined with music and words to attract a following to the Army. After attending a cinematographic screening in 1896 he conceived the idea of combining this with slides. He first made a series of documentaries about the Army, grouped together under the title \IOur Social Triumphs\b\i (1898).
However, Perry and Booth realised that films would have a more powerful impact as propaganda if a story was included and this led to \J\ISoldiers of the Cross\j\b\i (1901), written by Booth and filmed and directed by Perry. This has a claim to be the world's first feature length film. Perry's other films of this kind included \IHeroes of the Cross\b\i and \IThe Scottish Covenanters\b\i (both 1909). He also made a number of documentaries on major events of the day, such as the inauguration of Federation in 1901. After leaving the Salvation Army he became involved in film distribution in the 1920s.
Perry's sons Orrie (1887-1950) and Reg (1890-1981) continued his pioneering work in film-making, with Orrie Perry working as cameraman and Reg Perry as editor on most of the films produced by Amalgamated Pictures in 1911-12. A third son, Stan, became general manager of Hoyts.
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"Perryman, Jill",655,0,g,0
\I1933-\i
\IActor and singer best known for her stage work\i
Melbourne-born Jill Perryman began her career in 1952 singing in the chorus for J.C. Williamson's and went on to make numerous appearances in stage musicals for 'the Firm'. Her other stage work includes \ISide By Side By Sondheim\b\i (1977 tour; 1987, Hole in the Wall); \IChicago\b\i (1981, Perth Playhouse); \I'Night Mother\b\i (1984, Perth, Adelaide, Sydney, Brisbane, Cairns); \ISeven Deadly Sins\b\i (1984, Western Australian Ballet Company); \IBrighton Beach Memoirs\b\i (1985, Seymour Centre, Sydney); \IGulls\b\i (1986, Belvoir Street, Sydney); \IThe Summer of the Seventeenth Doll\b\i (1988, Hole in the Wall); \IThe Man from Muckinup\b\i (1988, Perth Playhouse); \ILove Letters\b\i (1991, Hole in the Wall); \ILegends '92,\b\i \ILegends '94\b\i (1992, 1994, Tilbury Hotel, Sydney), the Australian production of \IHello Dolly!\b\i (1995) and \ILegends\i (the Effie Crump Theatre Company - Singapore tour).
Her television work includes her own shows \IPerryman on Parade\b\i (for which she received a Penguin Award in 1973 for best variety entertainer) and \IJill\b\i; \IFlight into Hell\b\i and appearances in the series \IBellbird,\b\i \IDynasty\b\i and \IThe Flying Doctors\b.\i Her film appearances include \I...Maybe This Time\b\i (1980) for which she received an AFI best supporting actress award; \IWindrider\b\i (1986); \IThe Swan\b\i (1990); and \IThe Great Pretender\b\i (1992).
Jill Perryman was awarded an OBE in 1979 and an AM in 1991. She is based in Perth.
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"Perth Concert Hall",656,0,g,0
\IConcert hall noted for its acoustic qualities\i
The Perth Concert Hall, designed by local architects Howlett and Bailey, stands next to the Government House Gardens and has sweeping views over the Swan River. It opened in 1973 as the major venue for the \JFestival of Perth\j. Its main auditorium seats 1729, with an additional 180 seats in the choir gallery which can be made available for certain performances, and is noted for its acoustic qualities. A symphony orchestra of 120 can be accommodated on stage. Mounted centrally behind the stage is a 3500 pipe organ, designed and built especially for the auditorium by Australian Ronald Sharp.
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"Perth Repertory Club",657,0,g,0
\IForerunner of the National Theatre Company of Perth\i
The Perth Repertory Club gave its first public performance at His Majesty's, Perth, in 1919. In 1953 it changed its name to the National Theatre Company of Perth.
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"Perth Theatre Company",658,0,g,0
\IInnovative Perth-based theatre company\i
In 1994 the Swy Theatre Company changed its name to the Perth Theatre Company and took up residency at Perth's Playhouse Theatre. In its first year the Company produced an array of works including David Williamson's \IBrilliant Lies\b\i and Heather Nimmo's \IWhispering Demons\b\i. It has maintained the Swy's commitment to providing accessible theatre, in productions that combine imagination and originality and reflect Western Australia's unique society and environment.
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"Peterson, Colin",659,0,g,0
\I1946-\i
Colin Peterson, Australian child actor, was born in Kingaroy, Queensland on 24th March 1946. He was educated at the Humpybong State School and Ipswich Grammar. He starred in the 1956 film \ISmiley,\i but did not appear in the sequel \ISmiley Gets a Gun.\i The film \ISmiley\i grossed more money in England at the time than \IThe King and I.\i His other films include \IThe Scamp\i and \IA Cry from the Trees.\i
He later went on to play drums with the \IBee Gees\i on the hit \ITo Love Somebody,\i but later left the group. In the mid-1970s he began managing pop groups and various musicians including Mark Holden and Carol Lloyd. He is married to Joanne, a former secretary to Brian Epstein of the Beatles fame, and they have two sons.
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"Peterson, Ralph",660,0,g,0
\I1921-96\i
Ralph Peterson, Australian actor, playwright, scriptwriter, producer and director, was born in Adelaide on 21st February 1921. His work, over 62 years, covered theatre, radio, film and television. He was an actor in Rex Dawes radio series \IYes What,\i where he played the part of Bottomley in over 400 episodes, until 1941. He worked briefly for 2UE in Sydney as an announcer before he was drafted into the Australian Army in 1942 for WWII.
He worked as a radio scriptwriter in Sydney after the war, with Jack Davey and Roy Rene, and won an award for a documentary about the Snowy Mountains Authority. He married Betty Lucas in 1946 and they had one son, Joel, who also worked in television. Ralph worked in London in the mid-1950s before coming to fame when he wrote 114 episodes of \IMy Names McGooley, What's Yours?\i for the Channel 7 Network, starring Gordon Chater, John Meillon and Judy Farr. He won the Australian Writers Guild award, three Logies, and an AFI award. He died in Sydney on 2nd November 1996, aged 75.
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"Phar Lap (film)",661,0,g,0
\B(In the US, \IA Horse Called Phar Lap)\b\i
\IFilm, released 1983\i
\IPhar Lap\b\i was made only a year after another successful horse film, \IThe Man from Snowy River\b\i, and shared many of the same production personnel and actors. It follows fairly closely the facts of the story of Australia's most famous and loved racehorse and its death in the United States in 1932. Phar Lap's groom, Tommy Woodcock, still alive at the time of the making of the film, gave advice and makes a fleeting appearance. The film did very well at the box office and was distributed in the United States by 20th Century-Fox after editing (to lessen the emphasis on the horse's death) and a name change.
\IProduction company\b\i: John Sexton Productions, Michael Edgley International
\IExecutive producer\b\i: Richard Davis
\IProducer\b\i: John Sexton
\IDirector\b\i: \JSimon Wincer\j
\IScreenplay\b\i: \JDavid Williamson\j
\IMajor actors\b\i: \JTom Burlinson\j (as Tommy Woodcock), \JMartin Vaughan\j, Ron Leibman, Vincent Ball, \JJudy Morris\j, Celia de Burgh, Georgina Carr
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"Phelps, Peter",662,0,g,0
\I1960-\i
Peter Phelps, Australian television actor, was born in Sydney on 20th September 1960. He starred in \IRestless Years\i, \ISons and Daughters\i and the telemovies \IThe Les Darcy Story\i, \IThe Dirtwater Dynasty\i, \IButterfly Island\i, \IPrime Time\i, \IThe Cowra Breakout\i, and \IOne Way Ticket\i. His films include \IUndercover\i, \IMaya\i, \IBreaking Loose\i, \IUncle Sam's At The Door\i and \IStarlight Hotel\i. He also starred for a while in the US television series \IBaywatch.\i
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"Phillip Street Theatre",663,0,g,0
\ISydney venue for satirical revue\i
The Phillip Street Theatre in Sydney was formerly known as St James Hall and, for the period when it was used by the Mercury Players, as the Mercury Theatre. From 1954 to 1961, as the Phillip Street Theatre, it was home of the Playgoers' Cooperative, which presented revues that were known for their savage mixture of humour and social criticism. The building was demolished in 1961 to make way for an office block.
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"Phillip Theatre, Sydney",664,0,g,0
\ITheatre which specialised in intimate revue\i
The Phillip Theatre had its origins in the revues staged by William Orr at the small Metropolitan Theatre at the Central Station end of Pitt Street. In 1954 Orr and the Playgoers' Cooperative Limited moved to the St James Hall in Phillip Street (recently vacated by the Mercury Players), and renamed it the Phillip Street Theatre. Their first production there was \ITop of the Bill\b\i starring Margo Lee, \JCharles Tingwell\j and \JGordon Chater\j.
In 1961 the Playgoers' Cooperative had to move again because the parish of the Church of St James, which owned the hall, was to replace it with an office block. Their new home was the renovated first floor of Australia Hall, in Elizabeth Street, capable of seating 450, which was renamed the Phillip Theatre. The first production there was \IOut on a Limb\b\i, starring \JBobby Limb\j. The Playgoers' Cooperative was disbanded in 1963. In 1965 Orr directed \IA Cup of Tea, a Bex and a Good Lie Down\b\i, Phillip Theatre's greatest success, which starred \JRuth Cracknell\j, \JGloria Dawn\j, \JReg Livermore\j and Barbara Wyndon, and ran for a year. Financial difficulties eventually claimed the Phillip Theatre, and in 1971 the building became a cinema.
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"Phillips, Nat",665,0,g,0
\I1880-1932\i
\IVaudeville performer, writer and producer\i
Nat Phillips was born in Brewarrina, New South Wales, and began his vaudeville career at the age of ten. He left Australia at the turn of the century to work in America and Europe, and when he returned, some twelve years later, took over as producer of the Fullers revue company in Sydney. He quickly teamed up with another member of the company, comedian \JRoy Rene\j, as writer and producer of comedy sketches and straight man to Rene in the team 'Stiffy and Mo'. They first appeared together in 1914 at the Princess Theatre in Melbourne.
Phillips devised the plot and directed the highly successful pantomime \IThe Bunyip\b\i (1916-17), which featured 'Stiffy and Mo', and also wrote \IThe Babes in the Wood\b\i (1918-19) and a number of other pantomimes and revues. Apart from a break in the 1920s, when Phillips briefly partnered Jack Kellaway, the comedy duo of Phillips and Rene lasted until 1928.
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"Phillips, Simon",666,0,g,0
\I1959-\i
\ITheatre director\i
New Zealand-born Simon Phillips arrived in Perth in 1983 where he plunged straight into three productions at the Academy of Performing Arts. He followed this up with \IA Day in the Life of Joe Egg\b\i (1987) for the Melbourne Theatre Company and was associate director of the company from 1987 to 1989. His versatility was realised when he choreographed \ISlaves of Rhythm\b\i for the Australian Dance Theatre at the Playhouse Theatre and in 1989 stood in for actor Geoffrey Rush in his own production of Oscar Wilde's \IThe Importance of Being Earnest\b\i.
Phillips took on a new role as artistic director of the \JState Theatre Company of South Australia (SATC)\j 1990-94, where his inaugural production was \IMarat Sade\b\i by Peter Weiss. His other work includes Richard Meale's opera \IMer de Glace\b\i (1991), \IShimada\b\i (1992) by Australian playwright Jill Shearer (which he took to Broadway), \IThe Magic Flute\b\i (1994) for the Auckland Opera Company and \IThe Threepenny Opera\b\i (1994) for the Sydney Theatre Company. He also directed the national tour of the musical \IHigh Society\b\i and Geoffrey Atherden's \IHotspur\b\i for the Melbourne Theatre Company. In 1995 Phillips directed \IDead Funny\b\i for the STC.
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"Phipps, Max",667,fp5067.jpg,c,0
\I1939-\i
\IActor of stage, film and television\i
Max Phipps was born in Dubbo in New South Wales and trained at the Ensemble Theatre in Sydney. His stage work includes \IA Funny Thing Happened on the Way to the Forum,\b\i \IFortune and Men's Eyes,\b\i \IThe Removalists,\b\i \IRooted,\b\i \IWhat If You Died Tomorrow?,\b\i \IThe Rocky Horror Show\b\i in which he became well known for his performance as Frank N. Furter, \INight of the Iguana,\b\i \ILong Day's Journey Into Night,\b\i \IThe Merry Wives of Windsor,\i \IWhat the Butler Saw,\i \IWords of One Syllable, Shadowlands, Simpatico, Money and Friends\i and \IThe Herbal Bed.\i
His film work includes \IThe Cars That Ate Paris\b\i (1971), \IThirst\b\i (1979), \IStir\b\i (1979), \INightmares\b\i (1980), \IDead Easy\b\i (1981), \J\IMad Max II\j\b\i (1981), \IThe Return of Captain Invincible\b\i (1981), \ISavage Islands\i (1983), \ISky Pirates\b\i (1985), \IEmoh Ruo\i (1984), \IDark Age\b\i (1986), \IWhat the Moon Saw\b\i (1988) and the short film \IHouse Taken Over\i (1996).
His television work includes \IPolly Me Love\b\i (1975), the mini-series \IThe Dismissal\b\i (1983) in the role of Gough Whitlam, \IThe Disappearance of Azaria Chamberlain\b\i (1983), \ISpecial Squad\i (1984), \IMy Brother Tom\i (1986), \IThe True Believers\b\i (1987), \IMission Impossible\i (1990), \IThe Miraculous Mellops\i (1991), \IThe Miraculous Mellops - the Sequel\i (1992), \IFire,\i \IOver the Hill\i (1994), \IHalifax f.p.\i (1995), \IWithout Warning\i (1997) and the series \IThe Sullivans,\b\i \IA Country Practice,\i \ICarson's Law,\i \IGP,\i \IE Street\i and \IPolice Rescue.\i
\BDescription:\b Max Phipps.
\BPhoto:\b Barbara Leane and Assoc.
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"Piano, The",668,0,g,0
\IFilm, released 1993\i
Based on an original idea of director \JJane Campion\j, the script for this film was developed by the Australian Film Commission and the New South Wales Film and Television Office. It is set and was filmed in New Zealand, thus allowing Campion to explore her own background. She researched various aspects of nineteenth-century New Zealand and many of the images in the film provide visual metaphors of colonialism and the contrast between Maori and Victorian attitudes, particularly in regard to sex and the body. From this develops a subtly erotic theme which centres around Ada, a mute woman who arrives from England for an arranged marriage. Her new husband refuses to carry her piano, her source of personal expression, from the beach to his property and it remains stranded on the sands. The story continues with a complex sexual triangle formed between the couple and an illiterate neighbour, Baines. The piano has been interpreted as operating as a metaphor for Ada's muteness and for cultural transplantation.
Widely praised for the performances of the leads, as well as the cast of Maori actors, for its musical and visual impact and its compellingly original story, the film was entered at the 1993 Cannes Film Festival. Though it had an international cast and French funding, it was accepted as an Australian entry because of its development and production. It had an overwhelming reception and shared the Palme d'Or (with a Chinese film, \IFarewell to my Concubine\b\i), becoming the first Australian film to win the top award. It was chosen to close the 1993 New York Film Festival and then opened in America, later London, to critical acclaim. At the 1993 AFI Awards the film won a record eleven prizes, including best film and best direction. It also won best screenplay and best direction at the 1993 Los Angeles Film Critics' Association awards. In 1994 it won three Academy Awards--for best actress (Holly Hunter), best supporting actress (Anna Paquin) and best original screenplay (Jane Campion).
\IProduction company\b\i: Jan Chapman Productions
\IProducer\b\i: \JJan Chapman\j
\IDirector\b\i: Jane Campion
\IScreenplay\b\i: Jane Campion
\IMajor actors\b\i: Holly Hunter (as Ada), \JSam Neill\j (as Stewart, the husband), Harvey Keitel (as Baines, the neighbour), Anna Paquin (as Flora, Ada's daughter)
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"Picnic at Hanging Rock",669,0,g,0
\IFilm, released 1975\i
\JPeter Weir\j, with his interest in and skill in handling mystery and the supernatural, was a natural choice as director for producer \JPat Lovell\j in her plan to make a film of \IPicnic at Hanging Rock\b\i. Having lined up Weir, she bought the rights to the book from author Joan Lindsay and brought the McElroy brothers into the project. The story, set in 1900, centres on the mysterious disappearance of three girls, Miranda, Irma and Marion, and their teacher, Greta McCaw, during a St Valentine's Day picnic outing from a fashionable boarding school to a nearby volcanic outcrop. Irma is found injured and unconscious but the disappearance of the others has effects on other lives and leads to several deaths, including that of the martinet headmistress, Miss Appleyard.
The film's atmosphere is both sensual and eerie, with the viewer left suspended between several possible explanations. It opened in Adelaide and was an immediate success, with many critics rating it the best Australian film to that time. Overseas critics backed up this opinion. It was the first Australian non-comedy to achieve such box-office approval.
\IProduction company\b\i: Picnic Productions
\IExecutive producer\b\i: Patricia Lovell
\IProducers\b\i: Hal and Jim McElroy
\IDirector\b\i: Peter Weir
\IScreenplay\b\i: \JCliff Green\j (from the novel by Joan Lindsay)
\IMajor actors\b\i: Rachel Roberts (as Mrs Appleyard), Dominic Guard, \JHelen Morse\j, \JJacki Weaver\j, Vivean Gray (as Miss McCaw), Kirsty Child, Anne Lambert (as Miranda), Karen Robson (as Irma), Jane Vallis (as Marion)
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"Picot, Genevieve",670,fp5068.jpg,c,0
\IStage, film and television actor\i
Since graduating from NIDA in 1979, Picot has played in a wide range of stage roles, particularly for the Melbourne Theatre Company where her work has included the title role in \IAntigone\b\i (1981), Honey in \IWho's Afraid of Virginia Woolf?\b\i (1983), Bronwyn in \ISons of Cain\b\i (1985), the Bride in \IThe Respectable Wedding\b\i (1988/89), Stephanie in \IOn Top of the World\b\i (1990/91), Mira in \IMiss Bosnia\i (1996) and Ruth/Anita in \IMy Father's Father\i (1996). Her television work includes many series, mini-series and specials including \IFrontline\i (1995), \IFire II\i (1996) and \IMedivac\i (1996/97). She began her successful film career with the lead role in \IUndercover\b\i (1983) for which she was nominated for the AFI Award for best actress. She was similarly nominated for \J\IProof\j\b\i (1991) and has since appeared in \IMuriel's Wedding\b\i (1994) and \ITrue Love and Chaos\i (1996).
\BDescription:\b Genevieve Picot.
\BPhoto:\b Shanahan Management.
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"Picture Show Man, The",671,0,g,0
\IFilm, released 1977\i
This film developed from the work of writer/director \JJoan Long\j, who had made several films on the history of the Australian cinema. She was approached by a former picture show man, Lyle Penn, with a book of his reminiscences which formed the basis for the script. Maurice `Pop' Pym and his son Larry travel the country with the pianist, Freddie, showing silent pictures in a horse-drawn van. The story centres on the tensions between father and son, their romances, and the rivalry with the American, Palmer, who ends up with a motor-van showing talkies. The film was released at a time when Australian cinema audiences were rapidly declining and although not well received critically, it did reasonably well and was popular at the 1977 London Film Festival. It was also reviewed well in the United States where it was voted one of the ten best films of 1977 by the US Board of Review of Motion Pictures.
\IProduction company\b\i: Limelight Productions
\IProducer\b\i: Joan Long
\IDirector\b\i: John Power
\IScreenplay\b\i: Joan Long
\IMajor actors\b\i: \JRod Taylor\j (as Palmer), \JJohn Meillon\j (as Maurice Pym), \JJohn Ewart\j (as Freddie), Harold Hopkins (as Larry), Sally Conabere, Patrick Cargill, Yelena Zigon, \JGarry McDonald\j, \JJudy Morris\j
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"Pioneer Players, Melbourne",672,0,g,0
\ICompany formed to present Australian drama\i
The Pioneer Players was formed in 1921 by writer Vance Palmer, playwright \JLouis Esson\j and Stewart Macky with the charter to present only Australian drama. Its first production, Esson's \IThe Battler\b\i, was performed at the Melbourne Playhouse; the next was \IJohn Blake\b\i, by Macky, and Palmer's \IA Happy Family\b\i followed. Neither these or later productions attracted the hoped-for audiences, and in 1923 the Pioneer Players closed due to lack of support.
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"Piper, Gordon",673,0,g,0
\I1932-\i
Gordon Piper, Australian actor famous for his role in \IA Country Practice,\i was born Gordon Stephen Piper in Sydney on 3rd June 1932. He started out in radio at the age of 12 with the 2FC children's choir in 1944. He worked a club show with his friend Ted Harlow from 1954 to 1961. He then worked a number of jobs including truck driving and real estate salesman. He starred in the stage production of \IDimboola\i for two years and his films include \IWake in Fright, My Brilliant Career\i and \IThe Dark Room.\i A sufferer of diabetes, he had a leg amputated in 1994.
#
"Playbox Theatre Centre, Melbourne",674,fp5105.jpg,c,0
\IInnovative Melbourne-based theatre company\i
The Playbox Theatre Centre grew out of the \JHoopla Theatre Foundation\j; its founding directors were Carrillo Gantner, Graeme Blundell and Garrie Hutchinson. Its first presentations in 1976 were \IGolden Oldies\i by Alma de Groen and \IChidley\i by Dorothy Hewett. In 1977, with assistance from the Victorian Ministry of the Arts, the company took over the Playbox Theatre in Exhibition Street, Melbourne. One of the early successes was the touring Nimrod production of Steve J. Spears' \IThe Elocution of Benjamin Franklin,\b\i which ran for six months.
In 1978 the company opened a tiny second theatre, the Upstairs. Gantner was sole executive director from 1981 to 1984, when he left to become cultural counsellor at the Australian Embassy in Beijing; Gantner rejoined the Company in 1988. In 1984 the Playbox was destroyed by fire, and for a year the company performed at a variety of Melbourne venues before moving to the George Fairfax Studio Theatre at the Victorian Arts Centre. Its new permanent home, the C.U.B. Malthouse (a converted malting house donated by a brewing company), opened in 1989, and comprises a 400-seat theatre (The Merlyn) and a 200-seat theatre (The Beckett). The current artistic director is Aubrey Mellor, O.A.M.
\BDescription:\b Playbox Theatre Centre, season 1997.
\BPhoto:\b Playbox Theatre Centre.
\BPic2:\b fp5107.jpg
\BDescription2:\b Playbox Theatre Centre.
\BPhoto2:\b Playbox Theatre Centre.
\BPic3:\b fp5106.jpg
\BDescription3:\b The C.U.B Malthouse foyer.
\BPhoto3:\b Playbox Theatre Centre.
\BPic4:\b arts-41.jpg
\BDescription4:\b The Malthouse.
\BPhoto4:\b Playbox Theatre Centre.
#
"Playbox Theatre, Sydney",675,0,g,0
\IVenue for Harry M. Miller's early shows\i
In 1968 theatrical entrepreneur \JHarry M. Miller\j took over the Phillip Street auditorium of Sydney radio station 2GB and renamed it the Playbox Theatre. Its first production was a satirical show from South Africa which had been very successful at the Adelaide Festival earlier in the year. It was followed by the controversial play \IBoys in the Band\b\i, which in the following year moved to the Playbox Theatre in Melbourne. The building was demolished in 1973.
#
"Playgoers' Cooperative",676,0,g,0
\ISydney company specialising in intimate revue\i
The Playgoers' Cooperative was formed by William Orr, who had worked in stage management with the Old Vic Theatre Company in London, and grew out of the small-scale satirical revues he began producing at the Metropolitan Theatre, Sydney, in 1952. In 1954 Orr and the Cooperative moved to the former Mercury Theatre in Phillip Street, where they operated as the Phillip Street Theatre. They moved again in 1961 to a renovated hall in Elizabeth Street which they renamed the Phillip Theatre. The Cooperative was disbanded in 1963.
#
"Playhouse Theatre, Perth",677,0,g,0
\IMulti-purpose theatre venue\i
The Playhouse Theatre, which opened in 1956, was built with funds raised by the \JPerth Repertory Club\j and dedicated to the memory of those who died in World War II. It was a venue for the productions of the National Theatre of Perth (later called the Western Australian Theatre Company), but at the dissolution of that company in 1990/91 the management of the building was taken over by the Perth Theatre Trust; it is now home of the \JPerth Theatre Company\j and it is also used by numerous other theatre and dance companies.
#
"Plumb, Gwen",678,arts-20.jpg,c,0
\IRadio and television actor, compere and writer\i
Gwen Plumb was born in Sydney and made her professional stage debut in 1940 in the farce \ISee How They Run\b.\i She was part of the original cast of the long-running ABC radio series \IBlue Hills,\b\i playing Emma. In 1952 she won the Macquarie Award for best comedy performance of the year (in the Macquarie Radio Theatre plays) and later had her own radio show which ran for a record 26 years on the Sydney commercial station 2GB. Her stage work includes seasons with the Old Tote Theatre Company; \IOne Damned Thing After Another,\b\i which in 1966 was the last show at the Sydney Tivoli; \ISteaming,\b\i which ran for five years; and \IBlithe Spirit,\b\i \IBathroom\b\i and \ISalonika\b.\i
Her television work includes the series \IThe Young Doctors,\b\i \J\INeighbours,\j\b\i \IRichmond Hill,\b\i the telemovie \IPigs Might Fly,\b\i the mini-series \IHarp in the South\b\i and \IStark\b\i (1993). She appeared in the film \IGinger Meggs\b\i (1982).
She was awarded a British Empire Medal in 1974 for her services to the community and charity, and in 1993 was made an AM (Member of the Order of Australia).
\BDescription:\b Gwen Plumb.
\BPhoto:\b International Casting Service and Assoc.
#
"Police Rescue",679,0,g,0
\ITelevision series, broadcast 1992 to present\i
This action/adventure series came into being as a spin-off of the telemovie \IPolice Rescue\b\i (1990), which \JSandra Levy\j (of Southern Star Xanadu) made for the ABC. The series became established in a mid-evening once a week slot with firm audience support and by 1993 three series of 20 one-hour episodes each had been made. In 1994 the go-ahead for a further 22 episodes was given. Each episode concentrates on a different rescue with the action/adventure element combined with a strong emphasis on personal relationships--both those between the members of the rescue squad, in particular Mickey McClintock, Georgia Rathnay, Angelo Argnopoulis and Nipper, and between members of the squad and those rescued.
In 1994 a spin-off film was released to indifferent reviews. It was directed by \JMichael Carson\j and featured the star of the series, \JGary Sweet\j.
\IProduction company\b\i: Southern Star Xanadu, ABC, BBC
\IExecutive producer\b\i: \JPenny Chapman\j
\IProducers\b\i: John Edwards, Sandra Levy
\IDirectors\b\i: Various
\IScriptwriters\b\i: Christopher Lee, Peter Schreck, John Lonie
\IMajor actors\b\i: Gary Sweet (as Mickey), Sonia Todd (as Georgia), Steve Bastoni (as Angelo), \JSteve Bisley\j (as Nipper), Marshall Napier, Tim McKenzie, Peter Brown
#
"Port Adelaide Theatre, Adelaide",680,0,g,0
\IShort-lived Coppin theatre in Adelaide\i
The Port Adelaide Theatre was opened by \JGeorge Coppin\j in June 1851 in his hotel, the White Horse Cellar. The theatre's dress circle seated 250, but the capacity of its gallery and pit is not known. It was an inauspicious time for such a venture--within six months Coppin had to close the theatre because a large part of its potential audience had headed for the goldfields.
#
"Porteous, Shane",681,0,g,0
\I1942-\i
\IActor of television, stage and film\i
Shane Porteous was born in Coleraine, Victoria, and went to university in Brisbane, where he became involved with the University Dramatic Society. He moved to Sydney in 1968 to work full-time as an actor. He is best known for his television work, which includes the ABC mini-series \ISerpent in the Rainbow\b\i (1973); \J\ICertain Women\j\b\i (1974-75); the telemovies \IWhat For, Marianne?\i and \IPuzzle\b\i; and the commercial series \J\IHomicide,\j\b\i \IMatlock Police,\b\i \IChopper Squad,\b\i \IThe Restless Years,\b\i \J\ICop Shop,\j\b\i \IThe Sullivans,\b\i \IBellamy,\b\i \IHeartbreak High\i and the central role of Terence Elliott in \IA Country Practice\b\i (1981-93).
His film work includes \IScobie Malone\b\i (1975); he has also done voice work on several animated films. His stage work includes \IHamlet,\i \IDeath Of A Salesman,\b\i \IMajor Barbara,\b\i \IKing Oedipus,\b\i \ITaming of the Shrew,\b\i \IRichard II,\b\i \IWhat If You Died Tomorrow?\b\i and \ILove's Labour's Lost\i for the Old Tote Theatre Company; \IThe Night Thoreau Spent in Gaol\b\i for the Ensemble Theatre; \IPericles\b\i for the Jane Street Theatre; \ISleuth\b\i for the Arts Councils of both New South Wales and Victoria; \IBedroom Farce\b\i for the Australian Elizabethan Theatre Trust; and \IKing Lear\i for the Sydney Theatre Company and Q Theatre Company.
He is also a scriptwriter and animation artist.
In 1984 he earned a commendation as a supporting actor from the Television Society of Australia; in 1989 he won the Silver Logie for most outstanding actor on Australian television; in 1992 he won the television actor award from the Australian Variety Club.
#
"Porter, Eric",682,0,g,0
\I1911-83\i
\IFilm producer, mainly of animated films\i
Sydney-born Porter formed his production company, Eric Porter Studios, in 1930 and produced numerous animated short films from that time until the 1980s, as well as the highly regarded feature film \IA Son is Born\b\i (1946). His production \IMarco Polo Jnr versus the Red Dragon\b\i (1972) was Australia's first animated feature. He also produced documentaries and animated films for television.
#
"Portia Faces Life",683,0,g,0
\IRadio serial, broadcast 1952-70\i
One of the most popular serials in the heyday of radio soap operas, \IPortia Faces Life\b\i featured day-to-day events in the life of a female lawyer.
Romanian-born Porta worked as a film and theatre designer in Romania and Vienna before coming to Australia where he graduated from the NIDA design course in 1991. Since then he has designed \IDog Eat Dog\b\i for Adelaide's Red Shed Theatre Company, \ICarmen\b\i for the West Australian Opera, \IFaust\b\i for the Melbourne Theatre Company and \IDutch Courtesan\b\i and \IMad Forest\b\i for the Australian Theatre for Young People (ATYP). Potra has also worked as storyboard designer for the feature film \IFrauds\b\i and as production designer for \IFamily Affair\b\i for SBS television. Recently he has designed the sets for \IShort Circuits\b\i and \IFrom Moscow to Petrushki\b\i for the 1994 Festival of Sydney, \IThe Burrow\b\i for the Festival of Perth, \IBlue Murder\b\i and \IHamlet\b\i for Belvoir Street Theatre and \IChristina's World\b\i for the Sydney Metropolitan Opera.
#
"Power Without Glory",685,0,g,0
\ITelevision mini-series, first broadcast 1976\i
Frank Hardy's epic novel of political and business corruption was brought to the screen as a result of the collaboration of producer \JOscar Whitbread\j and writer Howard Griffiths. The mini-series of 26 one-hour episodes was the most ambitious adaptation undertaken by the ABC at the time. In the series, as in the book, the main character is financier and gambler John West, based on the real-life John Wren, whose wife unsuccessfully sued Hardy for defamation when the book was first published in 1950. West's rags-to-riches career is set against key Australian political and historical events of the period 1890-1950, including the rise of the Labor Party and the two world wars. With high-quality acting, producing and writing, the series was very successful and was repeated by the ABC before being sold to the Ten network in 1981 where it has since been screened several times. \JMartin Vaughan\j in the lead role won a Logie and a Sammy Award. The series won eight other Sammy Awards and four Penguins in 1977.
\IProduction company\b\i: ABC, Melbourne
\IExecutive producer\b\i: \JOscar Whitbread\j
\IDirectors\b\i: Doug Sharp, \JKeith Wilkes\j, David Zweck
\IScriptwriters\b\i: \JSonia Borg\j, \JCliff Green\j, Howard Griffiths, \JRoger Simpson\j, Phil Freedman, \JTony Morphett\j; based on the novel by Frank Hardy
\IMajor actors\b\i: Martin Vaughan (as John West), Rosalind Spiers, Terry Donovan, John Wood, George Mallaby, \JMichael Pate\j
#
"Pram Factory, Melbourne",686,0,g,0
\IHome of the Australian Performing Group\i
In 1970 a former pram factory in Carlton, Melbourne, was converted into the Pram Factory theatre. It was home to the Australian Performing Group which by 1977 had presented more than 70 Australian plays there. The APG ceased operations in 1979 and 1980 was the last year for the Pram Factory--the building was sold for redevelopment.
#
"Preston, Mike",687,0,g,0
\I1934-\i
Mike Preston, former Australian television quiz master and actor, was born in Hackney, London, England on 14th May 1934. He came to fame as a boxer, and acted in a number of Australian television shows, such as \IPersonality Charades\i before moving to America in the late 1980s, where he appeared in a number of films. He had a hit with the song 'A House a Car and a Wedding Ring.'
#
"Prince of Wales Opera House, Melbourne",688,0,g,0
\IMelbourne opera house\i
The Prince of Wales Opera House opened in 1872 in Bourke Street, Melbourne, on the site of the Opera-Comique Theatre which had been destroyed by fire, and incorporated sections of fire-damaged brickwork from the earlier building. It could seat 2500 to 3000 and had three entrances from Bourke Street--an ornately decorated passage leading to the dress circle, and two simpler entrances, one giving access to the gallery, the other to the pit and stalls. Until 1882, when it was wired for electricity, all light for the auditorium was provided by a large gas 'sunlight' in the central dome.
From 1873 to 1880 it was under the management of \JWilliam Lyster\j who presented seasons of opera and light opera, as well as drama and variety. In 1893 the theatre became a variety house and was renamed the Alhambra and Varieties. It was later used as a livery stables and was demolished in 1900. In the following year the Melbourne Opera House, later renamed the Tivoli Theatre, Melbourne, was built on the site.
#
"Prince of Wales Theatre, Sydney",689,0,g,0
\IName of two early theatres on a famous Sydney theatre site\i
The original Prince of Wales Theatre opened in 1855 in Castlereagh Street, Sydney, on the site which from 1875 to 1972 was occupied by the Theatre Royal (the longest unbroken theatrical tradition of any site in Australia). The 1855 theatre was destroyed by fire in 1860. In 1863 a second Prince of Wales, designed by architect J.F. Hilly and retaining the facade of the earlier theatre, opened on the site. It could accommodate between 2500 and 3000, and was the first theatre in Australia to be fully equipped mechanically. In the nine years of its existence--it too was destroyed by fire (in 1872)--the building at one time housed a skating rink and at another was a circus venue.
#
"Princess Theatre, Melbourne",690,0,g,0
\ILong-standing Melbourne theatre venue\i
The Princess Theatre in Spring Street, Melbourne, began its life in 1854 as Astley's Amphitheatre. In 1857, after being leased by \JGeorge Coppin\j, the building was remodelled, its function changed to a theatre, and it reopened as the Princess' Theatre and Opera House; in 1865 the building was again extensively remodelled and for many years was a popular house where many stars and plays made their debut on the Australian stage.
In 1886 Arthur Garner and George Musgrove (associates of J.C. Williamson), replaced this structure with a new and grand theatre. A special feature of the new building was the fitting of panels in the dome of the auditorium which could be slid apart to reveal a large circle open to the sky--in summer this allowed hot, stale air to escape. The building was designed by William Pitt, and at the time of its opening was the most modern theatre in Australia. Its first production was a revival of Gilbert and Sullivan's \IThe Mikado\b\i with Nellie Stewart playing Yum-Yum. The year 1922 saw a major refurbishment of the interior under architect Henry E. White which included a new auditorium. The theatre is said to be haunted by the ghost of Frederick Baker, 'Federici', who died there after a performance of \IFaust\b\i in 1888. From 1960, as a result of a partnership between Melbourne entrepreneur Garnet Carroll and the owners of the Tivoli theatres, the Princess was used to stage overseas productions.
In 1987 the theatre was purchased by David Marriner and was totally refurbished to the 1922 scheme. It reopened in 1989 with the musical \ILes Miserables,\b\i followed in late 1990 by the Australian premiere of \IThe Phantom of the Opera\b\i (which played more than 1000 performances over two and a half years, a record run for Melbourne) and in 1994 by the Victorian State Opera's production of \IWest Side Story\b\i.
Although originally called the Princess' Theatre, in recent years it has been more commonly known as the Princess Theatre.
#
"Pringle, Julian",691,0,g,0
\I1940-\i
\ITelevision director\i
Pringle directed several ABC programs in the early 1970s and was one of the executive producers of \J\ICertain Women\j\b\i (began 1973). He also produced some episodes of the series \IBluey\b\i (began 1976) for Crawfords and directed some telemovies including \IBedfellows\b\i (1979). However, his main work has been as a director of television series. These include \IThe Sullivans\b\i (began 1976) for Crawfords; the ABC's \IThe Oracle\b\i (1979); Grundy's \IPunishment\b\i (1981) which was planned as a follow-on to \J\IPrisoner\j\b\i but did not take off; the ABC's comedy series \IMenotti\b\i (began 1981); \IFamily and Friends\b\i (began 1990), a Nine network soap opera that was meant to reverse Nine's run of unsuccessful series but could not find a competitive time-slot; \ILaw of the Land\b\i (1993) for Roadshow Coote and Carroll and the Nine network; and the 'Wrath' play within the anthology \ISeven Deadly Sins\b\i (1993) made for the ABC by Generation Films. More recently he has directed \IGP, Heartland\i (for the ABC) and \IFallen Angels.\i
#
"Prisoner",692,0,g,0
\ITelevision serial, broadcast 1979-86\i
This serial entered into the National Top Ten television programs soon after it began screening. Set in the Wentworth Detention Centre, a fictional woman's prison, it was particularly popular with young female viewers who perhaps saw the prison as symbolic of other forms of imprisonment such as school. It was based on an original idea by Reg Watson and followed \IThe Restless Years\b\i as a successful Grundy offering to the Ten network. Many of the one-hour weekly episodes centred around aspects of the power struggle within the prison and it was this element, rather than any attempt at social realism, that made the serial appealing to many, while seen by some critics as unvariedly belligerent. Several of the characters, such as Bea, the self-appointed leader of the women, achieved a large popular following. Other leading 'prisoner' characters were Judy, Doreen, the lost soul Lizzie and the lesbian Franky Doyle, while on the other side were the guards and prison staff--the unpleasant Vera ('Vinegar Tits'), the refined governor Erica Davidson, the do-gooder Meg and the lecherous male guard Fletcher. New characters were added throughout the series as new inmates came into the gaol--such as Kate Petersen, the doctor sentenced for the murder of her husband.
The series was followed in 1981 by an unsuccessful series about male prisoners, \IPunishment\b.\i
\IPrisoner\b\i was sold into Britain where it ran as \ICell Block H\b\i and helped to establish a demand for Australian programs. In 1993 a musical based on the series was devised in Britain under the name \IThe Wild, Wild Women of Wentworth\b.\i
\IProducers\b\i: Ian Bradley, Phil East, \JMarie Trevor\j
\IDirectors\b\i: Graeme Arthur, \JRod Hardy,\j Tony Osicka, Alastair Smart
\IScriptwriters\b\i: Ian Bradley, Michael Brindley, Denise Morgan
\IMajor actors\b\i: Val Lehman (as Bea), Sheila Florance (as Lizzie), Patsy King (as Erica Davidson), Gerard Maquire (as Fletcher 'the Lech'), Brian Hannam (as a guard), Elspeth Ballantyne (as Meg), Carol Burns (as Franky), Fiona Spence (as Vera), Betty Bobbitt (as Judy), Collette Mann (as Doreen), Olivia Hamnett (as Kate)
#
"Proof",693,0,g,0
\IFilm, released 1991\i
The first feature film of director \JJocelyn Moorhouse\j, \IProof\b\i was made with Film Victoria and Australian Film Commission backing and was a resounding success. It received special mention at the 1991 Cannes Film Festival, won six prizes at the 1991 AFI Awards, including best film and best direction, and won the prestigious Sutherland Trophy (for most original and imaginative first or second feature) at the 1992 British Film Institute Awards. The theme of the film developed from Moorhouse being told of a blind man who took photographs and had them described to him. This led to the question: what happens if a blind person can't trust the sighted person who shares the physical world with him? The film presents a triangular relationship between a blind photographer, his friend who describes his photos for him and the photographer's devoted housekeeper. On this frame is built a dark comedy of love, trust and betrayal.
\IProduction company:\b\i House and Moorhouse Films
Angela Punch-McGregor was born in Sydney as Angela Punch and at seventeen was one of the youngest applicants to be accepted into NIDA. In 1974, after graduating from NIDA, she was selected for the female lead in Fred Schepisi's \IThe Chant of Jimmie Blacksmith\b\i (released in 1978) for which she won the AFI best actress award. Her other film work includes \J\INewsfront\j\b\i (1978) for which she won the AFI best supporting actress award, \IThe Survivor\b\i (1980), \IThe Island\b\i (US, 1980), \IDouble Deal\b\i (1982), \IThe Best of Friends\b\i (1982), \IWe of the Never Never\b\i (1982) for which she won the 1984 London \IDaily Telegraph\b\i film actress of the year award, \IAnnie's Coming Out\b\i (1984) for which she again won an AFI best actress award, \IThe Delinquents\b\i (1989) and \ISpotswood\b\i (1990).
Her television work includes Mimi in \ILa BohΘme\b\i (ABC TV), \ITimeless Land\b\i (ABC TV), \ITusitala\b\i (ABC TV mini-series), \IWhose Baby?\b\i (Crawford Productions) and \IRafferty's Rules\b\i (Amalgamated Television Services).
Her theatre work includes Rosalind in \IAs You Like It\b\i, Juliet opposite Mel Gibson in \IRomeo and Juliet\b\i, the female lead in \IA Streetcar Named Desire\b\i, the Marquise de Merteuil in \ILes Liaisons Dangereuses\b\i; for the Sydney Theatre Company, \IThe Blind Giant is Dancing\b\i and \IThe Grandfather\b\i; the original production of \IBarmaids\b\i (in which she co-starred with Valerie Bader); the Neil Simon play \IThe Odd Couple\b\i (in which she co-starred with Pamela Stephenson); and the Melbourne Theatre Company's \IFor Julia\b\i and \IThe Gift of the Gorgon\b\i.
#
"Quarry Amphitheatre, Perth",695,0,g,0
\IOpen-air entertainment venue\i
Managed by the Perth Theatre Trust, the Quarry Amphitheatre provides an open-air setting for summer evening performances. It is best suited to ballet, drama, symphony concerts and jazz and can accommodate up to some 680 patrons seated on grassed tiers.
#
"Quast, Philip",696,arts-40.jpg,c,0
\I1954-\i
\IStage, television and film actor\i
After graduating from NIDA, Quast was with the State Theatre Company of South Australia (SATC) for two years, with parts in plays such as \IA Hard God, The Threepenny Opera\b\i and \IAs You Like It\b.\i He has also appeared with the Nimrod Theatre, Sydney, in the lead role in \ICandide\b\i; for the Melbourne Theatre Company in \ICarmen--Another Perspective\b\i; and at the Adelaide Festival as Henry in \IThe Marriage\b\i in 1986. As well as appearing in several television mini-series and telemovies, he was a presenter on the ABC's children's program \IPlayschool\b\i for thirteen years, an experience which he rates of high importance in his career. His films include David Elfick's \IAround the World in 80 Ways\b\i (1985). Recent major roles have been the Minister in the ABC drama series \IThe Damnation of Harvey McHugh\b\i (1994) and Dunois, Bastard of Orleans, in an English production of \ISt Joan,\b\i directed by \JGale Edwards\j in 1994. In 1997 he completed a season of plays with the Royal Shakespeare Company.
\BDescription:\b Philip Quast.
\BPhoto:\b International Casting Service and Assoc. Branco Gaica.
#
"Queen's Theatre, Adelaide",697,0,g,0
\IAdelaide's first purpose-built theatre\i
The Queen's, the first real theatre to be built in Adelaide, was sited in Gilles Arcade and opened in 1841. It could seat 1200 (700 in the pit), had private boxes in the dress circle, and was home to a permanent seventeen-actor theatrical company. However, by 1843 it was failing financially, and for the following seven years the building was used as the Adelaide Court House; in the 1850s it was rebuilt as the Royal Victoria Theatre. A smaller theatre, also called Queen's, and also short-lived, opened in 1846 for \JGeorge Coppin\j.
#
"Queen's Theatre, Melbourne",698,0,g,0
\IShort-lived Melbourne theatre\i
The Queen's Theatre, a brick and stone building on the corner of Queen and Little Bourke streets, was opened in 1845. Described as `elegantly decorated', it could accommodate up to 900 patrons in its boxes, pit and gallery. It had successful seasons in the late 1840s under \JGeorge Coppin\j and was popular during the goldrush years. Increased competition led to the closure of the theatre, although the building itself, converted into a furniture factory, survived into the 1900s.
#
"Queen's Theatre, Sydney",699,0,g,0
\ISydney theatre which has undergone many name changes\i
The theatre which was eventually known as the Queen's began its life in 1850 as Malcolm's Amphitheatre, a temporary structure housing a circus at the rear of John Malcolm's Adelphi Hotel in York Street, Sydney. Within three days the name had been changed to the Circus Royal. Two years later, by which time it was known as the Royal Australian Circus, it had a shingled roof, side boxes, dress circle, pit and stage, and was lit by a gas chandelier that hung from the centre of the roof. After refurbishments in 1854, which increased seating, the name was changed to the Royal Lyceum Theatre.
In 1856 a new 'elegant vaudeville theatre' capable of accommodating 2000 was built on the site. It incorporated parts of the exterior walls and was known as the Our Lyceum Theatre. It had a dress circle, private boxes, gallery, pit and stalls. It opened to performances of Shakespeare, but over the next twenty years had almost as many changes in function--from dance hall to circus to theatre and back again--as it had changes in name. In 1873 the actor W.B. Gill took over the building, rebuilt and renovated it, and renamed it Queen's. It now had stalls and dress circle only. In 1874 a gas explosion backstage caused a performance cancellation which so enraged a section of the audience that a near riot followed in which the interior fittings were badly damaged. Further refurbishments in 1875 prepared Queen's for the first Sydney performance of Maggie Moore and her husband J.C. Williamson. The period of neglect that followed ended with the closure of the building in 1882 after it was condemned as unsafe.
#
"Queensland Film Corporation (QFC)",700,0,g,0
\IFormer film industry support body in Queensland\i
The Queensland Film Corporation was founded in 1978 to fund and develop film in and about Queensland. It was involved in the production of several features, including \IFinal Cut\b\i (1979), \IBush Christmas\b\i (1983) and \IBuddies\b\i (1983) before being disbanded in the mid-1980s. It subsequently re-formed in 1988 as the Queensland Film Development Office and from late 1993 has been known as \JFilm Queensland\j.
#
"Queensland Theatre Company (QTC)",701,0,g,0
\IState theatre company of Queensland\i
The Queensland Theatre Company was created by state government statute in 1970. Its main venue is the Suncorp Theatre. In 1971-72, after a season in Brisbane, the company took its production of \IThe Legend of King O'Malley\b\i on tour to Canberra and through rural New South Wales and Queensland. In the early 1980s it presented works ranging from the musical \IAnnie\b\i to Chekhov's \IThe Seagull\b\i and \JDavid Williamson\j's \ISons of Cain\b\i, all attracting large audiences. The company also began open-air productions of Shakespeare in Albert Park--its 1983 production of \IA Midsummer Night's Dream\b\i was performed in conjunction with the Queensland Ballet Company, the Queensland Opera Company, the Australian Youth Ballet Company and the Queensland Theatre Orchestra--and its production of \IThe Tempest\b\i in 1984 broke company box-office records. From 1984 to 1993 it was known as the \BRoyal Queensland Theatre Company\b\i.
#
"Quinn, Barry",702,0,g,0
\I1949-\i
Barry Quinn, Australian actor, was born in Sussex, England on 1st March 1949. He was married to actress Peta Toppano for five years, after they starred together in the television mini-series \ISara Dane.\i His stage work includes \IThe Forsythe Saga, 42nd Street\i and \IThey're Playing Our Song.\i His television work includes \ICaptain Cook, Queen Emma of The South Seas, Lucinda Brayford, GP, Willing and Abel, Prisoner\i and \ICarson's Law.\i His films include \ICappuccino\i and \ICrime Broker.\i
#
"Rafferty, Chips (John William Pilbean Goffage)",703,0,g,0
\I1909-71\i
\IFilm actor and producer\i
John Goffage was born in Broken Hill, New South Wales and before a chance meeting with a Cinesound casting director led to his first screen role (an extra in \IAnts in His Pants\b\i, 1938) worked as a gold prospector, drover, timber-cutter and clown in a travelling circus. He changed his name to Chips Rafferty after his appearance in \J\IForty Thousand Horsemen\j\b\i (1940). In this and later roles he portrayed the archetypal Australian male. His other film work includes \IDad Rudd MP\b\i (1940), \IThe Rats of Tobruk\b\i (1944), \IThe Overlanders\b\i (1946), \IThe Loves of Joanna Godden\b\i (UK, 1946), \IBush Christmas\b\i (1947), \IEureka Stockade\b\i (1949), \IBitter Springs\b\i (1950), \IKangaroo\b\i (1952), \IDesert Rats\b\i (UK, 1952), \IPhantom Stockman\b\i (1953) of which he was also co-producer, \IKing of the Coral Sea\b\i (1954) of which he was also co-producer, \IWalk into Paradise\b\i (1956) again co-producer, \ISmiley Gets a Gun\b\i (1958), \IThe Sundowners\b\i (1960), \IThe Wackiest Ship in the Army\b\i (US, 1961), \IMutiny on the Bounty\b\i (US, 1962), \J\IThey're a Weird Mob\j\b\i (1966), \IKona Coast\b\i (US, 1968), \ISkulduggery\b\i (US, 1969) and \J\IWake in Fright\j\b\i (1971). He also produced \IDust in the Sun\b\i (1958).
Rafferty formed Platypus Productions (1952-53) with Lee Robinson and George Heath and then he and Robinson formed Southern International (1953-58), and managed to produce a few films in what was generally a barren period for the Australian film industry.
He was awarded an MBE in 1970.
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"Ramster, P.J. (Percy John)",704,0,g,0
\IProducer and director of silent films\i
Having opened a school of acting in Sydney in 1918, Ramster began producing and directing short films the same year. His feature films include \IMated in the Wilds\b\i (1921), \IShould a Doctor Tell?\b\i (1923) and \IThe Russell Affair\b\i (1928), his last film. None of his films survive. They were mainly based on their appeal to wealthy members of Sydney society. He directed the first two films of the McDonagh sisters and is thought to have had an influence on their film-making.
#
"Randell, Ron",705,0,g,0
\I1918-\i
\IActor of radio, stage, film and television\i
Ron Randell was born in Broken Hill and, while still in his early teens, began a career as a radio and later a stage actor. His film work in Australia includes the role of Charles Kingsford Smith in \ISmithy\b\i (1946), the last feature film directed by \JKen G. Hall\j, and \IA Son is Born\b\i (1946). He then went to Hollywood where he had a long career as a major supporting actor.
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"Rats of Tobruk, The",706,0,g,0
\IFilm, black and white, released 1944\i
One of the few independent films made in Australia during World War II, this film followed \JCharles Chauvel\j's earlier \IForty Thousand Horsemen\b\i and in its less romantic and heroic approach shows the toll taken by the intervening war years. The action takes place not only at Tobruk but in New Guinea, so that the Australian war effort on two fronts is stressed. As in the earlier film, the central characters are three soldiers of very different background and character who become mates when thrown together in war action. Two are killed towards the end of the film and the survivor reacts by turning on the enemy with renewed fervour.
\IProduction company\b\i: Chamun Productions
\IProducer and director\b\i: Charles Chauvel
\IScreenplay\b\i: Charles Chauvel, \JElsa Chauvel\j
\IMajor actors\b\i: Grant Taylor, \JPeter Finch\j, \JChips Rafferty\j, Pauline Garrick
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"Raye, Carol",707,0,g,0
\I1923-\i
Carol Raye, Australian actress, was born Kathleen Mary Corkey in London on 17th January 1923. Carol came to Australia in 1954, with her doctor husband, Dr Robert Ayre Smith. She trained as a dancer but achieved fame in Australia as co-host of the off-beat comedy TV show \IThe Mavis Brampston Show\i every Saturday night in the 60s on the Seven Network. She has also spent time as a television station executive; producer director for Kenya Television 1961-64; assistant to the general manager ATN-7, Sydney 1964; and creative director of Cash Harmon in 1975.
She appeared in \INumber 96, Blankety Blanks, This is Your Life, Loss of Innocence, A Man of Letters\i and the \IMike Walsh Show,\i and movies \IWaltz Time, Strawberry Roan, Dream of Olwen\i and \IGreen Fingers.\i
#
"Rayson, Hannie",708,0,g,0
\I1957-\i
\IPlaywright and actor\i
Melbourne-born Rayson studied at Melbourne University from 1975-77 and at the Victorian College of the Arts from 1978-80. She was a co-founder of Theatreworks in 1981 and a member of its artistic directorate until 1983. Rayson worked as a freelance writer from 1984-92, holding a number of writer-in-residence positions at a number of theatres and tertiary institutions during this time. Her plays include \IPlease Return to Sender\b\i (1980), \IMary\b\i (1981-82), \IRoom to Move\b\i (1985-87), co-winner of the 1986 Australian Writer's Awgie Award for the best original stage play, \IHotel Sorrento\b\i (1990), winner of the 1990 Green Room Award for best play, and \IFalling From Grace\b\i (1994). Rayson has worked as script editor on a number of TV and video enterprises including the screen play of 'Sloth', a 50-minute episode of ABC Television's \IThe Seven Deadly Sins\b\i, which was nominated in the 1993 AFI Awards.
Rayson was a script assessor for the Australian Film Commission from 1991-93 and was a member of the Literature Board of the Australia Council from 1992-93.
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"Recruiting Officer, The",709,0,g,0
\IPlay\i
This five-act comedy by George Farquhar was the first play to be performed in Australia. On this occasion a prologue and an epilogue were written by one of the performers.
\IFirst performance\b\i: London's Drury Lane in April 1706.
\IThe Australian premiere\b\i: Acted by convicts in a small hut which had been converted into a simple theatre in June 1789. Governor Phillip and a party of officers were among the audience.
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"Red Shed Theatre Company, Adelaide",710,0,g,0
\IInnovative Adelaide company\i
The Red Shed Theatre Company is a professional theatre company formed in 1986. It produces new, bold and innovative Australian works in which text, image, stage design and audience are brought together in a way that aims to create a unique theatrical environment. The company performs in its own small theatre, at other theatres and in non-traditional theatre spaces such as markets and warehouses.
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"Reed, Bill",711,0,g,0
\I1942-\i
\IPlaywright and novelist\i
Born in Perth, Reed attended Adelaide University before travelling to the United Kingdom to become a member of the writers' group at London's Royal Court Theatre where his first play was performed in 1966. His plays include \IBurke's Company\b\i (1967) based on the ill-fated Burke and Wills expedition; \ITruganini\b\i (1971), three short interrelated plays about the tragedy of Tasmania's last Aborigines; \IThe Pecking Order\b\i (1972); \IMr Siggie Morrison and His Comb and Paper\b\i (1972); \IJust Out of the Ground\b\i (1975); \IYou Want It, Don't You, Billy?\b\i (1976); \IBullsh\b\i (1977); and \IMore Bullsh\b\i (1978).
Reed has published a number of novels besides his plays. He was awarded Literature Board grants in 1972 and 1974, won the 1977 Monash Playwriting Competition and an ANA literary award in 1980.
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"Removalists, The",712,0,g,0
\IPlay, first produced 1971; film, released 1975\i
\B1.\b\i \JDavid Williamson\j wrote \IThe Removalists\b\i in 1971. The violent action centres on two out-of-control policemen, Sergeant Simmonds and Constable Ross, who beat an innocent furniture removalist to death before attacking each other in an attempt to make cold-blooded murder look like self-defence. The play, with its masterly use of dialogue and wry humour, explores how people invested with authority put it into action in the community. Williamson claimed to be more interested in looking at this aspect of social interaction than in hitting out at the police force in particular.
\IFirst produced\b\i: At \JLa Mama Theatre\j in Melbourne in mid-1971. Williamson played the part of the removalist, \JBruce Spence\j was the young constable and Peter Cummins played Sergeant Simmonds.
\ILater productions\b\i: \JJohn Bell\j directed it later in 1971 at Sydney's Nimrod Street Theatre. This production won for Nimrod and Williamson the George Devine award in London (the first time it had been presented outside Britain). John Bell directed a new production at Sydney's Playbox Theatre in 1972. In 1973 \JHarry M. Miller\j took the play to London. This production was directed by \JJim Sharman\j and had a season at the Royal Court Theatre.
\B2.\b\i Though the rights to this landmark play were bought by \JMargaret Fink\j in 1971, shooting did not begin until 1974, and the film was not released until late 1975, after a production period marked by strain between producer and director. The public in general preferred the stage version and found the film too stagey. The location was moved from Melbourne to Sydney for the film.
\IProduction company\b\i: Margaret Fink Productions
\IProducer\b\i: Margaret Fink
\IDirector\b\i: \JTom Jeffrey\j
\IScreenplay\b\i: David Williamson (based on his play)
\IMajor actors\b\i: \JJohn Hargreaves\j (as Constable Ross), Peter Cummins (as Sgt Simmonds), \JChris Haywood\j (as the removalist), \JKate Fitzpatrick\j, \JJacki Weaver\j, Martin Harris
#
"Rene, Roy (Harry Van Der Sluys or Sluice)",713,rene.jpg,c,0
\I1892-1954\i
\IVaudeville performer and radio comedy star\i
As a child Adelaide-born Harry van der Sluys performed as 'Little Roy the boy soprano'. He began his vaudeville career as a comic singer and dancer in the suburban theatres of Melbourne after moving there with his family at the age of thirteen. By the time he joined J.C. Bain's vaudeville circuit in Sydney in 1910 he had adopted the stage name Roy Rene--Roy from his vaudeville character 'Boy Roy the Would-Be Comic' and 'Rene' after a famous French clown. He perfected his trademark white painted face with black painted beard while touring New Zealand for vaudeville impresario Ben Fuller. In 1916 Rene and comedian Nat Phillips took their 'Stiffy and Mo' routine to the stage at Sydney's Princess Theatre, beginning one of the most successful double acts ever in Australian entertainment. Rene played Mo, the fawning and vulgar clown, and Phillips the straight man. The duo featured in the pantomime \IThe Bunyip\b\i (1916-17) and in \IThe Babes in the Woods\b\i (1918-19), working the Fuller Circuit until its collapse and then joining the Tivoli Theatre in Sydney. The partnership lasted, with a short break, until 1928. Rene continued as a solo act, and in 1936 took Mo to radio where he was best known for the show \IMcCackie Mansions\b\i which began in 1947.
Rene's last stage work, \IMcCackie Mo-ments\b\i (1949-50), was based on this show. Once he had established the Mo character and make-up, Rene appeared out of it only twice--in the comedy \IGive and Take\b\i (1925-26) in Sydney and Melbourne and in the Melbourne revue \IClowns in Clover\b\i (1929). His only film appearance was in \IStrike Me Lucky\b\i (1934).
\BDescription:\b Roy Rene
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"Restless Years, The",714,0,g,0
\ITelevision serial, broadcast 1977-80\i
This was the second soap opera produced by Grundys and the first it sold to the Ten network. It was devised by producer and writer \JReg Watson\j. Its title referred to the confusion and problems of the years of late adolescence and the serial followed a group of teenagers through to adulthood, in particular focusing on a children's refuge, with which most of the characters are involved in some way. Major characters were endlessly interconnected and included members of the Garrett family--Trish the barmaid and Ken her handyman brother; members of the Archer family--businessman Jeff, his wife Carol who has an affair with Ken Garrett, their schoolgirl daughter Diane; Peter Beckett who is looking for his real parents and eventually finds the teacher, Miss McKenzie, to be his mother; Olivia Baxter who is saved from life as a call-girl by Peter; the young doctor Bruce Russell, orphaned and raised by Miss McKenzie, and engaged, later married to Alison Clarke; Raeleen Geddes, a barmaid, for a while married to Shane, one of the Archers; Tim Watson who has overcome blindness, shares a house with Raeleen and Peter, and becomes involved with Diane Archer; Rick Moran from Queensland who stays with the Archers while training for the Olympics; and A. R. Jordan, a district officer with the Department of Youth and Community Affairs.
The serial was shown each weekday evening and was popular enough to run for almost 800 one-hour episodes. It was later sold overseas and as late as 1992 was attracting a German audience of over two million when it was shown in a local language version under the title \IGute Zeiten, Schlecke Zeiten\b\i ('Good Times, Bad Times').
\IDirectors\b\i: Peter Bernados, Ian Coughlan, Tony Nielsen, Peter Rawling
\IScriptwriters\b\i: Ian Coughlan, Maureen Moran, Ross Napier, David Phillips, Hugh Stuckey; based on the original idea of Reg Watson
\IMajor actors\b\i: Nick Hedstrom (as Peter), \JJune Salter\j (as Miss McKenzie), John Hamblin (as A. R. Jordan), Linda Newton (as Trish), Ivor Kants (as Ken), Lenore Smith (as Diane), Zoe Bertram (as Olivia), Malcolm Thompson (as Bruce), Noel Trevarthen (as Jeff), Victoria Nicholls (as Raeleen), Jamie Gleeson (as Tim), Peter Mochrie (as Rick), Peggy Thompson (as Carol), Rosalind Spiers, Sonny Blake, Julianne Newbould, \JTom Burlinson\j, Stanley Walsh, Rod Weaver
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"Return Home",715,0,g,0
\IFilm, released 1989\i
This film was made by cinematographer Ray Argall who had earlier in the 1980s founded the production company Musical Films to make mainly music clips. \IReturn Home\b\i, its first feature, was greeted with critical acclaim, though too lacking in dramatic action to be a popular commercial success. Its themes are a return to the past and the reunion of two brothers: Noel, divorced in mid-life, returns from his high-powered Melbourne existence to the Adelaide suburb of his birth where his brother Steve still lives, running a service station with his wife Jude. Another central character is the lovesick mechanic Gary. This film won Argall the 1990 AFI Award for best direction.
\IProduction company\b\i: Musical Films
\IProducer\b\i: Cristina Pozzan
\IDirector\b\i: Ray Argall
\IScreenplay\b\i: Ray Argall
\IMajor actors\b\i: Frankie J. Holden (as Steve), Dennis Coard (as Noel), Micki Camilleri (as Jude), Ben Mendelsohn (as Gary)
#
"Return to Eden",716,0,g,0
\ITelevision mini-series, first broadcast 1983; television series, first broadcast 1986\i
\IReturn to Eden\b\i began as a six-part mini-series. It broke away from the set pattern of Australian mini-series which up to that time had tended to concentrate on historical and nostalgic themes presented with attention to detail and realism, and followed the more American style of modern soap-opera themes--love, betrayal, murder, etc--presented melodramatically. To summarise the melodrama: the rich and often divorced Stephanie Harper marries the handsome but feckless Greg Marsden who soon starts an affair with Stephanie's best friend Jilly and attempts to get rid of his new wife by pushing her into a crocodile-infested river while they are honeymooning at Eden, the Harper family property. Stephanie escapes and in Sydney is given a new appearance by a plastic surgeon, Dan Marshall, and adopts a new name. Thus unrecognisable she again meets Greg who falls in love with her. Back at Eden, whence they are followed by Jilly, there is a showdown between the three in which Greg is wounded by Jilly. He takes off in a light plane but is killed when it crashes. Thereafter Stephanie takes up with her plastic surgeon. Thus ended the mini-series.
This was such a success that a follow-up series of 22 one-hour episodes was made. Set seven years after the ending of the mini-series, it follows the fortunes of the Harper business empire, run by Stephanie, now happily married to the doctor, and her adult children, including Dennis. But problems arise when Jilly is released from prison. The series culminates with Jilly pulling a gun on Stephanie at a Melbourne Cup party, during which fracas Jilly's lover, Jake, is shot dead.
\IProduction company\b\i: Mini-series: Hanna-Barbera and McElroy and McElroy; series: Eden Productions
\IProducers\b\i: \JHal McElroy\j, Tim Sanders
\IDirectors\b\i: Karen Arthur, Rod Hardy, Arch Nicholson, Kevin Dobson
\IScriptwriter\b\i: Michael Lawrence
\IMajor actors\b\i: \JJames Reyne\j (as Greg), Rebecca Gilling (as Stephanie), Peta Toppano (as Jilly in the series), \JWendy Hughes\j (as Jilly in the mini-series), James Smillie (as Dan), Peter Cousens (as Dennis), Daniel Abineri (as Jake)
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"Reyne, David",717,0,g,0
\I1959-\i
David Reyne, Australian pop singer and actor, was born in Nigeria, Africa on 14th May 1959. He grew up with his younger sister Elizabeth at Mount Eliza in Victoria. A former member of Australian group, Australian Crawl, and later, The Chantoozies, he is the younger brother of singer and actor \JJames Reyne.\j His acting appearances have been in \IBony, The Flying Doctors, Golden Fiddles,\i and \ISweet and Sour,\i for which he won a Logie for his performance. Other roles include \IPossession\i and \ISkin Deep.\i
In 1995, he was appointed co-host of the the Nine Network's new \IMidday Show\i with Tracy Grimshaw; however the show was axed after six months. Married to Karina, they have a son Hunter (1995). He is currently a reporter for the Nine Network show \IGetaway.\i
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"Rickards, Harry",718,0,g,0
\I1845-1911\i
\ITheatrical entrepreneur who laid the foundations of the Tivoli Circuit\i
Harry Rickards was born Benjamin Harry Leete in the East End of London and began his career as a comic singer in suburban music halls. He came to Australia in late 1871 with a small company managed by his partner Enderby Jackson: after a successful Melbourne season he played Sydney and then embarked on a three-year tour of Australia and New Zealand. He toured again with other companies in 1885-87 and 1888-91. In 1893 he took a long-term lease of the Garrick Theatre, which he renamed the Tivoli; in 1895 he extended his operations to the Opera House in Melbourne, and in 1900 to the Bijou Theatre in Adelaide. He imported top vaudeville acts from around the world as well as nurturing Australian talent.
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"Ride on Stranger",719,0,g,0
\ITelevision mini-series, first broadcast 1979\i
One of several book adaptations made by the ABC in the 1970s and 1980s, this was based on Kylie Tennant's story of country girls trying out Sydney life in the early years of World War II. Extra material was written for the series by scriptwriter \JPeter Yeldham\j who had approached the ABC with the idea for the adaptation. Shannon Jones, intelligent, independent and seen as a misfit by her country family, is sent to live with her aunt in Katoomba in the New South Wales Blue Mountains where she works in a boarding house. She escapes to Sydney with another maid, Beryl, where she tries to sort out her life by entering a variety of occupations and relationships--including becoming involved in a left-wing political organisation and having an affair with an ex-abbot, Damien Quilter, who has left the church to go into politics. Her eventual marriage to her old sweetheart, John Terry, whom she had met at the boarding house, ends when he is killed in the war and Shannon finds that she has to rely for happiness solely on her own stoicism and independence. The mini-series, consisting of four one-hour episodes, was very popular and was repeated several times.
\IProduction company\b\i: ABC, Sydney
\IExecutive producer\b\i: Alan Burke
\IDirector\b\i: Carl Schultz
\IScriptwriter\b\i: Peter Yeldham, based on the novel by Kylie Tennant
\IMajor actors\b\i: Liddy Clark (as Shannon), \JNoni Hazlehurst\j (as Beryl), Warwick Sims (as Damien), Michael Aitkens (as John), \JHenri Szeps\j, John Bluthal, Barbara Wyndon (as the aunt), Peter Carroll
#
"Rignold, George",720,0,g,0
\I1839-1912\i
\IStage actor noted for Shakespearean roles, and producer\i
George Rignold was born George Rignall in Birmingham, England; his father was a provincial theatre manager and his mother an actor. After several seasons on the London stage Rignold joined the cast of Shakespeare's \IHenry V\b\i in Manchester and played in the lead role in New York in 1875 and then toured throughout the United States in 1876 before taking the play to Australia and New Zealand. It opened at Sydney's Theatre Royal in August 1876, rearranged by Rignold (who was producer as well as playing the lead) into an extravagant production with continuous action and, it is claimed, 400 or more persons on the stage in the battle scenes. He took \IHenry V\b\i to Melbourne and New Zealand in 1878. In 1882, in Australia for the third time, Rignold produced the melodrama \IThe Lights o' London\b\i, acclaimed for its realistic sets, at the Theatre Royal in Sydney. In the mid-1880s he returned to Sydney to settle permanently and ran the first Her Majesty's Theatre from its opening to 1895, during which time he presented both Shakespearean drama and a series of successful melodramas, including his own five-act version of \IUncle Tom's Cabin\b\i.
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"Riverina Theatre Company",721,fp5074.jpg,c,0
\IWagga Wagga-based touring theatre company\i
Founded in 1976, the Riverina Theatre Company is the longest established continuing regional theatre company in Australia. Based in Wagga Wagga, it produces four fully professional productions as a subscription season, using both local and Sydney-based artists which it presents at the Riverina Playhouse in Wagga Wagga and the Griffith Regional Theatre. Suitable productions also tour to smaller communities in the Riverina.
The Riverina Theatre Company supports and furthers local playwrights it initiates and sustains several development projects each year focusing on specific groups within the community. In addition, Riverina Theatre Company runs youth theatre workshops, presents playreadings, runs theatresports and serves as a professional resource for the community.
\BDescription:\b The Riverina Theatre Company production of "The Popular Mechanicals".
\BPhoto:\b The Riverina Theatre Company management and Lee Verrall.
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"Robb, Jill",722,0,g,0
\IFilm and television producer\i
Born in England, Robb began working on films in Melbourne as a continuity girl and production secretary. In the late 1960s she was production coordinator, then assistant producer of the ABC television series \J\ISkippy\j\b\i. From 1975 to 1977 she was a commissioner of the Victorian Film Corporation, the first woman in the role, and was chief executive from 1977 to 1979, when she left to form her own company, Syme International. Her first feature was the successful \J\ICareful, He Might Hear You\j\b\i (1982) for which she bought the rights to Sumner Locke Elliott's book and raised funding, backed by the New South Wales Film Corporation. This was followed by \IThe More Things Change . . .\b\i (1985), a film about a modern marriage with the screenplay based on Robb's own idea. She was appointed to the board of Film Victoria in 1983. In 1987 she was appointed head of television drama for the ABC in Victoria and has been executive producer of such series as \J\IEmbassy\j\b\i (1990-92) and \IPhoenix\b\i (1991-92).
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"Robbery Under Arms",723,0,g,0
\IPlay, first produced 1890, and four films: silent black and white 1907, silent black and white 1920, sound 1957, sound 1984\i
All these were inspired by Rolf Boldrewood's classic colonial novel about bushranging whose central character, the romantic, mysterious and aristocratic Captain Starlight, is thought to be based on a composite of actual bushrangers of the nineteenth century.
\B1.\b\i The stage adaptation by \JAlfred Dampier\j and Garnet Walsh was produced only a few years after \IRobbery Under Arms\b\i had appeared in book form (1888) and met with immediate popularity, becoming part of the national legend. It became part of Dampier's repertoire.
\B2.\b\i The first film version (1907) was the fourth Australian feature film and was made by theatrical entrepreneur Charles MacMahon. At its premiere in Sydney the box office was reported to be almost wrecked by the enthusiastic rush of the audience. The film has now been lost.
\IMajor actors\b\i: Jim Gerald, George Merriman, Lance Vane, William Duff
\B3.\b\i The major force behind the 1920 film version was director Kenneth Brampton who also starred in the film. He managed to raise a substantial budget from a mining industrialist and this film also was a great success. Shot near Canberra, it is realistic and well acted but the story lacks the action and impact of the original novel, perhaps because of restrictions imposed by censorship. Surviving parts of the film are held by the National Film and Sound Archive.
\IProduction company\b\i: Pacific Photo Plays
\IDirector and screenplay\b\i: Kenneth Brampton
\IMajor actors\b\i: Kenneth Brampton, Roland Conway, Dunstan Webb, S.A. Fitzgerald
\B4.\b\i Though plans for another film version had been held at various times by \JRaymond Longford\j, Efftee and Cinesound, the first sound version (1957) was finally a British production. It was filmed to a rushed timetable with a mainly overseas cast and was criticised as having little of the flavour of Australia or of the original characters and as being more like an American Western.
\IProduction company\b\i: Rank Organisation
\IProducer\b\i: Joseph Janni
\IDirector\b\i: Jack Lee
\IScreenplay\b\i: Alexander Baron, W.P. Lipscomb
\IMajor actors\b\i: \JPeter Finch\j, Ronald Lewis, Maureen Swanson, David McCallum, Jill Ireland
\B5.\b\i The 1984 version of the film was even more unenthusiastically received. Though filmed at spectacular locations in the Flinders Ranges and well served by \JSam Neill\j in the lead role, the film was generally regarded as dull. It suffered from being overlong as a result of being made also as a six-part television mini-series.
\IProduction company\b\i: South Australian Film Corporation
\IMajor actors\b\i: Sam Neill, Steven Vidler, Christopher Cummins, Liz Newman, Deborah Coulls
\INote\b\i: There have in fact been five film versions of Boldrewood's novel, as a screen version of Dampier's play was made in 1911 by \JAlfred Rolfe\j and Lilian Dampier. It was titled \ICaptain Starlight: Gentleman of the Road\b\i.
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"Roberts, Ted",724,0,g,0
\ITelevision scriptwriter\i
Roberts' long career as a television writer began in the 1960s with \J\ISkippy\j\b\i. He has since written mainly, but not solely, for the ABC. His work includes the ABC co-production \IThe Castaways\b\i (1974); \J\IRush\j\b\i (began 1974); the ABC business mini-series \IThree Men of the City\b\i (1974) for which he won the Awgie Award for best original television drama, and which resulted in the short series \IThe Company Men\b\i (1975) which he also wrote; \IBen Hall\b\i (1975); one of the plays in the ABC anthology \IThe Seven Ages of Man\b\i (1975); the ABC's adventure mini-series \ICatspaw\b\i (1978); the ABC comedy series \IMenotti\b\i (1981); the 'Australian Western' mini-series \ISilent Reach\b\i (1983); the docudrama mini-series \ICyclone Tracy\b\i (1986); and the comedy series \IWilling and Abel\b\i (1987), made by \JLynn Bayonas\j after her departure from \IA Country Practice\b\i--Roberts shared executive producer credits with her for this program. He has since written for television in the United States, including \IStar Trek: The Next Generation\b\i (1991) and in 1993 returned to work in Australia on the series of \IThe Man from Snowy River\b\i (1994).
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"Robertson, Clive",725,0,g,0
\I1945-\i
Clive Robertson, Sydney breakfast radio presenter, was born in Katoomba, New South Wales on 28th December 1945. He was educated in Katoomba and Needilup near Perth and later joined radio 6IX in Perth. He came east and was a hit on ABC radio's 2BL for a number of years. He was first married to Gillian Brunside from 1974-77 and then to TV actress Penny Cook from 1982-85. He had a brief stint with 2DAY-FM as breakfast announcer, and another term with 2BL, and in 1984 joined the Seven Network to host \I11AM.\i
He was later given his own late night news show, \INewsworld,\i and in 1987 worked part-time with 2UE hosting Saturday nights, and in 1989 hosted Channel 7 weather spots. He left the channel in September 1989 and in early 1990 he and Mike Jeffries hosted a morning show on 2GB for six months. He joined the Nine Network in March 1990 with a show titled \IRobbo's World,\i and later \IThe World Tonight,\i but left in July 1992. He joined radio 2GB to host the afternoon drive program on 26th October 1992.
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"Robinson, Lee",726,0,g,0
\I1924-\i
\IFilm and television director, producer and writer\i
Sydney-born Robinson became a member of the new Film Division of the Department of the Interior in 1946 and directed several documentaries about northern and outback Australia, including \IThe Pearlers\b\i (1949). Keen to move into feature production, he joined up with \JChips Rafferty\j and cameraman George Heath to form Platypus Productions which made \IThe Phantom Stockman\b\i (1953), directed and written by Robinson. He and Rafferty then formed Southern International Ltd which made several films over the next few years, all with Robinson as director and writer. In these films the Australian setting was used as an exotic feature of an internationalised film aimed at overseas markets rather than as a background for exploring the national character as, for example, in the films of \JCharles Chauvel\j. \IKing of the Coral Sea\b\i (1954), which harked back to \IThe Pearlers\b\i, was followed by \IWalk into Paradise\b\i (1956), a co-production with a French company. Set in New Guinea, this was Robinson's most successful film and was the first Australian film to be entered in the Cannes Film Festival. It did well in the United States retitled \IWalk into Hell\b\i.
Subsequent films were also French co-produced, with increasingly large budgets and little Australian involvement. Their failure, particularly that of \IThe Restless and the Damned\b\i, forced Southern International to close. Robinson was the most prolific Australian director of the 1950s. He returned to documentary production and moved into television, both producing and directing. Series he was involved with include \J\ISkippy\j\b\i and \IBoney\b\i. He continued working in film and television into the 1980s, producing the occasional feature film such as \IAttack Force Z\b\i (1980).
#
"Rogers, Barbie",727,0,g,0
\I1942-\i
Barbie Rogers, Australian television hostess and fashion coordinator, was born Barbara Rogers at St Margaret's Hospital, Sydney, on 8th July 1942, and grew up in Dulwich Hill. As a child, she was the New South Wales Irish dancing champion. Barbie starred opposite Tony Barber in the television game shows \ITemptation\i and \IThe Great Temptation,\i and in recent years has coordinated fashion and game shows in Sydney clubs.
#
"Rogers, Bob",728,0,g,0
\I1927-\i
Bob Rogers, Sydney radio personality, was born Robert Barton Rogers at Donald, Victoria on 3rd December 1927. He started out at 3XY in Melbourne and later worked at 4BH in Brisbane. He joined 2UE in the 1950s and was their top rated morning personality for many years. He also worked at 2SM and 2GB from where he was sacked for allowing advertising guru John Singleton to utter the magic four letter word. Following his retirement from radio in the late 1970s, he started the Bob Rogers chain of fashion boutiques. In 1994 he joined 2UE on Sunday mornings but 18 months later joined 2CH working for his old mate John Singleton, who owned the station.
#
"Rogerson, Ian",729,0,g,0
\I1958-\i
Ian Rogerson, Australian radio and television performer from 'Jono and Dano' fame, was born in Sydney in 1958. He came to fame as the skinny partner "Dano" of funnyman Jonathan Coleman, "Jono". After working at 2JJJ, 2MMM and 2SM, they co-hosted \ISaturday Morning Live\i on the Seven Network in 1989 before going their separate ways. Rogerson became a 2JJJ announcer, while Coleman went to England. Divorced from his first wife Maria-Caroline Perrignon, he married Nicole Ferris on St.Valentines Day, 1994. Ian is currently back working at 2MMM.
#
"Rolfe, Alfred",730,0,g,0
\I1862-1943\i
\IStage and film actor and director of silent films\i
Born Alfred Roker, Rolfe began his career as a stage actor and married Lily Dampier, daughter of stage producer \JAlfred Dampier\j. Many of his early parts were in Dampier stage adaptations of classic Australian novels such as \IRobbery Under Arms\b\i. These themes were taken up by Rolfe and his wife in films in which they both starred: \ICaptain Midnight the Bush King\b\i (1911), \ICaptain Starlight--Gentleman of the Road\b\i (1911) and \IThe Life of Rufus Dawes\b\i (1911), the last two being film versions of the Dampier stage plays \IRobbery Under Arms\b\i and \IFor the Term of his Natural Life\b\i. Rolfe became the most prolific director of the early period of silent film production, working first for Spencer's Pictures and then for Australian Photo-Play and Fraser Films. The last of his 29 narrative films was \ICupid Camouflaged\b\i (1918). Of his films only \IThe Hero of the Dardanelles\b\i (1915) survives, in fragmentary form. This and reviews of the time suggest a skill in visual techniques and a naturalistic style.
#
"Romeril, John",731,0,g,0
\I1945-\i
\IPlaywright\i
Born in Melbourne, Romeril attended Monash University where he took part in student theatre. In 1968 he joined the group of performers which formed the Australian Performing Group (based first at La Mama Theatre and later at the Pram Factory). In the same year he also wrote his first play, \IA Nameless Concern\b\i, and came to public attention two years later with \IChicago, Chicago\b\i (1970). The Melbourne Theatre Company commissioned him to write \IRearguard Action\b\i in 1971. Romeril was awarded a six month travel grant from the Australia Council in 1972 and used it to investigate alternative and underground theatre in the United Kingdom. He returned to Australia to take up an appointment as writer-in-residence at the Pram Factory in 1973 and in 1974 received a fellowship from the Literature Board of the Australia Council.
Romeril wrote \IThe Floating World\b\i, one of his major plays, in 1974 and it won him the first Canada-Australia Literary Prize; the piece subsequently toured to Ottawa, Canada, for five weeks in 1979. The playwright has been writer-in-residence at a number of colleges and theatre companies and has worked closely with students and actors on a variety of projects. \IJonah\b\i (1985), a musical play adapted from Louis Stone's novel, was commissioned by the Sydney Theatre Company and was a departure from his usual style. It forms a strong contrast with \ITop End\b\i (1989), a political drama set in post-cyclone Darwin of 1975 and dealing with issues such as the fall of the Whitlam government and Australia's apathetic approach to Indonesia's invasion of East Timor.
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"Romper Stomper",732,0,g,0
\IFilm released 1992\i
The Australian release of this film, following a successful showing at the 1992 Cannes Film Festival, was greeted with huge enthusiasm; it joined \J\IStrictly Ballroom\j\b\i, which was showing at the same time, in quickly becoming a box-office success. However, unlike \IStrictly Ballroom\b\i, it appealed to a limited audience and aroused much criticism as well as praise. A similar mixed reaction followed its release in Britain, the United States and other countries, particularly Germany. Its story of Hando, the head of a neo-Nazi gang of young skinheads at war with a group of Vietnamese migrants in inner-city Melbourne, was thought by many to dwell on violence without giving any moral message. In fact, the audience is caught up in the violent atmosphere by means of effective, fast-moving editing and camerawork and loud pumping music. Director Geoffrey Wright, however, sees the film not as a celebration of violence but as being about dispossessed, socially-alienated youth. It won three prizes at the 1992 AFI Awards including best actor for \JRussell Crowe\j, and won best first feature and best actress for Jacqueline McKenzie at the 1992 Stockholm International Awards.
\IProduction company\b\i: Seon Films, in association with the Australian Film Commission and Film Victoria
\IProducers\b\i: Daniel Scharf, Ian Pringle
\IDirector\b\i: Geoffrey Wright
\IScreenplay\b\i: Geoffrey Wright
\IMajor actors\b\i: Russell Crowe (as Hando), Daniel Pollock, Jacqueline McKenzie, Alex Scott, Leigh Russell
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"Rooney, Brian",733,0,g,0
\I1972-\i
Brian Rooney, Australian juvenile actor, was born in Belfast on 2nd October 1972. He came to Australia at the age of 10 and grew up in Adelaide and Sydney. Aged 16, he was chosen to star in the ABC television series \IGP\i in the role of Michael Winters. He has appeared in the productions of \Imame,\i \ISouth Pacific\i, \ILes Miserables\i and \ILost in Yonkers\i.
#
"Royal Victoria Theatre, Adelaide",734,0,g,0
\IThe name of two early Adelaide theatres\i
\B1.\b\i The first Royal Victoria Theatre was opened in Adelaide's North Terrace by actor Samson Cameron in 1839. Housed in a converted shop, it had boxes--arranged around three sides of the room and called the 'dress circle', pit and a stage. Its capacity is not known and its life was short.
\B2.\b\i The second Royal Victoria opened in 1850 in the rebuilt Queen's, Adelaide. Thought to have been able to accommodate up to 1000, it had a dress circle, three private boxes with their own entrances, a gallery and a pit.
#
"Royal Victoria Theatre, Sydney",735,0,g,0
\IFirst theatre in Australia large enough to provide four separate seating areas\i
The Royal Victoria Theatre, Sydney, the first theatre in Australia to be named after the new queen, opened in Pitt Street in 1838 with \IOthello\b\i and the farce \IThe Middy Ashore\b\i. It could accommodate 2000 and was the first Australian theatre in which the dress circle was raised above stage level and completely separated from the pit, with the pit extending under the dress circle. The dress circle, the most exclusive part of the theatre, had its own entrance and was divided into boxes; the second tier was less exclusive; and the gallery, which made up the third tier, was furthest from the action and therefore cheaper than the bare benches of the pit. In 1841 lighting in the theatre--both in the auditorium and on the stage--was changed from oil to gas, adding to its list of firsts by making it the first theatre in Australia to use gas lighting. The theatre was renovated and redecorated some twenty times between 1841 and 1877, with major rebuilding in 1854. However, by the late 1870s it was showing its age and was gradually overshadowed by the second Theatre Royal, Sydney, which opened in 1875. The Royal Victoria was destroyed by fire in 1880.
#
"Rubie, Howard",736,0,g,0
\I1938-\i
\ITelevision and film director\i
Sydney-based Rubie began his career as a documentary film-maker, filming the 1955 Maitland floods as a teenager. He began directing for commercial television in the late 1960s with the adventure series \IWoobinda/Animal Doctor\b\i (began 1969), produced by \JRoger Mirams\j. His numerous subsequent credits, several in continued association with Mirams, include the crime series \ISpyforce\b\i (began 1971), \ISilent Number\b\i (began 1974) and \IShannon's Mob\b\i (began 1975); the children's series \IThe Lost Islands\b\i (began 1976), \ISecret Valley\b\i (began 1984) and \IButterfly Island\b\i (began 1985); and the adventure mini-series \ISilent Reach\b\i (1983). He also directed the feature film \IThe Settlement\b\i, released in 1983.
#
"Rush",737,0,g,0
\ITelevision series; first series began on air 1974; second series 1976\i
An ABC historical series set on the Victorian goldfields in the 1850s, \IRush\b\i was the idea of producer \JJames Davern\j and proved so popular that two series were made. The first was centred around the principal character of Sergeant McKellar and highlighted tension between the miners and the military, culminating in a miners' rebellion. The issues involved were played down in the second series, an international co-production, which became more of a goldfields adventure/action story, with Sergeant McKellar joined by other leading characters such as Constable Emile Bizard. The interest of overseas audiences led to the idea of a third series to be produced in collaboration with a German company but this did not proceed. In total, 26 one-hour episodes were produced.
\IProduction company\b\i: First series: ABC, Melbourne; second series: ABC, Sydney, in association with Scottish-Global Enterprises and Antenne-2 France
\IExecutive producers\b\i: James Davern, \JOscar Whitbread\j
\IProducers\b\i: James Davern, Oscar Whitbread
\IDirectors\b\i: Frank Arnold, \JEric Taylor\j, Michael Jenkins
\IScriptwriters\b\i: \JSonia Borg\j, James Davern, Oriel Grey, \JColin Free\j, Ted Roberts
\IMajor actors\b\i: \JJohn Waters\j (as Sergeant McKellar), Olivia Hamnett, Vincent Ball, Jane Harders, \JWendy Hughes\j, Paul Mason, Alain Doutey (in the second series, as Bizard)
#
"Rush, Geoffrey",738,fp5075.jpg,c,0
\I1951-\i
Geoffrey Rush, Academy award winning actor, was born at Toowoomba, Queensland on 6th July 1951 to Roy and Merle Rush. His mother worked as a department store security officer after his parents split up when he was only five; his mother later married John Kiehne. A stage actor in Australia for many years, Geoffrey came to fame in 1996 when he starred as pianist David Helfgott in the film \IShine,\i for which he won the Academy award for best male actor. In the mid 1970s he went to Paris and studied mime at the Lecoq School of Mime.
He studied to become an English teacher at the Queensland University of Technology when he was attracted to the drama club. In his early years in Sydney theatre he appeared on stage with fellow Academy award winner Mel Gibson; they starred together in a number of productions, as well as sharing a house at Randwick. In 1993 he won the Sidney Myer Performing Arts award for an individual. Some other awards Geoffrey has won include: 1996 Texas Film Critics award for best actor for \IShine;\i 1996 Boston Film Critics award for best actor for \IShine;\i 1996 AFI award for best performance by an actor in a leading role for \IShine;\i 1997 Golden Stellite award for best actor for \IShine;\i 1997 New York Film Critics award for best actor for \IShine;\i 1997 Los Angeles Film Critics Association award for best actor for \IShine;\i 1997 Broadcast Film Critics Association award for best actor for \IShine;\i 1997 Golden Globe award for best actor for \IShine;\i 1997 Film Critics Circle of Australia award for best actor for \IShine;\i 1997 USA Screen Actors Guild award for best actor for \IShine;\i 1997 BAFTA for best actor for \IShine;\i among other previous awards and nominations.
He married actress Jane Menelaus in 1988 and they have two children, Angelica (1993) and James (1996). Geoffrey has appeared in other films including: \IHoodwink\i (1980), \IStarstruck\i (1981), \ITwelfth Night\i (1985), \ISmall Room Confessions\i (1994), \IOn Our Selection\i (1994), \IFive Easy Pizzas\i (1994), \IChildren of the Revolution\i (1995), \IA Little Bit of Soul\i (1997), \IOscar and Lucinda\i (1997) and \ILes Miserables\i (1997). He has also appeared in many theatre productions. Some of these include: \IThe Diary of a Madman\i (1989, 90, 91), \IThe Government Inspector\i (1991), \IUncle Vanya\i (1992), \IHamlet\i (1994, 95) and \IThe Alchemist\i (1996). Geoffrey has also appeared in television shows and has been the director for some theatre productions.
\ITheatre owned by the Melbourne Theatre Company\i
The 416-seat Russell Street Theatre, in Melbourne, is owned by the \JMelbourne Theatre Company (MTC)\j and is used by them for more experimental works than the populist productions it presents at its major venue, the Playhouse Theatre. Formerly The Australian Church, the building was converted for theatrical use by the Union Repertory Theatre Company (forerunner of the MTC), after it left the Union Theatre.
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"Rusty Bugles",740,0,g,0
\IPlay, first produced 1948\i
\JSumner Locke Elliott\j's comedy depicting army life enjoyed huge commercial success, with audiences identifying readily with the Aussie soldier characters stationed in the Northern Territory at an army ordnance depot. During the course of the play, the main enemies fought by the sixteen soldiers are the monsoon and extreme boredom rather than the Japanese army. \IRusty Bugles\b\i was the playwright's seventh play to be staged at Sydney's Independent Theatre; it aroused much interest after receiving a police banning order for unsuitable language. The New South Wales Chief Secretary banned the play under the 1908 Theatres and Public Halls Act and it was not allowed to go ahead until words like `bloody' and `bludger' were removed from the text by \JDoris Fitton\j.
\IFirst produced\b\i: At Doris Fitton's Independent Theatre in North Sydney in 1948 where it played for four months. This production later toured to all Australian states.
\IOther productions\b\i: King's Theatre, Melbourne, in 1949. Kenn Brodziak and Garnet H. Carroll bought the play and it was the first Australian play to be taken up by the commercial theatre after World War II. It played in Melbourne for six months and then toured for two years. A 1952 production was taken to New Zealand. The play was adapted for television by the ABC in 1965 and 1981. The Independent revived \IRusty Bugles\b\i in 1964.
#
"Ryan, Madge",741,0,g,0
\I1922- 94\i
Madge Ryan, Australian actress, was born in Townsville on 8th January 1922. She was cast as the original Pearl in Ray Lawler's production of \IThe Summer of the Seventeenth Doll.\i She toured with the production to London and New York and returned to Australia in 1957 to star in \IShifting Heart.\i Madge starred in \IEntertaining Mr Sloan, Mother Courage, Black Comedy, The White Liars, Aren't we All,\i and \IMedea.\i She died on 9th January 1994, the day after her 72nd birthday.
#
"Rydge, Sir Norman",742,0,g,0
\I1900-80\i
\IFilm company executive\i
Born in Sydney, Norman Rydge replaced \JStuart Doyle\j as chairman of the film distribution and cinema chain Greater Union in 1937 and remained in that position until 1979. Under his administration, which demanded substantial profit-making, Greater Union's subsidiary Cinesound went out of feature film production. His son Alan Rydge (1952-) replaced him as chairman of Greater Union and is a director of Village Roadshow Ltd.
#
"Salamanca Arts Centre, Hobart",743,0,g,0
\IState-funded centre for artists and arts organisations\i
Situated on Hobart's historic waterfront and fronted by the impressive sandstone walls of five Georgian warehouses, the Salamanca Arts Centre is home to artists, craftspeople, training, community and visual and performing arts organisations. It houses the Peacock Theatre, home of Zootango Theatre Company, an intimate 150-seat auditorium converted from a warehouse--the rear of the theatre is actually a cliff face, part of the quarry from which the sandstone blocks of the Centre were cut. Other facilities include rehearsal space, galleries, studios and craft workshops. The Centre was established in 1976 following the purchase of 65-79 Salamanca Place by the state government.
#
"Salter, June",744,fp5076.jpg,c,0
\I1932-\i
\IActor of stage, film, radio and television\i
June Salter A.M., multi-award winning actress, is still enjoying an eventful and distinguished career which spans more than four decades, encompassing almost every form of entertainment.
Her career began in 1952 in the golden days of Australian radio, then she became an important proponent of the intimate revues staged at the legendary Phillip Street Theatre in Sydney. A guest spot on the first TV transmission of Channel 7 in 1956 was a career highlight and began her illustrious liaison with the medium she would master so skilfully. It was the acclaimed TV program \IThe Mavis Bramston Show\i in the 1960s that brought Miss Salter to a wider audience and established her position as one of the most talented and versatile actresses in the country; since then she has appeared in virtually every major television series in Australia.
On stage Miss Salter has played the gamut of roles, from the tough-spirited Mama Rose in \IGypsy,\i the daffy Madame Arcati in \IBlithe Spirit,\i the malevolent Mrs Danvers in \IRebecca\i to the regal Queen Mary in \ICrown Matrimonial,\i the devoted wife in \IOn Golden Pond\i and the irascible mother in \INight, Mother.\i Her latest appearance was the disciplinarian Yorkshire housekeeper, Mrs Medlock, in the musical \IThe Secret Garden\i in 1996.
In 1993 the Tilbury Hotel presented \IJune Salter - A Legend\i - her first one-woman show, a musical representation of her life and career.
In 1977 she was the recipient of Her Majesty's Silver Jubilee Medal; in 1978 she was an esteemed subject of \IThis Is Your Life;\i in 1982 she was honoured by being awarded the Member of the Order of Australia; and in 1995 her autobiography \IA Pinch of Salt\i was published by Angus & Robertson.
\BDescription:\b June Salter.
\BPhoto:\b Barbara Leane and Assoc.
#
"Samazan, Bruce",745,0,g,0
\I1970-\i
Bruce Samazan, Australian actor, was born in Madagascar on 13th November 1970. He came to Australia with his parents and grew up in Wollongong. After leaving school he became a brickies' labourer before scoring a part in the television series \IHome And Away\i. He came to fame in the 1991 television series \IE Street\i.
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"Sammy Awards",746,0,g,0
\ITelevision industry awards\i
A short-lived series of awards for excellence in the television industry, the Sydney-based Sammy Awards were established in 1976 by the Variety Club of Australia, the Seven network and \ITV Times\b\i in opposition to the \J\ITV Week\b\i Logie Awards\j. As with the Logies, there were Gold Sammys for the best male and female performers. Winners included: \JGarry McDonald\j (1976), \JHelen Morse\j (1976), \JJune Salter\j (1978) and \JMarcia Hines\j (1979). The awards, in the shape of a seal, were called 'Sammy' for Sammy the seal of approval.
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"Sanders, Ann",747,0,g,0
\I1966-\i
Ann Sanders, television presenter and news anchor, was born in Perth, Western Australia on 14th March 1966. She came to Sydney in the mid 1980s and became the evening newsreader for Channel 7, before becoming host of the national \I11 AM\i program. In 1990, she married orthopaedic surgeon Andrew Strokon, and on 28th November, 1991 gave birth to a son, Maxim.
#
"Sandor, Alfred",748,0,g,0
\I1918-83\i
Alfred Sandor, Australian actor, was born on 5th November 1918 in Budapest, Hungary, the son of famous circus parents. He was inducted into the US Air Force in 1941, and was selected for counter intelligence. After the war he appeared on Broadway in \ITime Limit, No Time For Sergeants\i with Andy Griffith and Roddy McDowell, \IGypsy\i opposite Ethel Mermon, and the \IOdd Couple\i with Walter Matthau and Art Carney.
In television, Sandor appeared in \ISergeant Bilko\i, \IThe Verdict Is Yours\i, \IPlayhouse 90\i, \IThe Nurses\i and \IOur Five Daughters\i. He came to Australia in 1969 to star opposite Googie Withers in \IPlaza Suite\i for J.C. Williamson, and never went home. He was married to Sydney publicist Barbara James. He also worked at the Neutral Bay Music Hall in their longest ever production, \IThe Spectre of Wycombe Manor\i, as well as television's \IYoung Doctors\i. He died from cancer in Sydney on 22nd September 1983, aged 65.
#
"Sardi, Jan",749,0,g,0
\IFilm writer\i
While working as a schoolteacher, Jan Sardi began writing filmscripts through his actor brother Peter Sardi who introduced him to director \JMichael Pattinson\j. Together they worked on a script about Italian-Australian school students which became \IMoving Out\b\i (1982). Subsequent screenplay credits, mainly in association with Pattinson, include \IStreet Hero\b\i (1984), \IGround Zero\b\i (1986, co-writer), \IBreakaway\b\i (1989) and \ISecrets\b\i (1991). Television writing work includes the series \IThe Flying Doctors\b\i (1989-90), \J\IEmbassy\j\b\i (1990-91), \IPhoenix\b\i (1992), including an AFI award-winning episode, and the telemovie \IHalifax f.p.\b\i (1994).
#
"Saunders, Justine",750,0,g,0
\I1953-\i
\IActor of stage, film and television and playwright\i
Justine Saunders was born near Charters Towers in northwest Queensland and has worked as an actress since the mid-1970s. She trained for twelve months with NIDA, joining the 1980 intake. In 1988, at the invitation of Yale University, she performed a one-person show in the United States covering the history of Australian Aboriginal theatre and including recitals from leading Aboriginal writers. In the same year she toured Australia with the stage play \ICapricornia\b\i, an adaptation by \JLouis Nowra\j of the novel by Xavier Herbert. Her other stage work includes \IThe Cake Man\b\i (1982, Australian Elizabethan Theatre Trust), \ISorry, Sold Out\b\i (1982, Stage Company, Adelaide), \IMarginal Farm\b\i (1983, Melbourne Theatre Company), \ICoordah\b\i (1987, Playhouse Theatre, Perth), \J\INo Sugar\j\b\i (1990, Belvoir Street), \IThe Crucible\b\i (1991-92, Sydney Theatre Company) and \IAustralian People's Theatre\b\i (1993, Sydney Theatre Company).
Her television work includes appearances in the series \J\ICertain Women\j\b\i, \J\INumber 96\j\b\i, \J\IBellbird\j\b\i, \J\IPrisoner\j\b\i and \IA Country Practice\b\i, the mini-series \IBen Hall\b\i, \J\IRush\j\b\i, \IThe Last Resort\b\i and \IHeartlands\b\i; she also starred in an episode of \J\IWomen of the Sun\j\b\i, an acclaimed series of four dramas about Aboriginal women screened by SBS in 1981. Her film work includes \IThe Chant of Jimmie Blacksmith\b\i (1978), the lead in \IThe Fringe Dwellers\b\i (1986), \ITop Enders\b\i (1989) and \IUntil the End of the World\b\i (1990).
In 1985 she received the first Aboriginal of the Year Award.
#
"Scacchi, Greta",751,0,g,0
\I1960-\i
Greta Scacchi, Australian actress, was born in Milan, Italy to an Italian artist father and British dancer mother. She spent her early life in England and Italy, before her parents divorced when she was six. When her mother re-married, the family moved to Perth, Western Australia. When she finished high school, she spent time in the outback as a jillaroo before going to London to study acting at the Bristol Old Vic drama school.
Her first paid media performance was a $60 modelling spot in a television commercial for Perth jewellers, Mazzuchelli's. At the age of 22, she appeared opposite Julie Christie in \IHeat and Dust\i and followed with \IThe Coca Cola Kid\i and the television mini-series \IWaterfront.\i
She is a passionate supporter of the Friends of the Earth. Her other films include \IWhite Mischief, Presumed Innocent, Fires Within, Shattered, Turtle Beach, Player, Salt on our Skin,\i and \IA Serpent's Kiss.\i In 1991 she starred on stage in Perth in \IIbsen's Dolls House.\i
#
"Scales of Justice",752,0,g,0
\ITelevision mini-series, first broadcast 1983\i
This highly acclaimed three-part series dealt with corruption in the legal system and the kind of pressures within that system that lead to the compromise of principle. Each one-hour episode formed a play in itself. `The Job' looked at a young probationary police constable, Spider Webber, finding himself with senior officers who use the system for their own ends--the crooked Sergeant O'Rourke and the semi-crooked Constable Borland. In 'The Game' ambitious members of the drug squad, Detective Sergeants Ken Draffin and Mick Miles, come into conflict with the local Mr Big and drug dealer Garth (Nipper) Jackson is caught in the crossfire. The third episode, 'The Numbers', centred on Glen Ferris, the attorney-general who decides to compromise rather than risk his job. The series was conceived and produced by \JMichael Carson\j and written by \JRobert Caswell\j who received the 1984 Awgie Award for the scripts. The series also won several television industry awards.
\IProduction company\b\i: ABC
\IProducer\b\i: Michael Carson
\IDirector\b\i: \JMichael Jenkins\j
\IScriptwriter\b\i: Robert Caswell, based on the original idea by Michael Carson
\IMajor actors\b\i: \IEpisode 1:\b\i \JBill Hunter\j (as O'Rourke), \JJohn Hargreaves\j (as Borland), \JSimon Burke\j (as Webber); \IEpisode 2:\b\i Dennis Miller (as Draffin), Tim Robertson (as Miles), Tony Barry (as Mr Big); \IEpisode 3:\b\i \JNick Tate\j (as Ferris), \JJohn Meillon\j (as Deputy Premier Barry Barnes)
#
"Schepisi, Fred",753,fp5077.jpg,c,0
\I1939-\i
\IFilm director\i
Born in Melbourne, Schepisi worked in advertising and joined \JCinesound\j in 1963, later becoming its Melbourne manager. His early experience was thus in documentaries. In 1966, with Alex Stitt, he bought Cinesound Melbourne from the Greater Union Organisation and renamed it the Film House. This company quickly gained a reputation for innovative camera techniques, these experiments being backed by the production of high-class commercials. Schepisi moved into full-length feature films with the unusually personal \IThe Devil's Playground\b\i (1976), regarded by many as a seminal work in Australia's film revival. As well as directing, he produced and wrote the script for this film, as for his next film, \IThe Chant of Jimmie Blacksmith\b\i (1978). Though the latter was a commercial failure, in spite of being well-made, it led to Schepisi working in the United States. In 1980 with two partners he formed Marmalade Films in Sydney but since has worked mainly overseas, where his films include \IBarbarosa\b\i (US, 1982), \IPlenty\b\i (UK, 1985), \IThe Russia House\b\i (US, 1991) and \ISix Degrees of Separation\b\i (US, 1993). He returned to Australia to make \J\IEvil Angels\j\b\i (1989), based on the Lindy Chamberlain story.
\BDescription:\b Fred Schepisi.
\BPhoto:\b Fred Schepisi.
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"Schofield, Tess",754,0,g,0
\ITheatre designer\i
Schofield graduated from NIDA in 1986 and has since designed costumes for 38 productions, including \IThe Golden Age\i (1986, NIDA), \IA Lie of the Mind\i (1987, Belvoir Street Theatre), \ILes Enfant du Paradis\b\i (1988, Belvoir Street Theatre), \IDiary of a Madman\b\i (1989, Belvoir Street Theatre), the feature film \ISpotswood\i (1990) for which she won an AFI award for costume design, \IThe Government Inspector\b\i (1991, Sydney Theatre Company), \IThe Cockroach Opera\b\i (1992, Belvoir Street Theatre), \IHamlet\b\i (1994, Belvoir Street Theatre), the feature film \ICosi\i (1994), the feature film \IMr Reliable\i (1995), \INight on Bald Mountain\i (1996, Company B), the feature film \IDiana and Me\i (1996), \IThe Seagull\i (1997, Company B), \IThe Governor's Family\i (1997, Company B) and the feature film \IRadiance\i (1997). Schofield is currently preparing for the OA's 1998 production of \IJenufa.\i
#
"Schultz, Carl",755,0,g,0
\I1939-\i
\IFilm and television director\i
Schultz was born in Hungary and came to Australia after the 1956 revolution. He was drama director at the ABC in Sydney from 1972 to 1978 and began directing films with \IBlue Fin\b\i (1978), an unsuccessful attempt to build on the popularity of the children's film \J\IStorm Boy\j\b.\i This was followed by \J\IGoodbye Paradise\j\b\i (1982) and Schultz's biggest success, \J\ICareful, He Might Hear You\j\b\i (1983). Schultz's sensitivity to atmosphere and mood is also evident in \J\ITravelling North\j\b\i (1986), an adaptation of David Williamson's play which had high ratings from critics but only moderate popular success. He then worked in the United States, beginning with \IThe Seventh Sign,\b\i a proposed thriller starring Demi Moore, but found this not a happy experience. Schultz's television work includes the series \IThe Outsiders\b\i (1976), \J\IRide on Stranger\j\b\i (1979) and \J\IBodyline\j\b\i (1984). His most recent film is a French/Australian coproduction called \ILove in Ambush,\i set in Cambodia.
#
"Scott-Mitchell, Michael",756,0,g,0
\I1960-\i
\ISet designer\i
Sydney-born Scott-Mitchell graduated from NIDA in theatre design in 1983 and has since worked on an eclectic range of plays, operas, films, musicals, architecture, interior design (D4 Design) and exhibitions. His designs include the sets and costumes for \ILighthouse\b\i (1984) directed by Louis Nowra for the Seymour Group and the Perth Festival; sets for \IGuys and Dolls\b\i, sets and costumes for \IOn Our Selection\b\i and \ITrumpets and Raspberries\b\i directed by Helmet Bakiatis for the New Moon Theatre Company tour of Northern Queensland (1985); sets and costumes for \IKing of Country\b\i (1986) directed by Wayne Harrison, and \ITom and Viv\b\i directed by Aubrey Mellor (1987), sets for the premiere production of \IByzantine Flowers\b\i (1989) directed by Kingston Anderson and sets for the world premiere of \ISiren\b\i (1990) directed by Richard Wherrett at the Sydney Theatre Company's (STC) Wharf Theatre; sets for \IMerchant of Venice\b\i (1991) directed by Carol Woodrow, \IHamlet\b\i (1991 and 1993), \IRichard III\b\i (1991 and 1993), \IRomeo and Juliet\b\i (1993) and \IThe Taming of the Shrew\b\i (1994) directed by John Bell for the Bell Shakespeare Company; sets for \IDiving For Pearls\b\i (1991) directed by Neil Armfield and \ITrackers of Oxyrhynchus\b\i (1992) for STC, directed by Mark Gaal\I;\b\i sets for\I Jesus Christ Superstar\b\i directed by Richard Wherrett and produced by Harry M. Miller (1992) and (1994); \IThe Ancient Mariner\b\i for the San Francisco Opera at the Fairmont Arts Centre in the United States (1993); sets for \IThe Gift of the Gorgon\b\i directed by Richard Wherrett for the Queensland Theatre Company (1994); production design for the feature film \IBilly's Holiday\b\i (1995) directed by Wherrett and sets and costume design for \IDead Funny\b\i (1995) directed by Simon Phillips for the STC.
#
"Screen West",757,0,g,0
\IFilm and television support body\i
Formerly the \JWestern Australian Film Council\j, Screen West (the reorganisation and name change dates from 1993) has overall responsibility for the development and support of the state's film and television industry and has taken over responsibility for film cultural funding previously managed by the Department for the Arts.
The Seaborn, Broughton, Walford Foundation was established in 1986 to promote the performing arts. Its first act was to purchase the Stables Theatre in Kings Cross from writers Bob Ellis and Anne Brooksbank, and then offer the premises rent-free to the Griffin Theatre Company. Other beneficiaries have included the Bell Shakespeare Company, Ensemble Theatre, Theatre of Image, Belvoir Street Theatre and the Festival of Sydney. In 1993 the foundation bought the Independent Theatre in North Sydney, home to Doris Fitton's Independent Theatre Company from 1939 to 1977, for restoration of the building before returning it to use as a theatre venue.
#
"Seale, John",759,0,g,0
\I1942-\i
\ICinematographer\i
Sydney-based Seale worked for the ABC 1962-68 and since has been freelance. He was cameraman on some of the important films of the 1970s including \J\IPicnic at Hanging Rock\j\b\i (1975), \J\ICaddie\j\b\i (1976), \IThe Money Movers\b\i (1978) and \IThe Odd Angry Shot\b\i (1979). From the early 1980s he has been cinematographer on many films, building a reputation as one of Australia's best. His films as director of photography include \IGinger Meggs\b\i (1982), \J\IGoodbye Paradise\j\b\i (1982), \J\ICareful, He Might Hear You\j\b\i (1983) for which he won the AFI Award for cinematography, and \J\ISilver City\j\b\i (1984). In recent years he has worked regularly in the United States, particularly in association with Australian directors such as \JPeter Weir\j and \JGeorge Miller.\j His United States films include \IWitness\b\i (1985), \IMosquito Coast\b\i (1986), \IGorillas in the Mist\b\i (1988), \IRain Man\b\i (1988), \IDead Poets Society\b\i (1989), \ILorenzo's Oil\b\i (1992), \IThe Firm\b\i (1993), \IThe Paper\b\i (1994), \IThe English Patient\i (1997) and \ICity of Angels\i (1997). He was nominated for Academy Awards for \IWitness,\b\i \IRain Man\b\i and \IGorillas in the Mist\b.\i
John Seale won as Oscar for his cinematography work on \IThe English Patient\i (1997).
#
"Season at Sarsaparilla, The",760,0,g,0
\IPlay, first produced 1962\i
The setting for \JPatrick White\j's bleak comedy \IThe Season at Sarsaparilla\b\i is Mildred Street in Sarsaparilla, a fictitious outer suburb of Sydney. In the midst of ordinary suburbia live the Boyle, Pogson and Knott families who talk endlessly of the minutiae of life: babies, pets, food and shopping. Teacher and would-be writer Roy Child comments ironically on what action there is and dreams of escape.
\IFirst produced\b\i: Adelaide University Theatre Guild directed by \JJohn Tasker\j in 1962
\IOther productions\b\i: Sydney Opera House for the STC production directed by \JJim Sharman\j in 1976
#
"Seccombe, Dean",761,0,g,0
(1931-93)
Don Seccombe, former Brisbane television news reader and gameshow host, was born in McKay, Queensland on 22nd February 1931. He started out as a news reader with the Queensland Radio News Service in 1946 and then worked with 4BK and 4BC before joining the ABC. He joined Channel 9 in 1962, three years after television began in Queensland ,and read the evening news bulletin for 21 years until February 1986.
During his time at Channel Nine, he hosted the game shows \II've Got a Secret\i and \IPlay Your Hunch.\i He worked on documentaries for the station from 1986 until 1988, and after he left television he worked as a media consultant. In 1953, he married Margaret Petty and had two sons, Michael and Ian. He died at Redcliffe near Brisbane on 30th December 1993, aged 62.
#
"Semler, Dean",762,0,g,0
\I1944-\i
\ICinematographer\i
Born in Adelaide, Semler worked for the Commonwealth Film Unit (now Film Australia) in the 1970s, photographing numerous documentaries and short films and working with Ian Dunlop in New Guinea. He also directed some short films, including the admired \ISaturday\b\i (1980). In the 1980s he established a reputation as a leading cinematographer, working on feature films and television series, and particularly noted for his outdoor location work. He has increasingly worked in the United States. His film credits include \IHoodwink\b\i (1981), \J\IMad Max II\j\b\i (1982), \IRazorback\b\i (1984), \J\IDead Calm\j\b\i (1987), \ICocktail\b\i (US, 1987), \ICity Slickers\b\i (US, 1991), \IDances With Wolves\b\i (US, 1991) and \IThe Three Musketeers\b\i (US, 1993). He won the AFI Award for cinematography for both \IRazorback\b\i and \IDead Calm\b\i and received the Academy Award for best cinematography for \IDances With Wolves\b\i. Semler's television work includes the series \J\IReturn to Eden\j\b\i (1983) and \J\IBodyline\j\b\i (1984) and the US Western mini-series \ILonesome Dove\b\i (1989) on which he worked with Australian director \JSimon Wincer\j.
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"Sentimental Bloke, The",763,0,g,0
\ISilent film, black and white, released 1919; sound film, black and white, released 1932; musical, first produced 1961; opera, first produced 1985\i
These four versions are all based on C.J. Dennis' well-loved verse narrative, \IThe Songs of a Sentimental Bloke\b\i (1915), about the courtship and marriage of Bill, a Melbourne larrikin, and his 'tart' Doreen.
\B1.\b\i The first screen version was the work of \JRaymond Longford\j and \JLottie Lyell\j. In spite of the great contemporary popularity of the book, they had difficulty in raising financial backing though investors were eventually well rewarded when the film broke all box-office records after its Melbourne release. The script gave narrative structure to Dennis' characterisations and moved the location from inner-city Melbourne to Woolloomooloo, Sydney. Extracts of Dennis' verse were used as between-scene titles and helped maintain the original flavour. The film has trademarks of Longford's style of realism, with natural locations and concentration on small human touches. Like Dennis' work it has an overtone of longing for the bush in the midst of urbanisation. The film has survived and is held at the National Film and Sound Archive.
\IProduction company\b\i: Southern Cross Features Film Company
\IProducer and director\b\i: Raymond Longford
\IScreenplay\b\i: Raymond Longford (based on C.J. Dennis' book)
\IMajor actors\b\i: Arthur Tauchert (as the Bloke), Lottie Lyell (as Doreen), Gilbert Emery, Stanley Robinson
\B2.\b\i Frank Thring's 1932 sound remake is generally considered inferior. Produced by Efftee Films, it was their most expensive feature and the first to be released by the Australian branch of Universal Pictures. C.J. Dennis collaborated with the makers and the setting was returned to the original Melbourne. In contrast to the earlier film it concentrates more on sentimentalism and morality than realism, but was still a major success at the box office.
\IProduction company\b\i: Efftee Film Productions
\IDirector\b\i: Frank Thring
\IScreenplay\b\i: C.J. Dennis (based on his book)
\IMajor actors\b\i: Cecil Scott (as the Bloke), Ray Fisher (as Doreen), Tal Ordell, Athol Tier
\B3.\b\i The musical version of \IThe Sentimental Bloke\b\i was staged by Australian-born Albert Arlen who returned to Australia after World War II after many years involved with theatre in London. He had long planned to produce a musical on an Australian theme. The book and lyrics were written by Arlen in collaboration with his wife Nancy Brown and Lloyd Thomson.
\IFirst produced\b\i: Premiered in Canberra in 1961, with Nancy Brown producing¼ the show and playing the role of Rose. In the same year a production opened at the Comedy Theatre in Melbourne, produced by John Young, choreographed by Betty Pounder and starring Edwin Ride (as Bill), Frank Ward (as Ginger), Rosemary Butler (as Doreen) and \JGloria Dawn\j (as Rose).
\IOther major productions\b\i: Theatre Royal, Sydney (1962); Q Theatre, Adelaide (1976); ABC Television (1976); Seymour Centre, Sydney (1977); Theatre Royal, Hobart (1977); Riverina Theatre Company (1985); Melbourne Theatre Company (1985/86); West Australian Theatre Company (1986); Queensland Theatre Company (1988).
\B4.\b\i The ballet version was commissioned for the Australian Ballet by Maina Gielgud and choreographed by Robert Ray. It opened in Sydney in 1985.
#
"Serious, Yahoo",764,0,g,0
\I1953-\i
\IActor, writer and film-maker\i
Yahoo Series grew up in Cardiff in the Hunter Valley near Newcastle, NSW. After attending the National Art School as a painter and conceptual artist, Yahoo became a film editor then a TV documentary director, winning the Australian Penguin Award for best educational documentary in 1977. He then travelled extensively and began writing, directing and performing in experimental comedy films.
In 1988 he became the first Australian to write, direct, produce and star in a feature film. \IYoung Einstein\i was a national and international hit, both critically and at the box office where it achieved number one spot in Australia, Britain, Canada, France, Germany and throughout Europe. The soundtrack produced by Yahoo went double-platinum. \IYoung Einstein\i is the incredible untold story of Albert Einstein, the genius Tasmanian apple farmer. In 1905 he discovered Relativity, in 1906 he invented Rock and Roll. Yahoo Serious was featured on the covers of \ITime\i magazine in February 1989 and \IMAD\i magazine in April 1989. He received Cinema Honours from Harvard University Theatrics.
Mr Serious wrote, directed, produced and starred in \IReckless Kelly,\i the satirical adventures of Ned Kelly, a Robin Hood-style outlaw who accidentally becomes a Hollywood movie star. Number one at the Australian box office when it was released in 1993, the movie champions a new Australian flag, Aboriginal heritage and multiculturalism, as well as lampooning Hollywood violence. The "Serious" cinematic style is a collision of popular comedy and social satire. Serious' films combine comedic physical performances (he performs his own stunts) with epic visuals and unorthodox themes. Yahoo is an ambassador for the Australian Republic and a keen surfer. Newcastle University made him an Honorary Doctor of Letters in 1996 for his contribution to cinema arts.
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"Seven Little Australians",765,0,g,0
\ITelevision series, first broadcast 1973\i
Adapted from Ethel Turner's ever-popular 1894 children's novel, the series similarly centred on the Woolcott family who live in a large house nicknamed `Misrule' on the Parramatta River, and consists of Captain Woolcott, his second wife Esther and the seven children of the title, ranging from babyhood to adolescence--Meg, Pip, Judy, Nell, Bunty and Baby from the Captain's first marriage, and Esther's baby, 'the General'. High-spirited and imaginative, the children are a handful for their father and young stepmother; the ringleader Judy is sent to a boarding school from where she eventually escapes and returns home with damaged lungs. Meanwhile the other children have had many adventures, including romantic ones in the case of Meg. Esther and the children go to stay with Esther's parents on their country property and so bush life is incorporated into the story. While there a fatal accident occurs and Judy dies, a scene remembered vividly by most children reading the book and now brought to a new generation via television.
\ISeven Little Australians\b\i ran for ten 25-minute episodes and was hugely popular. It was repeated many times and shown in Britain, several other European countries and Japan. It won three 1973 AFI Awards and four Penguins including best drama series and best actor for \JLeonard Teale\j who also won a Logie.
\IProduction company\b\i: ABC, Ethel Turner Productions and the Australian Film Development Corporation
\IExecutive producer\b\i: Charles Russell
\IDirector\b\i: Ron Way
\IScriptwriter\b\i: \JEleanor Witcombe\j, based on the novel by Ethel Turner
\IMajor actors\b\i: Leonard Teale (as Captain Woolcott), Elizabeth Alexander (as Esther), \JJune Salter\j (as Miss Ada Burton), \JRuth Cracknell\j (as Martha), Christian Robinson ('the General'), Mark Clark (as Pip), Anna Hruby (as Nell), Jennifer Cluff (as Judy), Barbara Llewellyn (as Meg)
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"Sewell, Stephen",766,0,g,0
\I1953-\i
\IPlaywright\i
Born at Liverpool, New South Wales, Sewell graduated with a Bachelor of Science from the University of Sydney in 1974. His first play, \IThe Father We Loved on a Beach by the Sea\b\i, had its premiere performance in 1978 at Brisbane's La Boite Theatre at a time when the playwright was based in Brisbane. The \JAustralian Performing Group\j commissioned London's Hampstead Theatre Club and New York's Juilliard School. Sewell was invited to be writer-in-residence at Sydney's Nimrod Theatre in 1981 and 1982. During his time there he wrote \IWelcome the Bright World\b\i (1982) for the Nimrod actors to perform and \IBurn Victim\b\i (1982) in collaboration with them. The former won an Awgie Award (presented by the Australian Writers' Guild) for the best stage play of 1982. Following this achievement, the Lighthouse Company of the State Theatre Company of South Australia (SATC) commissioned \IThe Blind Giant is Dancing\b\i in 1983. This seminal work won the New South Wales Premier's Literary Award in 1985, after its season at the Sydney Opera House. In 1986 the SATC premiered \IDreams in an Empty City\b\i, a wide-ranging play set in a world of banking, business fraud, tax evasion, stand-over tactics and property deals. \IHate\b\i premiered at Sydney's Belvoir Street Theatre in 1988--in this play Truscott, a wealthy businessman, and his family spend the Easter holiday together mouthing their love for each other while tearing each other apart.
Sewell is respected for the quality of his works in which he sets himself the task of examining power at work in government and industry and how this affects the lives of the little people entangled in its web. His more current plays include \IKing Golguthra\b\i which premiered at the SATC and \IThe Garden of Granddaughters\b\i which was produced by the STC in 1993.
Sewell has scripted a number of feature films including \IMiranda\b\i, a play subsequently developed as a film script for \JJim Sharman\j and then reworked as a play again and produced at Brisbane's La Boite Theatre in 1989 (the film remains unproduced); \IEaster\b\i (1989) for director Stephen Wallace, which is unproduced; \IHeartline\b\i funded by the Australian Film Corporation (1989); \IIsabelle Eberhardt\b\i (1991) for director Ian Pringle, starring Matilda May, Peter O'Toole, Richard Moir, Arthur Dignam and David Pledger; \IStrange Flesh\b\i, a thriller being financed; \ITraces\b\i, a science fiction piece still being written; and \IDeath Comes Quickly\b\i, which is in development. Also in development is a feature film, \IDark Paths\b\i, based on the play of the same name which premiered in Brisbane in 1994; \IThe Sparkling World\b\i, the film version of the play \ISisters\b\i which Sewell directed at the Playbox Theatre in 1990; \IThe Angels of This Earth\b\i, a bizarre thriller and \IBorder Town\b\i, co-written by journalist and TV producer Marian Wilkinson. Sewell's short play \IOne of the Last Things I Said to Her\b\i was performed at the Stables Theatre in 1994 and \IIn the Club\b\i, one of the \ISydney Stories\b\i for the Sydney Theatre Company, premiered at the Wharf at the Sydney Festival and Carnivale in 1995.
#
"Seymour, Alan",767,0,g,0
\I1927-\i
\IPlaywright and novelist\i
Born in Perth, Seymour's best-known play \IThe One Day of the Year\b\i (1960) was nearly selected for inclusion in the Adelaide Festival of Arts of that year. It was finally rejected by a Board of Governors who feared that it might offend people unwilling to see the sacred Australian icon, Anzac Day, criticised. When the piece was performed by the Adelaide Theatre Group a month after the Festival it was enthusiastically received by audiences. Seymour moved overseas in 1961, living in London, Saudi Arabia and Turkey. He was a theatre critic for the \ILondon Observer\b\i, the\I London Magazine\b\i and \IPlays and Players\b\i in the 1960s and 1970s; he also concentrated on writing television dramas, such as \IAuto-Stop\b\i and \IThe Trial and Torture of Sir John Rampayne\b\i, for the BBC.
Several of Seymour's stage plays were performed in Australia during the 1970s including \IA Break in the Music\b\i at the 1966 Festival of Perth and then in Sydney in 1970; and \IStructures\b\i at the 1974 Festival of Perth, which played with a revival of his earlier play, \ISwamp Creatures\b\i. Seymour returned to Australia in 1978 to adapt David Ireland's \IThe Unknown Industrial Prisoner\b\i for the screen, returning again in 1979 to act as script consultant at Sydney's Film and Television School for three months and in 1980 to adapt the eight-part television series based on Catherine Gaskin's novel \ISarah Dane\b\i. During the 1980s Seymour adapted Antonia White's \IFrost in May\b\i books, John Mansfield's \IThe Box of Delights\b\i for the BBC and Henry Handel Richardson's \IThe Fortunes of Richard Mahoney\b\i for the South Australian Film Corporation.
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"Seymour Centre, Sydney",768,0,g,0
\IMulti-purpose performing arts centre\i
The Seymour Centre, in the grounds of the University of Sydney, was funded by a bequest from Sydney businessman Everest York Seymour. It has three theatres--the Everest Theatre, the York Theatre and the Downstairs Theatre; extensive foyer space for public use; rehearsal studios; and space to house the University of Sydney's Department of Music. It is also home to the Seymour Group, the Song Company and the International Festival of Young Playwrights. The Centre opened in 1975.
The Everest Theatre has a removable forestage which can vary the stage depth by more than six metres and alter the seating capacity from 420 to 605. Variable acoustic features ensure optimum quality of sound no matter what style of theatre or music is being staged. The York Theatre features a thrust stage, is capable of seating 788 in a semi-circular amphitheatre configuration, and is ideally suited to the presentation of dramatic works. The Downstairs Theatre seats a maximum of 250; with its completely flexible seating arrangements it allows a variety of audience/performer relationships, and the presentation, at minimal cost, of experimental and non-mainstream theatre.
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"Sharman, Jim",769,0,g,0
\I1945-\i
\ITheatre, film and opera director\i
Sharman received his theatre training at NIDA and by 1967 had produced Mozart's opera \IDon Giovanni\b\i for the Elizabethan Opera, staged on a large chessboard. In 1969 \JHarry M. Miller\j chose him to direct the Sydney production of the musical \IHair\b\i; Sharman abandoned a Churchill Fellowship to take the show to Tokyo, Boston and Hawaii. His next musical was another Harry M. Miller spectacular, \IJesus Christ Superstar,\b\i which had its Australian premiere at the 1972 Adelaide Festival and opened in Sydney at the refurbished Capitol Theatre in the same year. Sharman went to England to direct the London production and he also directed a touring production of David Williamson's \IThe Removalists\b\i in 1973 and the world premiere of \IThe Rocky Horror Show\b.\i He and designer \JBrian Thomson\j brought their production to Sydney in 1974 for Harry M. Miller and were involved in the 1981 film version, which quickly gained a cult following.
In 1978 Sharman and Rex Cramphorn formed the Paris Company so they could present a season of Australian plays themselves. It was named after the now demolished Paris cinema in the centre of Sydney, which was turned into an 800-seat theatre.
Sharman was artistic director of the 1982 Adelaide Festival and from 1982 to late 1983 was director of the State Theatre Company of South Australia, which at this time became the Lighthouse Theatre Company, having found inspiration for its new title in the name of Adelaide's founder Colonel William Light; he invited playwright \JLouis Nowra\j and director \JNeil Armfield\j to join his team of actors, directors and musicians. The first two seasons featured six Australian plays: \ISignal Driver\b\i and \INetherwood\b\i by Patrick White, \ISilver Lining\b\i by Bill Harding, \ISpellbound\b\i and \IRoyal Show\b\i by Louis Nowra and Stephen Sewell's \IThe Blind Giant is Dancing\b.\i
Other operas Sharman has directed include Britten's \IDeath in Venice,\i performed by The Australian Opera (AO) at the Adelaide Festival and in Melbourne and Sydney, Stravinsky's \IThe Rakes's Progress\i for the AO in Sydney and Meale's \IVoss,\i performed by the AO at the Adelaide Festival and in Sydney and Melbourne and also simulcast on ABC TV.
In 1990 he directed the musical \IChess,\b\i following this with \IShadow and Splendour\b\i which he wrote and directed for the 1992 Adelaide Festival and the film \IThe Burning Piano\b\i (1993), a tribute to Patrick White, which he also wrote and directed for ABC TV. Sharman is founder and a trustee of the Australian Musical Foundation based at NIDA.
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"Shaw, Victoria",770,0,g,0
\I1935-88\i
Victoria Shaw, Australian international film actress, was born Jeanette Elphick in Sydney on 20th May 1935, and lived at Ashfield and Croydon. In 1951, she was voted Artists model of the year, and in 1952 Photographic model of the year. She was encouraged by Bob Hope to go to Hollywood after he did a show with her in Sydney in 1955. Victoria Shaw changed her name from Elphick after getting the support role opposite Tyrone Power in \IThe Eddy Duchin Story.\i She became engaged to actor Roger Smith on her 21st birthday, and together had three children before they divorced in 1965.
Victoria's marriage in 1966 to producer Elliott Alexander also ended in divorce. She had a deep interest in astrology and at the time of her death was writing a book about mass murderers and how their characters were shaped by astrology. Behind the cameras she helped make the Oscar nominated short film \IPrelude.\i
Her other films include \IAlvarez Kelly, West World\i and \ISurf\i and television series such as \IFBI, 77 Sunset Strip, 12 O'Clock High, Run For Your Life\i and \IGeneral Hospital.\i She died at Hornsby Hospital in Sydney, aged 53, from emphysema, following an asthma attack on 17th August 1988.
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"Sheldon, Tony",771,0,g,0
\IStage and television actor and singer\i
The son of entertainer \JToni Lamond\j and dancer Frank Sheldon, Tony made his professional debut on Graham Kennedy's \IIn Melbourne Tonight\b\i at the age of seven. As a youth he also appeared with his mother in the musical \IOliver\b\i as one of Fagin's boys; he toured in this show for two years. After leaving school he became a professional actor, achieving marked critical success as Joe Cassidy in \IA Hard God\b\i at the Nimrod Theatre, Sydney, and as Donald in \ISpoiled\b\i at the Independent Theatre, North Sydney, in 1973. Both of these productions were televised by the ABC. Along with Robert Alexander he was a founder member of the Hunter Valley Theatre and appeared in many of their productions, including \IEquus\b\i in 1976. Subsequent stage work has included \J\IInner Voices\j\b\i at the Nimrod in 1977, \IThe Venetian Twins\b\i for the Sydney Theatre Company in 1981, \ITorch Song Trilogy\b\i for J.C. Williamson's in 1984, \IMongrels\b\i at the Ensemble Theatre, Sydney, in 1992 and \IInto the Woods\b\i for the Sydney Theatre Company in 1993. Recent television work has included appearances in the serials \J\IE Street\j\b\i (in 1990) and \J\IGP\j\b\i (in 1992). Sheldon's awards include the 1977 Green Room Award for his role in \IInner Voices\b\i and the 1985 Variety Club Heart Award for \ITorch Song Trilogy\b\i. He has written comedy material for many revues and television programs and in the early 1980s spent some time as a storyliner and scriptwriter on the Grundy soap opera \J\ISons and Daughters\j\i.
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"Shifting Heart, The",772,0,g,0
\IPlay, first produced 1959\i
\JRichard Beynon\j's three-act play is an Australian classic that charts the story of an immigrant family, the Bianchis, who are trying to establish themselves in the hostile Melbourne suburb of Collingwood. The children, Maria and Gino, act rashly in order to be accepted. As a result, Gino is bashed and killed while pregnant Maria lashes out in response at Clarry, her Australian truck-driver husband. Beynon dedicated it to 'Mr Leczycki who need not have died that Christmas' after reading a newspaper account of a Polish migrant who had cut his throat rather than endure the bullying of his workmates. The play won first prize in a competition sponsored by the Sydney Journalists Club and judged by the Playwrights Advisory Board. It also won third prize in a competition run by the London \IObserver\b\i.
\IFirst produced\b\i: Elizabethan Theatre, Newtown, 1959 and then at the Comedy Theatre in Melbourne with the author in the role of Gino
\IFilm, black and white, released 1957; television mini-series, first broadcast 1989\i
\B1.\b\i A British production in Australia, \IThe Shiralee\b\i was based on the novel by D'Arcy Niland. A shiralee was a particular type of swag (or load) and in this case refers to Buster, the five-year-old daughter of the swagman, Macauley, whom he abducts from his unfaithful wife and takes with him on his outback wanderings. The appeal of the film is centred on the girl's devotion to her father and her refusal to be left with friends after he begins to find her a burden. The film was reviewed as original and agreeable and was reportedly \JPeter Finch\j's favourite of the Australian films he appeared in.
\IProduction company\b\i: Ealing Studios
\IProducer\b\i: Michael Balcon
\IDirector\b\i: Leslie Norman
\IScreenplay\b\i: Neil Paterson, Leslie Norman (from the novel by D'Arcy Niland)
\IMajor actors\b\i: Peter Finch (as Macauley), Dana Wilson (as Buster), Elizabeth Sellars, George Rose, Sidney James
\B2.\b\i In the television version, the sensitising of the roughly masculine Macauley is taken further with the addition of the character of Lily, a widowed farm owner to whom he is romantically drawn. Shown in two two-hour episodes on the Seven network, the series drew a large audience and was similarly extremely successful when shown in Britain. It won three Logie Awards.
\IProduction company\b\i: South Australian Film Corporation
\IExecutive producer\b\i: \JJock Blair\j
\IProducer\b\i: Bruce Moir
\IDirector\b\i: George Ogilvie
\IScriptwriter\b\i: \JTony Morphett\j, based on the novel by D'Arcy Niland
\IMajor actors\b\i: \JBryan Brown\j (as Macauley), Rebecca Smart (as Buster), \JNoni Hazlehurst\j (as Lily), Lorna Lesley, Reg Evans, Julie Hamilton, William Zappa, Frank Gallacher, \JSimon Chilvers\j, Lewis Fitzgerald
#
"Sidaway's Theatre, Sydney",774,0,g,0
\IThe first theatre in Australia\i
Australia's first theatre was built by convicts and opened on 16 January 1796 with the plays \IThe Revenge\b\i, a tragedy by Edward Young, and \IThe Hotel\b\i, a farce by T. Vaugh. The proprietor was Robert Sidaway, a former convict, and the actors were male and female convicts. The theatre accommodated about 120 patrons and its site is believed to have been near the present-day Bligh Street, Sydney. The first opera to be performed in Australia--the ballad opera \IThe Poor Soldier\b\i--was staged there in June 1796. Because of problems with house burglaries while owners were at performances, and other petty crime associated with the theatre, it was closed in 1798 by order of Governor John Hunter, and although performances were resumed for a period, the theatre does not seem to have operated after 1800.
#
"Shoe-Horn Sonata, The",775,0,g,0
\IPlay\i
\JJohn Misto\j's play is the story of two Australian women imprisoned by the Japanese in 1942, who attend a reunion in 1995. One, an army nurse, and the other, a civilian, relive their wartime experiences, remembering many of the fears and secrets of their time together. The story of survival and courage is inspired by a woman who, with the help of a shoe-horn, survived the sinking by the Japanese of 44 ships carrying Singapore's European women and children.
\IFirst produced\b\i: At Sydney's Ensemble Theatre in 1995
#
"Sigley, Ernie",776,0,g,0
\I1938-\i
Ernie Sigley, Melbourne television and radio personality, was born at Footscray, Victoria on 2nd September 1938. He started out as a turntable operator with 3DB, then had his own show called \ITeenage Mailbag,\i which was moved to Channel Seven in 1957. He moved to Radio Luxembourg in the early 60s and changed his name to Ernie Williams. He later hosted a very successful national TV variety show two nights a week for the Nine Network.
He has worked for 3AW, 3UZ, 3DB and the 2UE-3AK mid-dawn nationally. Ernie was the original host of the Seven Network's \IWheel of Fortune.\i His most recent TV show was \IPot Luck\i on Network 10. His third wife is Glennys and together they have a TV production company called Glensig. From 1989 until 1996 he hosted a daily show on Channel 9 called \IIn Melbourne Today\i and \IIn Sydney Today.\i In 1997, he joined 3AW as afternoon host and within two surveys produced a record number one figure for afternoons.
#
"Silence of Dean Maitland, The",777,0,g,0
\IFilm, black and white, released 1934\i
The English play on which this film is based was chosen by director \JKen G. Hall\j and \JCinesound\j as having no obvious national setting and therefore likely to appeal equally to audiences in Australia and Britain. It is a melodrama in which a clergyman, Dean Maitland, kills the father of his lover with whom he has fathered a child and who he blames for having seduced him. His guilt is compounded by his letting his best friend go to gaol, convicted of the crime. Twenty years later, after the friend's release, the dean confesses from his pulpit and immediately collapses and dies. Production was held up while the lead actor was chosen--finally a visiting English actor. The film was very successful in both Australia and Britain, with publicity helped in Australia by a furore over extensive cuts made by the censor, eventually reduced.
\IProduction company\b\i: Cinesound Productions
\IProducer and director\b\i: Ken G. Hall
\IScreenplay\b\i: Gayne Dexter, Edmund Barclay (based on the play by Maxwell Gray)
\IMajor actors\b\i: John Longden (as the dean), Charlotte Francis, Jocelyn Howarth, John Warwick, Patricia Minchin
#
"Silver City",778,0,g,0
\IFilm, released 1984\i
A story of post-war immigrants in Australia, \ISilver City\b\i was written and directed by Sophia Turkiewicz, a young graduate from the Australian Film and Television School who had been awarded a travel grant to Poland, the native land of her mother. Her story of Polish refugees coming to Australia was also worked on by writer Thomas Keneally. The original idea developed from conversations between Turkiewicz and \JJoan Long\j when Turkiewicz attended a writing course run by Long for the South Australian Film Corporation in 1974. `Silver City' is the nickname of the concentration camp-like immigration hostel where Nina, a refugee, meets and starts a romance with Julian, a married man who has immigrated with his family. They part but meet again a decade later, when their discussion of the past forms the framework for the story. \ISilver City\b\i was regarded by many as one of the best Australian films of the 1980s and was voted best feature film of the year by the Sydney Critics' Circle; however, it had only moderate box-office success, though it was well received at Cannes and other international festivals. Perhaps the unfavourable depiction of the Australian characters' attitude to immigrants was part of the reason for this.
\IProduction company\b\i: Limelight Productions
\IProducer\b\i: Joan Long
\IDirector\b\i: Sophia Turkiewicz
\IScreenplay\b\i: Sophia Turkiewicz, Thomas Keneally
\IMajor actors\b\i: \JGosia Dobrowolska\j (as Nina), Ivar Kants (as Julian), Anna Jemison, \JSteve Bisley\j, Debra Lawrence, Ewa Bok
#
"Simpson, Roger",779,arts-47.jpg,c,0
\I1944-\i
\IFilm and television scriptwriter and producer\i
Born in New Zealand, Simpson practised as a barrister before moving to Australia to take up his preferred career of television writing in 1971. He has worked both in New Zealand and Australia, where he wrote for Crawfords and for the ABC, being a co-writer on \J\IPower Without Glory\j\b\i (1976) and \II Can Jump Puddles\b\i (1981).
In New Zealand he wrote for South Pacific Productions where his work included the prize-winning \IChildren of Fire Mountain\b\i (1978). At South Pacific he became associated with Roger Le Mesurier with whom in 1980 he formed the production company Simpson Le Mesurier Films. This has developed as one of the most successful of the independent packaging companies in Australia. It has concentrated on television but also made the feature film \ISquizzy Taylor\b\i in 1981 as well as being involved in \JBob Ellis\j' \IThe Nostradamus Kid\b\i (1993). Simpson has written most of the company's productions, including \ISquizzy Taylor\b\i and the mini-series \ISword of Honour\b\i (1986), \INancy Wake\b\i (1987) and \IDarling of the Gods\b\i (1989, with Graeme Farmer). The highly successful telemovie series, \IHalifax f.p.\i is now in its third season and the off-beat crime show \IFGood Guys, Bad Guys\i is in its second season. Simpson has won seven Awgie awards for scripts for programs ranging from \IDivision 4\i in 1974 to \IGood Guys, Bad Guys\i in 1997.
\BDescription:\b Roger Simpson.
\BPhoto:\b Roger Simpson and Skip Watkins.
#
"Skippy",780,0,g,0
\ITelevision series, first broadcast 1968\i
\ISkippy, the Bush Kangaroo\b\i was developed by Fauna Productions, a consortium consisting of actor \JJohn McCallum\j, director \JLee Robinson\j and a Sydney solicitor, Bob Austin. Its format was specifically aimed at an international television audience and the series was eventually sold into most countries of the world, with the notable exception of China. Before the era of Australian soap operas it was Australian television's flagship overseas. Its storyline centred on a child's relationship with the most recognisable of Australian animals. Sonny, the son of Waratah National Park ranger Matt Hammond, takes home an injured, orphaned kangaroo. The stories of their shared adventures allowed the theme of the rangers' efforts to preserve the national park to be included, while the female interest was brought in with Clarrissa, a pretty teenager who comes to live with the Hammonds during her parents' absence overseas. Little attempt at realism was made, as Skippy was able to undertake heroic tasks such as piloting a helicopter.
In Australia the series screened on the Nine network and became one of the most long-running of series. Its 91 half-hour episodes first ran in the early evening and were later repeated in the children's afternoon timeslot. It was shot in colour and so easily made the transition to colour television in 1975. Its theme tune, by Eric Jupp, has become widely known.
A new series, \IThe New Adventures of Skippy\b\i, with a different cast and, of course, a different kangaroo, went into production in 1991. Set and filmed on the Gold Coast, Queensland, it was produced for the Nine network by David Todd. Some episodes were shown in 1992 but the series was dogged by disagreements with the Australian Broadcasting Tribunal over the classification of a number of episodes. The following credits are for the original series.
\IProduction company\b\i: Norfolk International Productions
\IExecutive producers\b\i: Bob Austin, \JJohn McCallum\j
\IProducers\b\i: Joy Cavill, Dennis Hill, \JLee Robinson\j
\IDirectors\b\i: Eric Fullilove, Max Varnel
\IScriptwriters\b\i: Joy Cavill, Ross Napier, Ted Roberts
\IMajor actors\b\i: \JEd Devereaux\j (as Matt Hammond), Garry Pankhurst (as Sonny), Ken James (as Mark Hammond, Sonny's brother), Tony Bonner (as the head ranger), Liza Goddard (as Clarrissa), Frank Thring (as Dr Alexander Stark)
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"Slaven, Roy",781,0,g,0
\I1953-\i
Roy Slaven, Australian television personality, was born John Doyle in Lithgow, New South Wales on 9th May 1953. He worked for a number of years as afternoon announcer at 2BL and in the late 1980s teamed up with Greg Pickhaver to form the zany sporting commentating duo "Rampaging Roy Slaven and H. G. Nelson". The pair came to fame with the "off beat" commentary of rugby league games. In 1996, their Saturday night variety show \IClub Buggery\i premiered on ABC television for which they won a Logie award in 1997. Towards the end of 1997, Roy and H. G. took their award-winning show to England.
#
"Smiley",782,0,g,0
\IFilm, released 1956\i
A British/United States co-production in Australia, \ISmiley\b\i is an appealing story of childhood set against a background of poverty and racism in the Australian outback. Smiley desperately wants a bike of his own and in the process of earning money for this unknowingly acts as a courier carrying opium to Aborigines on the outskirts of the town. When his alcoholic father takes his savings to pay gambling debts, the boy knocks him unconscious and runs away into the bush. He survives a snake bite and finally returns to the town where everyone joins to buy him a bike. The popularity of this film led to a sequel, \ISmiley Gets a Gun\i (1959), made to basically the same formula but with trivialised characterisation and background story.
\IProduction company\b\i: London Films
\IProducer and director\b\i: Anthony Kimmins
\IScreenplay\b\i: Moore Raymond, Anthony Kimmins (from the novel by Moore Raymond)
\IMajor actors\b\i: Colin Peterson (as Smiley), Bruce Archer, Ralph Richardson, \JJohn McCallum\j, \JChips Rafferty\j, \JCharles Tingwell\j, \JLeonard Teale\j
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"Smith, Beaumont",783,0,g,0
\I1881?-1950\i
\ITheatre and film entrepreneur and film producer/director\i
Born in Adelaide, Smith was a publicity agent and journalist before entering the theatre world. He worked with C.J. Dennis on the \ICritic\b\i and the \IGadfly\b\i magazines in the early 1900s and then on the \IBulletin\b\i. His first theatrical venture was in 1911 when he brought a group of performing dwarfs from Europe to Australia, also touring the 'Tiny Town' circus to New Zealand, Canada and Africa. In 1912 he staged \J\IOn Our Selection\j\b\i in association with \JBert Bailey\j and Edmund Duggan. He followed this with some imported English plays and a stage adaptation of Henry Lawson's \IWhile the Billy Boils\b\i. By 1916 Smith was co-director of Sydney's Theatre Royal.
However, he realised films would be more profitable than the stage and in 1917 formed Beaumont Smith Productions. Through this company he wrote, directed, produced and distributed a large number of silent films, noted for a shrewd combination of nationalism and crowd-pleasing drama and comedy. His very successful \IHayseeds\b\i rural comedy series was clearly inspired by Steele Rudd's \IOn Our Selection\b\i stories. The speed with which Smith made his films earned him the nickname 'One-take Beau'. The films include \IOur Friends the Hayseeds\b\i (1917); \IThe Hayseeds' Melbourne Cup\b\i (1918); \IThe Man from Snowy River\b\i (1920); \IThe Gentleman Bushranger\b\i (1921); \IPrehistoric Hayseeds\b\i (1923) and \IThe Digger Earl\b\i (1924). From the mid-1920s Smith concentrated on distribution and exhibition but returned to film-making to produce, direct and write two sound films for J.C. Williamson's--\IThe Hayseeds\b\i (1933) and \ISplendid Fellows\b\i (1934). He ended his career in New Zealand, working in publicity and exhibition until his retirement in 1942.
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"Smith, Keith",784,0,g,0
(1928- )
Keith Smith, veteran Australian radio personality, comedy writer, and author, was born in Melbourne on 4th September 1928. Educated at Northcote High School, he became a writer as a teenager on the Bob Dyer radio shows, and served in New Guinea during WWII. In the 1950s, he hosted the \IPied Piper\i radio show featuring young children telling riddles and anecdotes.
He later worked with Harry Dearth and George Foster, writing and starring in a national half hour comedy series \ILaugh Till You Cry.\i Keith Smith did at least one show a week for ABC radio for 40 years, and held a permanent office in the ABC Forbes Street building in Sydney from 1949 until 1989.
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"Smith, Vincent",785,0,g,0
\I1942-1991\i
Vincent Smith, Australian radio and television journalist, was born in 1942. Smith had worked on newspapers such as the \IWest Australian, The Australian\i and \IThe National Times.\i In Sydney, he worked on radio with 2GB and 2UE, where he became news director, before switching to television in 1981 to host the Seven Network's \IEleven AM\i morning current affairs show. In 1986, he produced the John Laws show for 2GB before moving to Adelaide, where he hosted talk back shows on 5DN and 5AA; his last broadcast was on 5AA on 8th April 1991. He was awarded the MBE in 1980, and died from cancer in Adelaide on 20th April 1991, aged 48. He was survived by his wife Susan and four children.
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"Soldiers of the Cross",786,0,g,0
\ISilent film, black and white, released 1900\i
This mixture of lantern slides and moving film, backed up by the singing of hymns and oratory, was devised by Salvation Army leader Herbert Booth and \JJoseph Perry\j. In telling the story of the early Christian martyrs, its purpose was propaganda--to teach about the glory of martyrdom and salvation, to recruit cadets for the Army and to raise funds--and was possibly inspired by the contemporary popularity of theatrical religious epics. Elaborate settings were constructed at a Melbourne Salvation Army Girls Home and effects not possible on screen at the time were achieved by hand-painting and touching up the slides, mostly taken on location.
\ISoldiers of the Cross\b\i was first screened at the Melbourne Town Hall where its graphic depiction of the horrors endured by the martyrs attracted full houses. All of the moving film is now lost, though the National Film and Sound Archive holds the slides and the original score. It has some claim to be the world's first feature-length film.
\IDirector\b\i: Joseph Perry
\IScreenplay\b\i: Joseph Perry, Henry Booth
\IMajor actors\b\i: Orrie Perry, Reg Perry, Harold Graham, John Jones, Beatrice Day
#
"Sons and Daughters",787,0,g,0
\ITelevision serial, broadcast 1982-87\i
This Grundy soap opera centred around the romantic and family relationships between members of the socially disparate Hamilton and Palmer families. Patricia Hamilton and David Palmer had an affair in the past which resulted in the birth of boy and girl twins who were separated and their identity kept secret. The series depended on the relationships, often confused, that flowed from this and other interconnections between the two families. A key character was the mother Patricia, nicknamed 'Pat the Rat' by her audience. When \JRowena Wallace\j left the series after three years in the role, the producers took a risk and continued her character with another actor, after a break in which Pat fled to Rio de Janeiro to escape a murder charge and conveniently had plastic surgery while there. This led to another set of mistaken relationships based on confused identity. Another regular character was Aunt Fiona, everyone's confidante.
\ISons and Daughters\b\i was shown weekly on the Seven network and ran for almost 1000 half-hour episodes. It enjoyed very high ratings for most of its run and was voted by viewers the most popular drama in the 1983 Logies.
\IMajor actors\b\i: Rowena Wallace (as 'Pat the Rat' Hamilton), Belinda Giblin (later, as Pat), Ally Fowler (as the Hamiltons' daughter Angela), Tom Richards (as David Palmer), Leila Hayes (as Beryl Palmer), Pat McDonald (as Aunt Fiona), Emma Nichols, Bob Baines, Ann Henderson-Stires, Peter Phelps, Brian Blain, Steven Henry, Ian Rawlings, Shirley Cameron, Stephen Clark, Kim Lewis, Andrew McKaige, Christopher Wood, Terrence Creasy, Jackie Woodburne, Barbara Wyndon
#
"South Australian Film Corporation (SAFC)",788,0,g,0
\ISouth Australian government-owned film and television production facility\i
The South Australian Film Corporation was set up in 1972 by the Labor government of Don Dunstan. It differs from the later film corporations established in other states in that it is a production facility and not just a funding body. \J\ISunday Too Far Away\j\b\i (1975) and \J\IPicnic At Hanging Rock\j\b\i (1975), two of the early films in which it was involved, both received high critical acclaim and set new standards for Australian film-making. Later successes include \J\IStorm Boy\j\b\i (1976), \IThe Fourth Wish\b\i (1976) and \J\IBreaker Morant\j\b\i (1980). As well as feature films the SAFC also undertook regular production of sponsored films, television programs, documentaries and films for government departments. In 1980 the SAFC switched to television production, concentrating on high-budget mini-series and telemovies--these included \J\IRobbery Under Arms\j\b\i (1986, also released as a feature film), \IThe Shiralee\b\i (1988), \IShadows of the Heart\b\i (1990) and \IGolden Fiddles\b\i (1991, a Canadian co-production). In 1993 the SAFC underwent major policy changes and is no longer in film production.
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"Spare Parts Puppet Theatre",789,0,g,0
\IFremantle-based puppet theatre\i
Spare Parts Puppet Theatre was established in 1981 by puppeteer Peter Wilson, writer Cathryn Robinson and designer/puppet-maker Beverley Campbell Jackson. The Company produces work for children, family and adult audiences, including more than sixty original productions using a diversity of puppetry styles and employing the talents of a range of writers, dancers, directors, sculptors, designers, composers and performers. Spare Parts is based at the 188-seat Short Street Theatre in Fremantle, Western Australia, from where it undertakes regional, interstate and overseas tours--it has performed in the United States, Canada, China, Czech republic, Korea, Japan and Singapore.
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"Spears, Steve J.",790,0,g,0
\I1951-\i
\IPlaywright, actor and musician\i
Adelaide-born Spears had his early theatrical grounding at Adelaide University in the Footlights and Law Revues in 1969. His first play, \IStud\b\i, which he also directed, was produced in Adelaide in 1973. His other works include \IAfrica: A Savage Musical\b\i (1974); \IYoung Mo\b\i (1976), a tribute to Roy Rene, with \JGarry McDonald\j as the Jewish comic and \JJohn Gaden\j as Stiffy, his sidekick; \IThe Elocution of Benjamin Franklin\b\i (1976), which has won many awards and which he is developing into a full-length feature film; \IThere Were Giants in Those Days\b\i (1977), a spoof on the comic-book heroes like Superman and Batman and Robin; \IThe Death of George Reeves\b\i (1978); \IFroggie\b\i (1984); \IThose Dear Departed\b\i (1985) and \INamatjira Park\b\i (1992).
Spears often works as an actor and has appeared in films including Ken Cameron's short feature \ITemperament Unsuited\b\i, \JBob Ellis\j' \IWarm Nights on a Slow Moving Train\b\i, \IEmpty Beach\b\i co-produced by \JBryan Brown\j, Kennedy Miller's \IMad Max II\b\i and \IGreed\b\i. On stage Spears has toured Australia in the Nimrod production of \JDavid Williamson\j's \ICelluloid Heroes\b\i and worked on a number of Melbourne Theatre Company productions. He has also completed a guest role in the television series \ICody\b\i. Teleplays he has written include \IThe Big Wish\b\i and \IMr Edmund\b\i for the Children's Television Foundation; both have since been novelised. Spears has been a regular writer for \IHey Dad\b\i, \IA Country Practice\b\i, the sitcom \IAll Together Now\b\i, \IE Street\b\i, \INeighbours\b\i, \IChances\b\i and \ISkytrackers\b\i. He has also written for the popular \IHeartbreak High\b\i and \IThe Genie from Down Under\b\i.
#
"Spence, Bruce",791,fp5078.jpg,c,0
\I1945-\i
\IActor of film, television and stage\i
Bruce Spence began acting in 1969 and spent several years as a member of the \JAustralian Performing Group,\j which pioneered the development of a uniquely Australian theatre. There he directed and performed in numerous productions, mostly new Australian plays, and has also appeared with most major theatre companies in Australia, in plays ranging from Shakespeare, Jonson and Moliere, through to Brecht and Dario Fo.
In 1979 he was guest artist at the National Art Centre in Canada, where he played the lead role in John Romeril's award-winning play \IThe Floating World.\i He returned to Australia with John Romeril, developed and toured extensively in \ICarboni,\i a one-man play in which he played an Italian gold miner who wrote the only eyewitness account of Australia's first significant civil uprising, the Eureka Stockade.
He appeared as Sganarelle in Moliere's \IDon Juan\b\i at the 1984 Adelaide Arts Festival and was voted most popular actor in the festival. Since then he has performed in \IA Midsummer Night's Dream\b\i in 1984 for the Melbourne Theatre Company, in the role of Puck, and as a result of this performance he was nominated for the best supporting actor. In 1985 he performed as Monk O'Neill in \IA Stretch of the Imagination,\i written and directed by Jack Hibberd, performed in both Sydney and Canberra.
Bruce has acted in most Australian series, both in continuous roles and as a guest performer. He has also directed video clips.
He performed in various roles in Sydney Theatre Company's \IMixed Doubles\i and appeared in Melbourne Theatre Company's \IServant of Two Masters.\i
Bruce has appeared in over twenty films since his debut in 1971 in the title role of \J\IStork,\j\i a comedy which has been credited with reviving the moribund Australian film industry at the time. He has appeared in \IThe Cars That Ate Paris\b\i (1974), \J\IEliza Fraser\j\b\i (1976), \J\INewsfront\j\b\i (1978), \IDimboola\i (1979), \IGreen Ants,\i \J\IMad Max II\j\b\i (1982), \IMad Max III: Beyond Thunderdome\b\i (1985), \IBirdsville, Once Upon a Weekend\i and \IPallet on the Floor.\i His most recent films include \IThe Year My Voice Broke\b\i (1987) and \IRikki and Pete\b\i (1988).
For his performance in \IMad Max III\i he was nominated for best supporting actor by the Academy of Science Fiction Fantasy and Horror Films.
In 1986-87, for television, Bruce appeared in \IDirtwater Dynasty\i and \IReflections\i for Kennedy-Miller, and \IGreat Expectation: The Untold Story\i and \IDearest Enemy\i for the ABC. He also played Clyde Fenton for Michael Willesee's \IAustralians.\i
In 1988 Bruce appeared in \ITanamera\i for the Grundy Organisation and again worked on \IDearest Enemy\i for the ABC. He also made a guest appearance on \IRafferty's Rules\i and played the role of Spencer in Paramount Pictures' production of \IDolphin Bay.\i
Bruce's feature film credits include the role of Foster in \IConfidence,\i Robert Flemying in the German production of \ISugar,\i Ronald in \IWendy Cracked a Walnut,\i and \IShrimp on the Barbie,\i a film shot in New Zealand and directed by Michael Gotleib.
In 1990 Bruce starred in the stage production of \IBig River\i in Adelaide. He appeared in the play \ISunday Lunch\i by Bill Garner at the Melbourne Theatre Company and then went on to the role of Lenny in the ABC's \IDearest Enemy,\i a television series.
In 1992 Bruce appeared in \IHalfway Across the Galaxy and Turn Left,\i a television series for Crawfords Australia. After this he played the role of Sprockett in the feature film \IDouble Take Meets Hercules\i for Philm Productions. The year ended with Bruce playing Frump in the musical \IHow to Succeed in Business Without Really Trying.\i In 1993 Bruce played the role of Bob 1 in the television pilot \IOver the Hill\i for Gary Reilly Productions, and prior to that worked on \IBay City\i for Nomad Films.
Early in 1994 Bruce played the role of Bottom in the production of \IA Midsummer Night's Dream\i for Elston Hocking and Woods, which was performed in Sydney's Royal Botanic Gardens. Bruce also worked on the Gary Reilly television series \IOver The Hill,\i and also appeared in the pantomime, \ICinderella,\i for the International Management Group.
Bruce travelled to Texas in 1995 to star in the film \IAce Ventura, When Nature Calls\i for Deuce Productions, and prior to that guest-starred in the ABC's comedy sitcom \IAfter The Beep.\i In 1996 Bruce appeared in the Sydney Theatre Company's production of \IAs You Like It\i and also on Film Australia's children's series \IReturn to Jupiter\i in the role of Ed Unit.
Bruce also starred in an episode of \ITwisted Tales\i titled 'Borrowing Bazza', directed by David Caesar. He also played Mr Gateman/Mr Graves in the US telemovie \IThe Munsters Scary Little Christmas\i for Calamari Productions.
More recently, Bruce played the role of Elijah in the VRP Productions telemovie \IMoby Dick\i which was shot in Melbourne.
\BDescription:\b Bruce Spence.
\BPhoto:\b Barbara Leane and Assoc.
#
"Spotswood",792,0,g,0
\IFilm, released 1991\i
A whimsical social comedy in the British mould, this film is set in the Melbourne suburb of Spotswood where Balls Moccasin Factory has been making footwear for decades. Under the leadership of the gentlemanly Mr Ball, who regards his staff as his family, work proceeds with the slowness and dignity of another era. The action of the film centres around the arrival of Errol Wallace, a time and motion man appointed to turn around the ailing fortunes of the company and whose recommendation is mass retrenchment. While the lead in this film was played by a well-known overseas star, a wide range of Australian actors played excellent character parts.
\IProduction company\b\i: Meridien Films/Smiley Films
\IProducers\b\i: \JRichard Brennan\j, Timothy White
\IDirector\b\i: Mark Joffe
\IScreenplay\b\i: Max Dann, Andrew Knight
\IMajor actors\b\i: Anthony Hopkins (as Errol Wallace), Alwyn Kurtz (as Mr Ball), Ben Mendelsohn, \JRussell Crowe\j, Toni Collette, Bruno Lawrence, John Walton, Rebecca Rigg, Angela Punch-McGregor, John Flaus
#
"Spring and Fall",793,0,g,0
\ITelevision series, first broadcast 1980\i
This anthology of six plays was followed by a second series of four plays in 1982. The unifying theme was the dramatisation of some of the contemporary social issues more usually dealt with in documentaries--such as unemployment, alcoholism, and the lot of migrant women. Each play was directed by a different director but had the style of a docudrama. The coordinator was \JSandra Levy\j, on her first assignment as producer for the ABC. The series has been seen as an important step in the development of a new style of television drama which led to later documentary-type dramas, such as \J\IScales of Justice\j\b\i (1983). \ISpring and Fall\b\i won many awards, particularly the episode 'Cold Comfort' which won, among others, a 1982 Logie for best one-off drama. It dealt with the effect on a family of the husband losing his job, was written by Laura Jones and directed by \JChris Thomson\j.
\IProduction company\b\i: ABC
\IExecutive producer\b\i: Sandra Levy
\IProducer\b\i: Sandra Levy
\IDirectors\b\i: Several, including \JMichael Jenkins\j, Chris Thomson, Russell Webb, \JMichael Carson\j, Di Drew
\IScriptwriters\b\i: Several, including Laura Jones, Oliver Robb, Marion Ord, Mervyn Rutherford, \JJohn Dingwall\j, \JRobert Caswell\j
\IPlay, first produced 1905; silent film, black and white, released 1910; sound film, black and white, released 1933\i
\B1.\b\i The play was written by \JBert Bailey\j and Edmund Duggan, who also starred in it. The story centres on the families of two large sheep stations and the rivalry and romances between them, not to mention a pair of father-and-son villains who try to cheat their way into the ownership of one of the properties. The adventures of the heroine climax in her abduction by this pair and final rescue by the hero. Interwoven into this were the exploits of the bushranger Ben Hall. The play ran successfully for many years after its first staging in 1905.
\B2.\b\i The first film version was made by Bert Bailey and built on the success of his play. The appeal of the basic story was heightened by the realistic effects of film, which included wild galloping horse rides and shots of bushrangers' haunts in the Blue Mountains of New South Wales. The film was screened at the grand opening of the New Olympia Theatre in Elizabeth Street, Sydney, and drew an audience of about 15000 in its first week. Also known by the title \IThe Land of the Wattle\b\i, the film has now been lost.
\IProducer\b\i: William Anderson
\IDirector\b\i: Bert Bailey
\IScreenplay\b\i: Bert Bailey, Edmund Duggan (from their play)
\IMajor actors\b\i: Olive Wilton, Bert Bailey, Edmund Duggan, J. H. Nun
\B3.\b\i Along with \J\IOn Our Selection\j\b\i, the sound remake of \IThe Squatter's Daughter\b\i was one of the most successful films made by \JKen G. Hall\j in conjunction with Cinesound. The script was rewritten to bring the story up to date and make the characters more sophisticated. Much emphasis was given, in a nationalistic strain, to the Australian wool industry, with many scenes of huge sheep flocks, and of shearing and mustering. The film was highly profitable in Australia and released through MGM in Britain.
\IProduction company\b\i: Cinesound Productions
\IProducer and director\b\i: Ken G. Hall
\IScreenplay\b\i: Gayne Dexter, E. V. Timms (based on the play and original film script by Bert Bailey and Edmund Duggan)
\IMajor actors\b\i: Jocelyn Howarth, Grant Lyndsay, John Warwick, Fred MacDonald
#
"St James Theatre, Sydney",795,0,g,0
\IFirst Australian theatre to provide a foyer area for the audience\i
The St James Theatre, which took its name from the nearby historic St James Church, opened in 1926. It was built by the Fuller brothers in partnership with Hugh J. Ward and was designed by Henry E. White. It shared features with some of White's earlier theatre designs, in particular the Palace Theatre, Melbourne. With the St James Theatre, an attempt was made for the first time in Australia to accommodate the audience between acts. Foyer space had previously been kept to a minimum to maximise seating space. At the St James Theatre, foyers on several levels were linked by marble staircases. The theatre opened with a series of musicals. It spent its last days as a cinema.
#
"Stapleton, Terry",796,0,g,0
\ITelevision scriptwriter and producer\i
Stapleton was a public servant, part-time writer and amateur theatre actor before joining Crawfords in 1967. He worked first as a staff writer and by the mid-1970s was also developing new series and producing. He became a partner in Crawfords in 1978, sharing executive producer credits with Hector and Ian Crawford from then on. Programs devised by Stapleton include \IMatlock Police\b\i (began 1971); the comedy series \IThe Last of the Australians\b\i (began 1975, also writer and producer); the comedy series \IBobby Dazzler\b\i (1977, also writer); \J\ICop Shop\j\b\i (began 1977, also produced some episodes); the airport drama series \ISkyways\b\i (began 1979, also writer); and the legal/historical series \ICarson's Law\b\i (1983). His writing credits also include the action series \IHunter\b\i (began 1967); the crime series \IRyan\b\i (began 1973); the comedy series \IThe Bluestone Boys\b\i (1976); the children's series \IZoo Family\b\i (began 1985); and the romantic mini-series \IThis Man, This Woman\b\i (1989), a Crawfords-ABC co-production. In 1990 he was recruited by Grundys as one of the writers for \J\IEmbassy\j\b\i, his name appearing on a non-Crawford production for the first time.
#
"State Theatre Company of South Australia (SATC)",797,0,g,0
\IState theatre company of South Australia\i
The State Theatre Company of South Australia was established in 1965 by \JJohn Tasker\j for the Australian Elizabethan Theatre Trust. Tasker was the company's artistic director from 1965 to 1967. Its first production was English playwright Peter Shaffer's \IThe Royal Hunt of the Sun\b\i at the 1966 Adelaide Festival of Arts. The company was formed as a statutory authority in 1972 and is funded primarily through the state government. Since 1974 it has been housed in the Adelaide Festival Centre, where it has offices and workshops, and performs mainly in the Playhouse and Space theatres. It presents an annual subscription program of up to ten plays including commissions of new Australian works. Artistic directors have included Colin George, Kevin Palmer, \JNick Enright\j, \JJim Sharman\j (during which time it was known as the Lighthouse Theatre Company), Keith Gallasch, \JJohn Gaden\j and Simon Phillips. The SATC also runs the Magpie Theatre, a theatre for young people.
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"State Theatre Company, Western Australia",798,0,g,0
\IShort-lived state theatre company\i
The State Theatre Company came into existence at the end of 1990 with the merging of the Hole in the Wall Theatre Company and the Western Australian Theatre Company. It was based at the Subiaco Theatre Centre. It closed in 1993 after its state government funding ceased.
#
"State Theatre, Melbourne",799,0,g,0
\ILargest cinema in Australia; theatre within the Victorian Arts Centre\i
\B1.\b\i The State Theatre, Melbourne, opened in 1929, and was the largest cinema in Australia until divided into two cinemas (the Forum and the Rapallo) in 1964-65. It was also the first Australian cinema to be equipped for talking films.
\B2.\b\i See \JVictorian Arts Centre\j
#
"State Theatre, Sydney",800,0,g,0
The State Theatre, Sydney, originally a cinema, was designed by Henry E. White from American theatre architect John Eberson's sketch plans for a formal theatre. When it opened in 1928 it was hailed as the most luxurious picture palace in Australia. The building was restored in 1981, and is now used for live theatre (although backstage facilities limit its theatre use) as well as continuing its main function as a cinema.
#
"Stephenson, Pamela",801,0,g,0
\I1949-\i
\IActor and entertainer\i
Pamela Stephenson was born in Auckland, New Zealand, and came to Australia at the age of four. After graduating from NIDA in 1970 she appeared in a variety of plays and musicals including \IAssault With a Deadly Weapon,\b\i an Australian political drama, \ICabaret,\b\i \IGypsy,\b\i \IBird on the Wing,\b\i \IThe Collector,\b\i \IRichard II\b\i and \IThe Threepenny Opera\b\i (both for Sydney's Old Tote Theatre Company), \IKing Lear,\b\i \ILa Mandragola,\b\i \IPeer Gynt\b\i (all at the Sydney Opera House) and more recently in the Neil Simon play \IThe Odd Couple\b\i (in which she co-starred with Angela Punch-McGregor). She gained international recognition in the late 1970s with the UK satirical television show \INot the Nine O'Clock News\b.\i
Her films in Australia include \IPrivate Collection\b\i (1972), \IDoctors and Nurses\b\i (1981) and \IThose Dear Departed\b\i (1987), and her overseas films include \IStand Up Virgin Soldiers\b\i (UK, 1977), \IThe History of the World Part One\b\i (US, 1981), \ISuperman III\b\i (US, 1983) and \IFinders Keepers\b\i (Canada, 1983). Her television work in Australia includes the female lead in the detective series \IRyan\b\i (1973) and a role in \ISex\b\i (1993).
Pamela is married to English comedian Billy Connelly.
#
"Stewart, Douglas",802,0,g,0
\I1913-85\i
\IPoet and playwright\i
Born in New Zealand, Stewart worked as a journalist there, went to England and in 1938 settled in Australia. He was literary editor of the \IBulletin\b\i 1940-61 and literary adviser to Angus & Robertson 1961-73. His verse-play \IThe Fire on the Snow\b\i about the ill-fated Scott expedition to the Antarctic was first produced on radio in 1941 and has become recognised as a classic of radio drama. He wrote several other plays for radio (including \INed Kelly\b\i in 1942) and for the stage, some books of criticism and a collection of short stories, and edited anthologies of poetry and short stories. As well as his own writing, he made a great contribution to Australian literature through his encouragement of new writers while on the \IBulletin\b\i and with Angus & Robertson. In 1967, he won the Myer Award for poetry and in 1968 the Britannica Australia Award in the humanities. He was appointed AO in 1979.
#
"Stoddart, John",803,0,g,0
\ISet designer\i
Born in Sydney and graduating in architecture from Sydney University in 1960, Stoddart travelled to London where he worked as an architect from 1960 to 1965. He started designing for theatre in 1966 and has worked on a number of opera productions while overseas, including \ICosi fan tutti\i (1967), \IThe Marriage of Figaro\i (1968), \IDer Rosenkavalier\i (1971) and \IAlceste\i (1975) for the Scottish Opera; \IPatience\i (1969), \IThe Magic Flute\i (1975) and \IDon Giovanni\i (1976) for the English National Opera; and \ILa Clemenza di Tito\i (1974) for the Royal Opera, Covent Garden. On his return to Australia Stoddart designed \IThe Magic Flute\i (1973) for the opening season of the Sydney Opera House and many subsequent operas.
He also designed the setting for the Sydney Theatre Company's \ICyrano de Bergerac\b\i (1980), \IAmadeus\b\i (1982), \INicholas Nickleby\b\i (1984) and \IPillars of Society\b\i (1984). Stoddart has been production designer for a number of Australian- and US-made films including Bruce Beresford's \IThe Getting of Wisdom\b\i (1977) and \ISilent Fall\b\i (1993), Carl Schultz's \J\ICareful, He Might Hear You\j\b\i (1983), Peter Weir's \IMosquito Coast\b\i (1986) and \IFearless\b\i (1992), and Phillip Joanou's \IHeaven's Prisoners\b\i (1994).
Stoddart won the 1983 AFI and the Sydney Film Critics' Awards for best production design for \ICareful, He Might Hear You,\b\i the 1984 Green Room Theatre Award for best opera design for \IDon Carlos\b\i and the 1986 Green Room Theatre Award for \INicholas Nickleby\b.\i
#
"Stone, Gerald",804,0,g,0
\I1933-\i
Gerald Stone, Australian journalist and television producer, was born in Ohio, America on 18th August 1933. He came to Australia in 1963 and started work as a reporter with the \ISydney Daily Mirror\i before joining the ABC's \IThis Day Tonight\i show in 1967. He was recruited by the Nine Network to set up and establish the Australian \I60 Minutes\i show in 1979.
He was responsible for changing the careers of Jana Wendt, Richard Carlton, Ray Martin, Jennifer Burn, Jeff McMullen and Stan Grant. In the late 1980s, Stone left Australia to work for Rupert Murdoch's American FOX television network, but returned to Australia in 1991 to establish \IReal Life\i for the Seven Network, where he stepped down on his 61st birthday in 1994. In 1995, he was appointed editor-in-chief of the \IBulletin\i magazine.
#
"Stoner, Lynda",805,0,g,0
\I1953-\i
Lynda Stoner, Australian actress, was born in Adelaide on 10th September 1953. She married fellow actor Peter Sumner on 30th December 1982 and has a son Luke (1984). An active animal liberationist, she has served as president of the Humane Society of Australia and Animal Liberation. She starred in the Australian television series \ICop Shop\i, and \IYoung Doctors\i. Her films include \ITurkey Shoot\i.
#
"Stork",806,0,g,0
\IFilm, released 1971\i
Based on \JDavid Williamson\j's first play, the idea for this film grew out of the friendship between the playwright and producer/director \JTim Burstall\j. It is set in the Melbourne suburb of Carlton in the days of premier Sir Henry Bolte and anti-Vietnam demonstrations. Living in a household of sexual liberation, Stork, so named because of his great height, hides his innocence and virginity behind a screen of bravado, which involves, for example, the famous 'oyster up the nostril' trick at a smart art gallery function. The comedy appealed to audiences and critics, was a commercial success and took the four main awards at the 1973 AFI Awards.
\IProduction companies\b\i: Tim Burstall & Associates, Bilcock and Copping Film Productions
\IProducer and director\b\i: Tim Burstall
\IScreenplay\b\i: David Williamson (from his play \IThe Coming of Stork\b\i)
\IMajor actors\b\i: \JBruce Spence\j (as Stork), \JGraeme Blundell\j, Sean McEuan, Helmut Bakaitis, \JJacki Weaver\j
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"Storm Boy",807,0,g,0
\IFilm, released 1976\i
A children's film which became one of the greatest commercial successes of the 1970s Australian film industry, \IStorm Boy\b\i is about a young boy who lives with his eccentric father in an isolated hut on the Coorong on the South Australian coast south of Adelaide and his friendships with an Aboriginal boy and a pelican. It was also well received overseas, particularly in Britain, and won a prize in the children's section at the 1977 Moscow Film Festival.
\IProduction company\b\i: South Australian Film Corporation
\IProducer\b\i: \JMatt Carroll\j
\IDirector\b\i: Henri Safran
\IScreenplay\b\i: \JSonia Borg\j (from the novel by Colin Thiele)
\IMajor actors\b\i: Greg Rowe (as Storm Boy), Peter Cummins, \JDavid Gulpilil\j, Judy Dick
#
"Story of the Kelly Gang, The",808,0,g,0
\ISilent film, black and white, released 1906\i
This was the first film made by the Tait brothers. It was based on a contemporary play, one of several on the Ned Kelly theme that had had long runs, and was filmed at Heidelberg, near Melbourne. A Canadian stunt actor, later replaced by an understudy, starred in the lead role and members of the Tait family filled most of the other roles. It was given a trial run in the country in a silent version and then premiered in Melbourne with live sound effects. At later screenings commentary was given simultaneously and it is thought that extra scenes may have been added by the time it was shown interstate. The film was extremely popular and audiences apparently entered fully into its mood, cheering the gang and hissing the authorities. This led to much social commentary in the newspapers and the eventual banning of the film in Victoria (1912). It was also screened in New Zealand, Britain and Ireland.
Its length of five reels was unthinkably long in overseas terms at the time of its first release and has given it a place in international film history. Only brief sections of the film have survived and it is likely these were offcuts rather than part of the released film.
\IProducers\b\i: J. Tait, N. Tait, Millard Johnson, William Gibson
\IDirector\b\i: Charles Tait
\IScreenplay\b\i: Charles Tait
\IMajor actors\b\i: Elizabeth Tait, John Tait, E.J. Tait, Frank Tait
(Other films about the Kelly gang include \IThe True Story of the Kelly Gang\b\i (1920), re-released in 1923 as \IWhen the Kellys Were Out\b\i, \IWhen the Kellys Rode\b\i (1934), both made by Harry Southwell, and \INed Kelly\b\i (1970).)
#
"Strathie, Angus",809,0,g,0
\IStage designer\i
Born in London, Strathie studied at the Royal Melbourne Institute of Technology (RMIT) from 1982-84 and at \JNIDA\j from 1986-88. He was designer-in-residence at the Canberra Theatre Company from 1989-90 and held the same position at the Melbourne Theatre Company in 1991. His set and costume designs include \IMer de Glace\b\i, \ISimon Boccanegra\b\i and \IPericole\b\i for the Australian Opera; \IThe Wolf's Banquet\b\i and \IA Little Like Drowning\b\i for Sydney's Belvoir Street; \IShirley Valentine\b\i and \IMorning Sacrifice\b\i for the Melbourne Theatre Company; \IMuch Ado About Nothing\b\i and \IInto the Woods\b\i and \IThe Gift of the Gorgon\b\i for the Sydney Theatre Company; and \J\IStrictly Ballroom\j\b\i for M & A Films Pty Ltd.
Strathie won the Victorian Green Room Award in 1989 for best opera design; the London Sainthill Memorial Trust Scholarship in 1991; and the 1992 AFI and British Academy of Film and Television Awards for costume design for \IStrictly Ballroom\b\i.
#
"Stretch of the Imagination, A",810,0,g,0
\IPlay, first produced 1972\i
\JJack Hibberd\j's play for a solo actor is a day in the life of an old hermit, Monk O'Neill, who lives in a hut in the bleak northern Victorian landscape of One Tree Hill. During the course of the play the old man goes about his daily round, performing the small rituals of existence and remembering the past. He is prepared for death to strike at any time, with everything in order.
\IFirst performed\b\i: By Melbourne's \JAustralian Performing Group\j (directed by the author), 1972--later produced in Sydney
\IOther productions\b\i: Nimrod production at its downstairs theatre with \JMax Gillies\j in the solo role, 1977
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"Strictly Ballroom",811,0,g,0
\IFilm, released 1992\i
This low-budget film (made for only $3 million) had been acclaimed at the 1992 Cannes, Sydney and Melbourne film festivals and been shown throughout the world before its commercial release in Australia. It was created as a play by \JBaz Luhrmann\j and other students at NIDA in the early 1980s. The development of the screenplay took several years. The final product, entirely Australian in cast and production, is a fast-paced, humorous and theatrically stylised presentation of the story of a young ballroom dancer who wants to dance his own steps, rather than those prescribed as 'strictly ballroom'. This extends easily into the theme of an individual taking on the tyranny of the establishment and winning--with romance added in, a mixture with wide appeal, especially to the young. The film was awarded the Prix de la Jeunesse at Cannes (a prize nominated by French young people) and won several prizes, including best film and best direction but excluding best actor and best actress, at the 1992 AFI Awards.
\IProduction company:\b\i M & A Film Corporation
\IProducer:\i Tristram Miall
\IDirector\b\i: Baz Luhrmann
\IScreenplay\b\i: Andrew Bovell, Baz Luhrmann, Craig Pearce
\IMajor actors\b\i: Paul Mercurio, \JTara Morice\j, \JBill Hunter\j, Pat Thomson, Gia Carides, Peter Whitford, \JBarry Otto\j
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"Subiaco Theatre Centre, Perth",812,0,g,0
\ITheatre and community arts centre\i
The Subiaco Theatre Centre in Perth was built in 1956 as a civic centre. It was extensively modified in 1985 to incorporate an intimate theatre and became the home of the Hole in the Wall Theatre Company. In 1991 the newly-formed State Theatre Company, which replaced both the Hole in the Wall Theatre Company and the Western Australian Theatre Company, took up residence at the Centre; this company closed in 1993 after its state government funding ceased. The main auditorium at the Centre retains the name Hole in the Wall Theatre; a smaller theatrical space is known as the Studio.
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"Sullivan, Errol",813,0,g,0
\I1943-\i
\IFilm and television producer\i
Sydney-born Sullivan had a background in developing educational films for the Health Commission and working at the AFI organising their awards when, in the mid-1970s, he began working on feature films as assistant director. These films included \IThe Removalists\b\i (1975) and \IThe F.J. Holden\b\i (1977) on which he was also associate producer. After forming a film production partnership with Pom Oliver, he co-produced \ICathy's Child\b\i (1979), followed by \IHoodwink\b\i (1981) and \IThe City's Edge\b\i (1983). During the production of \IHoodwink\b\i he was at the centre of a controversy when he incurred the wrath of many Australian directors by bringing in an English director, Claude Whatham. He independently produced \ICrosstalk\b\i (1982), originally to be called \IWall to Wall\b\i, another controversy-ridden production in which the director, Keith Salvat, was dismissed.
Sullivan turned to television production with \IThe Disappearance of Azaria Chamberlain\b\i (1984) and through the company Southern Star Sullivan Productions has since become an established television producer. His productions include the mini-series \IMelba\b\i (1986), and \IRing of Scorpio\b\i (1990), the docudramas \IPolice State\b\i (1989, executive producer) and \IPolice Crop\b\i (1990, executive producer) and the ABC series \J\IPolice Rescue\j\b\i (1993). Sullivan was also executive producer of the film \IGrievous Bodily Harm\b\i (1988) and the successful \IThe Sum of Us\b\i (1994).
#
"Sullivans, The",814,0,g,0
\ITelevision serial, broadcast 1976-83\i
This long-running serial combined soap opera and historical drama in its dual setting of the World War II battle fronts and the home front in Melbourne. Battling at home in Gordon Street, Camberwell, were Dave and Grace Sullivan and their children, including the youngest, Kitty, who provided the teenage element, and their various neighbours--barman Jack Fletcher in the local pub, the German family Hans and Lotte Kauffman in the corner shop and the neighbourhood busybody, Mrs Jessop. At war were the sons of the family, Tom and later the younger Terry, and family friend Norm Baker. The 520 episodes followed the six years of the war and realism was added by the use of archival footage of war scenes. The end of the war within the program took away its impetus and it soon after ceased production; this was hastened by the withdrawal of Paul Cronin, who had played the key role of the patriarch figure, Dave Sullivan.
Shown on the Nine network each weeknight, the serial achieved very high ratings in its prime. It won a total of seventeen Logie Awards and Peter Shreck and Graham Koetsveld received Awgies for their scripts. In the mid-1980s it began screening successfully in Britain and was a major factor in creating a demand for Australian television soap operas overseas.
\IProduction company\b\i: Crawford Productions
\IExecutive producers\b\i: \JJock Blair\j, \JHector Crawford\j, Ian Crawford, Ian Jones
\IProducers\b\i: John Barningham, Jock Blair, Henry Crawford
\IDirectors\b\i: \JPino Amenta\j, Graeme Arthur, Ian Crawford, \JJohn Gauci\j, \JRod Hardy\j, \JIan Jones\j, George T. Miller, \JJulian Pringle\j, \JCharles Tingwell\j, \JSimon Wincer\j
\IScriptwriters\b\i: Various, including Peter Shreck, Graham Koetsveld, \JTony Morphett\j, Howard Griffith, David Boutland, \JRobert Caswell\j, Roger Dunn, Peter Hepsworth; based on the original idea by Jock Blair and Ian Jones
\IMajor actors\b\i: Paul Cronin (as Dave Sullivan), \JLorraine Bayly\j (as Grace Sullivan), Steven Tandy (as Tom Sullivan), Susan Hannaford (as Kitty), Richard Morgan (as Terry), Ingrid Mason, Megan Williams, Norman Yemm (as Norm Baker), Reg Gorman (as Jack Fletcher), \JAndrew McFarlane\j, Marcela Burgoyne, Vivean Gray (as Mrs Jessop), Vicki Hammond, John Walton, Michael Caton
#
"Summer of the Aliens",815,0,g,0
\IPlay, first produced 1993\i
\JLouis Nowra\j's semi-autobiographical play explores the feelings of an adolescent boy as he comes of age in the Melbourne suburbia of 1962. As Lewis and Dulcie move towards a sexual encounter, it seems that Lewis is more interested in the intriguing phenomenon of flying saucers circling earth than in the real world. The audience is taken back during the play to relive the pressing issues of the 1960s: the nuclear potential of the Cold War which had a stranglehold on world politics and the aggressive attitude of real Aussie battlers towards new Australian immigrants.
\IFirst produced\b\i: Sydney Theatre Company at the Wharf Theatre (directed by \JAngela Chaplin\j), 1993
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"Summer of the Seventeenth Doll",816,0,g,0
\IPlay, first produced 1955; black and white film, released 1959\i
\B1.\b\i \JRay Lawler\j's realistic three-act play tells the story of cane-cutting mates Roo and Barney who come to Melbourne each year during the lay-off season to party with their barmaid girlfriends Olive and Nancy. Each year they bring a doll but this year, the seventeenth, Nancy has married and is replaced by Pearl. Time is moving on, things are changing and Olive, for one, just cannot accept the end of an era. The play was co-winner of the 1954-55 Playwrights' Advisory Board's competition for a full-length play. The other winner was Oriel Gray's \IThe Torrents\b\i.
The other two plays that make up \IThe Doll Trilogy\b\i were written after it although their action precedes it. \IKid Stakes\i is set in 1937; Olive and Nancy are young and out for a good time with their boarders from the canefields. \IOther Times\i takes place eight years later and sees Roo and Barney just back from the war. Lawler brought the two plays back to Australia with him after spending eighteen years in London.
\IFirst produced\b\i: Union Theatre at the University of Melbourne by the Union Theatre Repertory Company (directed by John Sumner), 1955. The author took the role of Barney. Re-presented six weeks later in early 1956 at the Elizabethan Theatre, Sydney, with the same director and two members of the original cast; it then toured New South Wales and Queensland.
\ILater productions\b\i: Returned to Melbourne to the Comedy Theatre, toured to London for seven months in 1957 and then went to Broadway early in 1958; Anthill Theatre Company production (directed by Jean-Pierre Mignon) at Melbourne's Athenaeum Theatre, then touring to the 1988 Singapore Festival; the Melbourne Theatre Company production at the Playhouse in 1995
\IThe Doll Trilogy\b\i: Performed by the Melbourne Theatre Company, 1977; Sydney Theatre Company, 1985
\B2.\b\i The film version had its world premiere in Sydney in 1959. Two of the major roles were taken by American actors and the other two by British actors.
\IProduction company\b\i: Hecht-Hill Lancaster
\IProducer and director\b\i: Leslie Norman
\IScreenplay\b\i: John Dighton (based on the play by Ray Lawler)
\IMajor actors\b\i: Ernest Borgnine, Anne Baxter, John Mills, Angela Lansbury, Ethel Gabriel, Vincent Ball
#
"Sumner, John",817,0,g,0
\I1924-\i
\ITheatre director\i
English-born and Melbourne-based, Sumner trained in English and Scottish repertory-style theatre. After coming to Australia in 1952 to manage Melbourne University's refurbished Union Theatre, he founded the Union Theatre Repertory Company in 1953 (which became the Melbourne Theatre Company in 1968) and was its director for the first two years, producing Ray Lawler's \J\ISummer of the Seventeenth Doll\j\b\i in 1955. After a stint with the newly-formed Australian Elizabethan Theatre Trust, he returned as director in 1959 and remained at the helm until he retired in 1987. During his productive years with the company he built up its audience and introduced them to most of the important Australian playwrights as well as the finest contemporary plays from overseas. His partnership with Lawler was a continuing and important one and he directed Lawler's \IThe Man Who Shot the Albatross\b\i for the MTC at the Princess Theatre and then in Sydney and Adelaide in 1971. Many \JDavid Williamson\j plays premiered at the MTC and Sumner directed the Melbourne premiere of his \J\IEmerald City\j\b\i in 1988, although \JRichard Wherrett\j had directed the Sydney production world premiere at the end of 1987.
#
"Sumner, Peter",818,fp5079.jpg,c,0
\I1942-\i
\IActor, director and producer of stage, film and television\i
Peter Sumner was born in Sydney where he studied music and singing at the New South Wales Conservatorium. In the 1960s he worked as a writer, producer, director and presenter for a number of ABC television shows. His later television work as an actor includes the series \ISpyforce,\b\i \J\ICertain Women,\j\b\i \J\ICop Shop,\j\b\i \IOver There,\b\i \IThe Sullivans,\b\i \ITrial By Marriage\b\i and \IThe Flying Doctors\b\i and the mini-series \IThe Dismissal\b\i and \IAll the Way\b.\i His film appearances include \J\IThey're a Weird Mob\j\b\i (1966), \INed Kelly\b\i (1970), \IAnd Millions Will Die\b\i (1973), \IStar Wars\b\i (US, 1977), \IThe Chant of Jimmie Blacksmith\b\i (1978), \IMiddle Age Spread\b\i (1979), \IKing of the Two Day Wonder\b\i (1979), \IThe Survivor\b\i (1980), \IRun Rebecca Run\b\i (1982, children's telemovie), \IBush Christmas\b\i (1983) and the telemovies \IShark's Paradise\b\i (1986) and \IArmy Wives\b\i (1986).
He began his theatre work with a series of plays at the Ensemble Theatre in the mid-1960s, followed by \ITwo for the Seesaw\b\i at the Marian Street Theatre; for the Old Tote Theatre Company he played Earnest in \IThe Importance of Being Earnest,\b\i Abelard in \IHeloise and Abelard,\b\i Phil in \IChez Nous\b\i and Torvald in \IA Doll's House\b\i; for the Nimrod, he played Mark in \IA Handful of Friends\b\i and he also appeared in the Sydney Theatre Company's production of \I \JEmerald City\j\b\i (1988).
\BDescription:\b Peter Sumner.
#
"Sunday Too Far Away",819,0,g,0
\IFilm, released 1975\i
One of the early successes of the revitalised Australian film industry, this is a story of shearers--their drinking and brawling, their friendships and rivalries. One of the characters, Foley, emerges as a hero in the final scenes when he leads his mates in a fight against a group of scabs during a shearers' strike. The film was shot during 1974 in the small Queensland town of Quorn, with some scenes shot in the same shearing shed used in \IThe Sundowners\b\i. Postproduction was fraught with difficulties--substantial cuts, not approved of by director Ken Hannam, were required for reasons of length. But the final result was a hit at the 1975 Cannes Film Festival, chosen to open the 1975 Sydney Film Festival and won the Golden Reel Award at the 1974-75 Australian Film Awards.
\IProduction company\b\i: South Australian Film Corporation
\IMajor actors\b\i: \JJack Thompson\j (as Foley), Reg Lye, \JMax Cullen\j, \JJohn Ewart\j, Robert Bruning, Jerry Thomas, Peter Cummins
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"Sundowners, The",820,0,g,0
\IFilm, released 1960\i
A visiting United States production, with American lead actors and Australian supports, this film captured something of the Australian identity, as well as being a sensitive portrayal of the love and tension between the itinerant shearer, unable to settle down, and his wife, who desperately wants some stability for the family. The film was successful internationally, but marked the end of the 1950s period of overseas interest in making films in Australia.
\IProduction company\b\i: Warner Brothers
\IProducer\b\i: Gerry Blattner
\IDirector\b\i: Fred Zinnemann
\IScreenplay\b\i: Isobel Lennart (based on the novel by Jon Cleary)
\IMajor actors\b\i: Deborah Kerr, Robert Mitchum, Peter Ustinov, Glynis Johns, Dina Merrill, \JChips Rafferty\j, \JJohn Meillon\j
#
"Sunny South, The",821,0,g,0
\IPlay, first produced 1883\i
The manuscript of this five-act drama by \JGeorge Darrell\j is kept in the British Library in London. The hero of the piece, Morley, and his friend Bubs seek and discover true love, although the strong ties of mateship are tested and weakened in the process.
\IFirst produced:\b\i The initial 36 performances took place at the Melbourne Opera House in March 1883.
\ILater productions:\b\i The play was later produced in London--at the Grand in October 1884 and at the Surrey in September 1898. The Sydney Theatre Company revived the play at the Sydney Opera House in 1980--it was their first production.
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"Sutherland, Donnie",822,0,g,0
\I1945-\i
Donnie Sutherland, Australian television and radio personality and former compere of the Seven Network show \ISounds\i, was born in Sydney's west on 22nd December 1945. He hosted \ISounds\i for 13 years until January 1988. He later hosted a popshow on SKY Channel until mid 1990, and in 1992 joined 2KY.
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"Sweet, Gary",823,0,g,0
\I1957-\i
\IActor best known for his television work\i
Adelaide-born Gary Sweet trained as a high school teacher before taking up an acting career. His first television role, Magpie in the \IThe Sullivans,\b\i won him a Logie Award for best newcomer. The role of Don Bradman in the mini-series \J\IBodyline\j\b\i followed, as well as appearances in \ICarson's Law,\b\i \J\ICop Shop,\j\b\i the mini-series \IThe Great Bookie Robbery\b\i and \J\ICome In Spinner.\j\b\i He also played the regular role of Micky in the series \J\IPolice Rescue\j\b\i for which he won the 1991 and 1992 AFI awards for best actor in a television series, twin \ITV Week\i Silver Logies in 1993, the 1993 Variety Club Award for television actor of the year, the 1993 People's Choice Award for the most popular actor in a television series, the 1994 \ITV Week\i Silver Logie and the 1994 People's Choice awards for most popular movie star and most popular male television star; \IThe Battlers,\b\i a mini-series based on the novel by Kylie Tennant; \ICody,\b\i a series of six telemovies for the Seven Network; \IBlue Murder\i and \IBig Sky.\i
His film appearances include \IIndecent Obsession\b\i (1984), \IThe Lighthorsemen\b\i (1986), \IPolice Rescue\b\i (1994), \IWhat the Moon Saw, The Dreaming, Fever, Nightmares\i and \IMirabeau.\i He has also released a record, a version of 'Most People I Know Think That I'm Crazy', sung over the credits of the \IPolice Rescue\b\i movie.
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"Sweetie",824,0,g,0
\IFilm, released 1989\i
An important film in the career of director \JJane Campion\j, \ISweetie\b\i is an unusual, confronting and humorous film which received polarised reactions. Both overseas and Australian critics in general loved it and it has been described as one of the best Australian films of the 1980s. However, it was overlooked at the AFI Awards and at the Cannes Film Festival, though subsequently invited to many other festivals, and was not a great commercial success. It did, however, win the AFI Award for best original screenplay. The film has an unconventional structure with many off-centre characters, off-centre photography and no straight story line. It looks at love, romance, sex and family from an original angle. A thread throughout the story is the fear of trees felt by Kay, stemming from a childhood incident concerning her sister's tree-house. Kay takes up with Louis because the kiss-curl and mole on his forehead convince her that he is to be the man in her life--a fortune-teller has told her that her man will have a question-mark on his forehead. Their relationship seems to work until Sweetie, Kay's unstable sister, and her lover Bob move in with them. After Bob leaves, Sweetie moves back with her parents, Gordon and Flo, reunited after an episode in which Flo left to become a cook at an outback property. But one day Sweetie climbs naked to a tree-house in the backyard, falls and dies. Her grave-diggers struggle with encroaching tree roots.
\IProduction company\b\i: Arenafilm
\IProducer\b\i: John Maynard
\IDirector\b\i: Jane Campion
\IScreenplay\b\i: Jane Campion and Gerard Lee
\IMajor actors\b\i: \JGenevieve Lemon\j (as Sweetie), Karen Colston (as Kay), Tom Lycos (as Louis), Jon Darling (as Gordon), Dorothy Barry (as Flo), Michael Lake (as Bob)
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"Swy Theatre Company, Perth",825,0,g,0
\ITheatre company dedicated to presenting innovative works\i
The Swy Theatre Company was formed in 1983 with the aim of developing and presenting new works outside mainstream theatre. In its first decade of operation it produced more than 40 plays, 26 of which were world premieres. In 1991 the Company won a Swan Gold Award for outstanding theatre development; Alan Becher, appointed its artistic director in 1986, received the same award in the following year. In 1987 the Company toured to Kuala Lumpur. In 1994 the Swy Theatre Company became the \JPerth Theatre Company\j and took up residency at the Playhouse Theatre, Perth. Swy took its name from '\Iswy\b\i', a colloquialism for the Australian game of two-up, which was chosen because of the Company's intention of taking artistic and creative risks.
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"Sydney Festival & Carnivale",826,0,g,0
\IA summer festival of entertainment, cultural and sporting events\i
The Sydney Festival began in 1976 as a revamping of the city's Waratah Festival (which had been held each spring until discontinued in 1974). In 1993 the Sydney Festival merged with Carnivale, a multicultural festival that had been held annually in Sydney since 1981. The resulting Sydney Festival & Carnivale, which runs for the whole of January, is a broadly-based festival designed to attract people of all social and ethnic backgrounds. Activities range from classical theatre to the huge, free, open-air Domain concert series, including Opera in the Park, Midsummer Jazz and Symphony Under the Stars (the last, by popular demand, always ends with Tchaikovsky's \I1812 Overture\b\i). It aims to present new and exciting overseas acts, as well as showcasing local talent such as the Sydney Philharmonia Choir, the Flying Fruit Fly Circus and the Australian Chamber Orchestra. Associated events include a ferry race on Sydney Harbour and spectacular fireworks displays on New Year's Eve and Australia Day.
From 1976 to 1994 arts administrator \JStephen Hall\j was general manager of the festival. In 1994 his position was split into two--artistic director and general manager--with Anthony Steele, a former director of the Adelaide Arts Festival, becoming artistic director of the Sydney Festival.
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"Sydney Film Festival",827,0,g,0
\IShowcase for Australian and overseas films\i
The Sydney Film Festival was founded in 1952, originally to show overseas, especially foreign language, films. It is now an important showcase for Australian films, especially for shorts, which open the festival in a day-long screening of the cream of the previous year. \JDendy Awards\j are presented to winners in four categories.
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"Sydney Opera House",828,0,g,0
\IHarbourside centre for performing arts\i
The Sydney Opera House comprises four main auditoria--the Concert Hall, the Opera Theatre, the Drama Theatre and the Playhouse--and was officially opened on 20 October 1973. The project grew out of agitation in the early 1950s led by Eugene Goossens. In 1956 Danish architect Joern Utzon won an international competition for its design and construction, which began in 1959 and was beset by difficulties. The first performance in the complex was in 1973, in the Opera Theatre.
The Concert Hall, seating 2690, is the largest auditorium in the complex, and is used for performances ranging from symphony concerts and opera to jazz and variety shows. The walls are wood-panelled for acoustic reasons, and eighteen adjustable acrylic rings suspended above the platform assist musicians by reflecting some of the sound of the instruments directly back to the platform. The grand organ in the Concert Hall, the largest mechanical tracker action organ in the world, was designed and built by Australian Ronald Sharp. Test performances in the Concert Hall began in 1972; the official opening concert--the Sydney Symphony Orchestra under Charles Mackerras--took place in September 1973.
The Opera Theatre, seating 1547, is used for opera, ballet and dance. The stage curtain is a tapestry of woven wool designed by artist John Coburn and because of its bright colours is known as the Curtain of the Sun. The first performance, in September 1973, was the Australian Opera's production of Prokofiev's \IWar and Peace\b\i.
The Drama Theatre seats 544 and is used for drama and dance. It also has a stage curtain designed by John Coburn, woven in dark colours and known as the Curtain of the Moon. The first performance there was the Old Tote Theatre Company's production of Shakespeare's \IRichard II\b\i.
The Playhouse seats 398. It was originally designed for chamber music, and is lined with wood panelling. It is used for small cast plays, films and lectures. It is one of the primary venues of the Sydney Theatre Company.
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"Sydney Repertory Theatre Society",829,0,g,0
\IShort-lived repertory group\i
The Sydney Repertory Theatre was established by actor and director \JGregan McMahon\j after he moved from Melbourne to Sydney in 1918 to take up a position with the Tait brothers. It was wound up in 1928 after its members rejected a proposal that it should become a full-time professional repertory company.
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"Sydney Theatre Company (STC)",830,0,g,0
\INew South Wales state theatre company\i
The Sydney Theatre Company was established on the initiative of the New South Wales state government and with the support of the Australia Council in late 1978, following the disbanding of the \JOld Tote Theatre Company\j. Its primary venues are the Drama Theatre of the Sydney Opera House, the Wharf Theatre and the Wharf Studio. The repertoire of the STC includes classic works, Australian plays (both old and new), musicals and contemporary foreign works. Its first production, George Darrell's \IThe Sunny South\b\i, opened in January 1980. Later productions include Richard Wherrett's highly successful productions of \ICyrano de Bergerac\b\i (1981), with John Bell in the lead, and \IChicago\b\i, with Nancye Hayes (1981); the world premieres of David Williamson's \IThe Perfectionist\b\i (1982) and \J\IEmerald City\j\b\i (1987) and Michael Gow's \IFurious\b\i (1991); \IThe Life and Adventures of Nicholas Nickleby\b\i (Sydney and Melbourne, 1983), \IHedda Gabler\b\i (1986); and the spectacular \IInto the Woods\b\i (1993). Founding STC director \JRichard Wherrett\j was followed in May 1990 by \JWayne Harrison\j.
The STC also operates New Stages, a research and development wing established in 1991 under the direction of \JMichael Gow\j; its full productions at the Wharf include \IThe Women of Troy\b\i, for which Judi Farr won the 1992 Sydney Theatre Critics' Circle Award for best actress. Another initiative is the Australian People's Theatre, established in 1993 under the direction of STC associate director John Howard, which aims to explore verse and narrative theatre and to improve the access of non-English speaking actors and audiences to the STC.
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"Sydney Theatre Critics' Circle Awards",831,0,g,0
\ISydney-based awards for theatre and opera\i
The Sydney Theatre Critics' Circle Awards recognise achievements in a range of categories in theatre and opera in New South Wales. Sometimes called the Rosies, after the circle's sponsor, Rosemount Estate, the awards were first presented in 1978, when there was a single award only. The categories were expanded in 1987 and now include male performer in a play or musical, female performer in a play or musical, new Australian play or musical, production, direction, opera performer, opera director or designer and opera conductor. Past winners include \JJill Perryman\j, \JRobyn Nevin\j, \JHenri Szeps\j, \JMax Cullen\j, \JHelen Morse\j, \JJudy Davis\j, \JBarry Otto\j and John Howard.
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"Szeps, Henri",832,0,g,0
\I1943-\i
\IActor of stage, film and television\i
Born of Polish parents in a Swiss refugee camp, Henri Szeps spent his early childhood in Paris, and arrived in Australia at the age of eight. He graduated from the \JEnsemble Theatre Company\j in 1966 and since then has worked in all media, in both Australia and Britain. His theatre work includes \IThe Boys in the Band\b\i (Australian tour), the lead in \IThe Good Doctor\b\i (Ensemble Theatre), \J\ITravelling North\j\b\i (Nimrod Theatre), the one-person show \IA Little Brown Hairy Eye\b\i which he co-wrote for himself (performed at the Nimrod and Ensemble theatres), \IGlengarry Glenn Ross\b\i (at the Sydney Opera House), the solo role in \ISky\b\i (Ensemble) and \IThree Hotels\b\i (Ensemble). In the early 1970s he appeared in several productions in London's West End.
His film appearances include \IYou Can't See Round Corners\b\i (1969), \IThe Plumber\b\i (1979), \J\IFatty Finn\j\b\i (1980), \IThe Best of Friends\b\i (1981), \INow and Forever\b\i (1982), \IThe Return of Captain Invincible\b\i (1982), \IWarming Up\b\i (1983), \ITravelling North\b\i (1986) and \ILes Patterson Saves the World\b\i (1987). His television appearances include the series \J\IHomicide\j\b\i, \IDivision 4\b\i, \J\ISkippy\j\b\i, \IRiptide\b\i, the children's telemovie \IRun Rebecca Run\b\i (1982), \IPalace of Dreams\b\i (for which he won the 1985 Penguin Award for best actor in a mini-series), \J\IVietnam\j\b\i and \J\IMother and Son\j\b\i.
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"Tait family",833,0,g,0
\ITheatre and film entrepreneurs\i
The five Tait brothers, Charles (1869-1933), John (1871-1955), (James) Nevin (1876-1961), E(dward) J(ohn) (1878-1947) and Frank (1883-1965), were born in Victoria into a show business family. A sixth brother, the eldest, was not involved in theatre. The younger five all became prominent theatre entrepreneurs. Beginning with concert promotion, they formed their own company in 1903, headed by Charles Tait and run by John, Nevin and Frank. It expanded from concert presentation to film exhibition in 1904. Then, inspired by the success of \J\ISoldiers of the Cross\j\b\i (1900) and imported films such as \IThe Great Train Robbery,\b\i they decided to make a film version of the popular play \IThe Kelly Gang\b.\i The resulting film, \IThe Story of the Kelly Gang\b\i (1906), was produced by John and Nevin Tait, directed by Charles Tait, and featured Charles' wife, Elizabeth Veitch, in the part of Kate Kelly. In 1908 the company was registered as J. & N. Tait. It continued to present concerts, managing such visiting overseas stars as Harry Lauder and Clara Butt, and to make films such as \IIt Is Never Too Late to Mend\b\i (1911). The film section of the company then combined with distributors Millard Johnson and William Gibson to form Amalgamated Pictures which in 1912 joined with Australasian Films, one of the most productive companies of the time.
In 1916 J. & N. Tait entered theatrical production and E.J. Tait, who had been working for J.C. Williamson's, joined his brothers. Their producer, \JGregan McMahon,\j directed matinees of some of the classic works of English drama and in 1920 they supported McMahon and the Sydney and Melbourne Repertory Theatres. However, their interest in concerts and musicals remained pre-eminent. In 1920 the Tait theatre production company merged with its rival, J.C. Williamson's. The Tait brothers continued to be powerful figures in the theatre world, with E.J. Tait and Nevin Tait on the board of Williamson's and the other brothers still running J. & N. Tait which continued as the concert wing of Williamson's. It has been claimed that this monopolistic control by the Tait brothers directed Australian theatre in the 1920s and 1930s away from classical theatre and towards music and musicals. Their many notable successes included Gladys Moncrieff in \IThe Maid of the Mountains\b.\i They also supported opera in Australia, bringing home to Australia expatriate stars such as \JNellie Melba\j and \JJohn Brownlee\j.
In 1933 Charles Tait died and in 1937 the remaining Taits, who did not have any financial control in Williamson's, were forced out of production control. However, as the company's fortunes suffered as a result, in 1939 the four were invited back as managing directors of J.C. Williamson's Theatres Ltd. Their key role in Australian musical theatre continued and in 1943 Williamson's, under their management, presented two very successful seasons of the newly-formed \JBorovansky Ballet\j in Melbourne. In 1944 they backed an eight-month capital city tour of the company, which now had an expanded corps de ballet; further seasons followed in 1945, 1946, 1947 and 1954 and in 1959 Frank Tait became chairman of the Australian Ballet Foundation, which in 1962 gave birth to the \JAustralian Ballet\j. The Taits' involvement with opera also continued. Nevin Tait was instrumental in forming the J.C. Williamson Italian Opera Company in 1948 and in 1965 Frank Tait (by then knighted) presented the inaugural performance of the Sutherland-Williamson International Grand Opera Company.
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"Tasker, John",834,0,g,0
\I1933-88\i
\IDirector and producer\i
Adelaide-based for most of his career, Tasker directed the Adelaide University Theatre Guild in the first ever production of a Patrick White play, \IThe Ham Funeral\b\i, at Adelaide's Union Theatre in 1961. He followed this with two more White world premieres: \IThe Season at Sarsaparilla\b\i, with the same company at Melbourne's Union Theatre in 1962, and \INight on Bald Mountain\b\i (1964). Recognised as an innovator, Tasker established the South Australian Theatre Company in Adelaide for the Australian Elizabethan Theatre Trust in 1965 and was its artistic director until 1967. In 1968, the Trust brought him to Sydney to direct the trilogy of plays by Jean-Claude van Itallie, \IAmerica Hurrah!\b\i, which opened at the New Theatre (see \JNew Theatre Movement\j).
New Opera, South Australia, invited Tasker to direct the first English-language production of Janacek's \IThe Excursions of Mr Broucek\b\i for the 1974 Adelaide Festival of Arts. He went on to direct further operas for the company by Britten, Gluck, Maenotti and Offenbach.
Tasker continued to direct Australian plays and by 1978 was successfully staging Peter Kenna's \IThe Cassidy Album\b\i at the Adelaide Festival. This trilogy of plays includes \IA Hard God\b\i, \IFurtive Love\b\i and \IAn Eager Hope\b\i.
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"Tasmanian Film Corporation (TFC)",835,0,g,0
\IFilm and television support body in Tasmania\i
The Tasmanian Film Corporation was established by the Tasmanian state government in 1977 to promote film within and about Tasmania. Absorbing the stills and film section of the small pre-existing government film unit, it hoped to emulate the success of the South Australian Film Corporation, formed in the previous year. It set out to make both documentary and information films for government departments and agencies as well as work in the commercial sector, concentrating on family and children's film and television. Its productions include the feature films \IManganinnie\b\i (1980) and \ISave the Lady\b\i (1981) and two short children's mini-series for television--\IThe Willow Bend Mystery\b\i and \IFatty and George\b\i--both of which were sold to the ABC. Financial difficulties led to the sale of the TFC in 1981 to a private operator, the Hookway Corporation.
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"Tate, Jennie",836,0,g,0
\ISet and costume designer\i
Tate studied in Melbourne and from 1972-74 she trained as a set and costume designer with the Melbourne Theatre Company, and in 1975 was resident designer for the Tasmanian Theatre Company. Since that time she has worked as a freelance designer for a number of companies. Her design and costume work for theatre includes \ISiestas in a Pink Hotel,\b\i \IRacing Demon,\b\i \IHotel Sorrento\b\i and \IThe Rain Dancers\b\i for the Sydney Theatre Company; \ICapricornia,\b\i \ILove and Magic in Mama's Kitchen\b\i and \IScenes for an Execution\b\i for the Belvoir Street Theatre, \IDaylight Saving\b\i for the Q Theatre and \IMaria Stuarda\i for the Victorian State Opera and The Australian Opera. She has designed costumes for \IKing Lear\i (Sydney Theatre Company), \IKatya Kabanova\i (The Australian Opera), \IHead of Mary\i (Tokyo International Festival) and \IYokohama Story\i (Tokyo and Osaka).
Tate has worked as a costume designer for film on \IStrikebound\b\i (1983), \IFor Love Alone\b\i (1985), \IThe Umbrella Woman\b\i (for which she won an AFI Award), \I\JTravelling North\j\b\i and \IVincent\b\i in 1986. Her television credits include costume design for \IEden's Lost\b\i and \IShadow of the Cobra\b\i in 1988 and \IEscape from Jupiter\b\i in 1993. Her most recent design work includes \IGulls\i (State Theatre Company of South Australia) and \IMaster Class\i (Queensland Theatre Company and Sydney Theatre Company).
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"Tate, Nick",837,fp5080.jpg,c,0
\I1942-\i
\IActor of stage, film and television\i
Sydney-born actor Nick Tate gained national recognition in the mid-1960s for his performance in the ABC television series \IMy Brother Jack\b.\i In 1965 he went to Britain where he appeared in the television series \ISpace 1999,\b\i \IZ Cars,\b\i \IThe Trouble Shooters\b\i and \ISherlock Holmes\b\i as well as in a number of films. His films in Australia include \IThe Devil's Playground\b\i (1976), \ISummerfield\b\i (1977), \ICoolangatta Gold\b\i (1984), \IThe Empty Beach\b\i (1985) and \IThe Year My Voice Broke\b\i (1987).
\BDescription:\b Nick Tate.
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"Taylor, Eric",838,0,g,0
\ITelevision producer and director\i
New Zealand-born Taylor worked in British television before coming to Australia in the 1960s and joining the ABC. He became one of the ABC's major drama director/producers over the next 20 years, showing a preference for unromantic realism and strong characterisation. In particular he formed a directing/writing partnership with \JColin Free\j, beginning with the first work he produced and directed for the ABC, the comedy series \INice 'n' Juicy\b\i (1966).
His many subsequent ABC credits include: \J\IContrabandits\j\b\i (1967-68, producer and director); the political series \IDynasty\b\i (1970, executive producer); the war series \IOver There\b\i (began 1972, executive producer and director); \J\ICertain Women\j\b\i (began 1973, executive producer); \IThe Fourth Wish\b\i (1974, producer and director); the anthology series \IThe Seven Ages of Man\b\i (1975, director); the mini-series \IThe Emigrants\b\i (1977, producer of the Australian episodes); the historical mini-series \IThe Loss of Innocence\b\i (1978, producer and director); the adventure mini-series \IRun from the Morning\b\i (1978, executive producer); the anthology series \IA Place in the World\b\i (1979); the thriller series \ITimelapse\b\i (1980, executive producer); and the legal series \ILearned Friends\b\i (1983, producer). In 1985 Taylor entered commercial television when he produced the serial \IPossession\b\i for the Grundy Organization.
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"Taylor, Noah",839,0,g,0
\I1969-\i
\IActor of film, television and stage\i
Noah Taylor was born in London and grew up in Melbourne where from 1983 to 1985 he was a member of the St Martin's Youth Theatre. His stage work with them includes \IAlien in the Park,\b\i \IPierrot Lunaire,\b\i \IBloody Mama\b\i and \IBaron in the Trees\b.\i His films include \IThe Year My Voice Broke\b\i (1987), \IFlirting\b\i (1990) and \IThe Nostradamus Kid\b\i (1993)--he won the Sydney Film Critics' Circle Award for best actor for his performances in each. Noah also appeared in \IShine\i (1996). His television work includes the mini-series \J\IBangkok Hilton\j\b\i (1989), the features \IThe Last Crop\b\i and \IJoh's Jury\b\i and a guest appearance in \I\JGP.\j\b\i
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"Taylor, Rod",840,0,g,0
\I1930-\i
\IHollywood-based actor of film and television\i
Rod Taylor was born in Sydney and began his career in amateur theatre productions and radio acting roles--he played `Tarzan' on the Macquarie network in the late 1940s and early 1950s. His first feature film role was \IKing of the Coral Sea\b\i (1954), followed by \IWalk Into Paradise\b\i (screened in the US as \IWalk into Hell\b\i), and \ITreasure Island\b\i (1954). After moving to Hollywood in the mid-1950s he appeared with Elizabeth Taylor in several films, notably \IThe VIP\b\i (1963), and played the lead in Alfred Hitchcock's \IThe Birds\b\i (1963). In 1968 he starred as Scobie Malone in the UK film \INobody Runs Forever\b\i, based on the John Cleary story \IThe High Commissioner\b\i. He returned briefly to Australia in 1977 to appear in \IThe Picture Show Man\b\i.
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"Teale, Leonard",841,0,g,0
\I1922-94\i
\IActor of radio, television, stage and film\i
Leonard Teale (born in Brisbane as Leonard Thiele) appeared in a number of amateur plays before winning a job as an ABC radio announcer in Brisbane in 1939. After serving in the Royal Australian Air Force during World War II he became a radio actor in Sydney, where he played the title roles in the radio serials \ISuperman\b\i (from 1948-53) and \ITarzan\b\i and starred in Macquarie Radio Theatre and Lux Theatre plays. His rich voice also lent itself to poetry recitation--he made his first poetry broadcast on ABC Radio in 1952 and his first recording in 1956. His television work included eight years as Detective David Mackay in the long-running series \J\IHomicide\j\b\i (1964-72) for which he won a Logie Award for best actor and the mini-series \J\ISeven Little Australians\j\b\i for which he also received a Logie Award for best actor. His film work included \J\ISmiley\j\b\i (1956), \IThe Sundowners\b\i (1960), \IThe Bungala Boys\b\i (1961), \I...Maybe This Time\b\i (1980) and \IStanley\b\i (1983). Teale also wrote, produced, directed and narrated several documentaries, including \IAfrica The Dispossessed\b\i and \IBlueprint for Extinction\b\i (about Australian ecology).
His stage work ranged from Shakespeare to revue and included \IThe Gin Game\b\i, \IDuet for One\b\i and \I84 Charing Cross Road\b\i as well as three one-person shows based on Australian prose and poetry--\IWhile the Billy Boils\b\i, \IThe Quiet Achievers\b\i and \IThe Men Who Made Australia\b\i (presented in 1988 at the Parramatta Cultural Centre). Teale made a number of records of Australian poems, and won three gold records for the LP \IThe Man from Snowy River\b\i.
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"Theatre Royal, Adelaide",842,0,g,0
\IFirst theatre in Adelaide; theatre with a Victorian heyday\i
\B1.\b\i The first Theatre Royal in Adelaide was the ballroom of the Adelaide Tavern in Franklin Street, and it opened in 1838, less than two years after the founding of Adelaide.
\B2.\b\i Thirty years later, in 1868, Sam Lazar opened a new Theatre Royal in Hindley Street in purpose-built premises that incorporated the facade of a shop already on the site. Its horseshoe-shaped auditorium could accommodate some 1300 in its stalls, pit, gallery, dress circle and boxes. Ten years later, all but the facade of the building was demolished. On its site arose a theatre capable of seating almost 3000. It had a picture-frame stage and opulent furniture and fittings. In 1888 the Royal was taken over by Williamson, Garner and Musgrove (forerunner of the theatre company J.C. Williamson's). In 1914 the building was extensively remodelled by J.C. Williamson's--a sliding roof for summer ventilation was installed and the seating was reduced to 1700 to allow for greater comfort in wider seats with more leg room. The facade of the building remained until 1968.
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"Theatre Royal, Hobart",843,0,g,0
\IOldest surviving theatre in Australia\i
The Theatre Royal, Hobart, was built in 1837. It was initially called the New Theatre Royal because since 1834 a Theatre Royal had operated from J.P. Deane's Argyle Rooms. Little is known of the interior design of the Theatre Royal building, but from contemporary reports it appears that it had a gallery, upper boxes, lower boxes and a pit. The theatre was remodelled and enlarged several times in the following half century--in 1856, in 1862 and in 1890, when its walls were extended to the rear and the roof raised, prompting the description of it as a 'huge beehive'. The 1890 alterations increased the seating from about 700 to 1200. A further enlargement took place in 1911-12. The preservation of the Theatre Royal owes much to the support of British actor Laurence Olivier, who visited Hobart during a tour of Australia by the Old Vic company in 1948. In 1952 the Theatre Royal was reopened after renovations which were carried out in anticipation of the Royal Tour of the then Princess Elizabeth (cancelled because of the death of her father George VI). In 1984 the building was badly damaged by a fire which totally destroyed the stage area. The Tasmanian government rebuilt the stage and restored the auditorium to the 1911 style; it reopened in 1987 with a production of \ISpeed the Plough\b\i, the play with which it had opened 150 years earlier. It remains the oldest surviving theatre in Australia.
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"Theatre Royal, Melbourne",844,0,g,0
\IGrand Melbourne theatre\i
The largest theatre in Australia when it opened in 1855, Melbourne's Theatre Royal, fronting Bourke Street and extending back to Little Bourke Street, could seat 3300, rivalling London's Drury Lane and Covent Garden in size and capacity. It had stalls (the first seven rows on the ground floor), pit, dress circle, upper circle, gallery and private boxes. From the floor of the pit to the tie beam of the roof the distance was 12 metres. Built at the end of the flush goldrush years by goldfields carrier John Black, the Royal had a full house for its opening, but as the boom receded audiences quickly dwindled, bankrupting its owner and forcing the sale of the building. It was bought by \JGeorge Coppin\j. The theatre saw few successes and in 1872 the uninsured building was destroyed by fire. Within six months Coppin had built and opened a second Royal, on an even grander scale than its predecessor. The new Royal was able to seat close to 3500 and was the largest theatre in Australia at the time. It was here, in 1874, that American actors J.C. Williamson and his wife Maggie Moore made their Australian debut. In 1881 Williamson became sole lessee of the Royal, and from there laid the groundwork for the organisation which developed into the vast theatrical 'Firm'. Gladys Moncrieff gave her first performance in \IThe Maid of the Mountains\b\i at the Royal in 1921; ironically, twelve years later the same show, again with Moncrieff, was the last at the Royal. The theatre was closed by Williamson at the end of 1933.
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"Theatre Royal, Perth",845,0,g,0
\IPerth's first real theatre\i
The Theatre Royal, Perth, part of the Hotel Metropole, opened in 1897 and was the first real theatre in Perth. It had a well-equipped stage, and the auditorium contained stalls, dress circle and gallery.
#
"Theatre Royal, Sydney",846,0,g,0
\ISydney theatre with a long tradition\i
\JBarnett Levey\j was responsible for Sydney's first Theatre Royal. Its first performances--Douglas Jerrold's \IBlack-eyed Susan\b\i and the farce \IMonsieur Tonson\b\i--were staged in the Assembly Room of his Royal Hotel, in George Street. The actual premises, which could hold about 1000, were not ready until October 1833. It opened with \IThe Miller and his Men\b\i and the farce \IThe Irishman in London\b\i. By the time of the theatre's closure in 1838, following Levey's sudden death in 1837, it had presented more than 400 plays and musicals. The building was destroyed by fire in 1840 and the site is now occupied by the Dymocks building.
From 1875 until its demolition in 1972, a new Theatre Royal stood in Castlereagh Street. It was opened by Samuel Lazar and was on the site (and incorporated the facade) of the Prince of Wales Theatre, which had been destroyed by fire in 1872. It could accommodate up to 2500 in its gallery, dress circle, pit and stalls. In 1882 the theatre was taken over by Arthur Garner, George Musgrove and J.C. Williamson (forerunner of the J.C. Williamson theatrical organisation). Despite being burned down three times itself, the second Theatre Royal represents the longest unbroken theatrical tradition in Sydney. The present Theatre Royal, around the corner in the MLC complex, was designed by Harry Seidler and opened in 1976. It was built after much protest from actors about the loss of its predecessor; a Builder's Labourers' Federation green ban was imposed on the development until provision was made for live theatre.
#
"Theatresports",847,0,g,0
\ITheatre happening\i
Theatresports was created by Keith Johnstone at the University of Calgary in Canada in the late 1970s and soon spread to the rest of Canada, the United States, Europe, Australia, Brazil, Japan, Zimbabwe and South Africa. It is an improvisational competition between two teams of actors who create scenes based on audience suggestions, and are awarded points by a panel of judges. In 1985 \JNoni Hazlehurst\j spotted Theatresports in Vancouver and suggested it as a project for the newly-formed Belvoir Street, with \JDennis Watkins\j producing and directing the Australian premiere. It opened at Melbourne's Playbox Theatre Company and the State Theatre Company of South Australia in the same year. Since then it has spread to Brisbane, Perth and Tasmania.
Other capital cities and regional centres such as Albury, Orange, Fremantle and Newcastle set up competitions and the first interstate grand final was held at the Belvoir in December 1985. The next year the national final was held in Melbourne. Australia has also sent teams to international competitions. In 1987 a televised competition began on the ABC. Competitions continue to be held at various venues around Australia.
Theatresports is a registered non-profit association with three staff members and a volunteer board of directors. It produces professional and competitive Theatresports seasons at Belvoir Street Theatre, the Harold Park Hotel, Sydney, and Sydney's Original Comedy Store. It also operates Australia's first and only school of improvisation, a Theatresports program in schools, and produces corporate shows for conferences and special events.
#
"They're a Weird Mob",848,0,g,0
\IFilm, released 1966\i
One of the few feature films made in Australia in the 1960s, this film was hailed as a sign of the rebirth of Australian cinema. It was, however, a co-production, made by British director Michael Powell and with most of the funding coming from Britain. Based on the very popular book of the same name, it presents an affectionate caricature of Australians as seen through the eyes of Nino, an Italian immigrant. It was a notable box-office success.
\IProduction company\b\i: J. C. Williamson-Powell International Films
\IProducer and director\b\i: Michael Powell
\IScreenplay\b\i: Richard Imrie (from the novel by John O'Grady written under the pseudonym of Nino Culotta)
Jack Thompson was born Jack Payne in Sydney and in the early 1960s, while also working as a jackeroo, began his acting career with the Triangle repertory company. His television work began with the series \IMotel\b\i, followed by \ISpy Force\b\i. Later television work includes the telemovie \IA Woman Named Golda\b\i (1982) with \JJudy Davis\j and Ingrid Bergman, the lead in the series \IWaterfront\b\i; (1984); co-star with American actor Linda Evans in the Australian-made mini-series \IThe Last Frontier\b\i (1987) and one of the leads in the mini-series \IThe Rainbow Warrior Conspiracy\b\i (1988). In the same year he made a 26-part series, \IJack Thompson Down Under\b\i, and co-starred with American Stephanie Powers in the mini-series \IShadow on the Sun\b\i.
His film work includes \IThat Lady from Peking\b\i (1970), \J\IWake in Fright\j\b\i (1971), \IPetersen\b\i (1974), \IScobie Malone\b\i (1975), \J\ISunday Too Far Away\j\b\i (1975), \J\ICaddie\j\b\i (1976), \IMad Dog Morgan\b\i (1976), \IThe Chant of Jimmie Blacksmith\b\i (1978), \IThe Journalist\b\i (1979), \IThe Club\b\i (1980), \J\IBreaker Morant\j\b\i (1980), \IThe Earthling\b\i (1980), \IThe Man from Snowy River\b\i (1982), \IMerry Christmas Mr Lawrence\b\i (1983), \IBurke and Wills\b\i (1985), \IGround Zero\b\i (1987), \IWind\b\i (1993) and \IThe Sum of Us\b\i (1994). Thompson won the 1974/75 AFI Award for best actor for \IPetersen\b\i and \ISunday Too Far Away\b\i.
#
"Thoms, Albie",850,0,g,0
\I1941-\i
\IFilm producer and director\i
Regarded as an avant-garde film-maker, Sydney-based Thoms was one of the founders of the Ubu Films group and the Sydney Film-Makers Cooperative which made many low-budget experimental shorts and documentaries in the 1960s and 1970s. Thoms also produced and directed the more mainstream feature \IPalm Beach\b\i (1979). As well, he wrote and directed episodes of television series such as \J\IContrabandits\j\b\i and \J\ISkippy\j\b\i and made several television documentaries, including \IBohemians in the Bush\i (1994) which he produced, directed, wrote and presented.
#
"Thomson, Brian",851,0,g,0
\ISet designer\i
Sydney-based Brian Thomson began studying architecture but dropped out and drifted into theatre design. He has an international reputation as a versatile designer of plays, musicals, operas, television mini-series, rock videos, events and exhibitions. Among his musical credits are the original London and Australian productions of \IThe Rocky Horror Show\b\i, \IHair\b\i, \IChicago\b\i, \IThe Stripper\b\i, \ICompany\b\i and \IChess\b\i. His best-known theatre designs include sets for \IAs You Like It\b\i, \IArturo Ui\b\i, \IThe Threepenny Opera\b\i and \J\IBig Toys\j\b\i for the Old Tote; \IRock-Ola\b\i for the Nimrod; \IThe Doll Trilogy\b\i, \IThe Ham Funeral\b\i, \ISix Degrees of Separation\b\i, \ICoriolanus\b\i, \IFalsettos\b\i, \IKing Lear\b\i and \IArcadia\b\i for the Sydney Theatre Company; \ILulu\b\i and \IShepherd on the Rocks\b\i for the State Theatre Company of South Australia; \IGhosts\b\i, \IThe Tempest\b\i and \IThe Master Builder\b\i for Belvoir Street; and \ISynergy with Synergy\b\i for the Sydney Dance Company. Thomson's designs for television include \IHills End\b\i, \IBarlow and Chambers\b\i and \IShadow of the Cobra\b\i. Feature films include \IThe Rocky Horror Picture Show\b\i, \IRebel\b\i, \ITurtle Beach\b\i and \IFrauds\b\i.
Thomson was awarded the 1989 and 1992 Sydney Theatre Critics' Circle Award as best designer; the AFI best production design awards for \IRebel\b\i and \IGround Zero\b\i and the 1992 Victorian Green Room Award for settings in \IThe King and I\b\i.
#
"Thomson, Chris",852,0,g,0
\I1945-\i
\IFilm and television director\i
New Zealand-born Thomson has had a long career in television directing, his work showing an emphasis on political/social issue themes. His television credits include the ABC children's series \ITop Mates\b\i (1979); the ABC's anthology series \J\ISpring and Fall\j\b\i (1980-82); the children's series \IThe Patchwork Hero\b\i (1981) which he also produced for the ABC; \I1915\b\i (1982, with Di Drew); the children's series \ICoral Island\b\i (1983), an ABC/Thames TV co-production; the historical/political mini-series \IWaterfront\b\i (1984); \IFive Mile Creek\b\i (began 1984), an 'Australian Western' co-produced by the Seven network and the American Disney cable network; the political/war mini-series \IThe Last Bastion\b\i (1984); \IThe Challenge\b\i (1986), a series about Australia's winning of the America's Cup yachting series in 1983, one of Roadshow Coote and Carroll's first ventures into television; the social issue mini-series \IThe Rainbow Warrior Conspiracy\b\i (1988); and the social investigative series \IStringer\b\i (1988). Thomson has also directed feature films including \IThe Empty Beach\b\i (1984) and \IThe Delinquents\b\i (1989). He is now based mainly in Los Angeles.
#
"Thornhill, Michael",853,fp5044.jpg,c,0
\I1941-\i
\IFilm and television director and producer\i
Born in Sydney, Thornhill worked as a projectionist and film editor before turning to directing short films and documentaries in the late 1960s. This work includes \IThe American Poet's Visit\b\i (1969) and \IKevin and Cheryl\b\i (1972). He also worked as film critic for the \IAustralian\b\i from 1969 to 1973. His first features, \IBetween Wars\b\i (1974) and \IThe F.J. Holden\b\i (1977), both of which he produced and directed, were well received but subsequent films were not widely praised. However, he produced several high-rating television programs such as \IThe Great Gold Swindle\b\i (1984, executive producer) and \IRobbery\b\i (1985, director and producer). In the late 1970s and early 1980s he was a director of the New South Wales Film Corporation, giving valuable support to films such as \J\IMy Brilliant Career\j\b\i (1979).
\BDescription:\b Michael Thornhill.
\BPhoto:\b Michael Thornhill.
#
"Thornton, Sigrid",854,sthorton.jpg,c,0
\I1959-\i
\IActor of film and television\i
Sigrid Thornton was born in Canberra and as a young child spent several years in London where she had her first acting experience with the Unicorn Theatre Company. She later moved to Brisbane and performed with the Twelfth Night Theatre Company, but it was in film and television that she was to gain both national and international recognition. Her many television appearances include the female lead in the historical dramas \IThe Last Outlaw,\b\i \I1915\b\i and \J\IAll the Rivers Run\j\b\i and the US series \IParadise,\b\i an American Western set in the late 1800s.
Her film work includes \IDuet For Four\b\i (1981), \IThe Man from Snowy River\b\i (1982), \IStreet Hero\b\i (1984), \ISlate, Wyn and Me\b\i (1987) and \IThe Man from Snowy River II\b\i (1988).
She is currently a member of the board of directors at the Australian Film Institute, and is also a member of the panel of the Commercial Television Production Fund.
\BDescription:\b Sigrid Thornton \I(International Casting Service and Associates Pty Ltd)\i.
\BPic2:\b arts-48.jpg
\BDescription2:\b Sigrid Thornton.
\BPhoto2:\b International Casting Service and Assoc.
#
"Thring, Frank (1883-1936)",855,0,g,0
\I1883-1936\i
\IFilm producer/director and distributor\i
Frank Thring was involved in various forms of show business, including being a conjurer, before becoming a projectionist with Electric Theatres in Melbourne in 1915. He quickly moved on to become a part-owner of the company and in 1918 became managing director of J. C. Williamson Films, a distribution company. In 1926 his cinema interests across the nation were merged with Hoyts to form Hoyts Theatres, the second biggest exhibitor chain in Australia. Its rivalry with the larger Australasian Films-Union Theatres was mainly responsible for the boom in the building of `picture palaces' in the 1920s and the import of large numbers of American films. This domination brought complaints from independent exhibitors and producers, particularly as it became difficult for Australian films to get a release.
In 1930 Thring sold his share in Hoyts to the American Fox Film Corporation and went into independent production. He set up Efftee Films (the name based on his own initials) and was at the forefront of early sound film production in Australia. Efftee's first major film was \IDiggers\b\i (1931), co-directed by Thring. Other films included a remake of \IThe Sentimental Bloke\b\i (1932), generally considered to be inferior to the original, \IHis Royal Highness\b\i (1932) and \IA Ticket in Tatts\b\i (1934), all with Thring as producer and director. Thring also extended Efftee's interests into promotion of radio and theatre productions, founding Melbourne radio station 3XY in 1935. In all these activities his aim was to foster local Australian talent and he was an active campaigner for a quota system to protect and help develop the local film industry. His death brought the end of Efftee Films. Thring is remembered more as a promoter of film and theatre than as a director.
#
"Thring, Frank (1926-94)",856,0,g,0
\I1926-94\i
\IFilm actor, entertainer and writer\i
Melbourne-born Frank Thring, son of film producer Frank Thring, first appeared on the stage at the age of nineteen. In 1953, backed by his mother, Thring took his own production of \ISalome\b\i to London, a move which resulted in him being invited by Laurence Olivier to play opposite him at Stratford. He spent many years in Britain and the United States where he appeared in epic films such as \IBen Hur\b\i (1959), \IEl Cid\b\i (1961)\I\b\i and \IKing of Kings\b\i (1961). His Australian films included \IAge of Consent\b\i (1969), \INed Kelly\b\i (1970), \IAlvin Rides Again\b\i (1974), \IThe Man from Hong Kong\b\i (1975), \IMad Dog Morgan\b\i (1976), \IMad Max\b\i (1976), \IMad Max: Beyond Thunderdome\b\i (1985) and the spoof horror film \IThe Marsupials: The Howling III\b\i (1987). His stage work included \IClose of Play\b\i for the Sydney Theatre Company.
#
"Throsby, Margaret",857,0,g,0
\I1941-\i
Margaret Throsby, Australian radio personality, formerly with the ABC, was born Margaret Ellen Throsby in Sydney on 3rd October 1941. She grew up in Neutral Bay and joined the ABC in 1967, becoming the first woman announcer since WWII. In 1975, she became the first woman to read a full length ABC radio news bulletin since WWII. In the late 80s and early 90s, she hosted the \ICity Extra\i morning program on radio 2BL. She was awarded the Order of Australia for her services to broadcasting in 1989.
#
"Tingwell, Charles (Bud)",858,0,g,0
\I1923-\i
\IActor and director of radio, television, film and stage\i
Sydney-born 'Bud' (a family nickname) Charles Tingwell worked first as a radio actor and announcer. After war service with the Royal Australian Airforce he resumed his radio career and appeared in his first film, a small role in \ISmithy\b\i (1947). Lead roles followed in \IAlways Another Dawn\b\i (1947), \IInto the Straight\b\i (1949), \II Found Joe Barton\b\i (US, 1952, telemovie), \ICaptain Thunderbolt\b\i (1953), \IKing of the Coral Sea\b\i (1954) and supporting roles in \IEureka Stockade\b\i (1949), \IDesert Rats\b\i (US, 1952, with James Mason and Richard Burton), \J\ISmiley\j\b\i (1956) and \IThe Shiralee\b\i (1957). He then left for the United Kingdom where he worked until 1972, appearing as the lead in a number of television dramas including the series \IEmergency Ward 10\b\i and co-starred with Margaret Rutherford in four Miss Marple films. On his return to Australia he played the lead in the television series \J\IHomicide\j\b\i for three years, and later became a director for Crawford Productions on series including \IThe Box,\b\i \J\ICop Shop\j\b\i and \ISkyways,\b\i and for ABC TV producing and directing \IDegrees of Change\b.\i
His other television appearances include the mini-series \IHarp in the South,\b\i \IPoor Man's Orange\b\i and \IFour Minute Mile\b\i and the series \IHouse Rules\b.\i His later films, in either major or cameo roles, include \IPetersen\b\i (1974), \J\IEliza Fraser\j\b\i (1976), \ISummerfield\b\i (1977), \IThe Money Movers\b\i (1978), \IThe Journalist\b\i (1979), \J\IBreaker Morant\j\b\i (1980), \IPuberty Blues\b\i (1981), \IMy First Wife\b\i (1984), \J\IAnnie's Coming Out\j\b\i (1984), \J\IMalcolm\j\b\i (1986) and \J\IEvil Angels\j\b\i (1988).
His extensive stage work includes \ITop of the Bill\b\i and \IHit and Run\b\i at the Phillip Street Theatre, touring Australia and New Zealand with \ISimon and Laura\b\i and \IThe Deep Blue Sea\b\i (1955-56, both with \JJohn McCallum\j and \JGoogie Withers)\j, \IThe Imposter\b\i (Playbox Theatre) and \ICat on a Hot Tin Roof\b\i (Melbourne Theatre Company). In the United Kingdom he played in \IThe Caine Mutiny Court Martial,\b\i \IDoctor in the House\b\i and \IThere's a Girl in My Soup\b.\i
Charles Tingwell has served as an Australian Film Commissioner (1980-83), as a member of the Playbox Theatre and a board member of Film Victoria.
#
"Tivoli Circuit",859,0,g,0
\IChain of vaudeville theatres in Australia\i
The Tivoli Circuit was a chain of theatres in Sydney, Melbourne, Adelaide and Brisbane, all named the Tivoli, and all devoted to presenting vaudeville. It was established by Harry Rickards, who in 1893 leased the Garrick in Sydney, renamed it the Tivoli Theatre and turned it into the first theatre in Australia devoted entirely to vaudeville. He built the Opera House, Melbourne, his second vaudeville theatre, in 1901, and by the following year its circuit also took in Adelaide and Perth. The Brisbane Tivoli was built in 1915 by Hugh McIntosh, who took over management of the Tivoli Circuit after Rickard's death. Most of the performers on the Circuit were Australians, but imported stars were used as drawcards. In 1924 the Tivoli Circuit temporarily came under the control of J.C. Williamson's theatrical organisation before coming under the control of George Dickerson and later Frank Neil. The outbreak of World War II put an end to European acts and brought to the fore a number of Australian performers, among them \JGloria Dawn\j. Only the Melbourne and Sydney Tivolis were operating at this time; shows opened in Melbourne and then played Sydney--in Brisbane and Adelaide the shows were performed in independent theatres. The Tivoli also organised touring shows for troops.
In 1944 a group headed by David N. Martin bought the Tivoli Circuit, and it returned to the policy of importing overseas artists, such as the Folies-Bergere Company, which toured in 1952-53. By the end of the decade, the Tivoli organisation, in loose partnership with theatrical entrepreneur Garnet H. Carroll, owner of the \JPrincess Theatre, Melbourne\j, turned to musical comedy, and for a time challenged the supremacy of J.C. Williamson's in this area. The Circuit continued presenting revues into the 1960s, but faced ¼competition from other managements and television. Its last Sydney show, in March 1966, was \IOne Dam' Thing After Another\b\i, starring \JGwen Plumb\j; one week later the Melbourne Tivoli closed at the end of a four-week season by English comedian Jimmy Edwards.
#
"Tivoli Theatre, Melbourne",860,0,g,0
\IMelbourne base of the Tivoli Circuit\i
In 1901 entertainer and entrepreneur Harry Rickards opened the Melbourne Opera House on the site of the Prince of Wales Opera House in Bourke Street, Melbourne. The auditorium was designed and decorated in Moorish style and seated 2000 in its stalls, dress circle and gallery. It was the Melbourne base of Rickard's Tivoli Circuit, presenting vaudeville (usually with an imported star as the drawcard). In 1912, following Rickard's death, the theatre was taken over by \JHugh McIntosh\j and renamed the Tivoli. It was the main base for the Circuit over the next fifty years. Its last live show, in 1966, was a revue starring English comic Jimmy Edwards. For the following twelve months it showed films, until the building was severely damaged by fire. A large office block now stands on the site; it contains a Tivoli Arcade.
#
"Tivoli Theatre, Sydney",861,0,g,0
\IFirst theatre in the Tivoli Circuit; name of another Sydney theatre from 1931 to 1969\i
\B1.\b\i The Tivoli Theatre, Sydney, came into being in 1893 when theatrical entrepreneur \JHarry Rickards\j took an eight-year lease on the Garrick Theatre in Castlereagh Street, Sydney, and renamed it the Tivoli. He then set about bringing the best vaudeville acts from around the world not only to this theatre, but to venues in Melbourne, Adelaide, Perth and Kalgoorlie as well, and in doing so he laid the foundations of the Tivoli Circuit. In 1899, after all but the facade was destroyed by fire, Rickards rebuilt the theatre on the same site, retaining the original facade. In 1929, by which time it was in the hands of the J.C. Williamson theatrical organisation, the Sydney Tivoli was forced to close because of the general economic difficulties of the period. The building was for a time used as a market and then as a cinema.
\B2.\b\i In 1931 entertainers Mike Connors and Queenie Paul, of the company Con-Paul, leased the Grand Opera House Theatre in Pitt Street, Sydney, and renamed it the New Tivoli. It was soon known simply as the Tivoli, and for the next thirty years was a venue for variety shows. The last live revue, in March 1966, was \IOne Dam' Thing After Another\b\i starring \JGwen Plumb\j. The building was demolished in 1969 and replaced by an office block which, in a gesture to the theatrical past of the site, contains a Stage Door Bar.
#
"Toppano, Peta",862,0,g,0
\I1952-\i
Peta Toppano, Australian actress and singer, was born Pieta Toppano in London on 8th April 1952. The daughter of the famous Italian Toppano family, her father Enzo and mother Peggy were involved in the Melbourne showbusiness circuit since the 1930s. In 1974, she appeared in the stage production of \IGodspell\i. Her Uncle Lou was the band leader for many years on Graham Kennedy's \IIn Melbourne Tonight\i. She married a musician at 19 and later English actor Barry Quinn for six years from 1982-88. They had appeared together in a number of television shows including \ISara Dane\i and \IPrisoner\i and the stage production \IThey're Playing Our Song\i.
She also starred in \IReturn to Eden\i, \IMerrily we Roll Along\i, \IFields of Fire\i, and the ABC's \IPaper Man\i and \IBordertown\i. In June 1990, she replaced Debra Byrne in the female lead role in \ILes Miserables\i, and was a celebrity contestant on the tenth anniversary edition of \ISale of the Century\i. In 1990, she starred in the Australian mini-series \IWhich Way Home\i. In 1992, she married Perth millionaire and media proprietor Kerry Stokes; however they divorced in 1995.
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"Town Like Alice, A",863,0,g,0
\ITelevision mini-series, first broadcast 1981\i
This was an important landmark in the development of the Australian mini-series. Its six one-hour episodes fleshed out the narrative of Nevil Shute's novel more than the earlier screen version, a British feature film of 1956, had done. The story combines war, drama and romance, centring around Jean Paget and Joe Harmon who had met during the Japanese invasion of Malaya in World War II and meet again and marry many years later in Australia; the third main character is Jean's solicitor, Noel Strahan, from whose perspective the story, with flashbacks, is told. As was fairly typical of mini-series of the 1980s, one of the leads was played by an overseas actor (Gordon Jackson as Noel Strahan) and the action was set outside Australia as well as within it. The series was shown successfully on the Seven network and later in Britain and the United States.
\IProduction company\b\i: Alice Productions
\IProducer\b\i: Henry Crawford
\IDirector\b\i: David Stevens
\IScriptwriters\b\i: Rosemary Anne Sisson, Tom Hegarty, based on the novel by Nevil Shute
\IMajor actors\b\i: Gordon Jackson (as Strahan), \JHelen Morse\j (as Jean), \JBryan Brown\j (as Joe), Pat Evison, Dorothy Alison, Richard Narita, Cecily Polson, Yuki Shimoda, Hatsuo Uda, \JAnna Volska\j
#
"Townsend, Simon",864,0,g,0
\I1945-\i
Simon Townsend, former children's television host, was born in Sydney on 27th November 1945. A journalist, he was jailed for being a conscientious objector during the Vietnam War, but later went on to produce the John Laws radio show, before moving to television and winning five Logies for his \IWonder World\i show. In 1991 he worked as producer of the 2GB breakfast show for eight months.
In 1993, he was reunited with his daughter Lisbeth Kennelly who had been given up for adoption years earlier. Simon married Rosanna in 1977 and they have two children Michael (1979) and Nadia (1981).
#
"Travelling North",865,0,g,0
\IPlay, first produced 1979; film, released 1986\i
\B1.\b\i \JDavid Williamson\j's play about Frank and Frances, a couple who make a new life for themselves in their old age, uses thirty-three scenes to span a period of two and a half years. In quest of their dream to find a place where their love can flourish, the pair travel from wintry Melbourne to tropical Queensland, following the sun. Their conventional children are critical of the liaison and think that Frank, who is twenty years older than Francis, needs a nursemaid. During the course of the action, Frank becomes ill and crotchety when a heart condition is diagnosed but manages to muster up the energy to take Francis on a last spree to Sydney before he dies and is toasted with champagne.
\IFirst produced\b\i: At the Nimrod Theatre in 1979 with Carol Raye as Frances and Frank Wilson as Frank, directed by \JJohn Bell\j
\B2.\b\i This was one of the most successful of the adaptations of Williamson's plays to the screen. Filmed at Port Douglas in northern Queensland, it was well directed by Carl Schultz and won best actor awards for \JLeo McKern\j at the AFI Awards and at the World Film Festival in Montreal. David Williamson won the AFI Award for screen adaptation for his script.
\IProduction company\b\i: View Pictures
\IProducer\b\i: Ben Gannon
\IDirector\b\i: Carl Schultz
\IScreenplay\b\i: David Williamson (based on his play)
Born in Britain, Trenchard-Smith came to Australia in 1965. In 1972 he formed Trenchard Productions, the next year co-founding the magazine \IMovie\b\i. His work includes documentaries, feature films and numerous trailers. Most of his films deal with action and violence and he has done his own stuntwork on several occasions, as in \IThe Man from Hong Kong\b\i (1975). In the 1980s he was the most prolific director of feature films in Australia. These include \ITurkey Shoot\b\i (1981), a grisly horror film about a prison camp of the future; \IBMX Bandits\b\i (1983), a popular teenage adventure film; \IDead-End Drive\b\i (1986), another futuristic film about a prison camp, more subtly made, with a famous stunt climax; a martial arts film aimed at the international video market, \IThe Day of the Panther\b\i (1987); and the mystery thriller \IOut of the Body\b\i (1988). In several of these he was brought in late in the production, giving him the reputation of a 'rescue' director. His overseas work includes \IThe Day of the Assassin\b\i (Mexico, 1981) and episodes of the American television series \IMission Impossible\b\i (1989), \ITarzan\b\i (1991) and \ITime Trax\b\i (1993).
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"Trevor, Marie",867,0,g,0
\I1923-\i
\IRadio actor and writer; television producer and director\i
Marie Clarke (her maiden name) began her career writing for the ABC in Brisbane. She moved to Sydney and, with a contract with the production company AWA (Amalgamated Wireless Australasia), became a well-known actor. She played in drama series such as \J\IFred and Maggie\j\b\i and \J\IWhen a Girl Marries\j\b\i, creating the lead role in the latter in 1946. Later, as a freelancer, her roles included Mary in \J\IBlue Hills\j\b\i. She also appeared in several stage plays.
In 1966, now working under her married name of Trevor, she joined Crawfords in Melbourne as a casting director. From 1970 she directed episodes of many Crawfords series such as \IDivision 4\b\i (began 1969), \IMatlock Police\b\i (began 1971), \IThe Box\b\i (began 1974) and \J\ICop Shop\j\b\i (began 1977). She produced \ICop Shop\b\i from 1977 to 1981, when she left Crawfords. For several years from 1983 Trevor worked for Grundys, producing numerous episodes of some of the most successful soap opera series of the 1980s including \J\IPrisoner\j\b\i and \J\INeighbours\j\b\i. In 1989 she produced the ABC's legal series \IInside Running\b\i and in that year became the first woman to win the Colin Bednall Award for contribution to the television industry.
#
"Truscott, John",868,0,g,0
\I1936-93\i
\IStage and film designer and festival director\i
Truscott began his working life in Melbourne as a theatre designer before going overseas to live from 1964 to 1980. During his years away, he undertook assignments in London, Paris and Rome. These included the art direction and production design for the feature film of the musical \ICamelot\b\i, which won him two Oscars. He also received an Oscar nomination for his designs for the film \IPaint Your Wagon\b\i. When he returned to Australia in 1980, his first assignment was to design the interiors for the Victorian Arts Centre. Later he worked on the exteriors for Brisbane's 1988 World Expo. Truscott was appointed artistic director of the Melbourne International Festival from 1989 to 1991 and then artist-in-residence at the Victorian Arts Centre, where he redesigned its magazine, \IStages\b\i, and helped plan the recital hall.
#
"Turner, Geraldine",869,fp5081.jpg,c,0
\I1950-\i
\IActor, singer and dancer of stage and film\i
Geraldine Turner OAM is synonymous with Australian show business. During the past 25 years or so she has firmly established herself as a public favourite and consummate performer in almost every aspect of the entertainment industry: an attribute which helped earn her an Order of Australia medal in the 1988 Bicentennial Honours list.
When it comes to musicals, acting, movies, TV, cabaret, recording, dance, hosting and singing, Geraldine has 'been there, done that, and more' and loved it! She has also worked tirelessly behind the scenes and four years was President of Australian Actors Equity.
Geraldine could well have been born to show business. As a child she appeared in \IAladdin, The Sleeping Princess\i and as a regular singer and dancer on Queensland's \ICottee's Happy Hour.\i A further ten years of training in classical ballet and five years studying classical singing prepared her for a long, successful and varied career.
Since then she has wowed theatre-going audiences in musicals such as \IOliver, Chicago, A Little Night Music, Anything Goes, Guys and Dolls, Into the Woods\i and \ISweeney Todd,\i and operas and operettas such as \ILa Belle Helene\i and \IHMS Pinafore,\i and plays including \IPresent Laughter\i and \IDon's Party.\i Her many concert and cabaret performances have taken her across Australia (from the Regent Supper Club to the Victorian Arts Centre) and to New York, London, Vancouver, San Francisco, and even Africa.
Movie-goers have delighted to her performances in films such as \ICareful, He Might Hear You\i and \ISummerfield.\i While TV watchers have seen her as a panelist on \IBeauty and the Beast,\i acting in ABC's \IGP\i and \INatural Causes\i and SBS's \ISix Pack\i episode \IThat Man's Father\i and an ensemble performer in the musically-oriented \IOnce in a Blue Moon\i and \IThree Men and a Baby Grand.\i
In the recoding world, Geraldine is recognised internationally as a Stephen Sondheim interpreter par excellence through titles such as \IOld Friends Stephen Sondheim Songbook\i and has recorded solo albums, including \ITorch Songs - And Some Not So Tortuous\i and cast albums for her stage hits such as \IChicago\i and \IAnything Goes.\i
Geraldine has won several awards including two prestigious Green Room Awards (in 1984 for her role as Nancy in \IOliver\i and again in 1989 for her role as Reno Sweeney in \IAnything Goes)\i and two Mo Awards (in 1989 for \IAnything Goes\i and in 1988 for her performance as Mrs Lovett in \ISweeney Todd).\i
\BDescription:\b Geraldine Turner.
\BPhoto:\b Robyn Gardiner Management.
#
"Turpie, Ian",870,0,g,0
\I1943-\i
Ian Turpie, Australian television host, was born at Ferntree Gully Hospital in the Dandenong ranges area of Melbourne. He started out at ten years of age as a child actor in Crawford productions and came to fame with Olivia Newton-John as co-hosts of the Melbourne afternoon show in the early 60s called \ITime For Terry\i and Larry K. Nixon's \ILady For a Day\I.
Turpie married model Jan Hamilton on 3rd January 1968, and they have three children. He sang at Town Hall dances and has hosted a number of television game shows such as \IThe Marriage Game\i, \IThe Price is Right\i, \IThe New Price is Right\i and \ISupermarket Sweep\i. In 1995 he was a singer on ABC television's \IClub Buggery\i with Roy Slaven (John Doyle) and H.G. Nelson (Greg Pickhaver).
#
"TV Week Logie Awards",871,0,g,0
\IAwards for television performers and productions\i
An annual award in the form of a statuette which honours outstanding television practitioners. The awards (originally known as the 'TV Week Awards' and a Victoria-only affair) were first presented in 1958, on \JGraham Kennedy\j's variety show \IIn Melbourne Tonight\b\i. Kennedy, winner of the top award in the first year, bestowed the name 'Logie' in honour of John Logie Baird, the Scottish inventor of the television transmitter. By 1961 the awards were national. Two methods are used to decide winners: votes by coupons published in TV Week for the 'Most Popular' categories, and the votes of actors and panels of industry experts for the 'Most Outstanding' categories and Hall of Fame winners. Past Gold Logie ('Most Popular Personality') winners include Graham Kennedy (1960, 1967, 1969, 1974, 1978), \JLorrae Desmond\j (1962), \JBobby Limb\j (1964), \JGordon Chater\j (1965), \JGerard Kennedy\j (1971, 1972), Norman Gunston (Garry McDonald, 1976), \JRowena Wallace\j (1985) and \JKylie Minogue\j (1988).
\IAustralia's first fully professional repertory company\i
The Union Theatre Repertory Company (UTRC) was founded in 1953 by \JJohn Sumner\j who in 1952 had taken over management of the Union Theatre at the University of Melbourne. It was established with the support of the university as a non-profit repertory company both to present entertaining and educational works that were not provided by commercial theatre and to encourage works by local playwrights. The UTRC was run along the lines of British repertory companies--productions were changed every two to three weeks, and for six months of every year when its base, the Union Theatre, was being used by students, it took to the road. An early success was Ray Lawler's \J\ISummer of the Seventeenth Doll\j\b\i, directed by Sumner, which the UTRC premiered in 1955; in 1963 it premiered \IA Cheery Soul\b\i, by \JPatrick White\j. In 1966 the company moved its base from the Union Theatre to the Russell Street Theatre, and in the same year was one of four companies which toured Australia under the auspices of the Australian Elizabethan Theatre Trust. In 1968 it received a major subsidy from the newly-formed federal body, the Australian Council for the Arts. In 1969 the UTRC changed its name to the Melbourne Theatre Company. Sumner remained as director until 1987.
#
"Upside Down at the Bottom of the World",873,0,g,0
\IPlay, first produced 1976\i
\JDavid Allen\j set his play about the English novelist D.H. Lawrence and his aristocratic wife Frieda in the Australia of 1922. Fleeing from war-torn England, the two set up house at 'Wyewurk', a seaside cottage at Thirroul, south of Sydney. The play includes material from Lawrence's novels \IKangaroo\b\i and \ISons and Lovers\b\i as well as flashbacks to the pair's former life in Nottingham in 1912. Allen introduces the characters, Jack and Victoria, to initiate the Lawrences into various aspects of Australian life. The complex moody Lawrence and the feisty Frieda spend much of the play abusing each other and coming to terms with Australia.
The work was awarded the 1980 Australian Writers' Guild Awgie for the best stage play of the year (shared with \JDavid Williamson\j's \I\JTravelling North\j\b\i).
\IFirst performed\b\i: By the Troupe, an alternative theatre company co-founded by Allen in 1976, under the title of \IIf Ever I Get Back Again, I'll Stay\b\i at the 50-seat Red Shed.
\IOther productions include\b\i: The Nimrod Theatre Company at its Downstairs Theatre in 1979 with Barry Otto and Kerry Walker in the leading roles; the Playbox Theatre, Melbourne in 1980; the State Theatre Company of South Australia, the Queensland Theatre Company, the Jigsaw Theatre Company, the English Speaking Theatre, Amsterdam, touring throughout the Netherlands and Frankfurt, Germany, in 1981 and the Croydon Warehouse, London, in 1987.
#
"Vaughan, Martin",874,fp5082.jpg,c,0
\I1931-\i
\IActor of stage, film and television\i
Martin Vaughan was born in Brisbane. After working as a postman, customs officer, musician and playwright he began his acting career in 1964 with the St Martin's Theatre and the Emerald Hill Theatre in Melbourne. From 1967 to 1969 he was a member of the Melbourne Theatre Company. He was a permanent member of Sydney's Old Tote Theatre Company during 1971, and appeared in its production of \IOf Mice and Men\b.\i He starred in the ABC telemovie \IBilly and Percy\b\i (1972) but it was his portrayal of John West in the 1976 ABC mini-series \J\IPower Without Glory\j\b\i that brought him recognition. His other television work includes \I1915\b\i (1981), \IThe Dismissal\b\i (1983), \IGP\i (1995), \IMercury\i (1996), \IWater Rats\i (1996) and \IHeartbreak High\i (1997). His film appearances include \IBetween Wars\b\i (1974), \J\IPicnic at Hanging Rock\j\b\i (1975), \IRide a Wild Pony\b\i (1975), \IJust Out of Reach\j\b\i (1979), \IAlison's Birthday\b\i (1980), \IHoodwink\b\i (1981), \IWe of the Never Never\b\i (1982), \IRun Rebecca Run\b\i (1982), \IFluteman\b\i (1982) and \J\IPhar Lap\j\b\i (1983).
\BDescription:\b Martin Vaughan.
\BPhoto:\b Shanahan Management.
#
"Vernon, Barbara",875,0,g,0
\I?-1978\i
\IWriter for the theatre, radio and television\i
Barbara Vernon was born in northern New South Wales and became a radio announcer in the town of Inverell. She also ran an amateur theatre group and began writing plays. After moving to Sydney she worked as a freelance writer of radio and stage plays and then became a script editor in the ABC drama department, working first in radio and then television. Her radio plays of the 1950s and 1960s include \IThe Passionate Pianist\b\i and \IThe Loquat Tree\b\i. The best-known of her stage plays is \IThe Multi-Coloured Umbrella\b\i, which came second to \IThe Shifting Heart\b\i in a competition in 1956, was first professionally produced at the Sydney Theatre Royal in 1957 and thereafter was produced many times (published in 1961). In 1967 Vernon originated the popular and long-running ABC television series \J\IBellbird\j\b\i. She published two novels based on the series; an abbreviated version of one of these became the script for the film \ICountry Town\b\i (1971). In the 1970s she also worked on the series \J\ICertain Women\j\b\i and wrote one of the plays in the ABC anthology series \IQuality of Mercy\b\i (1975).
#
"Victorian Arts Centre",876,0,g,0
\IComplex with theatres and art gallery\i
The Victorian Arts Centre, the largest and most comprehensive such complex in Australia, comprises the Melbourne Concert Hall, three theatres, the National Art Gallery of Victoria and the Performing Arts Museum. The Melbourne Concert Hall, which opened in November 1982, seats 2670. The Hall can be 'tuned' to suit any type of music by raising or lowering acoustic banners which hang on each side of the auditorium, thus altering the reverberation of sound. As well, perspex shells above the stage can be changed for different acoustic responses. The grand concert organ has mechanical key and stop action, with four manuals, 60 speaking stops, four couplers and 4189 pipes; it is free-standing and encased in solid oak. The hall is the principal venue for the Melbourne Symphony Orchestra. The Performing Arts Museum, contained in the Melbourne Concert Hall, is the only one of its kind in Australia and houses more than 250 items. These include the world's largest collection of memorabilia associated with Dame Nellie Melba; a collection on circus in Australia; and J.C. Williamson Theatre props, programs, photographs and documents.
The Theatres building, containing the State Theatre, the Playhouse and the George Fairfax Studio, was opened in October 1984. Its largest venue is the State Theatre, which seats 2000 on three levels and is the regular venue for the Australian Ballet, the Australian Opera on tour and the Victoria State Opera. Its 1067 square metre stage can be used in a variety of configurations and is serviced by a fly tower which has digitally-controlled, hydraulically-powered flying systems capable of trucking in complete stage settings from the side and the rear. The State Theatre opened with the Australian Ballet's \ISleeping Beauty\b\i. The Playhouse is designed for drama production and seats 880 in its two-level auditorium. It is the main venue of the Melbourne Theatre Company, whose production of \IMedea\b\i with Zoe Caldwell was the first performance there. The George Fairfax Studio, the smallest of the three theatres, is a multi-purpose, multi-format auditorium seating 250 to 400, depending upon the arrangement. It is used for experimental theatre and is a popular venue for late night cabaret. The Playbox Theatre's \IA Stretch of the Imagination\b\i was the first performance there; the company was based there from 1984 until 1989, when its own theatre complex opened.
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"Vietnam",877,0,g,0
\ITelevision mini-series, first broadcast 1987\i
This series covered in a broad sweep the years of Australia's involvement in the Vietnam War, from Prime Minister Menzies' 1964 decision to commit troops to the 1972 election of the Whitlam government which immediately released conscientious objectors from gaol and withdrew all remaining Australian troops. The story was structured around events and relationships within the Goddard family in which the father, Douglas, a senior public servant closely involved in the war, gradually becomes disillusioned. The main characters, however, are his two children, Megan and Phil. Phil is conscripted and fights in Vietnam, returning later as an enlisted soldier in a select terrorist squad. In one of their attacks on a communist target, he finds that Lian, a Vietnamese woman with whom he had fallen in love during his earlier stint, had joined the communists and been killed by his squad. Meanwhile Megan's boyfriend Serge has been gaoled for evading the call-up and Megan, the archetypal sixties rebel, is active in the anti-Vietnam movement in Sydney, also supporting her mother Evelyn in her new life after she has decided to leave Douglas. The disrupted family come together briefly on the night of the election of the Whitlam government.
\IVietnam\b\i was a comparatively long mini-series, running for ten one-hour episodes. Its tight dramatic structure and high quality acting made it extremely popular and it has been rated as the best of the Kennedy Miller mini-series. It won the 1987 AFI Awards for best television actress (\JNicole Kidman\j) and best actor (\JNicholas Eadie\j).
\IProduction company\b\i: Kennedy Miller Productions
\IProducers\b\i: \JTerry Hayes\j, Doug Mitchell, George Miller
\IScriptwriters\b\i: Terry Hayes, John Duigan, Chris Noonan
\IMajor actors\b\i: Nicole Kidman (as Megan), Nicholas Eadie (as Phil), \JBarry Otto\j (as Douglas), Veronica Lang (as Evelyn), Pauline Chan (as Lian), John Polson (as Serge), \JNoel Ferrier\j (as Menzies), Mark Lee, Jim Holt, \JHenri Szeps\j
#
"Vizard, Steve",878,0,g,0
\I1956-\i
Steve Vizard, national television producer and former host of the Seven Network's \ITonight Live\i with Steve Vizard, was born in Melbourne on 6th March 1956. He grew up in Hawthorn, the son of a menswear shop owner, and was educated at Carey Grammar in Kew before studying law and arts at Melbourne University. He started out as a lawyer but decided to become a comedian in 1978 in the Archie Revue, and was an original member of \IThe Eleventh Hour Comedy Show\i which featured on the Seven Network in 1985. Many of the members later achieved fame in the Comedy Company on Network Ten.
In 1986, Steve joined CRA as a jet-setting corporate lawyer, negotiating large contracts in Germany and Japan. In 1989 he came to fame in the Seven Network's comedy show \IFast Forward,\i and in 1990 hosted \ITonight Live with Steve Vizard\i as well. In 1990, his company, Artists Production, turned down a $15 million dollar deal to join the Nine Network. On 15th March 1991, he scooped the pool at the 33rd TV Week Logie awards when he won the Gold Logie for the most popular TV Personality in Australia. He also won the most popular light entertainment award for \ITonight Live\i and the most popular comedy show for \IFast Forward.\i
He is married to Sarah and they have five children.
#
"Volska, Anna",879,0,g,0
\I1944-\i
\IStage, film and television actor, noted for classical stage roles\i
Along with her actor/director husband \JJohn Bell\j, Anna Volska has played a large part in theatre in Australia for several decades. She was born in Poland, came to Australia while young and studied at NIDA. After graduating her first role was in \IMy Three Angels\b\i for ABC television, but she has concentrated on stage work. Her many roles include Barbara in \IMajor Barbara\b\i for the Old Tote Theatre Company in 1970; Isabella in \IMeasure for Measure\b\i for the Nimrod Theatre (1972); Ophelia in \IHamlet\b\i for the Nimrod and Pram Factory (1973); for the Nimrod Nina in \IThe Seagull\b\i (1974), Sally in \IA Handful of Friends\b\i (1976), Beatrice in \IMuch Ado About Nothing\b\i (1975/77); Natalya in \IA Month in the Country\b\i for the State Theatre Company of South Australia (1979); Rosalind in \IAs You Like It\b\i for the Nimrod (1983); Lady Utterwood in \IHeartbreak House\b\i for the Sydney Theatre Company (1985); Barbara in \IPack of Lies\b\i for the Royal Queensland Theatre Company (1985); Vic/Miss Latrobe in \J\IAway\j\b\i for the Sydney Theatre Company (1988); Lady Macbeth for the Bell Shakespeare Company (1994); and the mother in David Williamson's \IDead White Males\b\i for the STC (1995). She has also directed several productions, including \IDemolition Job\b\i (1982) and \IAs You Like It\b\i (1983), both for the Nimrod.
Volska's television credits include \IThe Restless Years, The Timeless Land, Sara Dane,\b\i \IA Country Practice\b\i, \J\IEmbassy\j\i, and \IGP,\i and she has also appeared in several films including \IThe Everlasting Secret Family\b\i (1987).
#
"Wagstaff, Stuart",880,swagstaf.jpg,c,0
\I(1925-)
\IActor and entertainer of stage and television\i
Stuart Wagstaff was born in Wiltshire, England. He joined the Royal Navy in 1940 and after the war he appeared on London's West End, in several films and on television. He was brought to Australia in 1958 by J.C. Williamson's to perform in the play \INot in the Book,\b\i followed in 1959 by the musical \IMy Fair Lady\b\i with which he was associated for a further four years; he later played the male lead in a stage production of the musical \IThe Sound of Music,\b\i and in the plays \IThere's a Girl in My Soup\b\i and \IPrivate Lives\b.\i In 1981 he toured Australia with \IThe Rocky Horror Show,\b\i in 1983 he toured with \INoises Off\b\i and later in the year appeared in \IBlithe Spirit\b\i at Sydney's Marian Street Theatre. In 1993 he starred in a new production of \ILend Me a Tenor\b.\i In 1996/97 Stuart appeared in the role of Everett Baker in Gershwin's musical \ICrazy for You.\i
His television work includes shows such as \IBeauty and the Beast,\b\i which he hosted from 1964, \IIn Melbourne Tonight\b\i and \IStuart Wagstaff's World Playhouse,\b\i \IBlankety Blanks\b\i and guest appearances in the series \IA Country Practice\b\i and \IRafferty's Rules\b.\i
\BDescription:\b Stuart Wagstaff \I(Harry M. Miller & Co Management)\i
#
"Wake in Fright",881,0,g,0
\B(In the US, Outback)\b
\IFilm, released 1971\i
This Australian/American production was a landmark in the re-emergence of Australian cinema. With a Canadian director and several British actors in the lead roles, it still presented the authentic Australian outback--an outback to which a young city school teacher, John Grant, is assigned and in which he finds himself stranded, his holiday ticket to Sydney stolen and the locals threateningly supplying him with beer and camaraderie. The horrors of the kangaroo hunt in which he is forced to participate remain long in the minds of all who see the film. Released internationally by United Artists, it did well and was chosen to represent Australia at the 1971 Cannes Film Festival.
\IProduction company\b\i: NLT (Aust.)-Group W (US)
\IProducer\b\i: George Willoughby
\IExecutive producers\b\i: Howard G. Barnes, \JBill Harmon\j
\IDirector\b\i: Ted Kotcheff
\IScreenplay\b\i: Evan Jones (from the novel by Kenneth Cook)
\IMajor actors\b\i: Gary Bond (as John Grant), Donald Pleasence, \JChips Rafferty\j, Sylvia Kay, \JJack Thompson\j, Peter Whittle, Al Thomas, \JJohn Meillon\j
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"Walkabout",882,0,g,0
\IFilm, released 1971\i
Financed from the United States and with a British director, \IWalkabout\b\i evokes the atmosphere of the Australian desert where two children, a 16-year-old girl and her six-year-old brother, are lost following the suicide of their father. They are helped by an Aboriginal youth who leads them to the vicinity of a mining settlement and then kills himself when his courtship overtures are not understood by the girl. This part was the first film role for \JDavid Gulpilil\j. The film was widely praised and remains a cult movie in Australia and overseas.
\IProduction company\b\i: Max L. Raab-Si Litvinoff Films
\IProducer\b\i: Si Litvinoff
\IDirector\b\i: Nicholas Roeg
\IScreenplay\b\i: Edward Bond (based on the novel by James Vance Marshall)
\IMajor actors\b\i: Jenny Agutter (as the girl), Lucien John (as the brother), David Gulpilil (as the Aboriginal boy), \JJohn Meillon\j (as the father)
#
"Walker, Kerry",883,0,g,0
\I1948-\i
\IStage and film actor\i
After graduating from NIDA in 1974, Walker became a noted stage actor, appearing in many roles at the Nimrod in Sydney and elsewhere in plays including \IThe Floating World, Equus, Bedfellows\b\i and \IRomeo and Juliet\b\i. She performed in several of the plays of \JPatrick White\j, receiving White's personal approval, and appeared in the film version of his novella \IThe Night the Prowler\b\i (1979). Subsequent films include \IBliss\b\i (1985) and \IWendy Cracked a Walnut\b\i (1990).
#
"Wallace, George",884,0,g,0
\I1894-1960\i
\IStage, radio and film comedian\i
George Wallace was born in Aberdeen, New South Wales, and made his stage debut at the age of three when he appeared in a pantomime with his comedian father. After World War II he became one of the leading vaudeville entertainers in Australia, working as the funny man Onkus in the acrobatic comedy team 'Dinks and Onkus'. Small and agile, he was especially skilled as a dancer and was known for his ability to fall on his face; he usually appeared wearing his trademark outfit of battered hat, checked shirt and half-mast trousers. With the decline of vaudeville in the 1930s Wallace turned to film, appearing in \IOh What a Night\b\i (1932), \IHis Royal Highness\b\i (1932), \IHarmony Row\b\i (1933), \IA Ticket in Tatts\b\i (1934), \J\ILet George Do It\j\b\i (1938) which he co-wrote, \IGone to the Dogs\b\i (1939), \IThe Rats of Tobruk\b\i (1944) and \IWherever She Goes\b\i (1951). In 1933 he appeared on stage in the musical comedy \ICollits' Inn\b.\i
#
"Wallace, Rowena",885,fp5036.jpg,c,0
\I1948-\i
\IActor best known for her television work\i
Rowena Wallace was born in Coventry, England and came to Australia as a child, growing up in Queensland. She began her acting career at the Twelfth Night Theatre in Brisbane, playing Ophelia in \IHamlet,\b\i Cordelia in \IKing Lear\b\i and the title role in \ICalamity Jane\b.\i She first appeared on television as straight person to comedian George Wallace Jnr (son of \JGeorge Wallace)\j in his live variety show \ITheatre Royal\b.\i She is probably best known for her long-running role in the series \J\ISons and Daughters\j\b\i for which she received two Silver Logies for most popular actress on television and the 1985 Gold Logie. Other television appearances include the series \J\INumber 96,\j\b\i \J\IHomicide,\j\b\i \J\ICop Shop\j\b\i and \J\IPrisoner\j\b\i and the mini-series \IYou Can't See Round Corners,\b\i \J\IPower Without Glory,\j\b\i \IWater Under the Bridge\b\i and \IAll the Way\b.\i Her film appearances include \IYou Can't See Round Corners\b\i (1969), \ISqueeze a Flower\b\i (1970), \IAnd Millions Will Die\b\i (1973), \IPuberty Blues\b\i (1981), \IThe Dark Room\b\i (1982), \IRelatives\b\i (1985) and \ICappuccino\b\i (1989).
Her stage work includes \IRelatively Speaking,\b\i \IRattle of a Simple Man\b\i and the Australian production of \I42nd Street\b.\i
\BDescription:\b Rowena Wallace.
\BPhoto:\b Stacey Testro International.
#
"Wallace, Stephen",886,0,g,0
\I1943-\i
\IFilm and television director\i
Wallace began his career as a production assistant and documentary writer and director at Film Australia. In the 1970s he directed and wrote a number of short films, such as \ILove Letters from Teralba Road\b\i (1977); in the 1980s he moved also into television, directing 'Nerida Anderson', the third episode of \J\IWomen of the Sun\j\b\i (1982) and documentaries such as \IWomen Who Kill\b\i (1983). Subsequent work has included the feature films \IFor Love Alone\b\i (1985) and \ITurtle Beach\b\i (1990) and the 'Envy' episode in the ABC television anthology \ISeven Deadly Sins\b\i (1993). Wallace is also a teacher of directing at the Australian Film, Television and Radio School.
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"Walsh, Mike",887,0,g,0
\I1938-\i
Mike Walsh, former Australian radio and television personality, was born Michael Hayden Walsh at Corowa, New South Wales on 5th March 1938. He started his career in radio at 3SR Shepparton in 1960 as breakfast announcer after completing studies as a chemist. He became the first disc jockey at Melbourne's 3XY and was an original 2SM 'Good Guy' and the rage of Sydney night time radio in 1963.
He rose to prominence in his own day-time television show, \IThe Mike Walsh Show\i on the Nine Network, which went for 12 years. He owned ONE-FM in Katoomba, formerly 2KA, from the 1980s until 1997. His Hayden cinemas include the classic Orpheum at Cremorne in Sydney, and multiplexes at Richmond and Blacktown. In 1987, he hosted a television show on ABC-TV, and in 1988 was awarded $8 million damages against Channel 9.
#
"Waters, John",888,arts-27.jpg,c,0
\I1945-\i
\IActor of film, television and stage\i
English-born John Waters trained at the Richmond Theatre in England and arrived in Australia in 1968 where his first stage role was as Claude in \IHair\b.\i Other theatre work includes \IAnthony and Cleopatra,\b\i \IGodspell,\b\i \IDracula,\b\i \IA Day in the Life of John Lennon,\b\i \IThey're Playing Our Song,\b\i \IChildren of a Lesser God,\b\i Professor Higgins in \IMy Fair Lady,\b\i \IJesus Christ Superstar\b\i and the writer, lead and producer of \ILooking Through a Glass Onion,\b\i a portrait of John Lennon in words and music which, after a successful Sydney season, he took to London's West End.
His film work includes \IEnd Play\b\i (1976), \J\IEliza Fraser\j\b\i (1976), \IThe Getting of Wisdom\b\i (1976), \ISummerfield\b\i (1977), \IWeekend of Shadows\b\i (1978), \J\IBreaker Morant\j\b\i (1980), \IAttack Force Z\b\i (1980), \IGoing Sane\b\i (1985), \IBushfire Moon\b\i (1987), \IBoulevard of Broken Dreams\b\i (1988) for which he won the AFI best actor award, \IGrievous Bodily Harm\b\i (1988), \IHeaven Tonight\b\i (1989), \IThe Real Macaw\i (1997) and \IThe Sugar Factory\i (1997). His television appearances include the series \J\ICertain Women\j\b\i and \IThe Sullivans,\b\i the mini-series \J\IRush,\j\b\i \ISlippery Slide\b\i and \J\IAll the Rivers Run\j\b\i and the telemovies \IThe Trial of Ned Kelly,\b\i \IHigh Country\b\i and \ISingapore Sling\b.\i
\BDescription:\b John Waters.
\BPhoto:\b International Casting Service and Assoc.
\BPic2:\b fp5083.jpg
\BDescription2:\b John Waters.
#
"Watson, Reg",889,0,g,0
\ITelevision producer and scriptwriter\i
Brisbane-born Watson worked for many years in British television where he developed such shows as \ICrossroads\b\i. Back in Australia he joined the Grundy Organization, where he was a major force in the development of their soap opera repertoire. As well as being executive producer, he was the ideas person behind several of the major Grundy serials. His shows as executive producer include \J\ISons and Daughters\j\b\i (began 1972); \IThe Young Doctors\b\i (began 1976); \IThe Restless Years\b\i (began 1977) which he devised; \J\IPrisoner\j\b\i (began 1979), based on his original idea; and \J\INeighbours\j\b\i (began 1985). He was closely involved in the Grundy move into United States television, devising and scripting \IDangerous Women\b\i as a follow-up to \IPrisoner\b\i. This was produced in Hollywood specifically for the American market though was later (1991) shown on Australian television.
#
"Wayne, Kenneth",890,0,g,0
\I1922-93\i
Kenneth Wayne, Australian radio actor, was born Kenneth Seehusen on 5th October 1922. He starred as Australian radio's \ILarry Kent\i in the 1950s. He later went on to appear in films such as \IDust in the Sun\i, \IOn the Beach\i, \IThe Dambusters\i, \IThe Guns of Navarone\i and \IThe Dirty Dozen\i. He starred in the London production of \IThe Odd Couple\i in the 1960s and after he returned to Australia in 1972 appeared in \IPower Without Glory\i, \IThe Sullivans\i and \ICop Shop\i. Wayne died from cancer on 30th September 1993, aged 70.
#
"Weaver, Jacki",891,arts-28.jpg,c,0
\I1947-\i
\IActor of stage, film and television\i
Jacki Weaver was born in Sydney and made her first stage appearance, at the Phillip Theatre, while still at school. Her film appearances include \J\IThey're a Weird Mob\j\b\i (1966), \IThe Naked Bunyip\b\i (1970), \J\IStork\j\b\i (1972) for which she won the AFI best actress award, \J\IAlvin Purple\j\b\i (1973), \IPetersen\b\i (1974), \IThe Removalists\b\i (1975), \J\IPicnic at Hanging Rock\j\b\i (1975), \J\ICaddie\j\b\i (1976) for which she won the AFI best supporting actress award, \ISquizzy Taylor\b\i (1982) and \ICosi\i (1996).
Her television performances include \IWater Under the Bridge\b\i (1980), the ABC musical \IThe Girl from Moonooloo,\b\i \IThe Perfectionist,\b\i \IDo I Have to Kill My Child?\b\i for which she won a Logie for best actress and the series \ITrial by Marriage\b\i and \IHouse Rules\b.\i
Her stage performances for the Old Tote Theatre Company include \IThe Legend of King O'Malley,\b\i \ILove's Labour's Lost,\b\i \IA Streetcar Named Desire\b\i and \IThree Sisters\b\i; for Nimrod Theatre Company \IThe Removalists,\b\i \IThe Seagull\b\i and \IRockola\b\i; for J.C. Williamson's she toured for two years with \IThey're Playing Our Song\b\i; for the Melbourne Theatre Company \J\IEmerald City,\j\b Blithe Spirit, The Sisters Rosenweig, \IJoe Egg\b\i and \IDaylight Saving\b\i; for the Sydney Theatre Company \IThe Real Thing\b\i (1985), \IShadowlands\b\i (1991) for which she won the 1992 Variety Club Heart Award for best stage actress, \ISix Degrees of Separation\b\i (1992); and for the Riverside Theatre, Parramatta and the Sydney Theatre Company, \J\IAway\j\b\i (1993).
\BDescription:\b Jacki Weaver \I(International Casting Service and Associates Pty Ltd)\i.
#
"Weaving, Hugo",892,fp5084.jpg,c,0
\I1960-\i
\IActor of film, television and stage\i
Hugo Weaving was born in Nigeria and with his family settled permanently in Australia when a teenager. After graduating from NIDA in 1981 he appeared in several productions with the Sydney Theatre Company, including \IMacbeth\b\i (1982), \IThe Cherry Orchard\b\i (1983), \IThe Way of the World\b\i (1983) and \IThe Perfectionist,\b\i with which he travelled to the United States in 1984 for the Spoleto Festival. In 1988 he played the lead in \ILes Liaisons Dangereuses\b\i (Nimrod Theatre Company); in 1993 he appeared in \IMuch Ado About Nothing\b\i (Melbourne Theatre Company), in 1994 he appeared in \IThat Eye in the Sky,\b\i adapted from Australian author Tim Winton's novel of the same name (Burning House Theatre Company), and \IArcadia\b\i (Sydney Theatre Company) and in 1996 he appeared in \IThe Alchemist\i (Belvoir Street Theatre).
His film appearances include the lead in \IFor Love Alone\b\i (1985); the co-lead in \IThe Right Hand Man\b\i (1986); \IWendy Cracked a Walnut\b\i (1990); \J\IProof\j\b\i (1991) for which he received an AFI Award for best leading actor; \IFrauds\b\i (1992); \IReckless Kelly\b\i (1993); \IExile\b\i (1993); \IThe Custodian\b\i (1993); \ITrue Love and Chaos\i (1996) and \IThe Interview\i (1997). He received great acclaim for his role in \IThe Adventures of Priscilla: Queen of the Desert\b\i (1993). He has appeared in a number of television mini-series including \J\IBodyline\j\b\i (1984), \IMelba\b\i (1988), \IDirtwater Dynasty\b\i (1988), \IBarlow and Chambers: A Long Way From Home\b\i (1988), \J\IBangkok Hilton\j\b\i (1989), \IHalifax f.p. III\i (1997) and an episode of the ABC anthology series \ISeven Deadly Sins\b.\i
\BDescription:\b Hugo Weaving \I(Shanahan Management)\i.
#
"Weir, Peter",893,0,g,0
\I1944-\i
\IFilm director\i
Born in Sydney, Peter Weir worked as an actor, television stagehand and writer before joining the Commonwealth Film Unit (later Film Australia) where he made several documentaries. Since 1974 he has been an independent director of features. These include \IThe Cars That Ate Paris\b\i (1974), \J\IPicnic at Hanging Rock\j\b\i (1975) and \IThe Last Wave\b\i (1977). He also wrote or co-wrote the screenplay for the first and last of these, demonstrating his interest in the mysterious and supernatural. After making only two films in Australia in the 1980s--\J\IGallipoli\j\b\i (1981) and \IThe Year of Living Dangerously\b\i (1982)--Weir went overseas to work. Both these films had been very successful, particularly \IGallipoli\b\i for which he won the AFI best direction award. By the 1990s Weir was an acknowledged world-class director, having made several successful American films including \IWitness\b\i (1985), \IThe Mosquito Coast\b\i (1986), \IDead Poets Society\b\i (1989), \IGreen Card\b\i (1990) and \IFearless\b\i (1994). He was nominated for Academy Awards for \IWitness,\i \IDead Poets Society\i and \IGreen Card.\i
#
"Weis, Bob",894,fp5090.jpg,c,0
\IFilm and television producer\i
Born in Germany, Weis came to Australia when a young child and has been based in Melbourne. He studied for a while at the London School of Film and back in Australia became involved in experimental film production, in 1976 producing the feature \IPure S,\b\i directed by Bert Deling. He has since produced a varied range of films and television programs, working as an independent packager/producer under several company titles, including Jethro and, latterly, Generation Films. His work, though not uncommercial, shows an emphasis on such themes as the displacement of ethnic and social minorities and political corruption. His films include \IThe Clinic\b\i (1982), \IWills and Burke: The Untold Story\b\i (1985) which he also directed, \IGeorgia\b\i (1988) which he also co-wrote and \ILucky Break\i (1994).
His television shows include the mini-series \J\IWomen of the Sun\j\b\i (1982), \IWaterfront\b\i (1984), \IThe Dunera Boys\b\i (1985), \ICassidy\b\i (1989), as well as two highly regarded anthology series, \ISix Pack\b\i (1992) for SBS, \ISeven Deadly Sins\b\i (1993) for the ABC and the drama series \IRAW FM\i (1997) for the ABC. Weis was a Council member of the Australian Film, Television and Radio School and from 1991 has been president of the Screen Producers Association of Australia. In 1994 he became chairman of the Australian Film Institute.
\BDescription:\b Bob Weis.
\BPhoto:\b Bob Weis and Greg Noakes.
#
"Wenzel, Brian",895,0,g,0
\I1929-\i
Brian Wenzel, Australian actor, was born in Adelaide on 24th May 1929. His childhood was spent in a number of boys' homes. He ran away to join the circus when he was 14, and worked as a horse groom, dog groomer, and tent hand for three years. At 17, he started out as an actor in musical comedy. He spent six months playing the "villain" in the Olde Kings Music Hall in Adelaide.
He appeared in the first three productions of the State Theatre Company of South Australia. He has appeared in many Australian television dramas before coming to fame as police sergeant Frank Gilroy in the television series \IA Country Practice\i during the 1980s. His movie credits include \IThe Last Wave, The Odd Angry Shot, Alison's Birthday\i and \INow and Then.\i
#
"Western Australian Film Council",896,0,g,0
\IFormer film industry support body in Western Australia\i
The Western Australian Film Council was founded in 1977 to fund and develop the film industry in Western Australia. It was an investor in \JTony Ginnane\j's \IHarlequin\b\i (1980), in \IRoadgames\b\i (1980) and in the 26-part television series \IFalcon Island\b\i (1981). In 1993 the Council underwent a major overhaul and was reborn as \JScreen West\j.
#
"Whaley, George",897,fp5086.jpg,c,0
\ITheatre director and actor\i
An actor, director and writer, Whaley has worked in all these media since 1960. In 1962, with fellow director Wal Cherry, he opened the 140-seat Emerald Hill Theatre in South Melbourne. His acting roles include Jimmy Porter in Osborne's \ILook Back in Anger,\b\i the German tutor in Shaffer's \IFive Finger Exercise,\b\i Biff in Miller's \IDeath of a Salesman,\b\i Vershinin in Chekov's \IThe Three Sisters,\b\i Hotspur in Shakespeare's \IHenry IV, Part I\b\i and John Proctor in Miller's \IThe Crucible\b\i for the Melbourne Theatre Company; Luther in Osborne's \ILuther,\b\i Oedipus in Sophocles' \IOedipus Rex\b\i and Macbeth in Shakespeare's \IMacbeth\b\i for Emerald Hill Theatre; Bolingbroke in Shakespeare's \IRichard II\b\i for the Old Tote Theatre; Sir Archibald Jumpers in Stoppard's \IJumpers\b\i and the Histriomaniac in Of's \IAccidental Death of an Anarchist\b\i for the Nimrod Theatre Company; Gertrude in Boddy and Blair's \IHamlet on Ice\b\i for Theatre ACT and Dr Rank in Ibsen's \IA Doll's House\b\i for Belvoir Street Theatre. More recently he appeared in \IHonour\i for the Griffin Theatre Company in 1997.
Whaley's wide acting experience enabled him to direct other actors with great success. He has directed a large variety of plays by both Australian and non-Australian playwrights for many of Australia's top theatre companies. These include Brecht's \IMother Courage,\b\i Derum's adaptation of C.J. Dennis' \IMore than a Sentimental Bloke,\b\i Williamson's \IThe Perfectionist\b\i and Pinter's \IOld Times\b\i for Theatre ACT and a later, 1993 production of \IThe Perfectionist\b\i for Sydney's Marian Street Theatre.
Whaley has made television guest appearances in series such as \J\IHomicide,\j\b\i \IDivision 4\b\i and \IThe Flying Doctors\b\i as well as taking the roles of Julio in \IRing of Scorpio\b\i (1990) and Gil Tyler in \IA Country Practice\b\i (1992). He has also directed various TV mini-series including two collaborations with Ruth Park: \IHarp in the South\b\i (1986) and \IPoor Man's Orange\b\i (1987) for Network 10. In 1993 he directed an episode of ABC TV's popular series \J\IMother and Son\j\b\i and in 1994 prepared a film version of \IOn Our Selection\b\i based on his own adaptation, first staged in 1979.
Whaley was associate director of Emerald Hill Theatre (1961-66), director of University of Melbourne's University Theatre (1969-73), resident director of the Old Tote Theatre Company (1973-75), head of the acting course at NIDA (1976-81), artistic director of Theatre ACT, Canberra (1981-83) and head of directing at the Australian Film and Television School (1993-).
\BDescription:\b George Whaley.
\BPhoto:\b Shanahan Management.
#
"Wharf Theatre, Sydney",898,0,g,0
\ITheatre complex in a converted wharf\i
One of the homes of the Sydney Theatre Company, the Wharf Theatre complex opened in 1985 and is housed in a converted finger wharf, built of ironbark and dating from the early twentieth century, which juts over Sydney Harbour. It consists of two theatres--Wharf 1, the main performance space with a moveable seating configuration that can accommodate up to 321 patrons, and Wharf 2, also with moveable seating and accommodating up to 200--rehearsal spaces, administration offices and a restaurant with magnificent views across the water to the Harbour Bridge and northern foreshore. The entry corridor runs the length of the wharf, some 200 metres, from the street to the theatre foyer. The conversion of the structure to its present use, by architect Vivian Fraser, won the 1985 Sir John Sulman Award.
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"When a Girl Marries",899,0,g,0
\IRadio serial, broadcast 1946-65\i
The scripts for this serial were bought from America and adapted for Australian audiences. The series was, in the closing, breathy words of the announcer, 'Dedicated to those who are in love . . . and to all who can remember . . .', and dealt with the happiness and heartbreak of characters Joan and Harry Davis and others before and after World War II.
\IWriter\b\i: Elaine Carrington; adapted by \JPeter Yeldham\j
\IMajor actors\b\i: Ron Randell (as Harry), Marie Clarke (later \JMarie Trevor\j) (as Joan), Madeleine Howell, \JQueenie Ashton\j, Alan White
#
"Wherrett, Richard",900,0,g,0
\I1940-\i
\IStage, film, opera and television director\i
Sydney-born Wherrett attended Sydney University from 1958 to 1961, where he acted in various drama society (SUDS) productions. He spent the years from 1965 to 1970 in the United Kingdom teaching and tutoring at East 15 Acting School and working as a freelance director. On his return to Australia in 1970, Wherrett worked as associate director of the \JOld Tote Theatre Company,\j directing plays such as \IThe Man of Mode\b\i (1971) and Boddy and Ellis' \IThe Legend of King O'Malley\b\i (1972). By 1973 he was freelancing as a director in Sydney. During this time he directed the world premiere of Buzo's \ITom,\b\i the world premiere of Alma de Groen's \IThe After-Life of Arthur Cravan\b\i and Lawler's \IThe Summer of the Seventeenth Doll\b\i (revised in January 1974 for the Perth Festival).
Wherrett was associated with the founding of the Nimrod Theatre of which he was co-artistic director from 1974 to 1979. During his years there he directed the world premieres of a number of seminal plays by local playwrights such as \JAlex Buzo,\j \JRon Blair\j and Steve J. Spears. Other plays he directed at that time include the world premiere of de Groen's \IGoing Home\b\i (1977), Shakespeare's \IHenry IV\b\i (1978) and David Allen's \IGone With Hardy\b.\i
From 1979 to 1990 Wherrett was director and chief executive of the Sydney Theatre Company for which he directed a string of hits including \INicholas Nickleby\b\i (1983, 1984), Stoppard's \IThe Real Thing\b\i (1985 and 1993), Ibsen's \IHedda Gabler\b\i (1986), John Romeril's \IThe Floating World\b\i (1986), Michael Gow's \J\IAway\j\b\i (1987) and David Williamson's \ISiren\b.\i Other directing highlights of Wherrett's career include Brecht's \IArturo Ui\b\i (1971), subsequently televised by the ABC, \IThe Elocution of Benjamin Franklin\b\i (1976, London 1978, San Francisco 1978, New York 1979), for which he won the New York OBIE (Off Broadway) Award for best direction, \ICyrano de Bergerac\b\i (1980), \IMacbeth\b\i (1982), \IAmadeus\b\i (1982), \IChicago\b\i (1983), \IThe Way of the World\b\i (1983), \Iand the world premiere of Williamson's \JEmerald City\j\b\i (1987). His direction for the screen includes \IThe Girl from Moonooloo\b\i (1982) for ABC-TV; two short films, \IThe Girl who met Simone de Beauvoir in Paris\b\i and \IThe Applicant\b\i; and the feature film \IBilly's Holiday\b\i (1995). He has also directed for opera. These include \ITurandot\i for the Victoria State Opera (winner of the Victorian Green Room Award for best production); \IThe Rise and Fall of the City of Mahagonny\i for the Australian Opera; and the Australian version of Walt Disney's \IBeauty and the Beast\i at the Princess Theatre, Melbourne.
On leaving the STC Wherrett moved to Melbourne when he was appointed artistic director of the 1992 and 1993 Melbourne Festivals. In 1992 he directed the arena version of Harry M. Miller's production of the musical \IJesus Christ Superstar\b\i and later, the touring 1994 New Zealand and Australian stage production of the show. Sydney-based again by 1994, he directed Peter Shaffer's \IThe Gift of the Gorgon\b\i for the Queensland Theatre Company and Louise Nowra's \IThe Temple\b\i for the Sydney Theatre Company. Wherrett was awarded an AM in 1984 for distinguished services to the performing arts and he received the Sydney Theatre Critics' Circle Major Award for a significant contribution to Sydney Theatre in 1990.
#
"Whitbread, Oscar",901,fp5088.jpg,g,0
\I1937-\i
\ITelevision producer and director\i
Whitbread's long career with the ABC started with the series \IOn Approval\b\i in 1964. He directed some early episodes of \J\IBellbird\j\b\i (began 1967) and was also executive producer at various times. More importantly, at this time he worked with David Goddard (the English producer who had started \IBellbird)\b\i on the \IPlayhouse\b\i series which played a large part in promoting Australian playwrights. Whitbread was head of ABC drama in Victoria from 1971 to 1979 and again in 1983-84. Highlights of his career during this time include the following drama series, all of which he produced and directed: \IMarion\b\i (1974), the first series of \J\IRush\j\b\i (1975), probably most notably \J\IPower Without Glory\j\b\i (1976), \IEnd of Summer\b\i (1977), \ILawson's Mates\b\i (1978-79), \IOutbreak of Love\b\i (1979), \IA Descant for Gossips\b\i (1982), \IThe Young Wife\b\i (1983), \IGolden Pennies\b\i (1984) and \IMud, Bloody Mud\b\i (1984). Many of these exemplify a style of production in which Whitbread excelled--quality television drama based on works of Australian literature. \IPower Without Glory\b\i in particular was his brainchild. They also demonstrate his regular working relationship with several of Australia's leading scriptwriters such as \JCliff Green\j and \JSonia Borg.\j
After leaving the ABC to join Crawfords in 1984, Whitbread produced 100 episodes of the series \IThe Flying Doctors\b\i and a pilot of \IAcropolis Now\b.\i He then joined the Seven network as senior producer in Melbourne and has since formed his own company, for which he produced and directed the mini-series \IRatbag Hero\b\i (1991), a historical mini-series written by Sonia Borg and shown on the Seven Network.
In 1996 \IBush Patrol,\i 78 episodes of a major children's series was produced in Perth for the Seven Network, created by his wife, Corinne Whitbread. In 1997, a children's telefeature, \IBalanced Particle Freeway,\i was commissioned by the Commercial Film Fund and written by Carole Wilkinson. Both productions are under the banner of 'Rosenbaum/Whitbread Productions'.
In 1991 he was chosen by the Australian Writers Guild (Awgie) for the honorary Dorothy Crawford Award.
#
"White, Brian",902,0,g,0
\I1933-90\i
Brian White, former Australian radio personality and station manager, was born in Sydney on 21st October 1933. His broadcasting career began in 1953 when 2GB Macquarie employed him as the first cadet journalist in commercial radio. Over 37 years he held senior positions at the ABC, 2GB, 2SM, and was general manager of 3AW, 2UE and 3AK before returning to radio as a personality with 2UE in 1988 for a reported $200,000 per year.
In 1975, White served the then Labor Government as Broadcasting Adviser to the Department of Media under Senator Doug McClelland. A former president of the Fitzroy Football Club, he was divorced from his first wife Margaret Cox to whom he had a daughter Kate and two sons Michael and Daniel. At the time of his death, he was separated from his second wife, journalist Dianne St. John, to whom he had a daughter, Annie (1972).
He was chairman of the Federation of Australian Commercial Broadcasters for three years from 1982-85, and served the community in organisations such as the Ash Wednesday Bush Fire Trust and the Melbourne Royal Women's Hospital Clinical Research Foundation. He died, aged 56, in Sydney's Royal Prince Alfred Hospital on 22nd May 1990 after suffering a severe stroke at his Balmain home the previous day. At the time, he was the afternoon drive-time host on 2UE Sydney.
#
"White, Patrick",903,0,g,0
\I1912-90\i
\INovelist, poet, short story writer and playwright\i
Born in London of an Australian grazier family, White was educated in Sydney and at Cheltenham College in England. After trying life as a jackeroo in New South Wales he returned to England, took a degree in modern languages at Cambridge and served as an intelligence officer with the RAF during World War II. While based in Egypt he met his lifetime companion, Manoly Lascaris. After the war he settled in Sydney. His first published work was a collection of poems. His distinctive writing style first became evident in the novel \IThe Aunt's Story\b\i (1948), and he became established as a writer with \IThe Tree of Man\b\i (1955) which met with overseas acclaim. A series of highly acclaimed novels followed.
White's play \IThe Ham Funeral\b\i was considered for inclusion at the 1962 Adelaide Festival but the Board of Governors rejected it, along with Alan Seymour's \IThe One Day of the Year\b\i. The decision met with controversy but the play was produced anyway towards the end of 1961 by the Adelaide University Theatre Guild. White wrote three more plays in quick succession: \IThe Season at Sarsaparilla\b\i (1962), \IA Cheery Soul\b\i (1963) and \INight on Bald Mountain\b\i (1964). Then, disappointed by the public's reception of his plays, White returned to novel writing until 1977 when he wrote \J\IBig Toys\j\b\i and a film script, \IThe Night the Prowler\b\i, for director \JJim Sharman\j and his group of actors. White wrote three more plays for Sharman: \ISignal Driver\b\i (1982), \INetherwood\b\i (1983) and \IShepherd on the Rocks\b\i (1987).
Each of White's works is highly individual but common characteristics include intense sharpness of wit and observation, a dual illumination of sordidness and the value of the everyday, and a representation of the isolation and suffering of those few who step outside the ordinary in spiritual quest. He was awarded the Nobel Prize for Literature in 1973 and used the prize money to establish the Patrick White Award for Literature. Though usually living a secluded life, he made his views known on a number of key issues, including the Vietnam War, Aboriginal land rights and the dismissal of the Whitlam Government in 1975.
Recent revivals of his dramatic work include the 1989 production of \IThe Ham Funeral\b\i directed by Neil Armfield for the STC (broadcast by ABC TV and Radio) and the 1992 production of \IA Cheery Soul\b\i, also Armfield directed, for the Royal Queensland Theatre Company and then for the Adelaide Festival.
#
"Who, Gary",904,0,g,0
\I1954-\i
Gary Who, Australian comedian and actor, was born Gary Weston in Mudgee, New South Wales on 1st May 1954. He started out as a signwriter in Sydney before becoming a stand up comedian at places like the Comedy Club. After frequent appearances on the \IRay Martin Midday Show\i and \IHey Hey It's Saturday\i, he appeared in television series such as \IA Country Practice, E Street, GP\i and \IJust for the Record.\i In 1991, he was signed to the television comedy series, \IAll Togther Now,\i for two years.
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"Wilkes, Keith",905,0,g,0
\ITelevision director and producer\i
Wilkes has been a television director based at the ABC in Melbourne since the 1960s. His credits include \J\IBellbird\j\b\i (began 1967), for which he was also executive producer for a while; the children's series \IA Taste for Blue Ribbons\b\i (1973); the historical series \IMarion\b\i (1974) for which he won the Penguin Award for best direction; the comedy sporting series \IAnd the Big Men Fly\b\i (1974) and the subsequent \IAnd Here Comes Bucknuckle\b\i (1981), which he also produced; the noted mini-series \J\IPower Without Glory\j\b\i (1976); \II Can Jump Puddles\b\i (1981); and the children's series \IHome\b\i (began 1983). In 1985 he produced the art history mini-series \IOne Summer Again\b\i about the Heidelberg School and in 1986 was executive producer of the thriller series \IPokerface\b\i.
#
"Wilkins, Richard",906,0,g,0
\I1962-\i
Richard Wilkins, Australian television entertainment reporter and former Australian host of MTV, was born in New Zealand on 19th June 1962. He has been married three times and has four children, two from his first wife, one from his second, and one from his third. When he first came to Australia, he worked as promotions manager with 2UW. Following the end of MTV on the Nine Network, he was retained as an entertainment reporter for the \IToday Show.\i
#
"Willesee, Mike",907,0,g,0
\I1942-\i
Mike Willesee, Australian current affairs television host, was born in Perth on 29th June 1942, the son of Labor Party Senator and Foreign Minister Don Willesee. He started in newspapers in Melbourne and in 1966 joined ABC television as a reporter. He formed Trans Media Productions in 1968 and hosted \IA Current Affair,\i the first commercial program of its kind for the Nine Network. He then hosted \I24 Hours\i for the Ten Network, and \IWillesee at Seven\i for Network Seven, before rejoining the Nine Network in 1984. Willesee has a keen interest in horse racing, has been married twice, and has five children. He separated from his second wife Carol in 1989 after being married for 14 years. In 1989, he bought a major share holding in the Sydney Swans AFL football team, 4CA Cairns, 4TO Townsville and 4MK Mackay.
#
"Willesee, Terry",908,0,g,0
\I1945-\i
Terry Willesee, Australian current affairs television host, was born in Perth on 12th April 1945, the son of politician Don Willesee and brother of Michael, Don and Geraldine. He started out as a bricklayer and drifted into television news and current affairs. He hosted \ITWT\i on Channel 7 for five years and switched to the Nine Network in 1988 to co-host the ill-fated shows, \ILive at Five\i and \ICoast to Coast\i with Jo Pearson. In 1990, he switched to the Ten Network and co-hosted \IGood Morning Australia\i, but after the Network went into receivership he was retrenched and returned to bricklaying.
In April 1991, he joined 2HD in Newcastle to host the morning radio show; however by 1993 he was working in New York. In 1995, he returned to Australia to read the evening news for Channel 9 in Perth. He is also a regular fill-in host for the Kerri-Anne Kennerley \IMidday Show\i. Married to former American model Melissa, they have two children Sarah (1986) and Jesse (1984).
#
"Williamson, David",909,davwilli.jpg,c,0
\I1942-\i
\IPlaywright\i
Born in Melbourne, Williamson studied mechanical engineering and psychology. He lectured in both these subjects before becoming a successful playwright. His early plays were first produced at alternative theatre venues--\IThe Coming of Stork\b\i at La Mama in 1970, \J\IDon's Party\j\b\i by the \JAustralian Performing Group\j in 1971 and \IThe Removalists\b\i at La Mama also in 1971. \IThe Removalists,\b\i which won an Australian Awgie Award and shared in the George Devine Award of the British theatre, was the first to achieve commercial success. Other plays include \IThe Department\b\i (1975), \IA Handful of Friends\b\i (1976), \IThe Club\b\i (1977), \J\ITravelling North\j\b\i (1979), \IThe Perfectionist\b\i (1982), \ISons of Cain\b\i (1985), \J\IEmerald City\j\b\i (1987), \ISiren\b\is (1990), \J\IMoney and Friends\j\b\i (1991), \IBrilliant Lies\b\i (1993), \ISanctuary\b\i (1994) and \IDead White Males\b\i (1995). Several of these have been produced as films.
Williamson has also written film scripts, including \J\IStork\j\b\i (an adaptation of his early play \IThe Coming of Stork),\b\i \J\IGallipoli,\j\b\i \J\IPhar Lap,\j\b\i \J\IEliza Fraser\j\b\i and \ITravelling North\b\i (based on his own play). His plays, mostly written about and for the educated, affluent, liberal-minded middle class, focus on the rituals of social behaviour with wit and with realistic, recognisable settings, characters and dialogue. Williamson, now based in Sydney, is considered one of Australia's leading playwrights. He was appointed AO in 1983.
\BDescription:\b David Williamson \I(Anthony A. Williams Management Pty Ltd)\i.
#
"Williamson, James Cassius",910,0,g,0
\I1845-1913\i
\IComic actor turned theatrical entrepreneur; founder of J. C. Williamson Ltd theatrical empire\i
James Cassius Williamson was born in Pennsylvania, in the United States, and at the age of sixteen made his theatrical debut further west, in Wisconsin; in 1863 he appeared in New York as a juvenile comedian and in 1871 was the leading comedian at the Californian Theatre in San Francisco. There he met another comic actor, Maggie Moore, who became his stage partner in 1872, and in the following year his wife. In 1874-75 the pair toured Australia for \JGeorge Coppin\j acting in \IStruck Oil\b\i and other plays; they returned in 1879, again with \IStruck Oil\b\i. In 1880 Williamson formed the Royal Opera Company and in the following year leased the Theatre Royal in Melbourne, which he fitted out with lavish sets and state-of-the-art technical facilities. There he staged the Australian premiere of Gilbert and Sullivan's \IPirates of Penzance\b\i (he eventually held exclusive Australasian performance rights for all Gilbert and Sullivan operas). In 1882 he joined his main rivals, George Musgrove and Arthur Garner, in a partnership that lasted nine years and began what was to become the J. C. Williamson Ltd hallmark of bringing to Australia top overseas performers for long-running extravagant shows. In 1899 Williamson and Moore were divorced and Williamson married dancer Mary Weir. He spent most of his latter years in Europe and died in Paris.
#
"Williamson Ltd, J.C.",911,0,g,0
\ILeading theatrical company founded in the late nineteenth century\i
In 1882 \JJames Cassius Williamson\j, a comic actor turned theatrical manager, formed a partnership with two of his rivals, George Musgrove and Arthur Garner, which laid the basis of what was to become the most important theatrical management organisation in Australia. With some partnership changes over the years, the company continued to absorb competitors and eventually owned theatres in Sydney, Melbourne, Adelaide and Brisbane. Known popularly as 'The Firm', the Williamson organisation pursued a policy of importing overseas artists for long-running, expensively staged shows. It also presented Australian artists and shows; in 1896 it broke records with an original Australian pantomime, \IDjin Din\b\i. Performers introduced to Australian audiences by the company include British actors Sarah Bernhardt and H. B. Irving and Australians Ada Crossley, Nellie Melba and \JOscar Asche\j. From 1907 Williamson's financial stake in the company gradually diminished as he sold portions of his share; the proprietary company was formed in 1911 with Williamson as governing director. The modern company of the same name leased the title in 1976 and is not associated with the original company.
#
"Wilson, Frank",912,0,g,0
\I1924-\i
\IActor of stage, film and television\i
Melbourne actor Frank Wilson appeared on Australian television in its first year of transmission. Since then he has acted in or hosted a great number of shows including the series \J\IBellbird\j\b\i, \J\IHomicide\j\b\i, \J\ICop Shop\j\b\i, \IHoliday Island\b\i and \IMatlock Police\b\i, the mini-series \J\IPower Without Glory\j\b\i, the telemovies \IAnd the Big Men Fly\b\i and \ITudawali\b\i and the variety shows \ITake the Hint\b\i and \INew Faces\b\i. His films include \IKangaroo Kid\b\i (1950), \J\ISummer of the Seventeenth Doll\j\b\i (1959), \IAlvin Rides Again\b\i (1974), \IThe Great McCarthy\b\i (1975), \IPatrick\b\i (1978), \IMoney Movers\b\i (1979), \IThe Journalist\b\i (1979), \J\IFatty Finn\j\b\i (1980) and \IThe Club\b\i (1980). His stage work includes \J\ITravelling North\j\b\i and the Australian premiere of \IThe Petition\b\i (1988).
#
"Wincer, Simon",913,0,g,0
\I1943-\i
\IFilm and television director\i
After working for the ABC in the early 1960s, Wincer gained theatre experience at the Independent Theatre in North Sydney and spent several years working in theatre and television in Britain. On his return in 1970 he joined Crawfords and worked on such series as \J\IHomicide\j\b\i (began 1964), \IDivision 4\b\i (began 1969), \IMatlock Police\b\i (began 1971), \IThe Box\b\i (began 1974) and \IThe Sullivans\b\i (began 1976). He subsequently co-directed several Seven network related productions--\ICash and Company\b\i (1975), \ITandarra\b\i (1976) and the ground-breaking \J\IAgainst the Wind\j\b\i (1978). In 1979 he directed the feature films \IHarlequin\b\i and \ISnapshot\b\i and in 1980 became film and television chief executive of the Michael Edgley organisation. In this position he was one of the executive producers of the successful feature film \IThe Man from Snowy River\b\i (1982). He also worked on the film as a second unit director and later directed another popular Edgley film, \J\IPhar Lap\j\b\i (1983).
In 1986 Wincer produced and directed the feature \IThe Lighthorsemen\b\i and in 1989 directed \IQuigley Down Under\b\i. His recent work has been some of his most successful--the US feature film \IFree Willy\b\i (1993) was extremely popular and financially rewarding, while the US television mini-series \ILonesome Dove\b\i (1989) won Wincer an Emmy Award for direction. He was chosen by \JPaul Hogan\j to direct his 1994 feature \ILightning Jack\b\i.
#
"Winstanley, Eliza",914,0,g,0
\I1818-82\i
\IStage actor and writer\i
Eliza Winstanley was born in England and came to Australia as a child. She made her stage debut in 1834 at the Theatre Royal in Sydney, was in the opening play at Sydney's Royal Victorian Theatre and worked consistently as an actor, often appearing in six different plays in a week, until 1846 when, with her musician husband, she left for England. She played both Shakespearean and comic roles on the London stage between 1848 and 1865 and also spent two years in the United States. She was the first Australian-trained actor to work outside the country. She spent her final years in Australia.
#
"Winter of our Dreams",915,0,g,0
\IFilm, released 1981\i
Made on a low budget and with a serious theme, this film managed to be a commercial success. Its story of Lou, a Kings Cross prostitute and heroin addict, and her infatuation with Rob, a one-time sixties radical now living in middle-class comfort and writing about the fate of the 'protest generation', was the idea of director \JJohn Duigan\j. The signing up of big-name lead actors enabled funding for the film to be raised. \JJudy Davis\j, who involved herself in the drug community to prepare for her role, won best actress at the AFI Awards.
\IProduction company\b\i: Vega Film Productions
\IProducer\b\i: \JRichard Mason\j
\IDirector\b\i: John Duigan
\IScreenplay\b\i: John Duigan
\IMajor actors\b\i: Judy Davis (as Lou), \JBryan Brown\j (as Rob), Cathy Downes, \JBaz Luhrmann\j, Peter Mochrie
#
"Witcombe, Eleanor",916,0,g,0
\I1923-\i
\IStage, radio, television and film writer\i
Eleanor Witcombe built up a reputation over a long period of time as the doyenne of Australian scriptwriters. Her early work included stage and radio plays for both adults and children. Particularly popular were several children's plays of the 1950s, including \ISmugglers Beware\b\i and \IThe Bushrangers\b\i, which were produced many times, in Britain and the United States as well as Australia. Witcombe's television scriptwriting has included the adaptation of her own play \ISmugglers Beware\b\i (1963), \IThe Mavis Bramston Show\b\i (1964-68) and \J\INumber 96\j\b\i (began 1972), as well as adaptations of novels such as \IPastures of the Blue Crane\b\i (1969) and \J\ISeven Little Australians\j\b\i (1973). Relatively late in her career she wrote the screenplay for two films, \IThe Getting of Wisdom\b\i (1977) and \J\IMy Brilliant Career\j\b\i (1979), both adaptations of novels. The second of these was fraught with difficulties, with disagreements between Witcombe and the young director \JGillian Armstrong\j. After a script editor was brought in, Witcombe almost refused to allow her name to remain in the credits, but changed her mind after seeing the final film. She has also developed the scripts for several American films, including \IOver the Hill\b\i (1991). During the 1980s she continued with television writing, her work including the ABC historical mini-series \IWater Under the Bridge\b\i (1980) and \IJonah\b\i (1982).
Witcombe's many awards include the AFI Award for best adapted screenplay for \IMy Brilliant Career\b\i and Awgie Awards for \ISeven Little Australians\b\i and \IJonah\b\i.
#
"Withers, Googie",917,0,g,0
\I1917-\i
\IActor of stage, film and television\i
Googie (real name Georgette) Withers was born in India and educated in England. She began her career on the London stage as a dancer in musicals, moving on to comedy and dramatic film roles. She first toured Australia in 1954 with her husband \JJohn McCallum\j in the shows \ISimon and Laura\b\i and \IThe Deep Blue Sea\b\i; her other theatre credits in Australia include \IThe Constant Wife\b\i, \IWoman in a Dressing Gown\b\i, \IThe Kingfisher\b\i, \IThe Circle\b\i and \IHigh Spirits\b\i, a show devised and directed by McCallum which toured Australia in 1991 and 1993. Her films in Australia include \IThe Nickel Queen\b\i (1971) and her television appearances include the mini-series \IMelba\b\i.
#
"Wogs Out of Work",918,0,g,0
\IRevue-style show, first produced 1987\i
From its origins as a late show at one of the smaller venues at Melbourne's first Comedy Festival in 1987, this satirical show gained cult status, was seen by more than 200000 people in its first year and has been performed to sell-out audiences around Australia. Devised and performed by Simon Palomares, Nick Giannopoulos and Maria Portesi (and later George Kapiniaris), it aimed at a humorous presentation of acutely-observed 'ethnic' types (and stereotypes), yuppies, Australian class differences and the token nature of government acknowledgment of the multicultural society. A particular goal was to take the edge out of the use of the word `wog'.
\IFirst performed\b\i: At the Universal 2 Theatre, in Fitzroy, Melbourne, later moving to the Athenaeum Theatre.
\IOther major productions\b\i: ANU Arts Centre (1988), Sydney Opera House Playhouse where it was produced by Garry Penny Productions and had an extended run, moving to the Enmore Theatre in 1989, Regal Theatre, Perth (1989), Rialto Theatre, Brisbane (1989), Her Majesty's Theatre, Adelaide (1990), Theatre Royal, Hobart (1990). In 1989 Crawfords produced a television comedy series, \IAcropolis Now\b\i, based on \IWogs out of Work\b\i and written by and starring Palomares, Giannopoulos and Kapiniaris. It ran on the Seven network until 1994 and was one of the most successful Australian television comedy series.
#
"Women of the Sun",919,0,g,0
\ITelevision mini-series, first broadcast 1982\i
Conceived by writer \JSonia Borg\j as a means of showing Australian history from the viewpoint of Aboriginal women, this series consisted of four discrete plays. They were written by Borg in collaboration with Aboriginal sociologist Hyllus Maris and eventually produced by \JBob Weis\j. Each episode had its own title, character, story, place and time setting. The four in order were 'Alinta, The Flame', 'Maydina, The Shadow', 'Nerida Anderson', 'Lo-arna'. The central character in each is a woman, showing resilience in the face of destruction, deprivation or cultural alienation. The series was shown on SBS (then 0/28) in Sydney and Melbourne, the first Australian drama to be shown on that channel, and was taken up by the ABC for screening beyond the two capitals. It won the United Nations of Australia Movie Peace Prize in 1982 and an Awgie in 1983 for best original writing for television.
\IProduction company\b\i: Generation Films
\IProducer\b\i: Bob Weis
\IDirectors\b\i: James Ricketson (episode 1), David Stevens (episode 2), \JStephen Wallace\j (episode 3), \JGeoffrey Nottage\j (episode 4)
\IScriptwriters\b\i: Sonia Borg, Hyllus Maris
\IMajor actors\b\i: Naykalan Mumung, Yangathu Wananbi, Towradgi, James McNab, Mawiyul Ynatha Luwly, Sonia Pozzana, Julia Blake, \JJustine Saunders\j, Lorraine Mafi, Graham Rouse, Eva Birit, Bob Maza
#
"Wood, E(velyn) Mason",920,0,g,0
\I1892-1964\i
\IRadio producer\i
'Woody', as he was known, was born in England and worked as an actor and singer in London before serving in World War I. Soon after the war he was noticed by \JOscar Asche\j who invited him to join his company when it took the great success \IChu-Chin-Chow\b\i to Australia in 1922. Wood played in \IChu-Chin-Chow\b\i and other Asche productions and then decided to stay on in Australia, working throughout the 1920s for J.C. Williamson's. In the early 1930s he began radio announcing in Melbourne, then moved to Sydney and in 1935 joined radio station 2GB as an announcer and chief copy writer. By 1941 he was Macquarie's chief producer and production manager and later became executive drama producer for the Macquarie network. He was particularly noted for his production of the \ICaltex Theatre\b\i (1949-mid-1950s) and the \IMacquarie Theatre\b\i (mid-1950s), though he also produced other plays and serials. Wood had a high reputation with actors and writers as a professional and sensitive producer. He retired soon after the advent of television.
#
"Year My Voice Broke, The",921,0,g,0
\IFilm, released 1987\i
This film brought together the large production company Kennedy Miller and director \JJohn Duigan\j. It deals touchingly with childhood and teenager years in a country town in the 1960s. Danny, the central character, has to accept the fact that Freya, the girl he has loved since childhood, is growing up and prefers an older boy, Trevor. The main characters in the film are played by young unknown actors, a device which works well, with well-known actors in the supporting roles. The film won five AFI Awards, including best film and is considered one of the best of 1980s Australian films.
\IProduction company\b\i: Kennedy Miller
\IProducers\b\i: Terry Hayes, Doug Mitchell, \JGeorge Miller\j
\IDirector\b\i: John Duigan
\IScreenplay\b\i: John Duigan
\IMajor actors\b\i: \JNoah Taylor\j (as Danny), Loene Carmen (as Freya), Ben Mendelsohn (as Trevor), \JGraeme Blundell\j, Lynette Curran, Malcolm Robertson, \JJudi Farr\j, Tim Robertson, Bruce Spence
#
"Year of Living Dangerously, The",922,0,g,0
\IFilm, released 1982\i
Christopher Koch's novel had aroused interest from several film directors before the rights were acquired by \JPeter Weir\j. The story of an Australian radio journalist in Indonesia at the time of a doomed communist uprising had international appeal; the total funding was provided by the American company MGM-UA which also had input into the script and casting. The script was taken over from Christopher Koch by \JDavid Williamson\j. A major problem was the casting of the support role of Billy Kwan, a Chinese-Australian cameraman who befriends the main character, Guy Hamilton, and is also in love with the British diplomat, Jill, with whom Guy is involved. The final choice was an American female actor, Linda Hunt, who went on to win the Academy Award for best supporting actress. The control that this character seems to have over the destinies of Guy and Jill provides a sense of the supernatural, a theme that is more prominent in some of Weir's other films.
\IScreenplay\b\i: David Williamson, Peter Weir, Christopher Koch
\IMajor actors\b\i: \JMel Gibson\j (as Guy), Sigourney Weaver (as Jill), Linda Hunt (as Billy), Michael Murphy, \JBill Kerr\j, \JNoel Ferrier\j
#
"Yeldham, Peter",923,fp5087.jpg,c,0
\I1927-\i
\IRadio, television and film writer\i
Born in Gladstone, New South Wales, Yeldham began his writing career adapting American radio soapies for Australian broadcasting in the post- World War II years. His original radio scripts include \IThe Cabbage Tree Hat Boys\b\i and \IThunder on the Snowy\b.\i From 1956 to 1975 he worked in radio and television in Britain, winning a British Guild of Writers Award in 1963. Since his return to Australia he has written extensively for television, being particularly noted for successful adaptations of novels such as \J\IRide on Stranger\j\b\i (1979), \IThe Timeless Land\b\i (1980), \I1915\b\i (1982) and \J\IAll the Rivers Run\j\b\i (1983). After his work on \IRide on Stranger\b\i he became the ABC's most important freelance writer. His other television work includes \IThe Far Country\b\i (1987), \ICaptain James Cook\b\i (1987), \IHeroes\b\i (1989), \INaked Under Capricorn\b\i (1989, also co-executive producer), \IThe Private War of Lucinda Smith\b\i (1990), \IHeroes II--The Return\b\i (1991) and an adaptation of Kylie Tennant's \IThe Battlers\b\i (1994) for the Seven network and the BBC.
Yeldham has also written several films, including \IAge of Consent\b\i (1969) and \IBoundaries of the Heart\b\i (1987); stage plays, such as \IFringe Benefits\b\i (written with Donald Churchill 1975, published 1977); and novels including \IReprisal\b\i (1994) and \IWithout Warning\b\i (1995). His many Australian awards include four Awgies and a Penguin.
\BDescription:\b Peter Yeldham.
\BPhoto:\b Peter Yeldham.
#
"Young Doctors, The",924,0,g,0
\ITelevision serial, broadcast 1976-81\i
Though it never won an award and was not a favourite with the critics, this serial ran for almost 1400 episodes, shown on the Nine network in half-hour episodes five nights a week. It appealed mainly to young viewers and centred on the romantic relationships of the staff and patients at the Albert Memorial Hospital with the occasional drama of a shooting or bombing in order to remove departing characters; it did not aim to cover serious social or medical issues. Regular characters included Dr Brian Denham, Dr Raymond Shaw and Sister Scott, the serial's resident 'bitch'.
\IProduction company\b\i: The Grundy Organization
\IExecutive producer\b\i: \JReg Watson\j
\IProducer\b\i: Alan Coleman
\IDirector\b\i: Alan Coleman
\IScriptwriters\b\i: Alan Coleman, \JMichael Lawrence\j, Brenda Little, Tom McLennan
\IMajor actors\b\i: Michael Beecher (as Dr Denham), Alfred Sandor (as Dr Shaw), Cornelia Frances (as Sister Scott), Abigail, Bartholomew John, Tim Page, Tony Alvarez, Karen Peterson, \JGwen Plumb\j, Anne Lucas, Joanne Samuel, Judy Lynne, Delvene Delaney, John Dommett, Peter Bensley, Peta Toppano, Paula Duncan, Lyn James, Kim Wran
#
"Young Einstein",925,0,g,0
\IFilm, final version released 1988\i
One of the surprise successes of the 1980s, this was almost entirely the result of the endeavours of \JYahoo Serious\j, out of whose weird sense of humour the idea came. Inspired by a picture of Albert Einstein on a T-shirt, Serious developed a storyline set in the early years of the century in which young Albert Einstein, the son of a Tasmanian apple farmer, is a prolific inventor. Moving to the mainland (and inventing rock 'n' roll along the way) he is imprisoned in a lunatic asylum but escapes and follows his friend Marie Curie to Paris, arriving in time for his electric guitar to defuse the energy of a dangerous atomic beer barrel being unveiled at the 1906 Science Academy Awards. Many of the incidents were based on the life of the real Einstein.
One of the most surprising aspects of the film's history was the fact that the inexperienced Serious was able to raise a large amount of initial funding from the American company, Film Accord, and later to gain the support of the distributors Village Roadshow, while still himself retaining artistic control and fulfilling the roles of writer, producer, director and lead actor. A first version of the film was shown at the 1986 AFI Awards. After this Village Roadshow bought back the rights from Film Accord, persuaded Serious to spend more time on re-editing and re-shooting, and interested Warner Bros in distributing it internationally. The final version was released at the end of 1988. It was a huge success in Australia and, though receiving a more mixed reaction in Britain and the United States, still did well at the box office in both countries.
\IProduction company\b\i: Serious Productions
\IExecutive producers\b\i: Graham Burke, Ray Beattie
\IProducers\b\i: Yahoo Serious, Warwick Ross, David Roach
\IDirector\b\i: Yahoo Serious
\IScreenplay\b\i: Yahoo Serious, David Roach
\IMajor actors\b\i: Yahoo Serious (as Albert Einstein), Odile Le Clezio (as Marie Curie), John Howard, Peewee Wilson, Su Cruickshank
#
"Zemaneck, Stan",926,0,g,0
\I1947-\i
Stan Zemaneck, top-rating night time Australian radio talk-back personality, was born at the Royal Women's Hospital at Paddington, Sydney on 29th May 1947. He started out as a journalist and in the 1970s was producer of the John Laws show when he worked at 2UW. Stan married Marcella, had two daughters Gabriella (1971) and Melissa (1976), and moved to the USA for eight years where he wrote a daily gossip sheet for Australian radio, and was also America's Cup yachting reporter for 2UE.
In 1986, he returned to Australia and started his on-air career as 2UE weekend midnight-dawn host. He then moved to weeknights, replacing Arch Tambakus from 7-10pm and eventually took over the whole five hours when Phillip Adams vacated the 10 to midnight shift. Zemaneck has given 2UE top night time ratings continually since 1988 and in 1995 he was networked to 4BC Brisbane and later other provincial cities. In 1997, he became the host of Foxtel's \IBeauty and the Beast\i panel show seen only on cable television.
#
"Zootango Theatre Company, Hobart",927,0,g,0
\ITheatre cooperative formed to promote local actors, writers and directors\i
The Zootango Theatre Company, based at the Peacock Theatre in the \JSalamanca Arts Centre, Hobart\j, was established in 1985 to promote the work of local actors, writers and directors. In 1986 it accepted support from the Australia Council and the Tasmanian state government, and since then has functioned as the state theatre company. The company has taken original productions around the state, to the Adelaide Arts Festival, to Brisbane World Expo and to the Australian Theatre Festival in Canberra. In 1992 the Zootango Theatre Company produced \IA Bright and Crimson Flower\b\i, written and directed by its artistic director \JRichard Davey\j and based on the experiences of prisoners-of-war under the Japanese (the title comes from a 1943 entry in the diary of Sir Edward 'Weary' Dunlop). The play went on to a national tour.
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"Zweck, David",928,0,g,0
\ITelevision director and producer\i
David Zweck has been a director for the ABC since the days of \I\JBellbird\j\i (began 1967). His subsequent directing credits include \IAlpha Scorpio\i (1974); \I\JPower Without Glory\j\i (1976); the adventure mini-series \ICatspaw\i (1978) and the children's series \IHome\i (1983). He also produced the children's series \IThe Bush Gang\i (1981).
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!,!,!,!,!
2#
648,0
"Dictionary of Performing Arts Vol. II",1,0,g,0
This section is reproduced from the book \IThe Dictionary of Performing Arts in Australia Volume II\i copyright Ann Atkinson, Linsay Knight and Margaret McPhee, 1996, published by Allen and Unwin Pty Ltd, 9 Atchison Street, St Leonards NSW 2065. Reproduced with permission.
Volume II focuses on opera, dance and music, with entries on performers, composers, conductors, choreographers, works, set designers, companies, orchestras, festivals and awards.
The performing arts in Australia have both a colourful history and a thriving contemporary presence. The scope and vibrancy of this area of Australian life have played a large part in the development of a distinctively Australian culture from colonial times to its current independent and cosmopolitan identity.
This volume aims to provide a guide and concise reference to this flourishing area of Australian culture. The entries are arranged alphabetically.
Click on the \IGo To Page\i button from the toolbar for a list of entries within this section.
\ICompany presenting a fusion of Western classical and contemporary dance and traditional Aboriginal dance\i
The Aboriginal Islander Dance Theatre (AIDT) is the professional and performing wing of the National Aboriginal & Islander Skills Development Association (NAISDA) College of Dance. Its members are trained in both Western classical and contemporary dance as well as traditional dance and music; they are often joined in performance by entirely traditional dancers (such as the Murray Island and Tiwi people of the Northern Territory). The company has made many overseas tours, including performances at the 1988 Pacific Arts Week in Honolulu, the 1989 International Festival of Dance in Hong Kong, the 1990 Auckland Commonwealth Games Arts Festival in New Zealand, the 1992 International Workshop Festival in Nottingham in the United Kingdom and the 1993 Celebrate Australia activities in Tokyo; as well, they have performed in capital cities and major centres throughout Australia. In 1993 they premiered the contemporary ballet \IColours\i at the Festival of Sydney; this was followed by \IGelam,\i based on a traditional legend from the Torres Strait Islands.
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"AC/DC",3,0,g,0
\IHeavy metal rock band\i
The rock band AC/DC was formed in Melbourne in 1973 with the original line-up of Malcolm (guitar) and Angus (guitar) Young, brothers of ex-\JEasybeats\j member George Young; Peter Clarke (drums); Rob Bailey (bass) and Dave Evans (vocals). In 1974 Clarke, Bailey and Evans were replaced with Phillip Rudd, Mark Evans and heavily tattooed rock singer and songwriter Bon Scott. With this line-up, in 1975, they produced their first Australian hit single, a version of 'Baby, Please Don't Go'. They went on to produce a number of albums, establishing themselves as a hard rock, blues-based group. Particularly successful was the album \IHighway To Hell\i (1979). British vocalist Brian Johnston joined the band as lead singer in 1980, following the untimely death of Bon Scott. AC/DC tour regularly in Europe and the United States and are regarded as one of the leading heavy metal bands in the world. AC/DC's singles include 'High Voltage' (1975), 'Jailbreak' (1976), 'Rock'n'roll Ain't Noise Pollution' (1981), 'Blow Up Your Video' (1988) and 'Are You Ready?' (1991); albums include \ITNT\i (1976), \IDirty Deeds Done Dirt Cheap\i (1976), \IBack In Black\i (1980), \IFor Those About To Rock\i \I(We Salute You)\i (1981), \IFlick Of The Switch\i (1982), \IBlow Up Your Video\i (1988), \IRazor's Edge\i (1990), \IAC/DC Live\i (1991), recorded on a world tour, \IBall Breaker\i (1995) and \IBoom Box\i (1996).
AC/DC won the 1995 Australian Performing Right Association (APRA) Award for most performed local work overseas with the single 'Big Gun' (written by Angus and Malcolm Young).
#
"Adelaide Festival",4,0,g,0
\IMajor arts festival held every two years\i
The first Adelaide Festival of Arts, modelled on Scotland's Edinburgh Festival of music and the arts and organised by teams of volunteers and a professional adviser, took place in 1960. Since then it has been held every two years (in effect, every even-numbered year) for a period of two to three weeks in March. It attracts major companies and artists from around the world and many Australian productions premiere there.
Activities include more than 500 contemporary and traditional performances in opera, dance, theatre and music, outdoor concerts and theatre performances, visual art exhibitions and an internationally acclaimed Writer's Week. Its main venue is the \JAdelaide Festival Centre\j, built especially to meet the needs of the festival; parks and gardens are also used, and the traffic-free Rundle Street mall, Adelaide's main shopping area, becomes an open-air stage for street performers from around the world. Past directors of the festival include Sir \JRobert Helpmann\j, \JJim Sharman\j, Anthony Steele Christopher Hunt and \JBarrie Kosky\j. \JRobyn Archer\j has been appointed to direct the 1998 and 2000 Adelaide Festivals.
#
"Adelaide Symphony Orchestra",5,0,g,0
\IAdelaide-based orchestra\i
The Adelaide Symphony Orchestra performs more than 100 concerts in Adelaide and South Australian country centres each year as well as providing orchestral support for all performances of the State Opera of South Australia and the Adelaide performances of the Australian Opera and the Australian Ballet. The Orchestra was founded in 1936; Adelaide-born musician William Cade (who had studied in London with British conductor Sir Thomas Beecham) was resident conductor from 1936 to 1948; he was followed by Henry Krips, who held the position until 1972. In 1995 Dutch conductor David Porcelijn (appointed 1993) was chief conductor and artistic director.
\IPrincipal Players\i:
\IClarinet\i: Gregory Blackman
\IAss. Concertmaster\i: Margaret Blades
\IBass Clarinet\i: Haig Burnell
\IFirst Violin\i: Shirin Lim
\IBassoon\i: Margot Lee
\ISecond Violin\i: not appointed
\IContra Bassoon\i: Paul Blackman
\IViola\i: Juria Ezergailis
\ITrumpet\i: Glenn Madden
\ICello\i: David Jenkins
\ITrombone\i: Cameron Malouf
\IDouble Bass\i: David Schilling
\IBass Trombone\i: Howard Parkinson
\IFlute\i: Stephen Carter
\ITuba\i: Peter Whish-Wilson
\IPiccolo\i: Anglea Retchford
\IFrench Horn\i: Philip Hall
\IOboe\i: Paul Miller
\IHarp\i: Suzanne Handell
\ICor Anglais\i: not appointed
\ITimpani\i: Robert Hutchenson.
#
"Affair, The",6,0,g,0
\IOpera\i
\JFelix Werder\j composed this opera to a libretto by Leonard Radic in 1969. The Australian Opera commissioned the piece and gave it its world premiere in 1974 at the Sydney Opera House. It was programmed as a double bill with \JLarry Sitsky\j's \J\ILenz\j.\i
\IProducer\i: \JStephen Hall\j
\IDesigner\i: Vicki Feitscher
\IConductor\i: William Reid
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"Ahern, David",7,0,g,0
\I1947-88\i
\IComposer and performer\i
Born in Sydney, Ahern was at the forefront of Australian avant-garde music at the start of the 1970s. He was active as a performer, with his groups A-Z Music and Teletopia involving a regular group of 16-23 musicians, and as a composer. He studied at the New South Wales State Conservatorium of Music with \JNigel Butterley\j (1963) and \JRichard Meale\j (1965). He followed this by a period of study at the Rheinische Musikschule with Karlheinz Stockhausen in 1969. His most important compositions include \IAfter Mallarme,\i written when he was 18, and \INed Kelly Music,\i which he wrote for a 1967 Sydney Prom Concert. The music performed by his groups included the best of innovators such as the English composer Cornelieus Cardew and the American Steve Reich. As Ahern's interest in live and improvised music increased, the output of his notated music gradually decreased. He lectured at the Sydney College of the Arts from 1977 and at one time worked as a music critic for the \IDaily Telegraph\i and \ISunday Telegraph.\i
Other of his works include \IAnnunciations\i (1966) for orchestra; \IAuriga\i (1966) for wind quartet; \IString Quartet\i (1966); \INocturnes of Here\i (1966) for chamber orchestra; \IMusic for Nine\i (1967); \IArabesque for 48 Strings\i (1967); \IJournal\i (1969) commissioned by the ABC; \IStereo/Mono\i (1971) a symbolic score and \ICinemusic\i (1972). He died at the age of 41.
#
"Air Supply",8,0,g,0
\IPop band\i
The pop band Air Supply, formed in Sydney in 1975 with the original line-up of Graham Russell (guitar, vocals), Jeremy Paul (bass, vocals) and Russell Hitchcock (congas, vocals), grew out of a period in 1975 when the three were cast members of the rock musical \IJesus Christ Superstar.\i Later members of the band include David Moyse (guitar), Brian Hamilton (vocals) and Dave Green (bass) as well as a number of short-term members. The group's first hit single was 'Love And Other Bruises' (1976) and in the following year they toured Australia as supporting act to British singer Rod Stewart.
In 1977 they became the first Australian act to perform at the annual CBS Convention, in London, and in 1980, after the US success of their Australian No. 1 hit 'Lost In Love', they made a successful promotional tour of America. Air Supply received the Most Outstanding Achievement Award at the 1981 \ICountdown\i awards and was voted 1981 Best Group at the American Music Awards. Other singles include 'All Out Of Love' (1980), 'Every Woman In The World' (1981) and 'The One That You Love' (1981); albums include \IAir Supply's Greatest Hits\i (1983) and \IFeel The Breeze\i (1992).
#
"Albert Street Conservatorium",9,0,g,0
\IConservatorium in Melbourne\i
The Albert Street Conservatorium (later known as the Melba Conservatorium) was founded by George Marshall-Hall, who also founded the Melbourne University Conservatorium. When Marshall-Hall went to London in 1913 another English musician, Fritz Hart, took over his lecturing duties at Albert Street and in 1914 became its director. The Albert Street Conservatorium was chosen by \JNellie Melba\j for the singing school which she established in 1915. Melba gave her services free and supported the early careers of some singers.
#
"Alda, Frances",10,0,g,0
\I1883-1952\i
\INew Zealand-born soprano in Australia\i
The daughter of the Australian singer Leonora Simonsen, Frances Alda was born in Christchurch, New Zealand, and following the early death of her mother, was brought up in Melbourne from the age of five by her French opera-singer grandmother and her Austrian violinist grandfather, Fannie and Martin Simonsen. It was an intensely musical environment. In 1899, as Francie J. Alder, she started in vaudeville, but shortly afterwards was given lead roles in the Williamson and Musgrove Light Opera Company in Melbourne. She later left for Paris where she studied with \JNellie Melba\j's singing teacher, Mathilde Marchesi, and also with Victor Capoul, a leading tenor of the day. Marchesi declared her to be 'the new Melba', chose her stage-name, Alda, and arranged her debut in 1904 at the Paris Opera-Comique in \IManon.\i There followed two seasons in Brussels and then an engagement at Covent Garden, where she sang for the first time (in \IRigoletto)\i with the celebrated Italian tenor Enrico Caruso, with whom she later made several recordings. In 1908, following a highly acclaimed performance at La Scala in Milan, Frances Alda was engaged by the New York Metropolitan Opera. She sang at the Metropolitan for every season but one until 1929, usually with star-studded casts. She married Giulio Gatti-Casazza, the manager of the Metropolitan, in 1910, but the marriage broke up in 1929. After her retirement from the stage in 1929 she continued to broadcast recitals and also taught singing. She made a concert tour of Australia in 1927.
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"Alder, Alan",11,0,g,0
\IBallet dancer\i
Alan Alder was born in Canberra and studied at the Royal Ballet School in London. After dancing with the Covent Garden Opera Ballet, he joined the Royal Ballet in 1957, attaining the rank of soloist. In 1963 he returned to his homeland to join the Australian Ballet and in 1969 was named principal artist. He created the role of the Man in John Butler's \IThreshold\i (1968). Other notable roles include Alain in \ILa Fille mal gardee,\i Bottom in \IThe Dream,\i Blue Boy in \ILes Patineurs,\i \ISebastian\i (title role), Jasper in \IPineapple Poll,\i Alias in \IBilly the Kid,\i Crixus in \ISpartacus,\i Iago in \IOthello,\i Tybalt in \IRomeo and Juliet\i and Dr Coppelius in \ICoppelia.\i
In 1976 Alder and his wife, \JLucette Aldous\j, were invited to the USSR to study teaching methods at the Vaganova Institute and the Leningrad Kirov (now Maryinsky) Ballet. Alder retired from the Australian Ballet in 1979 and in the following decade was a faculty member at the Australian Ballet School and at the Victorian College of the Arts School of Dance. From 1983-91 he was director of dance at Mount Lawley College of Performing Arts, Western Australia. He has also appeared as guest artist with the West Australian Ballet.
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"Aldous, Lucette",12,0,g,0
\I1938-
\INew Zealand-born ballet dancer in Australia\i
Lucette Aldous was born in New Zealand and studied in Brisbane and Sydney before going to London in 1955 to study at the Royal Ballet School. In 1957 she joined Ballet Rambert, London, where her roles included the title role in \ILa Sylphide\i; from 1963 to 1967 she was a principal artist of the London Festival (now English National) Ballet; and from 1967 to 1971 she was a principal artist of the Royal Ballet. She made her Australian debut at the 1970 Adelaide Festival of the Arts as guest artist with the Australian Ballet and in the same year danced the role of Kitri in Rudolf Nureyev's production of \IDon Quixote\i for the Australian Ballet; the company later toured the United States, with Aldous and Nureyev as guest dancers. Aldous officially joined the company as resident principal artist in 1971, after its return to Australia. She created the roles of Valencienne in \IThe Merry Widow\i (1975) and Lucy in the Sky in Gillian Lynne's television and stage productions of \IThe Fool on the Hill\i (1975/76). Her repertoire embraced the title roles in \ICinderella\i and \ICarmen,\i Juliet in \IRomeo and Juliet,\i the Girl in \IThe Two Pigeons,\i Titania in \IThe Dream,\i the Moon-Goddess in \IYugen\i and the ballerina roles of such nineteenth-century classics as \IGiselle\i and \IThe Sleeping Beauty.\i She also danced the role of Kitri in Nureyev's film version of \IDon Quixote\i (1973).
Lucette Aldous retired from the Australian Ballet in 1976 and in the same year, with her husband \JAlan Alder\j, was invited to the USSR to study teaching methods at the Vaganova Institute and the Leningrad Kirov (now Maryinsky) Ballet. Since the birth of her daughter in 1977 she has been a faculty member at the Australian Ballet School and at the Victorian College of the Arts School of Dance and in 1983 became senior classical ballet teacher at the Mount Lawley College of Performing Arts, Western Australia.
#
"Allen, Christie",13,0,g,0
\I1956-\i
Christie Allen, Australian singer, was born in Essex, England on 24th July 1956. She came to Australia with her family in the late 1960s and settled at Bunbury, Western Australia. In 1979, she was voted Australia's most popular female performer in the \ITV Week\i Countdown awards. She came to fame in the 1970s with her songs 'Falling in Love With Only You' 'Goose Bumps' and 'He's My Number One'.
#
"Allen, Peter",14,pallen.jpg,c,0
\I1944-92\i
\IInternationally acclaimed singer, songwriter and pianist noted for concert and cabaret performances\i
Peter Allen (real name Peter Woolnough) was born in Tenterfield, New South Wales, where he learned piano. In the late 1950s, with Chris Bell, he formed the Allen Brothers, and from 1960 to 1970 they released several records and made stage, club and television appearances in Australia, Asia and the United States. In 1967 Allen married US singer Liza Minnelli, daughter of Judy Garland. When the marriage, and his partnership with Bell, came to an end in 1970, Allen settled in Greenwich Village, New York, where he concentrated on songwriting, solo singing and piano-playing; he developed a successful middle-of-the-road cabaret act, and was popular in live performances of his own work.
His hits include 'I Go To Rio' on the album \ITaught by Experts\i (1977), 'Tenterfield Saddler', 'Quiet Please, There's a Lady On Stage', 'Don't Cry Out Loud' and 'I Still Call Australia Home'. Many of his songs have been recorded by other artists, including Olivia Newton-John ('I Honestly Love You') and US singer Rita Coolidge ('I'd Rather Leave While I'm In Love'); he won an Academy Award as joint composer of the theme song to the movie \IArthur\i (starring Dudley Moore). In 1991 he starred in the Broadway musical \ILegs Diamond.\i
\BDescription:\b Peter Allen \I(Fairfax Photo Library)\i
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"Allman, Robert",15,0,g,0
\I1927-\i
\IBaritone opera singer\i
Melbourne-born Robert Allman spent two years as principal baritone with the National Theatre Opera Company in Melbourne before leaving in 1954 to further his musical studies in Paris. From 1957 to 1960 he sang with the Royal Opera at Covent Garden, London. He then moved to Germany where, until 1967, he was principal baritone with the Cologne Opera House. During this time he returned to Australia for a season in 1960, when he sang with \JJoan Hammond\j in \ISalome\i and \IMadama Butterfly\i; he returned again in 1964 to sing the title role in \IMacbeth\i and Escamillo in \ICarmen\i; and again in 1965 to appear with \JJoan Sutherland\j in \ILucia di Lammermoor\i for the Joan Sutherland/Williamson International Grand Opera Company. Allman returned permanently to Australia in 1972, and has appeared in many leading roles for the Australian Opera including the title roles in \IRigoletto,\i \INabucco\i and \ISimon Boccanegra\i; Scarpia \I(Tosca),\i Sharpless \I(Madama Butterfly)\i and Iago \I(Otello).\i In 1988 he made his debut with the Lyric Opera of Queensland as Amonasro in \IAida.\i His concert performances include \IBelshazzar's Feast\i at the Festival of Perth; Chorebus in \IThe Trojans\i with the Victoria State Opera/ABC; \IThe Dream of Gerontius\i; \IMessiah\i; \IElijah\i; Brahms' \IRequiem\i; \ISt Matthew Passion\i; and Beethoven's \INinth Symphony.\i
Robert Allman was made an OBE in 1980 and an AM (Member of the Order of Australia) in 1992.
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"Amadio, John",16,0,g,0
\I1884-1964\i
\IFlautist\i
Born John Taylor in Christchurch, New Zealand, Amadio's first flute teacher was his stepfather, whose surname he took. He moved to Melbourne around 1900 and became a principal flautist in J. C. Williamson's Opera Company and in 1911 accompanied Dame \JNellie Melba\j's Australian tour. He taught flute at the Melbourne University Conservatorium from 1909 to 1920 and was based in Europe from 1920 to 1947, where he toured internationally with his second wife, singer \JFlorence Austral\j, and played in orchestras. Later he was a member of the Melbourne and the Tasmanian Symphony Orchestras. Amadio died on the job, at a rehearsal at the Myer Music Bowl in Melbourne.
His nephew, Neville Amadio, was principal flautist with the Sydney Symphony Orchestra for 50 years from the age of 14.
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"Anderson, Angry",17,angry.jpg,c,0
\ISinger in heavy rock style\i
\I1948-\i
\ISinger in heavy rock style; actor; television personality\i
Born in Melbourne as Gary Anderson, Angry Anderson formed the heavy rock group Rose Tattoo in late 1976, and was the lead singer. His on-stage antics with the group included strangling himself with a microphone cord until he passed out. In 1987 Anderson released his first solo single, 'Suddenly' (used as background music at the wedding of Charlene \J(Kylie Minogue)\j and Scott \J(Jason Donovan)\j in the television series \J\INeighbours)\j,\b\i and his first solo album, \IBeats From A Single Drum\b\i (a reissue of a Rose Tattoo album). He released a second solo album, \IBlood From Stone,\i in 1990. His solo singles include 'Heaven' and 'Bound For Glory', both released in 1990. In 1985 he became a regular youth affairs reporter on the Nine network's \IMidday Show\i and in 1987 starred in the stage production of the musical \IRasputin\i in the role of Vladimir Lenin. He continues to be a spokesperson for the problems faced by young people. In 1994 he began a monthly \IThe Challenge\b\i series for the same network, in which he raises funds for charities and continues to be a spokesperson on the problems faced by young people.
\BDescription:\b Angry Anderson \I(Channel Nine)\i.
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"Anderson, Elizabeth",18,0,g,0
\IHarpsichordist\i
One of Australia's busiest harpsichordists, Anderson has toured Germany, Italy, Switzerland, France, Denmark, The Netherlands, England and Japan giving concerts. In Australia, she has been a guest soloist with the State Orchestra of Victoria in twelve performances of Frank Martin's \IHarpsichord Concerto\i as part of the Australian Ballet's season of the ballet \ILas Hermanas\i. She repeated these performances in the Australian Ballet's 1996 Sydney and Adelaide seasons, appearing with the Australia Opera and Ballet Orchestra and the Adelaide Symphony Orchestra. She has performed regularly for the ABC, Musica Viva and the State Orchestra of Victoria and appeared at the Melbourne International Festival, the Castlemaine State Festival, the Barossa Music Festival and the 1996 Adelaide Festival.
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"Angels, The",19,0,g,0
\IHard rock group\i
The Angels rock group, formed in 1976, grew out of the early 1970s Adelaide group Keystone Angels. Long-term members include Buzz Throckman (also known as Graham Bidstrup, drums), Rick Brewster (vocals and guitar), John Brewster (guitar, until 1986), Doc Neeson (vocals), Jim Hilbun (bass), Brent Eccles (drums) and Bob Spencer (guitar). In 1978 their fourth single, 'Take A Long Line', reached the national Top 10, and later in the year they toured as support act to British singer David Bowie. In 1979 they made the first of several US tours. Their singles include 'Shadow Boxer' (1979), 'No Secrets' (1980), 'Stand Up' (1982), 'Let The Night Roll On' (1990) and 'Tear Me Apart' (1992); albums include \INo Exit\i (1979), \IDark Room\i (1980), \IWatch The Red\i (1983) and \IRed Back Fever\i (1991). A popular live band, they have also performed anonymously under the names Cow Demons, Dancing Dick and the Richards, The Innocents and Youse Guys. They have sold over 2 million albums and earned 10 gold and platinum records.
The Angels celebrated a new record deal with Shock Records and a new album in late 1997.
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"Anthony, Julie",20,0,g,0
\I1951-\i
Julie Anthony, Australian singer, was born Julie Moncrieff Lush, at Lameroo in South Australia on 24th August 1951 and grew up at Galga in South Australia. Julie began singing in South Australian pubs near her home on a Saturday night. She became a regular on NWS-9's \ISaturday Night\i show. She starred in the stage production of \IIrene,\i both in Australia and England, as well as \IThe Sound of Music,\i and is the presenter for St. George Bank television commercials. She has worked in Las Vegas as the support to Bill Cosby. She married her manager Eddie Natt and they have two young daughters.
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"Antill, Sir John",21,janthill.jpg,c,0
\I1904-86\i
\IComposer and conductor\i
Born and educated in Sydney, Antill received his musical training at St Andrew's Cathedral Choir School and at the New South Wales State Conservatorium of Music, studying violin and composing. While still young, Antill became interested in Aboriginal music with its strong rhythmic patterns and relationship to dance, which served as the inspiration for his best-known orchestral work, \ICorroboree\i (1944). Since its first performance under the baton of Sir \JEugene Goossens\j in 1946, the piece has been performed, recorded and broadcast many times, premiering as a ballet in 1950. In 1936 Antill was appointed assistant music director at the ABC in Sydney, being made supervisor of music in 1947. His position of federal music editor for the ABC spanned the years from 1949 until his retirement in 1968. His other compositions include \ISong of Hagar\i (1958), \ISymphony on a City\i (1959), a number of ballets and operas, an oratorio and some other choral music, as well as film and incidental music. His ballet \ISnowy\i was the first Australian ballet to be televised in Australia. Antill was made an OBE in 1971 for his services to Australian music and was knighted in 1981. He was the first resident Australian composer to receive international attention.
\BDescription:\b Sir John Antill \I(Fairfax Photo Library)\i.
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"Arbuckle, Ashley",22,0,g,0
\IViolinist\i
Perth born and educated, Arbuckle graduated from the University of Western Australia in 1964. He joined the \JWest Australian Symphony Orchestra (WASO)\j in 1965 and was appointed associate concertmaster in 1972. He became known Australia-wide through his solo appearances on ABC Radio and as a member of the Oriel String Quartet which toured Australia for Musica Viva in 1971. Arbuckle travelled overseas for further study in Switzerland and London and was co-leader of the Royal Philharmonic for three years while in London. He was also a founder and leader of the Australian Sinfonia while in London; after his return in 1977 he rejoined the WASO. In 1981 Arbuckle was appointed co-leader of the London Symphony Orchestra, a position he held until his return to Australia in 1990 as concertmaster of the West Australian Symphony Orchestra.
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"Arena, Tina",23,0,g,0
\I1968-\i
\IPop singer and songwriter\i
Tina Arena joined \IYoung Talent Time\i at the age of eight. A winner of the television show \INew Faces\i and already a successful pop singer in Australia, Tina Arena went to Los Angeles in 1991. Her work there led to the release in 1994 of the album \IDon't Ask\i with all songs co-written by Arena. 'Chains', one of the singles from the album, quickly became a hit, achieving platinum-plus status in mid-1995. The album reached the Top Ten in both Australia and across Europe, and in Australia, after a year in the charts, reached Number One. At the 1995 ARIA awards Arena won in four categories--Song of the Year ('Chains'), Best Australian Album \I(Don't Ask),\i Best Female Artist and Best Pop Release. In August 1997, Tina released her second album \IIn Deep.\i
Tina married Ralph Carr in Melbourne on 10th December 1995.
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"ARIA (Australian Recording Industry Association) Awards",24,0,g,0
\IMusic industry-based awards\i
Initiated in the mid-1980s, the ARIA Awards are judged by music industry participants including record companies, artist management, booking agencies, music retailers and music media. Any Australian recording can be nominated. Categories include Best Australian Male Artist, Best Australian Female Artist, Best Song, Best Album, Best Debut Single and Best Debut Album.
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"Arlen, Albert",25,0,g,0
\I1905-1993\i
\IComposer, actor, director and writer\i
Arlen was born in Sydney and studied primarily at the New South Wales State Conservatorium of Music, and later in London and Paris. He was responsible for many successful musicals and operattas, amongst them C. J. Dennis's \IThe Sentimental Bloke\i which he adapted, produced and set to music in 1961, \IClancy of the Overflow\i and the \IGirl from the Snowy.\i His piano concerto, the \IEl Alamein Piano Concerto,\i and his \IKings Cross Suite\i are other works which have afforded him recognition as a composer.
In 1990 Arlen was made an AM (Member of the Order of Australia). His wife, actor-singer Nancy Brown, survives him.
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"Ashcroft, Johnny",26,0,g,0
(1927- )
Johnny Ashcroft, Australian country singer, was born on 1st February 1927. He first came to notice with his hit 'Little Boy Lost' in the 60s -- the story of young Steven Walls, who, at aged four disappeared for three days in the New England Ranges near Tamworth. The record was removed from air-play during the Graeme Thorne kidnapping in Sydney in 1960 as a mark of respect. His other hits include 'Playground of my Mind.'
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"Ashdown, Doug",27,0,g,0
\I1942-\i
Doug Ashdown, Australian country singer, was born in England on 29th July 1942. His family came to live in Melbourne when he was six years old. By the time he was 17 (1959), he was back in England playing in a group. In 1975, he released a song called 'Leave Love Enough Alone', but it failed to take off despite much air-play. It was re-released a year later as 'Winter in America' and immediately charted, reaching number 14 during its ten week appearance.
His songs have been recorded by Wayne Newton, Johnny Tillitson, Col Joye and Julie Anthony, and he has produced records for Carol Channing, Kevin Johnson and Lee Conway.
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"Ashmole, David",28,0,g,0
\IEnglish-born ballet dancer in Australia\i
David Ashmole was born in Yorkshire, England. He trained at the Royal Ballet School and in 1968 graduated into the Royal Ballet, where he was promoted to principal artist in 1975. He joined Sadler's Wells Royal Ballet in 1976, with which company he first visited Australia in 1982; he also danced as guest artist with the Scottish Ballet and with resident ballet companies in Germany, South Africa and Japan before joining the Australian Ballet in 1984 as a principal. He created the title role in Glen Tetley's \IOrpheus\i (1987). His repertoire embraces the major classical roles, including those in \IThe Sleeping Beauty,\i \ILa Fille mal gardee,\i \ILa Sylphide,\i \ISwan Lake,\i \IRomeo and Juliet,\i \IOnegin,\i \IGiselle,\i \ILa Bayadere\i and \IPaquita\i; other notable portrayals include the Detective in \ILe Concours,\i the General in \IGraduation Ball,\i the title role in \IDon Quixote,\i Dr Coppelius in \ICoppelia\i and the Jailer in \IManon.\i Ashmole retired in 1993. He is married to choreographer and former dancer Petal Miller-Ashmole.
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"Atkins, David",29,datkins.jpg,c,0
\I1955-\i
\IDancer, choreographer, actor and theatrical producer\i
David Atkins was born in Sydney on 11th December 1955. The son of a dancer on the \JTivoli Circuit,\j David made his professional debut at the age of twelve as the juvenile lead in the musical \IMame.\i Prior to the launch of David Atkins career, he spent 15 years learning dance, including classical and jazz ballet, tap and acrobatics at Alvin Ailley American Dance Theatre School in New York , Morelli Ballet in New York and Hymie Rogers, Los Angeles.
Theatre performances includes \IHot Shoe Shuffle\i Australian and New Zealand Tour - 1995, London Tour - 1994, National Tour 1993-94, \IDancin' Dynamite\i - 1993, \IDynamite\i - 1991, \ICats\i - 1984/85, \IThreepenny Opera\i - 1983, \IRoyal Command Performance\i - 1983, \IThe Pirates of Penzance\i - 1982, \IA Chorus Line\i - 1981, \IThe Choir\i - 1981, \IRoyal Command Performance\i - 1980, \IBackyard\i - 1980, \IAustralian National Playwright's Conference\i - 1980, \IGypsy\i - 1980, \ILost To The Devil\i -1979, \IA Chorus Line\i - 1977, \IDirty Doings\i - 1977, \IDisney on Parade\i - 1975, \IGuys and Dolls\i - 1973, \IGrease\i - 1972, \IKookaburra\i - 1976, \ITalk To The Moon\i - 1970, \IAnnie Get Your Gun\i - 1970 and \IMame\i - 1968/69.
Television performances include \IG.P., Rafferty's Rules, The Girl From Moonooloo, The Amorous Dentist, The Sullivans, Cop Shop, The Young Doctors, Glenview High, TV Follies, Twenty Good Years, The Truckies, Bellbird, Bluey, Solo One, Ryan, Matlock, Division 4,\i and \I Homicide.\i
Film performances include \ISquizzy Taylor\i in 1981.
David has also been a choreographer/director of \IHot Shoe Shuffle, Grease, Hair, Dynamite, Dancin' Man, Military Tatoo, 1988 Logie Awards, High Tide, The Rule of 3's, Vietnam, Come Out, Dunera Boys, Sad Songs, Bert Newtown Show, Mike Walsh Show, Don Lane Show, Daryl Somers Show, The Peter Allen Show, Royal Command Performance (Melbourne, Sydney and Adelaide), The Pirate Movie, Squizzy Taylor, Starstruck,\i Sydney Entertainment Centre Opening, Final Half Time Entertainment, 1982/3 Rugby League Grand Final, \IA Very Good Year,\i and \IVolpone.\i
Commercials he has choreographed include Fay's Shoes, Bubble Yum, Shayks, Instant Lottery (and appeared), St George Building Society, Delva and Charmers.
Other experience include writing, concept submission and storyline for television series: \ICaptain Jete\i for Victorian Film Commission.
Over the years David has received awards which include the Oliver Award for "Best Choreographer" - 1995, Advance Australia Award for "Outstanding Contribution to Musical Theatre" - 1994, Sydney Theatre Critics' Circle Awards Nomination for the Ashley Gordon Award for a Musical Production for Hot Shoe Shuffle - 1993, 18th Annual MO Awards for "Musical Theatrical Performer of the Year" - 1992, MO Awards Nomination for "Male Musical Theatrical Performer" - 1992, MO Awards Nomination for "Dance Performer of the Year" - 1992, MO Awards "Outstanding Contribution to Musical Theatre" - 1992, 3rd Annual MTV Video Award for "Best Choreography" in Elton John's video clip - "Sad Songs" - 1985, American Video Awards Nomination for "Best Choreography" in Elton John's video clip "Sad Songs" - 1985.
Atkins is married to former Australian Ballet principal Sheree da Costa.
\IThis information and photograph supplied courtesy of Shanahan Management Theatrical Agents.\i
\BDescription:\b David Atkins \I(Shanahan Management Theatrical Agents)\i.
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"Attard, Vicki",30,0,g,0
\IBallet dancer\i
Queensland-born Vicki Attard studied ballet in Mackay before joining the Australian Ballet School. In 1985 she joined the Australian Ballet, and was promoted to soloist in 1991, senior artist in 1992 and principal artist in 1992 and principal artist in 1994. She joined the Sydney Dance Company for its 1989 season, dancing the title role in \IDaphnis and Chloe\i and Graeme Murphy's \ISong of the Night,\i and with the company toured the west coast of America. After rejoining the Australian Ballet in 1990, her repertoire has included roles in \ILes Sylphides,\i \IEquus,\i \IThe Leaves are Fading,\i \IApollo,\i \ILe Carnaval,\i \IOf Blessed Memory,\i \ISymphony in C,\i \IAfternoon of a Faun,\i the title role in \IGiselle,\i Odette/Odile in \ISwan Lake,\i Aurora in \IThe Sleeping Beauty,\i Juliet in \IRomeo and Juliet,\i Katherina in \IThe Taming of the Shrew,\i Clara the Ballerina in Graeme Murphy's \INutcracker, Kitri in \IDon Quixote,\i the title role of \IManon,\i Lise in \ILa Fille mal gardee,\i Cio-Cio-San and Suzuki in \JStanton Welch\j's \IMadame Butterfly,\i the title role in \IAnna Karenina\i and Ada in \IThe Competition.\i She has performed with the Australian Ballet in Japan, China, Taiwan and the United States.
#
"Atwell, Winifred",31,0,g,0
\I1914-83\i
Winifred Atwell, West Indian pianist known as "The Honky Tonk Piano Player", was born in Trinidad in the West Indies on 27th April 1914. She had a monster hit with 'Black and White Rag' and toured Australia in 1955. Married in 1948, she moved to Australia in 1971 and lived on Sydney's northern beaches. Her husband died from a heart attack in 1977 and, after suffering from a stroke in 1980, she announced her retirement. In January 1983, her flat caught fire destroying all but her piano; she died a few weeks later at Narrabeen in Sydney on 28th February 1983, aged 69.
#
"Austin, Anson",32,0,g,0
\ITenor opera singer\i
Anson Austin gained his early experience singing oratorio and giving recitals in his native New Zealand. In 1966 he joined the BBC Singers in London, and for the following three and a half years also gave solo recitals and oratorio performances throughout Britain. He joined the Australian Opera in 1969, making his debut as Rodolfo \I(La Boheme).\i His other roles for the company include Tamino \I(The Magic Flute)\i at the official opening of the Sydney Opera House in 1973; Alfredo \I(La Traviata)\i; Pinkerton \I(Madama Butterfly)\i; Edgardo \I(Lucia di Lammermoor)\i; the Duke in \IRigoletto\i; Maurizic \I(Adriana Lecouvreur)\i; Gerald \I(Lakme)\i and Raoul de Nangis \I(Les Huguenots),\i both opposite \JJoan Sutherland\j; Hoffmann \I(TheITales of Hoffmann)\i; Romeo \I(Romeo and Juliet)\i; and Camille \I(The Merry Widow).\i Austin has sung with major opera companies in England, and for the San Francisco Opera and the Canadian Opera Company. From 1976 he was a regular partner of Joan Sutherland, singing with her in both Australia and the United States, and in 1990 in her Sydney farewell performance. Anson has made several recordings and videos, and also appeared in the television mini-series \IMelba.\i
In 1993 he was awarded an OAM (Medal of the Order of Australia).
#
"Austral, Florence",33,faustral.jpg,c,0
\I1894-1968\i
\ISoprano opera singer acclaimed internationally for Wagnerian roles\i
Florence Austral was born in Melbourne as Florence Wilson (and, when taking her stepfather's name, was also known as Florence Fawaz). In 1913 she won first prize in the mezzo-soprano section of the South Street Competition in Ballarat and, at the suggestion of the adjudicator, took lessons at the Albert Street Conservatorium of Music in Melbourne. After further studies at the Melbourne University Conservatorium she left Australia in 1919 and studied for two years with Maestro Sibella in New York. At the end of this period she was offered contracts with both the Metropolitan and Chicago operas, but decided to go to Britain where, known now as Austral, and after further study at the London School of Opera, she made her debut at Covent Garden in 1922 as Brunnhilde in \IDie Walkurie\i (at short notice replacing \JElsa Stralia).\j
By the mid-1920s she was established as the United Kingdom's leading Wagnerian singer. She was a frequent performer at the Albert Hall and Queen's Hall in London, and sang regularly with the BBC Orchestra and the London Symphony Orchestra. In 1925 she toured North America with the Australian flautist \JJohn Amadio,\j whom she later married. In 1930, with Amadio, she returned to Australia, giving concerts in Sydney and Melbourne. Later in the same year she sang with the Berlin State Opera. Illness intervened to limit her stage work and from this time on she sang mainly in concerts. She made an extended concert tour of Australia in 1934-1935, during which she made her Australian opera debut in Melbourne for Sir \JBenjamin Fuller\j's Grand Opera Company. During the company's Melbourne and Sydney seasons Austral was acclaimed in roles such as Isolde, Tosca and Aida; Leila in \IThe Pearl Fishers\i and Senta in \IThe Flying Dutchman.\i At the conclusion of the tour she took part in several live opera broadcasts on ABC radio. Her final opera season was at Sadler's Wells in 1938. She returned permanently to Australia at the end of World War II, and from 1954 to 1959 taught at the Newcastle Conservatorium in New South Wales. Florence Austral had a voice of great power which retained a true soprano quality throughout its great range. Her repertoire was wide, as shown by her many recordings, but she was especially acclaimed for her Wagnerian roles.
"Australasian Country Music Awards and Festival",34,0,g,0
\IAnnual festival which celebrates country music in Australia\i
The Australasian Country Music Awards and Festival is held in Tamworth, in the New England region of New South Wales, for ten days around the Australia Day weekend in January. It began in 1953. It includes a talent competition that attracts entrants from Australia and New Zealand, a concert featuring leading country and western artists and concludes with the Country Music Awards. The main venues are the Tamworth Town Hall and the Tamworth Workmen's Club, although hotels and shopping malls around the town are also used.
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"Australia Ensemble",35,0,g,0
\IChamber music group\i
The Australia Ensemble was formed in 1980 by Roger Covell, head of the University of New South Wales Music Department, and New Zealand-born clarinetist Murray Khouri. It was originally called the University of New South Wales Ensemble-the name was changed in 1983 to better reflect the group's national and international reputation; the original line-up also included David Pereira (cello). The core ensemble of a string quartet with piano, flute and clarinet is frequently augmented by other instruments and, sometimes, voice. Its diverse repertoire ranges from Brahms to ragtime; recent players include Dene Olding (violin), Dimity Hall (violin), David Bollard (piano), Irena Morozova (viola), Julian Smiles (cello), Geoffrey Collins (flute) and Alan Vivian (clarinet). The Ensemble toured the United States in 1982 and Europe in 1984 and 1985. In 1988 the Ensemble made three international tours as special Bicentennial events; in 1989 it featured at the Hong Kong Festival of the Arts and in 1990 and 1992 again toured Europe. The Ensemble has released several compact discs.
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"Australian Art Orchestra (AAO)",36,0,g,0
\IJazz orchestra\i
The Australian Art Orchestra made its debut at the 1993 Melbourne Festival with its performance of 'Ringing the Bell Backwards' (now recorded on compact disc). The work by composer \JPaul Grabowsky\j, AAO founder-leader, includes reworkings of 1930s and 1940s songs from popular European culture. Based in Melbourne, the Orchestra comprises 18 of Australia's finest improvising musicians from Sydney, Brisbane and Melbourne. Many members lead their own bands and have a thriving career outside this larger ensemble. The group provides Australian composers the opportunity to write for an orchestra skilled in improvisation, similar to the French National Jazz Orchestra and the Vienna Arts Orchestra.
\ICommonwealth Government funded fellowships announced annually\i
These were first awarded in 1989 and were open to nominees from a wide variety of the performing arts as well as other areas of the creative arts. The awards were funded through the Department of Communications and the Arts and administered by the Australia Council. The number awarded varied from year to year. Fellows in the fields of music, opera and dance have included the composer \JRichard Meale\j; pianist \JGeoffrey Tozer\j and dancer-choreographer \JGarth Welch\j in 1989; composer \JRoss Edwards\j and dancer \JMarilyn Jones\j in 1990; composer \JNigel Butterley\j and singer \JMarilyn Richardson\j in 1992; singer \JJoan Carden\j in 1994; and jazz musician \JDon Burrows\j in 1995.
In 1995 it was announced that as part of the Keating Labor Government's 'Creative Nation' plan, the scheme would be extended to include Young Australian Creative Fellowships. The first ten awards in this category, which began in 1996, included choreographer-dancer \JGideon Obarzanek.\j No senior fellowships were offered in 1996; both schemes were planned to run concurrently from 1997. However, in 1996 the incoming Howard Coalition government announced its intention of abolishing the Fellowships and inaugurating a new program to be known as the Emerging Artists Scheme.
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"Australian Ballet, The",38,0,g,0
\IAustralia's national classical ballet company\i
The Australian Ballet was founded in 1962 under the Australian Elizabethan Theatre Trust and was the first dance company in Australia to be subsidised by the federal government. It aimed to provide full-time employment to professional dancers; to establish a school to provide professional training; to build up a repertoire of nineteenth-century full-length classical ballets as well as distinguished twentieth-century and Australian ballets; to bring top-line international dancers and choreographers to Australia; and to take the company on tour overseas. Many Australian-born dancers returned from overseas companies to join the Australian Ballet; \JDame Peggy van Praagh\j was its first artistic director. The company presented its first season in 1962, opening at Her Majesty's Theatre in Sydney with \ISwan Lake.\i In its first three years of operation the company not only toured every major city in Australia and New Zealand but also, in the course of attending the 1965 Commonwealth Arts Festival in Britain, embarked upon one of the longest tours ever undertaken by a ballet company-67 performances, covering major cities and towns across Europe and extending to the United States. The many overseas artists brought to Australia include Dame Margot Fonteyn and Rudolf Nureyev, whose long association with the company began in 1964.
The first artistic director, Dame Peggy van Praagh, held that position from 1965 to 1974 and in 1978 returned as caretaker director for one year. Sir\J Robert Helpmann\j was co-artistic director with van Praagh from 1965 to 1974 and sole director from 1975 to 1976. \JAnne Woolliams\j was artistic director from 1976 to 1977, \JMarilyn Jones\j from 1979 to 1982 and \JMaina Gielgud\j from 1983 to 1996. \JRoss Stretton\j was appointed artistic director from 1996.
The Australian Ballet continues to perform in all capital cities and to regularly tour overseas. Its 1994 American tour in particular received great critical acclaim. The company is based in Melbourne.
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"Australian Ballet School",39,0,g,0
\ITraining ground for the Australian Ballet\i
The Australian Ballet School began operations in 1964 under the direction of former Ballet Rambert dancer \JMargaret Scott\j. In 1990 former dancer \JGailene Stock\j was appointed director. The School's aim is to provide the highest standard of full-time training to advanced students, chosen by audition, who are seeking a career in classical dance. The three-year course follows the Vaganova Syllabus of Classical Ballet. Students in their graduate year gain professional experience through the Dancers Company, which was set up in 1980. Some ninety per cent of graduates enter the Australian Ballet. The Australian Ballet School is based in Melbourne and is subsidised by the federal government.
In 1932, with the establishment of the Australian Broadcasting Commission (later called the Australian Broadcasting Corporation), the basic orchestral groups already existing in the capital city of each state came under the Commission's charge. In 1934 Bernard (later Sir Bernard) Heinze became musical adviser to the ABC and in that position helped develop Australian musical tastes both by using local performers and bringing to Australia leading overseas artists such as conductors Sir Hamilton Hardy from Ireland, Sir Thomas Beecham and Malcolm Sargent from England, Otto Klemperer from Germany, and expatriate composer \JArthur Benjamin\j to work with the orchestras. Under the direction of Heinze the capital city orchestras became the Sydney Symphony Orchestra, the Melbourne Symphony Orchestra, the Queensland Symphony Orchestra, the Adelaide Symphony Orchestra, the Tasmanian Symphony Orchestra and the West Australian Symphony Orchestra.
The ABC has continued to sponsor visits by leading conductors and soloists from around the world and its orchestral subscription concerts attract thousands of regular patrons each year. The ABC also introduced the Youth Concerts and free orchestral concerts for children.
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"Australian Chamber Orchestra (ACO)",41,0,g,0
\INational string orchestra\i
The Australian Chamber Orchestra, Australia's only national orchestra, is based on a core of seventeen strings which is augmented by specialist players and soloists. It presents both chamber and orchestral music, in a repertoire that includes the larger orchestral works of Rossini, Mozart, Chopin and Stravinsky, J. S. Bach's six \IBrandenburg Concertos\i and Handel's \IWater Music.\i Violinist \JRichard Tognetti\j was appointed orchestra director in 1989. Soloists who have appeared with the ACO include singers \JRobyn Archer\j, \JJoan Carden\j and \JYvonne Kenny\j, British cellists Julian Lloyd Webber and Steven Isserlis, Paris-based Australian violinist \JJane Peters\j and harpsichordist and director of the Amsterdam Baroque Orchestra Ton Koopman.
The ACO was founded in 1975 and gave its inaugural concert at the Sydney Opera House under the artistic direction of Christopher Kimber. In the following year, under the baton of English musician Neville Mariner, it performed at the Adelaide Arts Festival. As well as its Australian performing schedule, the ACO also undertakes several overseas tours each year. The Orchestra has released a number of albums and in 1992 won the Australian Recording Industry Award (ARIA) for best Australian Classical Album for its Janacek/Barber/Walton compact disc.
See also \JRobert Pikler Chamber Orchestra\j
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"Australian Crawl",42,0,g,0
\IPop group\i
Formed in Melbourne in 1979, the group had enormous success with its first album, \IThe Boys Light Up\i (1980). The original line-up was Simon Binks (guitar), Brad Robinson (guitar), \JJames Reyne\j (lead vocals), Paul Williams (bass) and David Reyne (drums). Their second album, \ISirocco\i (1981), reached No. 1, as did their third, \ISons Of Beaches\i (1982). The band was voted \ICountdown\i 1981 Most Popular Group; in 1985 it broke up, with members going their own way to various parts of the music industry. Brad Robinson died from cancer in 1996 and Guy McDonough, a guitarist who had joined the band, died in 1984.
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"Australian Dance Theatre",43,0,g,0
\IAustralia's first full-time professional modern dance company\i
The Australian Dance Theatre was founded in Adelaide in 1965 by Adelaide-born dancer, teacher and choreographer Elizabeth Dalman and English-born dancer and teacher Leslie White. Two years earlier Dalman had started a school of modern dance in Adelaide, and dancers from this school joined those trained by White to form the core of the new company, which had twelve full-time members. In its first two years the company toured capital cities and a number of country towns. In 1970 Dalman's \ISun and Moon\i was performed at the Adelaide Festival of the Arts. In its 30-year history the company has seen very different styles and directors: its formative years under Dalman's artistic directorship, 1967 to 1975 (with Jaap Flier as co-director from 1973 to 1975), after which the company was briefly disbanded; the neo-classical European years, from 1977 to 1986, when Jonathon Taylor took over directorship; and the experimentation of Leigh Warren, director from 1987 to 1992. In 1993 the dancer-choreographer \JMeryl Tankard\j, with her European dance theatre influence, was appointed artistic director and the company was renamed the \JMeryl Tankard Australian Dance Theatre\j. In 1994 the company performed in New Zealand, in Turkey and at the prestigious German dance festival Nordrhein-Westfalen Internationales Tanzfestival Germany.
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"Australian Jazz Convention",44,0,g,0
\IJazz festival\i
The Australian Jazz Convention festival, which commenced in 1946, is the world's longest-running annual jazz festival. Professional and non-professional musicians from all over Australia play unpaid in this popular event, organised by a voluntary committee whose current trustees come from South Australia, Victoria and Tasmania. The festival originated in the years following World War II as a get-together for jazz musicians playing traditional or classic jazz but today it has been extended to include a wider range of mainstream and modern jazz. The festival is held in a different city each year; the forty-ninth convention (1994) took place at Queensland's Bond University while the fiftieth (1995) took place in Melbourne.
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"Australian Opera, The (AO)",45,0,g,0
\INational opera company formed in 1956\i
The origins of the Australian Opera are to be found in the Melbourne-based \JNational Theatre Movement\j of \JGertrude Johnson\j and the Sydney-based National Opera of Clarice Lorenz. The joint seasons of opera presented by these companies from 1951 to 1953 were the closest that Australia had come to a nationally based opera production, as opposed to the regular importation of overseas companies which had been touring here since the early nineteenth century. The joint seasons were discontinued after a split between Johnson and Lorenz.
The Australian Opera did not grow directly from either of these companies but developed under the umbrella of the Australian Elizabethan Theatre Trust, established in 1954. The Australian Opera Company was formed by the Trust in 1956 and began with a season of four Mozart operas, performed in all capital cities and some regional centres. In 1957 the name was changed to the Elizabethan Trust Opera Company. For several years the pattern continued of presenting a season in the capital cities with a full company, thereafter touring to country areas with a reduced group of artists after the disbanding of the main company. A great impetus to the development and popularity of opera in Australia came with the 1965 tour by \JJoan Sutherland\j and \JRichard Bonynge\j, when the Elizabethan Opera Company joined with J. C. Williamson theatrical organisation to form the Sutherland/Williamson International Grand Opera Company to produce a season of seven operas in four capital cities. There followed in 1967 a New South Wales Government subsidy towards setting up a permanent company, the formation of the Elizabethan Trust Orchestra as a permanent touring orchestra for the opera and ballet companies and the introduction of subscription selling. These factors were vital in establishing a permanent body of singers and other staff and in allowing the employment of the best in directors and producers, from both Australia and overseas. In 1970 the company was incorporated as a separate entity and renamed The Australian Opera.
Since then the company has attained the status of an international company with a constantly expanding repertoire, the commissioning of new works by Australian composers (such as \J\IVoss\j\i by \JRichard Meale\j, commissioned in 1979 and first performed in 1982), the broadcasting and videoing of performances by the ABC, overseas tours and the establishment of the free 'Opera in the Park' series. Annual seasons are presented in Sydney and Melbourne, with special seasons also in other capital cities and some regional centres. In Sydney the company has been based at the Opera House since its opening in 1973 and in Melbourne at the Victorian Arts Centre since 1984.
In 1996 a new touring venture, known as OZOPERA, was launched with a new production of \IThe Magic Flute\i at the Adelaide Festival of the Arts. OZOPERA is designed to tour with a small core of singers and instrumentalists and perform in small venues, rather than standard theatres. The aim is to break down the concentration of opera performance in the capital cities and allow a range of performances in regional cities and rural areas.
As an example of the Australian Opera's repertoire, the 1996 season in various cities included revived productions of Gluck's \IOrphee et Eurydice,\i Verdi's \IOtello,\i Handel's \IAlcina,\i Donizetti's \ILucia di Lammermoor,\i Beethoven's \IFidelio\i and Puccini's \ITurandot\i; and new productions including Wagner's \IThe Flying Dutchman,\i Janacek's \IThe Makropulos Secret,\i Offenbach's \ITales of Hoffmann\i and Verid's \IFalstaff.\i
Particularly noted successes in recent years included new versions of Puccini's \ILa Boheme\i and Britten's \IA Midsummer Night's Dream,\i directed by \JBaz Luhrmann\j (both re-presented in 1996), and a sold-out production of Handel's \IJulius Caesar\i in 1994-95.
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"Australian Opera and Ballet Orchestra (AOBO)",46,0,g,0
\IVersatile Sydney-based orchestra\i
The Australian Opera and Ballet Orchestra, since 1993 a fully integrated part of the Australian Opera but also pledged to meeting the needs of the Australian Ballet if required, is based at the Sydney Opera House. In a typical year in Sydney the orchestra will give some 180 performances of more than a dozen operas, and more than 80 performances of four ballet programs. The AOBO grew out of federal government provision made from the mid-1950s onwards for basic orchestral support for the fledgling opera and ballet companies, the former based in Sydney, the latter in Melbourne. In the first place this was through the availability of the state ABC symphony orchestras. In 1967, following the growth of both the Australian Opera and the Australian Ballet companies, the Sydney-based Australian Elizabethan Theatre Orchestra, within the parent Australian Elizabethan Theatre Trust body, was formed. This was followed in 1969 by the Elizabethan Melbourne Orchestra. The creation of these two orchestras made possible the development of the Australian Opera in Sydney and the Australian Ballet in Melbourne. In the mid-1980s the Sydney orchestra changed its name to the Elizabethan Philharmonic Orchestra, and with the severing of its ties with the Australian Elizabethan Theatre Trust in 1990 it became the Australian Opera and Ballet Orchestra.
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"Australian Performing Right Association Awards (APRA Awards)",47,0,g,0
\IMusic industry awards designed to give recognition to composers and lyricists\i
Awards either voted on by the association members (as the Song of the Year) or based on APRA's computerised analysis of broadcasts by radio, television, film and live performances (as Most Performed Local Work, Most Performed Jazz Work, Most Performed Country Work and Most Performed Film Score). The songwriter award is judged by the APRA board of six music publishers and six songwriters. APRA members include composers, authors, music publishers and other music copyright holders.
The Australian Pops Orchestra (loosely modelled on the US Boston Pops Orchestra) began in 1980 when Kel McMillan (founder and non-playing managing director) gathered together 50 to 60 musicians to play middle-ground music of the 1920s, 1930s and 1940s in a series of charity concerts at the Melbourne Town Hall. It is one of a very few successful, privately owned and managed symphony orchestras in the world and the only orchestra of its type in Australia. The Australian Pops Orchestra is not a permanent orchestra; instead, some 85 professional musicians are contracted by performance (which occur every two to three months). Music presented ranges from Tchaikovsky, Handel and Elgar to Gershwin, Cole Porter, the Beatles and Andrew Lloyd Webber. Artists who have appeared with the orchestra include Dame \JJoan Sutherland\j, \JRolf Harris\j and \JKate Ceberano\j.
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"Australian String Quartet",49,0,g,0
\IString quartet\i
The Adelaide-based Australian String Quartet comprising William Hennessy (violin), Elinor Lea (violin), Keith Crellin (viola) and Janis Laurs (cello) had its debut at the 1986 Adelaide Festival and is now Australia's longest standing, full-time professional string quartet. Its repertoire is wide-ranging, including commissioned scores by leading Australian composers. Since 1987 the Quartet has undertaken eleven overseas tours and, in addition to its concert series in Adelaide, has performed all over Australia, including most capital cities. Having celebrated the tenth anniversary of its formation in 1995, its 1996 Adelaide Festival appearances mark the tenth anniversary of the Quartet's public debut. The Quartet toured for Musica Viva, playing works of Hayden, Ravel and Beethoven, as well as Europe in 1996. It has made a number of recordings including the complete edition of the seventeen Alfred Hill quartets for release in 1999. The Australian String Quartet is supported by the South Australian Government through the Department of Arts and Cultural Development, and by the Australia Council. It is Quartet-in-Residence at the University of Adelaide's Elder Conservatorium of Music.
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"Australian Youth Orchestra (AYO)",50,0,g,0
\IHighly acclaimed symphony orchestra of young musicians\i
The Australian Youth Orchestra was formed in 1957 and is managed by Youth Music Australia. The orchestra performs nationally (at major arts festivals), internationally (it is Australia's most travelled symphony orchestra and has toured Europe three times and given concerts in China, Japan, Korea, New Zealand and the United States) and also performs for the ABC. It has several times been hailed as the best orchestra in Australia. Its 96 members are between 15 and 23 years; auditions are held every year and all members must re-audition for their positions annually. More than half of Australia's professional orchestral musicians have been members of the AYO.
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"Bailey, Judy (Judith)",51,0,g,0
\I1935-\i
\IJazz pianist and composer\i
New Zealand-born Bailey arrived in Australia in 1960. Involved in many areas of music-making-playing, teaching, lecturing, administrating and composing-she has been teaching at the New South Wales State Conservatorium of Music's jazz studies course since it was begun by Howie Smith in 1973. Early in her career Bailey found work as an arranger with \JTommy Tycho\j's Channel Seven orchestra for two years, \JDon Burrows\j' septet on Channel Two for the \IBrian Davies Show,\i Johnny Bramford's Channel Nine Orchestra, Jack Grimsley's Channel Ten Orchestra and the \IBarry Crocker Show.\i She formed the Judy Bailey Quartet in 1974 and was a member of the Australia Council Board from 1982-86. More recently Bailey has been playing a mixture of standards and free improvisations at venues such as Sydney's Strawberry Hills Hotel and at festivals and other major jazz events such as the 1993 Wangaratta Jazz Festival, where she performed with saxophonist Sandy Evans.
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"Baker, Dale",52,0,g,0
\IBallet dancer\i
Dale Baker was born in Melbourne. He graduated from the Australian Ballet School in 1972 and joined the Australian Ballet in 1973. He danced as a soloist with the Royal Ballet of Covent Garden in 1977-78, during which time he also appeared as guest artist with the Sadler's Wells Royal Ballet. At the end of 1978 he rejoined the Australian Ballet as a principal artist. Baker created the role of Porthos in Andre Prokovsky's \IThe Three Musketeers\i (1980) and the leading role in \JGraeme Murphy\j's \IMeander\i (1984). His repertoire included principal male roles in \IDon Quixote,\i \IThe Merry Widow,\i \ILa Fille mal gardee,\i \IRomeo and Juliet,\i \ISpartacus,\i \IAnna Karenina,\i \IPillar of Fire,\i \ISacre du Printemps\i and \IVoluntaries.\i In 1984 he was guest artist with the National Ballet of Hungary and also danced at the International Ballet Festival in Los Angeles. In 1985 he was principal artist of the San Francisco Ballet, and in 1985-86 principal artist with the Zurich Ballet. In 1987 he was principal dancer in the Australian season of Andrew Lloyd Webber's \ICats.\i Baker taught on the faculty of the National Theatre Ballet School, Melbourne, until 1994 and is a regular guest teacher to the Royal New Zealand Ballet. He is married to ballet dancer \JAnn Jenner\j.
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"Baker, Glenn A.",53,0,g,0
\I1952-\i
Glenn A. Baker, Australian rock historian, was born in Sydney on 28th July 1952, and refuses to say what the initial A stands for in his middle name. After leaving school at 15, he became a postal worker and began writing music reviews in his spare time. He became Australia's authority on rock and roll after winning Britain's \IRock Brain of the Universe\i title on three occasions.
He is featured in many Australian newspapers and radio stations when an authority is needed, and has made a full time career from rock trivia. He is a practising Mormon and lives with his wife Lorelle Sumner, whom he married on 6th January 1973 when they were both 20; they have six children. Also a renowned traveller, he released a travel book in July 1993 called \IPerpetual Motion.\i He managed the rock group Ol' 55 when they were at their peak and has over 45,000 records in his collection. He owns a record shop in Sydney called the Time Warp.
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"Ballet Victoria",54,0,g,0
\IMelbourne-based ballet company\i
In 1967 the ballet company founded in 1946 by dancer and choreographer \JLaurel Martyn\j as the \JVictorian Ballet Guild\j was renamed Ballet victoria. Martyn became its executive director and in 1973 \JGarth Welch\j was appointed assistant artistic director. The company's successful 1975 season featured former artists from Russia's Kirov Ballet as guests, performances from Welch and a highly acclaimed production of \IStar's End.\i In 1976 the company toured Australia and New Zealand with guest artists Galina and Valery Panov and a repertoire that included a lavish production of \IPetrushka.\i Although well received by reviewers, the tour was not a financial success, and in October 1976, a month before the thirtieth anniversary of the founding of the Victorian Ballet Guild, the company was dissolved.
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"Bandstand",55,0,g,0
\ITelevision pop and rock music show,\i \Ibroadcast 1958-72\i
\IBandstand,\i shown on Channel Nine on Saturday evenings, was the first and longest lasting of the pop music shows. It was modelled on the United States program of the same name and compared with the contemporary \J\ISix O'Clock Rock\j\i was sedate and cleancut. Compered throughout its long history by Brian Henderson, it followed a stock format of artists singing (or miming) while couples danced in front of the stage. The large backing orchestra made the show expensive to produce. The first of the regular artists were \JCol Joye\j and the Joy Boys. Over the years all significant Australian pop and rock performers of the time appeared on \IBandstand\i--including Patsy Ann Noble, Lana Cantrell, \JDig Richards,\j \JPeter Allen\j (as part of the Allen Brothers), the \JDelltones\j, \JFrank Ifield\j, the \JBee Gees\j, \JJudy Stone\j and \JLittle Pattie\j--and many overseas guest artists also appeared. The show played a major role in the development of the Australian rock music industry.
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"Bangarra Dance Theatre",56,0,g,0
\ICompany presenting Aboriginal and Torres Strait Islander dance and contemporary Western dance and music\i
In 1989 a group of graduate dancers and staff of the National Aboriginal & Islander Skills Development Association (NAISDA) formed the Bangarra Dance Theatre to present programs reflecting both contemporary and indigenous cultures of Australia. Under the artistic direction of \JStephen Page\j, Bangarra has developed a highly distinctive style of dance that combines traditional Aboriginal and Torres Strait Islander and contemporary dance and music. Its first full-length work, \IPraying Mantis Dreaming\i (1992), was choreographed by artistic director Stephen Page; his brother Russell Page created the role of Praying Mantis. The company has toured nationally, and on the international scene has performed in Japan, China, Hong Kong, Indonesia, the United States and the United Kingdom. The Bangarra Dance Theatre derives its cultural identity from the peoples of Yirrkala, in north-eastern Arnhem Land. The word \Ibangarra\i comes from the Wiradjuri language of New South Wales, and means 'to create fire'.
Bangarra was joint winner of the 1993 Sidney Myer Performing Arts group award (which it shared with Adelaide's Italo-Australian theatre company Doppio). Artistic director Stephen Page won Dance Performer of the Year at the 1994 Mo Awards.
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"Banks, Donald",57,0,g,0
\I1923-80\i
\IAustralian composer\i
Banks was born in Melbourne and educated at the University of Melbourne Conservatorium of Music, followed by a period of overseas study, beginning in 1950. He studied first in London with Matyas Seiber, then in Florence with Luigi Dallapiccola, and finally in Salzburg with the American Milton Babbitt. In 1953 he returned to London where his early works were well received: his \IFour Pieces for Orchestra\i was performed in 1954 by the London Philharmonic Orchestra under the baton of Sir Adrian Boult. From this time until his return to Australia he was in the enviable position of having most of his works commissioned and premiered by the top orchestras in the United Kingdom: his \IHorn Concerto,\i for example, featured French horn maestro \JBarry Tuckwell\j and the BBC Symphony Orchestra. While living in the United Kingdom, he co-founded the Australian Musical Association in London.
In 1970 Banks was invited to Australia to run seminars for young composers and in 1972 became resident Creative Arts Fellow at the Australian National University. His list of prestigious appointments continued to grow: in 1973 he was made Chairman of the Australia Council's first Music Board and also made head of composition and electronic music at the Canberra School of Music; later he was appointed head of the New South Wales State Conservatorium of Music's Department of Composition. The demand for his skills as a teacher of composition reflect the high regard in which his work was held in Australia. He was considered one of the most successful composers at merging jazz music with so-called 'serious' music. In recognition of his services to Australian composition he received a doctorate \I(honoris causa)\i from the University of Melbourne as well as the Order of Australia shortly before his death in 1980.
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"Barambah, Maroochy",58,0,g,0
\IMezzo-soprano and actor\i
Born Yvette Isaacs at Cherbourg, central Queensland, Barambah spent her teenage years in Melbourne after being removed from her Aboriginal family and placed with white foster parents. In 1976 she auditioned, and was accepted for, the Melba Conservatorium of Music in Melbourne, and in the following year won a place at the Victorian College of the Arts, in 1979 becoming the first Aborigine to graduate from the College in drama. She later studied at the Aboriginal and Islander Dance School in Sydney and at the Elder Conservatorium of Music and the Centre for Aboriginal Studies in Music, both at the University of Adelaide. She received a Commonwealth education award to study traditional European opera in Germany, France and the United States. In 1989 she sang the lead role Miriam in the Australian opera \IBlack River\i for the Sydney Metropolitan Opera Company; in 1990 she co-starred with Ernie Dingo in the premiere of the musical \J\IBran Nue Dae\j\i at the Festival of Perth; and in 1995 appeared as Maria in \IPorgy and Bess,\i at a special one-night staging at the Sydney Opera House. In 1993 (the Year of Indigenous People) she became the first Aboriginal singer to perform at a concert at the United Nations in New York, and in the same year, also in New York, recorded her first album, \IMongungi.\i
In the early 1980s she took the name Maroochy ('black swan' in Gubbi Gubbi, her mother's tribal language) Barambah ('source of the western wind' in the language of the Wakka Wakka people of the Cherbourg area) to reflect her Aboriginality. In 1994, in Cherbourg, she launched the Barambah Beltout, a two-day festival of Aboriginal music and dancing and country music which has become an annual event and now receives financial backing from the Australia Council. She lives in Brisbane.
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"Barber, Tony (singer)",59,0,g,0
\I1943-\i
Tony Barber, Australian singer, was born in England on 3rd December 1943. A window dresser, he came to Australia and joined Billy Thorpe's Aztecs as a guitarist before going solo and having a hit with 'Someday'.
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"Barlow, Dale",60,0,g,0
\IJazz musician and tenor saxophonist\i
Sydney-based Barlow cut his jazz teeth with Sydney's Northside Big Band which played a traditional repertoire including Count Basie, Mel Lewis and Duke Ellington. Barlow trained at the New South Wales State Conservatorium of Music under Roger Frampton and \JDon Burrows\j and played in Sydney for a year after finishing at the Conservatorium in 1980. Barlow then travelled to New York where he spent some years soaking up that city's jazz scene. He spent more than a decade dividing his time between New York, London and Sydney and touring from Europe to the Caribbean, and has played with jazz greats such as Art Blakely's Jazz Messengers, Chet Baker, Cedar Walton, Kenny Barron and Gil Evans as well as with acts such as Bryan Ferry, The Style Council, Ian Drury, the Saints and \JMental As Anything.\j On returning to Australia in 1986 he applied for a grant from the Music Board of the Australia Council to tour to Europe with the jazz quartet The Wizards Of Oz, which he co-founded with \JPaul Grabowsky.\j At that time the group consisted of Barlow (sax), Grabowsky (piano), Lloyd Swanton (bass) and Tony Buck (drums). The tour eventually took place in 1988. A group of the same name, but with a different line-up, toured Holland, Germany and Finland in 1994 under the leadership of Barlow. The other players in this group were Carl Orr (guitar), Janawirri Yipparka (didgeridoo), Tony Buck (drums) and Joe Williamson (bass). Barlow planned a third tour for the group in 1995.
Barlow has recorded two albums with the Messengers, an ARIA-winning album with \JVince Jones\j (which he also produced), his own debut \IHorn\i and then \IHipnotation\i in 1992, the ARIA Jazz Album of the Year. Barlow has won four Mo Awards.
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"Barnes, Jimmy",61,jbarnes.jpg,c,0
\I1955-\i
\ISinger in hard rock style and founding member of the group Cold Chisel\i
Jimmy Barnes, born James Dixon Swan in Glasgow, Scotland, arrived in Adelaide with his family at the age of five. In 1974 he was invited to join the group that became \JCold Chisel.\j Following the break-up of that group in 1983, Barnes formed the Jimmy Barnes Band (1984) and also established himself as a solo artist. His first solo album, \IBodyswerve\i (1984), was a best-seller, as have been most of his later albums. They include \IWorking Class Man\i (1985) (now closely identified as part of Barnes' public image), \IFreight Train Heart\i (1987), \ITwo Fires\i (1990), \IDeep Soul\i (1991) and \IMushroom\i (1993). His singles include 'Working Class Man' (1985), 'Too Much Ain't Enough' (1987), 'When A Man Loves A Woman' (1989), 'Little Darling' (1990), 'Ain't No Mountain High Enough' (1992), 'Higher and Higher' (1992) and 'Sweat It Out' (1993). His many awards include the 1988 and 1991 ARIA awards for Best Australian Male Artist and the Australian Music Awards (AMA) Best Male Solo Singer for 1991.
In the mid-1980s he made an unsuccessful attempt to break into the US market and in 1994 he relocated to France. He returned to Australia in 1995 to support Bon Jovi during part of their Australian tour.
Towards the end of 1996, Jimmy Barnes and his family moved back to Australia permanently. He also released another album titled \IBarnes Hits.\i
\BDescription:\b Jimmy Barnes \I(Fairfax Photo Library)\i.
#
"Barr, Margaret",62,0,g,0
\I1904-91\i
\IChoreographer and modern dance teacher\i
Born in India and educated in the United States, Barr joined Martha Graham's dance company in New York before working in London in the 1930s. From 1939 to 1952 she lived in New Zealand; in 1954 she settled in Sydney and founded a dance drama group which made its debut in 1955. Barr also taught movement at NIDA for sixteen years. She imparted to her students her ideals and philosophy, including the need for dance to make social comment, along with the skills of non-verbal communication. Barr worked with many contemporary Australian composers, including \JJohn Antill\j and \JRichard Meale,\j and wrote the choreography for Peter Shaffer's Play \IThe Royal Hunt of the Sun\i for festivals in Perth and Adelaide.
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"Barret, Yvonne",63,0,g,0
\I1948-85\i
Yvonne Barret, former top Australian singer, was born in Melbourne in 1948 and started her career by appearing in the stage show \ISound of Music.\i At her peak she appeared on \IBandstand, The Go Show, Komotion\i and \ISix O'Clock Rock.\i Her records did well in Melbourne, including \ILittle People, Send Her Away, Don't Bother Calling\i and \IYou're the One.\i She was found stabbed to death at her Birchgrove home in Sydney on 4th September 1985, aged 37. Her Asian husband was later charged and convicted of her murder.
#
"Basement, The",64,0,g,0
\IJazz venue\i
The Basement is situated in the heart of Sydney, at Circular Quay. Its management team of Bruce Viles and Christopher Richards is the same partnership that made it a landmark on the Australian music scene when it first opened in 1972. The Basement has presented hundreds of the world's top musicians. Recent guests include guitarist John Scofield and Leo Kottke, and singers Betty Carter and Blossom Dearie. Other jazz greats include Herbie Hancock, Dizzy Gillespie, Georgie Fame and Courtney Pine. Top local bands such as DIG, the eighteen-piece Australian Chamber Orchestra and saxophonist \JDale Barlow\j also make regular appearances. Some overseas performers such as Harry Connick Jnr, one of the biggest jazz-style attractions in the world, come to Australia to play only at the Basement.
The Basement shut its doors in 1988 and reopened in 1992. Today, its many world-class features include state-of-the-art sound and lighting, full recording facilities, a choice of the best pianos and the capacity to hold 450 people. It has recently mounted its own Listen Up Festival as part of the annual Sydney Festival, bringing in top jazz and blues acts from around the world to perform each January. This event, run in conjunction with the Ministry of the Arts, is the jazz and blues component of Australia's largest single arts event.
#
"Batley, Noelene",65,0,g,0
\I1943-\i
Noelene Batley, Australian singer, was born in Sydney with her twin sister Carol on 25th December 1943. Her hits include 'Barefoot Boy', 'Tammy', 'Rendezvous' and 'Little Treasure From Japan'. She appeared regularly on \IBandstand\i and \ISix O'clock Rock\i. She married Stephen Stewart-Topper in 1975, moved to Essex in England, and had her first child in 1976.
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"Bauld, Alison",66,0,g,0
\I1944-\i
\IComposer\i
Bauld was born in Sydney where she attended NIDA before going on to study music at the New South Wales State Conservatorium of Music and the University of Sydney. She completed her musical training in England at the University of York, receiving her doctorate in 1974. Her music-theatre works reflect her dedication to and interest in the related art forms of music theatre and contemporary dance; they include \IOn the Afternoon of the Pigsty\i (1971) for female speaker, piano, alto-melodica and percussion; \IHumpty Dumpty\i (1972) for tenor, flute and guitar; \IOne Pearl\i (1973) for soprano (or countertenor) and string quartet; \II Loved Miss Watson\i (1977) for soprano and piano with tape; \IThe Busker's Story\i (1978) for alto-sax, bassoon, C trumpet, violin and double bass; \IBanquo's Buried\i (1982) for soprano and piano; \IRichard III\i (1985) for voice and string quartet; \IThe Witch's Song\i (1990) for soprano and \IExult\i (1990) for choir, organ and optional brass quartet.
Bauld has had several commissions from the BBC in which she has chosen to explore quadraphonic radio effects, as in \IVan Diemen's Land\i for α cappella singers and actors; multi-track technique in \IRichard III\i in which she mixes radio sound effects with orchestra; and singer and actors in her cantata \IOnce Upon a Time.\i Therese Radic, writing in \IThe New Groves Dictionary of Music and Musicians,\i calls Bauld's music 'almost theatrical in nature ... she is rapidly developing new forms and notations for music with dance'. This versatile composer has completed three volumes of a tutor for keyboard composition called \IPlay Your Way\i which explores, among other things, how even the composer's errors can be creative. Bauld lives, writes, paints and teaches in London.
#
"Baynes, Stephen",67,0,g,0
\I1954-\i
\IChoreographer\i
Adelaide-born Baynes is a dancer with the Australian Ballet. He graduated from the Australian Ballet School in 1977 and has performed with the company ever since, except for a stint with the Stuttgart Ballet in the early 1880s. The choreographic style of William Forsythe has had a great influence on his work. Baynes won the Australian Ballet's 25th Anniversary Choreographic Competition in 1988 with his work \IBallade,\i which the company performed later that year. Baynes was also awarded a Qantas Youth Award, which took him to Europe in 1990 to see what contemporary overseas choreographers were doing. Another of his works, \J\ICatalyst\j,\i was performed as part of the Australian Ballet's 1990 subscription season. In 1993 Baynes came second to fellow-Australian \JStanton Welch\j in the annual poll of Britain's leading dance magazine for this popular work. Early in 1995 he created a work for La Scala Ballet in Milan and in September 1995 the Australian Ballet performed the premiere of his work \IBeyond Bach.\i
#
"Bee Gees",68,0,g,0
\IPop group formed in the 1950s by the three Gibb brothers.\i
The group originally consisted of three brothers of the Gibb family, Barry (1947-), and the twins Robin and Maurice (1949-). The family migrated from Britain to Australia in 1958 and settled in Brisbane. Having achieved some recognition as a singing group with regular appearances on the television rock show \IBandstand,\i they returned to England in 1967 where they were promoted by entrepreneur Robert Stigwood. After their first international hit, 'New York Mining Disaster-1941', they expanded the group with guitarist Vince Maloney and drummer Colin Peterson. Their next single, 'To Love Someone', was also successful and until the early 1970s their songs were regularly placed in the world's charts, many featuring Robin's unique vocal tremolo.
The group made a comeback when they produced the soundtrack of the film \ISaturday Night Fever,\i adapting their style to the disco craze. Their single from the \ISaturday Night Fever\i album, 'Staying Alive', was No. 1 in Australia for twenty weeks and also No. 1 in Britain and the United States. In 1979 their album \IThe Bee Gees' Greatest\i was also a bestseller. After the \IFever\i craze had died away, they were successful with the album \IESP '87.\i
The youngest brother in the Gibb family, Andy (1958-88), also had a successful singing career for a period. Performing as a soloist, he had several international hits, the first being 'I Want to be Your Everything' in 1977. He also hosted some pop shows in the United States. He died in 1988 of a heart condition aggravated by alcohol and drugs.
In 1997 the Bee Gees won an Outstanding Achievement Award at the Brit Awards and the band was inducted into the Rock 'n' Roll Hall of Fame in the United States. The band was also inducted into the Australian Record Industry Awards Hall of Fame the same year.
#
"Begg, Heather",69,0,g,0
\IMezzo-soprano opera singer\i
New Zealand-born Heather Begg began her singing training in Auckland and later studied at the New South Wales State Conservatorium of Music in Sydney and the National School of Opera in London, where she won the Countess of Munster Scholarship. She appeared in London with the Carl Rosa Opera Company; the Royal Opera, Covent Garden; and Sadler's Wells (forerunner of the English National Opera Company). After three years with the New Zealand Opera Company she joined the Royal Opera, Covent Garden, as resident principal mezzo-soprano. She joined the Australian Opera in 1976, making her debut as Amneris in \IAida\i. Her many other roles for the company include the title role in \ICarmen\i, Emilia (\IOtello\i), Prince Orlofsky (\IDie Fledermaus\i), Mrs Bonner (\IVoss\i), Anhilte (\IThe Gipsy Princess\i), Katisha (\IThe Mikado\i) and Ulrica (\IA Masked Ball\i). She appears in several videos of Australian Opera productions and her recordings include Berlioz' \ILes Troyens\i and Bellini's \II Puritani\i.
She was made an OBE in 1978.
#
"Bell, Graeme",70,0,g,0
\I1914-\i
\IJazz pianist and band leader\i
Melbourne-born and Sydney-based Bell is known as one of the elder statesmen of Australian jazz for his solid work as a band pianist and leader. Towards the beginning of his career, Bell and his friends played at a Contemporary Arts Society exhibition in 1941, drawing their inspiration from the earlier jazz of New Orleans and Chicago. The socialist Eureka Youth League arranged for Bell's band to attend the 1947 World Youth Festival in Czechoslovakia. A second European tour in 1950 confirmed the band's importance. Their recording of \IAlma St Requiem\i was nominated by George Avakian, an American critic and producer, as one of the ten best records of 1945. Bell formed his first All Stars group in 1962 and then played as Graeme Bell and the All Stars with a variety of musicians. In 1978 he was awarded the Queen's silver jubilee medal; in 1990 he toured China. In 1993 Bell returned to Prague with his band at the invitation of the Czech Jazz Society; in the same year he was honoured for his fifty years as a professional musician with a dinner at Sydney's InterContinental Hotel.
In 1994 the Graeme Bell All Stars re-released their album, \IThe Best of Dixieland,\i with Bob Henderson (trumpet, vocals), Ken Herron (trombone), Graeme Bell (piano), Stan Kenton (bass), Ken Harrison (drums), Jack Wyard (clarinet, soprano sax) and Lesley Lambert (vocals). The current line-up looks different, and besides Bell and Henderson has Direter Vogt (bass), Jack Wyard (reeds), Paul Baker (banjo) and Lawrie Thompson (drums). Bell is a patron of a number of jazz institutions as well as the prestigious International Piano Competition. He has been made an AO (Officer of the Order of Australia) and an MBE.
Graeme Bell was inducted into the Hall of Fame at the 1997 ARIAs.
#
"Benjamin, Arthur",71,0,g,0
\I1893-1960\i
\IAustralian musician in the United Kingdom\i
Arthur Benjamin was born in Sydney and arrived in London at the age of seventeen, as an accomplished pianist. During World War I he joined the Royal Air Force, returning to Sydney in 1919 to take up an appointment at the New South Wales State Conservatorium of Music. In 1922 he went to London where he joined the Royal College of Music, remaining there for some years before being invited to Canada as conductor of the Vancouver Symphony Orchestra in 1939. After World War II, Benjamin returned to London, touring Australia in 1950. His major works include three operas (one of which, \IManana,\i was the first opera to be produced on BBC television), a symphony and a number of piano concertos, as well as film and piano music. Some people feel that the popularity of his piece \IJamaican Rhumba\i casts his other important works into relative obscurity. Perhaps Benjamin's greatest lasting influence came from his teaching; many of his former pupils, including Benjamin Britten, acknowledged the musical debt they owed him.
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"Benton, Merv",72,0,g,0
\I1941-\i
Merv Benton, Australian rock singer from Reservoir in Victoria, was born in Melbourne on 12th August 1941. After leaving school, he became a bank teller with the State Savings Bank of Victoria. His first record contract was with W&G in 1964 with Brian De Courcy as his manager. He suffered from a continual throat problem and by the end of 1966 announced a two year retirement that became permanent.
He based himself on the Gold Coast in the 1970s and in the early 1980s worked as a sales representative with radio 4GG. He performed at a rock revival concert in Melbourne in 1983 and in 1997 was running American Child Minding Centres in Arizona. His hits include 'Nervous Breakdown', 'Be Sweet', 'Come On and Get Me', 'I Git Burned', 'Yield Not To Temptation', 'We Got Love', 'You've Got What It Takes' and 'The Worryin' Kind'.
#
"Bermingham, Jennifer",73,0,g,0
\IMezzo-soprano opera singer\i
Jennifer Bermingham was born in Adelaide. She studied at the Adelaide Conservatorium of Music with \JArnold Matters\j and later at the London Opera Centre. She has been a principal artist with the Australian Opera since 1970, making her debut in 1971 as Cherubino in \IThe Marriage of Figaro.\i Her roles for the company include Dorabella \I(Cosi fan tutte)\i; Sonya \I(War and Peace),\i the opening opera at the Sydney Opera House; Hermia \I(A Midsummer Night's Dream)\i; Meg Page and Mistress Quickly \I(Falstaff)\i; Mrs Judd \I(Voss)\i; Sylvianne and Zozo \I(The Merry Widow)\i; the Witch \I(Hansel and Gretel)\i; and Mastrilla/Fasquinella \I(Pericole).\i For the State Opera of South Australia she appeared as Suzuki \I(Madama Butterfly)\i and for the Victoria State Opera she appeared in the role of Hansel in a pantomime-style production of \IHansel and Gretel.\i In 1973 she helped create \IOpera Through the Time Machine,\i an introduction to opera for children, in which she performed the role of Suzel. She appears in several videos of Australian Opera productions.
In 1992 she received an OAM (Medal of the Order of Australia).
#
"Bertles, Bob",74,0,g,0
\IJazz saxophonist\i
Newcastle-born Bertles was given his first clarinet at the age of nine and played along with records, receiving no formal training until he was fifteen. After moving to Sydney he began clarinet lessons and bought his first saxophone. While his first job was at \IThe Sun\i newspaper, his professional career in music began in 1956 when he played at jazz clubs and became a member of the Johnny O'Keefe Band (1959-63). Besides playing with jazz musicians such as Ed Gaston (bass), Bryce Rohde (piano), Tony Hopkins and Col Jones (trumpet), Bertles taught in the jazz studies department at the New South Wales State Conservatorium of Music for ten years. His overseas tours have included New Zealand (with the Platters), England and Scotland (with Cliff Richard) and Europe (with the band Nucleus, with whom he played for four years). After five years based in London, Bertles moved to Cologne, Germany, staying there for about a year; he returned to Sydney in 1976. From then on he played four or five nights a week at Sydney's Old Rocks Push, formed Moontrane, and played with John Hoffman's Big Band and the Bruce Cale Quartet. After a Greek holiday and a stint in London (1980-81), Bertles took on a lot of theatre work in Sydney in shows such as \IChicago.\i Nowadays, Bertles still tours and plays and is based on Queensland's Gold Coast.
#
"Biddell, Kerrie",75,0,g,0
\I1948-\i
\IPop singer\i
Kerrie Biddell studied piano as a child but turned to singing in her teenage years after developing arthritis in her hands. Her first professional job, in 1967, was backing touring British singer Dusty Springfield at Chequers nightclub in Sydney. In 1968 she joined the group Affairs as lead singer; two years later the band won the National Battle of the Sounds. She then moved to cabaret, recording and television work and began appearing with the Daly Wilson Big Band. In 1973 she left Australia to live in Canada, during which time she worked extensively both there and in the United States. After returning to Australia she appeared, from 1976 to 1979 and again in 1983, with the jazz fusion band Compared to What and in 1981 formed the Kerry Biddell Group. Her first album, \IKerrie Biddell\i (1973), won two ARIA awards; it was followed by \IOnly the Beginning\i (1979) and \IKerrie Biddell: The Singer\i (1995). In 1994 she took part in \ILegends,\i a series of musical autobiographies staged at Sydney's Tilbury Hotel, and in the same year won the Mo Award for Jazz Performer of the Year. She sang jazz versions of Shakespeare's songs in \IAs You Like It\i (1996) for the Sydney Theatre Company. Biddell teaches vocal studies at the Southern Cross University in northern New South Wales.
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"Birtles, Beeb",76,0,g,0
\I1948-\i
Beeb Birtles, Australian singer and songwriter and founding member of pop bands Mississippi and Little River Band, was born Gerald Birtle Kamp in Amsterdam on 28th November 1948. He arrived in Australia in 1958. He had a hit with Graham Goble called 'I'm Coming Home' in 1979. Little River Band hits include 'Help is on the Way', 'Witchery', and 'Reminiscing'.
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"Bishop, John",77,0,g,0
\I1903-64\i
\IMusician, music educator and promoter\i
Born in Aldinga, South Australia, Bishop studied piano from the age of five. He won a scholarship to study at the Elder Conservatorium, Adelaide (1919-21), and the Royal College of Music, London (1922-26). Spending the years from 1928 to 1933 in New Zealand, he founded the Wellington Philharmonia Orchestra. He returned to Melbourne in 1933 and taught at the University Conservatorium before becoming musical director at Scotch College Melbourne (1937-47). He promoted the Victorian School Music Association, fostering an annual national music camp, and the Australian Youth Orchestra. From 1948 he was director of the Elder Conservatorium and the Elder professor of music at Adelaide University. In 1960 Bishop founded the biennial Adelaide Festival, which he directed until his death in London. He was made an OBE for his services to music.
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"Black River",78,0,g,0
\IOpera\i
This unusual and highly-acclaimed opera is based on the inquiry into black deaths in custody. Composer \JAndrew Schultz\j first had the idea in 1986 when he decided to enter the Australian National Composers' Opera award with a one-act opera of dramatic Australian content. His journalist sister Julieanne Schultz agreed to write the libretto. The Aboriginal mezzo-soprano \JMaroochy Barambah\j sang the leading role of Miriam. \IBlack River\i was first staged by the Sydney Metropolitan Opera Company in 1989 and won the Sounds Australian National Critics award.
Writer-director Kevin Lucas wrote a screenplay for the opera and enlarged the component of Aboriginal performance. The film he made with cinematography by Kim Batterham scooped the 1993 IMZ Opera Screen Grand Prix in Paris.
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"Black Sorrows",79,0,g,0
\IPop group\i
The Black Sorrows pop group, the creation of Jo Camilleri (formerly of Jo Jo Zep and the Falcons), was formed in Melbourne in 1984. It has ranged in size from four to as many as fourteen members, who play a variety of instruments including violin, mandolin, saxophone, electric guitar, acoustic guitar and clarinet. Its singles include 'Country Girls' (1986), 'Harley And Rose' (1990) and 'Come On Come In' (1993); albums include \IRockin Zydeco\i (1985), \IHold On To Me\i (1989) and \IBetter Times\i (1993). Black Sorrows were voted Best Australian Group at the 1989 ARIAs.
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"Black Swan, The",80,0,g,0
\IBallet\i
\JEdouard Borovansky\j introduced \IThe Black Swan,\i one of his Australian-based ballets, into the repertoire of his company, the Borovansky Jubilee Ballet, in 1949. The three-act ballet is set to the music of Sibelius with the original set designs by John Constable and the leading role danced by Eve Gordon. (\JEdna Busse\j took over the starring role in the 1950 production). The story is loosely based on the discovery of the Swan River by the Dutch in the seventeenth century, with one of the exploring officers expressing his awe of the wild new land through his friendship with a black swan.
\IThe Black Swan\i premiered in the small theatre attached to Borovansky's Melbourne studio in 1949 and ran over two nights at the Melbourne University Union Theatre in 1950.
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"Blades, Margaret",81,0,g,0
\IViolinist\i
Margaret Blades began violin studies in Adelaide and was a student at the Elder Conservatorium with W.R. Collins and \JBeryl Kimber\j. She furthered her studies with Dr Jan Sedivka at the Tasmanian Conservatorium of Music where she later joined the staff as assistant to Dr Sedivka. She has presented broadcasts with ABC Classic FM, performed as a chamber musician with Musica Viva and appeared as soloist with the Melbourne and Adelaide Symphony Orchestras as a string finalist in the ABC Young Performers awards. Blades is associate concertmaster of the Adelaide Symphony Orchestra.
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"Blair, Harold",82,0,g,0
\I1924-76\i
\ITenor and music teacher\i
Harold Blair was born at Cherbourg Mission in south-eastern Queensland and worked as a cane cutter and tractor driver until 1944, when he came to the attention of \JMarjorie Lawrence\j, who encouraged him to concentrate on a singing career. He studied at the Melbourne Conservatorium of Music and later toured Australia singing with the Brisbane and Sydney orchestras; he also performed in Europe and the United States. He devoted much of his time to raising money for Aboriginal children, and in 1967 moved from Melbourne to Adelaide to join the South Australian Department of Aboriginal Affairs. He later returned to Victoria to teach music. In 1992 \IHarold,\i a musical based on Blair's life, toured Queensland.
In 1975 Harold Blair was made an AM (Member of the Order of Australia).
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"Blundell, James",83,0,g,0
\I1964-\i
\ISinger and songwriter\i
James Blundell was born in Stanthorpe, Queensland on 8th December 1964 and was raised on a sheep and cattle station. He rode in rodeos and worked as a station hand in northern Queensland and Western Australia. While managing a cattle station in Papua New Guinea Blundell hurt his back loading a bull onto a truck and was flown to Sydney for treatment. It was there that he began playing his guitar and singing professionally. His win in the 1987 Star Maker Quest led to regular television appearances and was followed by the release of a single and then his first album, \IJames Blundell\i (1989), which went gold; his second, \IHand It Down\i (1990), was released in the United States in 1991. Later albums include \ITouch of Water\i (1993) and \IEarth and Sea\i (1995). His hit singles include 'Way Out West', 'Age of Grace', 'Kimberley Moon' and 'Blue Heeler'. His Golden Guitar awards include Best New Talent (1988), Best Male Vocalist (1990), and Song of the Year and Best Male Vocalist (1991); he also won the Mo Award for 1990 Country Male Performer.
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"Bodenwieser, Gertrud",84,0,g,0
\I1890-1959\i
\IChoreographer and dancer\i
Born in Vienna, Austria, Bodenwieser trained in classical ballet and made her debut in 1919 with a solo recital. After this she worked with a partner and then with a small group, and by 1920 was teaching her own style of modern dance at the Vienna State Academy of Music and Dramatic Art. After her marriage to dramaturg Friedrich Rosenthal, she worked on productions with such people as the director Max Reinhardt and the painter and playwright Oscar Kokoschka. In May 1938 Bodenwieser toured to Colombia with a small group of her dancers while the main group toured Australia in the review \IAround the Clock.\i While she was away, Austria united with Nazi Germany and her husband was taken by the Gestapo. At the end of the tour, rather than return to Austria, Bodenwieser decided to go to New Zealand with some of her dancers (one of whom came from there) and the musical director, Marcel Lorber; her main group of dancers decided to remain in Australia. Bodenwieser settled first in Wellington in New Zealand, moving to Sydney in August 1939. She renamed the group the International Streamlined Ballet and it made its first appearance in a play at the Minerva Theatre. Soon afterwards Doris Fitton, director of the Independent Theatre, invited Bodenwieser to hold the group's first recital at her theatre, and a generous patron lent them a room for a studio. At this time the six dancers began performing outdoors free, in order to encourage students. The group was renamed the Bodenwieser Ballet.
Audiences were attracted by the Ballet's obvious dedication to dance rather than to its trappings, demonstrated by the use of no scenery and only simple costumes. This contrasted with the more lavish ballets of the time such as those presented by the Monte Carlo Russian Ballet. The J.C. Williamson theatrical organisation soon adopted the Bodenwieser Ballet and gave it a season in Melbourne in 1940. From there it toured Tasmania, Queensland and Western Australia, visiting country towns as well. During 1941 the group toured New South Wales and Bodenwieser herself appeared in her popular work \ICain and Abel.\i Among the many other ballets she choreographed were \IDemon Machine\i (1924), \IThe Pilgrimage of Truth\i (1930) and \IThe Blue Danube\i (1940).
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"Bogle, Eric",85,0,g,0
\I1944-\i
\IFolk singer and songwriter\i
Born in Scotland, Eric Bogle emigrated to Australia in 1969. He began writing songs while working as an accountant in Canberra, and in 1972 gained recognition for the anti-war song 'And the Band Played Waltzing Matilda', still considered a classic. His first album \INow I'm Easy\i (1980) achieved gold status in 1983 and with more than ten subsequent albums he became widely known both in Australia and overseas--'And the Band Played Waltzing Matilda', 'No Man's Land' and 'Leaving Nancy' all became No. 1 hits in Ireland, for example. His music shows a strong social conscience and in 1986 he was awarded the Peace Medal for his promotion of peace and racial harmony. He has made many national tours of Australia and in 1993 released a live double album, \II Wrote This Wee Song,\i recorded on tour and backed by his own five-piece band. This included many of his most popular songs.
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"Bollard, David",86,0,g,0
\IPianist specialising in chamber music\i
New Zealand-born Bollard lived in London from 1964, studying with Ilona Kabos, Louis Kentner, Julius Katchen and Bela Siki. In 1969 he made his British debut at London's Wigmore Hall and has since appeared in Europe, Asia, Australia and New Zealand. He moved to Sydney in 1970, where he has worked as performer, teacher, writer, lecturer, adjudicator, examiner and broadcaster. He has been a staff member of the New South Wales State Conservatorium of Music and the University of Western Australia. Bollard has toured for the ABC many times with a variety of instrumentalists and singers. He has been a member of the Australia Ensemble since its inception in 1980 and has recorded for the ABC and for the Australian label, Tall Poppies.
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"Bolte, Lisa",87,0,g,0
\IBallet dancer\i
Sydney-born Lisa Bolte studied ballet in Brisbane before entering the Australian Ballet School. She joined the Australian Ballet in 1986 and was promoted to soloist in 1988, senior artist in 1990 and principal artist in 1993. In 1987 she studied with companies in Europe and the United Kingdom. Her roles have included Aurora in \IThe Sleeping Beauty\i, the title role of \IGiselle\i, Bianca in \IThe Taming of the Shrew\i, Olga in \IOnegin\i, the title role in \ILa Sylphide\i, Odette/Odile in \ISwan Lake\i, Juliet in \IRomeo and Juliet\i, Kitri in \IDon Quixote\i, Lise in \ILa Fille mal gardee\i, Valencienne in \IThe Merry Widow\i, the title role in \IManon\i, the title role in \IAnna Karenina\i and Ada in \IThe Competition\i. She has performed with the Australian Ballet in the USSR, the United Kingdom, Greece, Taiwan, Thailand, Singapore, the United States and Italy. In 1994 she danced with the National Ballet of Canada.
#
"Bonynge, Richard",88,0,g,0
\I1930-\i
\IPianist and conductor\i
Born in Sydney, Bonynge studied music at the New South Wales State Conservatorium and in London, becoming a specialist in bel canto operas. In 1954 he married opera singer \JJoan Sutherland\j and gave up his own career as a pianist to work with and support his wife. By 1963 their professional partnership had resulted in Bonynge being the only conductor for operas in which Sutherland sang the leading role. In 1965 he became artistic director of the Sutherland-Williamson International Grand Opera Company in Australia and from 1976 to 1986 was artistic and musical director of the Australian Opera. Bonynge has continued as a conductor with the Australian Opera and elsewhere since his wife's retirement and has conducted at the Edinburgh, Vienna and Florence festivals. He has made many recordings of full operas (with Sutherland) and of ballet music and is a noted enthusiast of French opera. He was appointed an AO (Officer of the Order of Australia) in 1977.
#
"Borovansky, Edouard",89,0,g,0
\I1902-59\i
\IEuropean-born ballet dancer and choreographer whose ballet companies were forerunners of the Australian Ballet\i
Edouard Borovansky was born of Russian parents at Prerov, Moravia (now part of the Czech Republic), and trained at the Prague National Theatre. He was a member of the ballet at Prague before joining Anna Pavlova's company, with which in 1929 he made his first visit to Australia. He joined the Ballet Russe de Monte Carlo for the 1933-34 season, and there created numerous major roles including those in Massine's \ILe Beau Danube\i and \IScuola di Ballo,\i David Lichine's \IFrancesca da Rimini\i and Balanchine's \ILa Concurrence,\i and was also acknowledged as a fine interpreter of the works of Michel Fokine, including such roles as Pierrot in \ILe Carnaval,\i the Chief Eunuch in \IScheherazade\i and the Astrologer in \ILe Coq d'Or.\i
He again toured Australia in 1938 as a member of Colonel de Basil's Covent Garden Russian Ballet, after which he and his wife, Xenia (a niece by marriage of Pavlova), settled in Melbourne where they opened a ballet school. In the following year the senior members of the school presented a number of performances, which over the next three years became regular events; from these evolved the Borovansky Australian Ballet Company, the first of several companies generally known as the \JBorovansky Ballet\j. Borovansky himself choreographed seven original works for the company, including three on Australian themes \ITerra Australis\i (1946), \IThe Black Swan\i (1949) and \IThe Outlaw\i (1951), the latter retelling the Ned Kelly saga.
Edouard Borovansky is acknowledged as the 'father of ballet in Australia'.
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"Borovansky Ballet",90,0,g,0
\IName given to a series of ballet companies in Australia between 1940 and 1961\i
The Borovansky Australian Ballet Company, formed in 1940 by \JEdouard Borovansky\j, was the first of a series of Borovansky companies which flourished between 1940 and 1961. The companies, which all existed without government or Arts Council grants, perpetuated the Ballet Russe tradition in Australia and provided the founding performers for the Australian Ballet. The first Borovansky company grew out of a number of public performances given by senior pupils of the Borovansky Ballet School; members included \JLaurel Martyn\j and \JEdna Busse\j, and its repertoire included a number of original productions created by Borovansky \I(Terra Australis),\i Martyn (\ISigrid)\i and Dorothy Stevenson \I(Sea Legend).\i The company was based in Melbourne and in 1944 accepted the organisational and financial backing of the J. C. Williamson theatrical organisation, enabling it to offer dancers full-time employment and to perform and tour throughout the year.
In 1944 it toured Australia and New Zealand. The company disbanded in 1947, but in 1950 was re-established in Sydney with 46 dancers led by \JPeggy Sager\j, \JKathleen Gorham\j, Dorothy Stevenson, Edna Busse, Miro Zloch, \JPaul Grinwis\j, \JMartin Rubinstein\j and Charles Boyd. In 1951, as the Borovansky Jubilee Ballet, the company gave its first performance at the Empire Theatre, Sydney. The Borovansky companies brought Australian audiences the first local stagings of the evening-length classics \INutcracker\i and \ISwan Lake\i and seven original works choreographed by Borovansky including three on Australian themes. Dame Margot Fonteyn danced with the company on her 1957 tour of Australia. After Borovansky's death in December 1959, \JPeggy van Praagh\j became artistic director. Financial difficulties caused the closure of the company in 1961, but in 1962 van Praagh and most of the dancers reappeared in the form of the government-subsidised Australian Ballet.
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"Bourke, Walter",91,0,g,0
\IBallet dancer and choreographer\i
Walter Bourke was born in Melbourne, where he trained with Paul Hammond before becoming a founding member of the Australian Ballet, where he was a soloist from 1962-68. He was principal artist with the Royal Swedish Ballet 1969-70 and 1973-75; from 1970-72 he was principal artist with Canada's Royal Winnipeg Ballet, during which time he and his Swedish-born wife, ballerina \JMaria Lang\j, toured Australia as members of the company. In 1975 he returned to the Australian Ballet as principal artist; his roles included Captain Belaye in \IPineapple Poll,\i Camille in \IThe Merry Widow\i and Benvolio in \IRomeo and Juliet.\i His choreographic credits include \ITarantella\i for the Royal Winnipeg Ballet (later taken into the Australian Ballet repertory), \IParadise Garden,\i \ISuperboy Came to Class\i (created expressly for \JDanilo Radojovic\j, who performed it in Moscow) and \ILe Salon\i for the Australian Ballet School. Since his retirement from dancing in 1978 Bourke has served as a member of the Australian Ballet Foundation board of directors.
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"Boyd, Anne",92,0,g,0
\I1946-\i
\IComposer interested in the ethnomusicological aspects of composition\i
Sydney-born composer Boyd studied with \JRichard Meale\j and \JPeter Sculthorpe\j in Australia before going to the United Kingdom to further her musical career. At York University, where she gained her DPhil, her studies were supervised by Bernard Rands and Wilfrid Mellers. With this degree behind her she was appointed to the University of Sussex as lecturer in music. Following a period of part-time teaching and composing in Australia, Boyd was appointed in 1981 to the Chair of Music at the University of Hong Kong (she had established the music department at this institution herself). In 1990 she became the first woman, and the first Australian, to head the University of Sydney's music department. Her in-depth studies of the ethnomusicology of Java, Japan and the Aboriginal people have had a pronounced influence on her compositions. Numbered among her major works are \IAngklung\i (recorded by pianist Roger Woodward), \IAs it Leaves the Bell,\i \IAs I Crossed a Bridge of Dreams\i and \IThe Little Mermaid\i (a children's opera).
Boyd was in Hong Kong in 1989 at the time of the Tiananmen Square massacre and wrote her orchestral work \IBlack Sun\i as 'an expression of overt grief' in response to the tragedy.
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"Boyden, Sally Anne",93,0,g,0
\I1965-\i
Sally Ann Boyden, juvenile Australian singer and actress was born in Melbourne on 21st May 1965. She came to fame on Johnny Young's \IYoung Talent Time\i on Channel 10, and later starred in a Lassie movie. She spent ten years in London until 1995 where she wrote songs. She now lives in Melbourne.
#
"Brady, Mike",94,0,g,0
\I1947-\i
Mike Brady, Australian rock musician, songwriter and singer, was born in Melbourne on 28th February 1947. He was one third of the pop trio MPD, Mike, Peter and Danny. Their hits included 'Little Boy Sad', and 'Lonely Boy'. Mike had success with 'Up There Cazaly' in 1979, which he wrote and recorded with Pete Sullivan; together they became known as The Two Man Band.
He followed up with other Australian Rules football songs, such as 'One Day in September' and 'There's a Little Bit of Cazaly in us All'. In the 1980s and 1990s, he was involved in advertising, jingle-writing and recording other productions.
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"Braithwaite, Daryl",95,0,g,0
\I1949-\i
\IPop singer\i
Daryl Braithwaite was born in Melbourne on 11th January 1949. He learned guitar as a child, and began playing guitar and singing professionally in 1966. He joined \JSherbet\j in 1969, gaining national popularity as lead singer. In 1973 he starred in the rock musical \ITommy,\i and in the following year released a solo single, 'You're My World', which reached No. 1. Other solo hits followed, including 'Old Sid' (1976) and 'Love Has No Pride' (1977). He pursued a solo career after the group disbanded in 1979. His solo albums include \IThe Edge\i (1988) and \IRise\i (1990). His solo singles include 'Love Like a Child' (1979), 'Prove Yourself' (1980), 'The Horses' (1991), 'Don't Hold Back Your Love' (1991), 'Nothing to Lose' (1992) and 'Taste the Salt' (1993). He was voted \ITV Week\i King of Pop for 1975, 1976 and 1977. In 1984, Daryl married Sarah Taylor, a nightclub hostess, who eventually became his manager. They have a son Oscar (1986).
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"Brisbane Biennial International Festival of Music",96,0,g,0
\IFestival devoted to music\i
First held in 1991 (Anthony Steel was inaugural director), this Brisbane-based festival alternates with the Adelaide Festival of the Arts in that it is held in odd-numbered years. It features international companies and distinguished soloists--in 1993 these included the Moscow State Symphony Orchestra, traditional black musicians from North America and a Bulgarian wedding band; in 1995 a performance of Wagner's sacred drama \IParsifal\i featuring a distinguished international cast was presented--offered in mixed programs of visiting stars and local performers. Some events are staged in conventional concert halls and venues, others are outside, making the most of the local setting and involving Brisbane's immediate community.
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"Broadstock, Breton",97,0,g,0
\I1952-\i
\IComposer\i
Melbourne-born Broadstock travelled to the United States in 1979, where he studied composition and theory with Donald Freund at Memphis State University. After his return to Australia in 1981, he won first prize in the Townsville Pacific Festival's National Composition Competition for \IFestive Overture,\i an orchestral work, and continued his studies at Sydney University with \JPeter Sculthorpe\j. Broadstock joined the music department of Melbourne University in 1982 and was appointed the Melbourne Symphony Orchestra's inaugural composer-in-residence in 1988. In 1991 Broadstock received the APRA (Australian Performing Right Association) classical composition of the year award for his orchestral composition \IToward the Shining Light\i and in 1992 the ABC commissioned the work \IVoices From the Fire\i to celebrate its 60th anniversary. This was performed by the Melbourne Symphony in both Melbourne and Sydney and in 1994 by both the BBC Symphony Orchestra and the Bavarian Radio Orchestra. In the same year Broadstock received the Paul Lowin Song Cycle Award, Australia's richest composition prize, for \IBright Tracks\i for mezzo-soprano and string trio. His \ICelebration-Symphony for Chamber Ensemble\i was commissioned by Musica Viva and performed for the opening tour in Musica Viva's 50th anniversary season in 1995.
#
"Bronhill, June",98,bronhill.jpg,c,0
\I1929-\i
\ISoprano in opera, operetta and musicals\i
Born June Gough in Broken Hill, New South Wales, Bronhill made her singing debut with third placing in the 1949 Sydney \ISun\i Aria contest (won in that year by \JJoan Sutherland)\j. She won in the following year, and went to study in London. Her prize money was supplemented by money raised in Broken Hill, and in gratitude she adopted the surname Bronhill, a contraction of the name of her home town. In 1954 she made her London debut with the Sadler's Wells Opera Company (forerunner of the English National Opera). Her operatic performances include the title role in \ILucia di Lammermoor\i and roles in \IThe Marriage of Figaro,\i \IDie Fledermaus,\i \IRigoletto\i and \IDon Pasquale.\i Bronhill moved into musicals with the Sadler's Wells' production of \IThe Merry Widow,\i which was brought to Australia in 1960 by entrepreneur Garnet H. Carroll. In the following year Carroll and the Australian Elizabethan Trust Opera Company brought Bronhill back to Australia for the role of Maria in \IThe Sound of Music,\i a highly successful musical of the early 1960s, which played a year in Melbourne and then toured for three years.
In 1964 she returned to London to star opposite fellow Australian Keith Michell in \IRobert and Elizabeth,\i a musical based on the lives of poets Robert Browning and Elizabeth Barrett; Bronhill sang the same role when the show came to Australia two years later. She has sung with the Australian Opera, the Victoria State Opera and the State Opera of South Australia. In 1993 hearing difficulties forced her to retire from musical work but she continues to appear as a stage actor, for example, in Ron Blair's \ILast Day at Woolloomooloo.\i
June Bronhill was made an OBE in 1977. Her autobiography \IThe Merry Bronhill\i was published in 1987.
\BDescription:\b June Bronhill \I(Fairfax Photo Library)\i
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"Brown, Ray",99,0,g,0
\I1945-96\i
Ray Brown, Australian pop star from the pop group Ray Brown and the Whispers, was born in Hurstville, Sydney on 15th February 1945. He left school when he was 15 to become a clerk in the Customs Department. However his passion for singing saw him team up with the Nocturnes who eventually became the Whispers. They started an instrumental group in the Beatle era and eventually became "headliners" at Surf City along with Billy Thorpe and the Aztecs.
Their first hit was a revival of Chubby Checker's '20 Miles' in 1965. He appeared on Johnny O'Keefe's \ISing Sing Sing.\i His hits include 'Twenty Miles', 'Pride', 'Fool Fool Fool' and 'In the Midnight Hour'. The group broke up in 1966 with Ray forming a New Whispers group with three New Zealanders. He went to the USA in 1968 where he scored a contract with Capitol Records and recorded \IJust Ray Brown.\i He returned to Australia in 1970 and set up his own record label, Pro-Harmonic.
He travelled to Central Australia and lived for a while with an Aboriginal tribe before working as a panel beater and spray painter. In 1983, he did some rock revival concerts. He died on Friday 16th August 1996, aged 51, when he collapsed in an Annandale Street in Sydney while on his way to play a game of pool. He was pronounced dead at Sydney's RPA Hospital. He never married.
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"Brownlee, John",100,0,g,0
\I1900-69\i
\IBaritone opera singer\i
John Brownlee was born in Geelong, Victoria. After winning the baritone section at the South Street Competition, Ballarat, he studied singing in Melbourne. In 1922 he sang the bass solo in a performance of Handel's \IMessiah.\i The audience included \JNellie Melba,\j who was much impressed by his performance and urged him to study overseas. He studied in London and Paris, and in 1926 sang at Melba's farewell performance at the Royal Opera House, Covent Garden, London. He made his Australian opera debut in Melbourne in the role of AthanaΦl in Massenet's \ITha∞s\i with the 1928 Melba-Williamson Opera Company. From 1927 to 1936 he appeared regularly at the Paris OpΘra, and from 1934 to 1937 again sang at Covent Garden. From 1937 to 1958 he was a member of the Metropolitan Opera in New York.
Brownlee's last Australian appearances were in 1952 when he gave a concert tour and also sang in \ITosca\i in Sydney and Melbourne in a season presented jointly by the Melbourne-based National Theatre Opera Company and the Sydney-based National Opera of New South Wales. He was appointed director of the Manhattan School of Music in 1956.
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"Brumby, Colin",101,0,g,0
\I1933-\i
\IProlific composer with a wide range of works\i
Born in Melbourne, Brumby began his musical studies at the University of Melbourne Conservatorium of Music and continued them with Alexander Goehr in London. Back in Australia, he joined the staff of the University of Queensland, the youngest Senior Lecturer ever appointed up to that time. He was musical director of the infant Queensland Opera Company from 1968 to 1971. In 1972 he spent his study leave in Rome, having received a Doctorate of Music the year before from the University of Melbourne. Brumby was foundation chairman of the Queensland Opera Company and was appointed reader in music at the University of Queensland in 1977. He was awarded one of the first Advance Australia Awards in 1981 for his services to music and continues to teach as well as compose in his role as Associate Professor in the Music Department of the University of Queensland.
His wide-ranging portfolio of musical compositions, many of which have been recorded, include \IStabat Mater Speciosa\i: \IA Christmas Cantata\i (1965) with a traditional Latin text; \IThe Phoenix and the Turtle\i (1974) for string orchestra and harpsichord; \ILitanies of the Sun\i (1971) commissioned by the ABC for the Australian Youth Orchestra; the cantata \ICharlie Bubbles' Book of Hours\i (1969) commissioned for an Australian UNESCO Seminar on Music Education; \IPaean\i (1982) for the ABC's 50th Anniversary Celebrations televised from the Sydney Town Hall; \ISouth Bank Overture\i (1984) for the opening of the Queensland Cultural Centre; \IAlice\i (1987), a ballet in two acts after \IAlice in Wonderland,\i commissioned by the Queensland Ballet and premiered in 1989; \IThe Ballad of Sydney Hospital\i (1988), a cantata commemorating the Bicentenary of the Sydney Hospital; \ISummer Carol\i (1990), an opera in one act with a libretto by Thomas Shapcott, commissioned by the Canberra City Opera; and \IAubade\i (1991), a work for violin and piano commissioned by and dedicated to Mary Nemet.
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"Buchanan, Colin",102,0,g,0
\I1964-\i
\ICountry singer and songwriter\i
Born in Ireland, Colin Buchanan came to Australia with his family in 1970. Having lived in Melbourne and then in Sydney, he worked in outback New South Wales in his early twenties, taking up a variety of labouring jobs and writing songs in his spare time. In the late 1980s John Kane, a country music singer and promoter, heard him sing and took a tape of his work to recording companies in Sydney. This led to his debut release \IGalahs in the Gidgee\i (1991), which was greeted with great enthusiasm by country music critics. Television appearances, including the ABC's \IPlay School\i (where he has become a regular), and tours followed. He won the Best New Talent award at the Australian Country Music Awards and Festival, Tamworth, in 1992 and has gone on to make several more albums including \IHard Times\i (1992), \II Want My Mummy\i (1993) and \IThe Measure of a Man\i (1994). His work also includes writing songs for other performers, including six tracks on \JLee Kernaghan\j's \I1959\i album, released in 1995.
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"Burch, David",103,0,g,0
\IBallet dancer\i
Adelaide-born David Burch became a member of the Australian Ballet in 1970 after graduating from the Australian Ballet School in Melbourne in 1969. He was promoted to principal artist in 1978. He created the role of Iago in \JGarth Welch\j's \IOthello\i (1969) for the Australian Ballet School (which he later danced with the Australian Ballet), and roles in \IAnna Karenina\i (1979) and \IThe Three Musketeers\i (1980). His repertoire includes Albrecht and the Peasant Pas de Deux in \IGiselle,\i Colas/Alain in \ILa Fille mal gard/da/e, the Boy in \IAfternoon of a Faun,\i Franz in \ICoppΘlia\i and Jasper in \IPineapple Poll.\i Since his retirement in 1981 he has made occasional guest appearances with the West Australian Ballet.
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"Burchmore, Rhonda",104,0,g,0
\I1961-\i
Rhonda Burchmore statuesque, six foot tall Australian singer and dancer, was born in Sydney on 15th May 1961 and educated at Beverly Hills High School. She has been an accomplished singer and dancer since she was six. She started out as a teacher, but was picked up to appear in \IThey're Playing Our Song\i, and soon turned to showbusiness full time.
She was chosen by choreographer David Atkins to star opposite him in \IHot Shoe Shuffle\i, which eventually toured London's West End, and followed up with \ISugar Babies\i with Mickey Rooney. She was the opening show at the Melbourne Crown Casino in \IRed Hot and Rhonda.\i Rhonda has also starred on Broadway in \IEaster Parade\i with Tommy Tune. She is married and has one daughter (1995).
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"Burgess, Ray",105,0,g,0
\I1952-\i
Ray Burgess, Australian rock star, was born in Melbourne on 26th October 1952, and grew up in Clayton. After leaving Clayton Technical School he worked as a bank teller. He formed a group called Redtime which toured with Johnny Farnham in the 60s. Hits include 'Touch Me', 'Love Fever' and 'Gloria'. He was a regular on \IBandstand\i and \ICountdown\i, and hosted his own television series on ABC television called \IFlashez\i.
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"Burns, Ronnie",106,0,g,0
\I1946-\i
Ronnie Burns, former Australian pop singer, was born in Prahran, Melbourne on 8th September 1946. He formed a group called the Flies as an imitation of the Beatles. He went solo in 1965, and in 1966 was voted Australia's second most popular singer to Normie Rowe in the \IGo-Set\i magazine's pop poll. The following year his two big hits were written by the Bee Gees, Coalman and Exit Stage Right.
His other hits include 'We Had A Good Thing Going', 'When I Was Six Years Old', 'Age Of Consent', 'Smiley' and 'Virgo'. His last release was 'Brand New Number One' in 1980. He married Maggie Stewart in Melbourne on 21st October 1970.
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"Burr, Marilyn",107,0,g,0
\IBallet dancer\i
Marilyn Burr was born in Parramatta and trained in Sydney with \JLeon Kellaway.\j She was a founding member of the National Theatre Ballet (see \JNational Theatre Movement\j) where, from 1949 to 1951, her roles included the Cat in \IPeter and the Wolf\i and Odile in \ISwan Lake\i \I(Act III).\i From 1952-63 she was a member of the London Festival Ballet, joining as a soloist and being promoted to ballerina in 1953. She created major roles in Michael Charnley's \IAlice in Wonderland,\i Nicholas Beriozoff's \IEsmeralda\i (1954) and Vladimir Bourmeister's \IThe Snowmaiden\i (1961). She was renowned as a dramatic ballerina, especially in the standard classical roles. From 1963-65 she was ballerina of the Hamburg State Opera; in 1966 guest artist with the Australian Ballet, dancing title roles in both \IGiselle\i and Nureyev's \IRaymonda\i; from 1966-72 ballerina of the National Ballet of Washington, DC; and in 1971 guest artist of \JSydney Festival Ballet.\j In 1982, after her retirement from dancing, she became ballet mistress of Ballet Santiago, Chile.
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"Burrows, Donald Vernon (Don)",108,dburrows.jpg,c,0
\I1928-\i
\IJazz musician noted for clarinet, flute and saxophone\i
Born in Sydney, Don Burrows became a professional jazz musician at the age of fourteen and has since worked in every area of music: playing in nightclubs, dance halls and jazz clubs; performing on radio, on television and in films; and teaching. He has made more than twenty albums and played on many more. In 1990, after a break of several years, he released \IThe Babinda Trilogy,\i three albums featuring the Don Burrows Quintet, which he formed in 1985. The name of the trilogy refers to a north Queensland town near where Burrows now lives and works.
A reedman, Burrows is noted for his smooth, easy-listening style. He was the first Australian to play at the Newport Jazz Festival in New York and at the Montreux Jazz Festival in Switzerland, and was the first Western musician ever to play in the People's Republic of China. In 1978 he became the first jazz musician to be awarded Fellowship by the Australian National University. From 1982 to 1988 he hosted a jazz series on ABC National radio, \IThe Don Burrows Collection,\i and in 1985 performed in his own ABC show, \IThe Don Burrows Supper Club.\i In 1984 he was elected to the board of the International Jazz Federation. He was appointed AO (Officer of the Order of Australia) in 1987 and the next year received a Bicentennial Award as one of Australia's 'Living National Treasures'. In 1990 he resigned from his position as director of jazz studies at the New South Wales State Conservatorium of Music to concentrate on live performing and recording.
\BDescription:\b Don Burrows \I(Fairfax Photo Library)\i
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"Busse, Edna",109,0,g,0
\IBallet dancer\i
Edna Busse was born in Melbourne, where she trained with Xenia and \JEdouard Borovansky.\j She began her professional career as a juvenile with the J. C. Williamson theatrical organisation. She joined the \JBorovansky Ballet\j at its inception, where she became the first Australian-trained dancer to attain the rank of ballerina. Her most notable roles include Swanilda in \ICoppΘlia,\i title roles in \IGiselle\i and Borovansky's \IThe Black Swan\i and the Polka of Frederick Ashton's \IFacade.\i After her retirement from the stage in 1952 she taught ballet, initially in Melbourne and later in Wagga Wagga.
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"Butler, John",110,0,g,0
\I1920-\i
\IAmerican choreographer in Australia\i
John Butler created the ballet \IThreshold\i for the Australian Ballet in 1968. The music was by Zsolt Durko and Grazyna Bacewicz and the designs were by \JKenneth Rowell.\j
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"Butterley, Nigel",111,0,g,0
\I1935-\i
\ILeading Australian composer\i
Sydney-born Butterley studied at the New South Wales State Conservatorium of Music with Raymond Hanson and later furthered his studies with Priaulx Rainier in London. One of the foremost young Australian composers working in the early 1960s, Butterley won the 1966 Italia prize for \IIn the Head the Fire,\i a work commissioned by the ABC and scored for soloists, choir and orchestra. In 1972 he collaborated with \JBarry Humphries\j on \IFirst Day Covers\i for the Sydney Prom Concerts. In 1973 his work \IFire in the Heavens\i was performed in Cleveland in the United States, and again during the opening festivities for the Sydney Opera House. Butterley lectured in contemporary music at the Newcastle branch of the New South Wales State Conservatorium of Music for 18 years, a position he retired from several years ago. During his years as teacher he was responsible for introducing his students to a rich diet of contemporary music such as the works of John Cage.
Always a prolific composer, Butterley's other works include: \ILaudes\i (1963, performed at the 1964 Adelaide Festival), written for flute, clarinet, piano, violin, viola and cello; \IThe White-throated Warbler,\i composed for sopranino recorder and harpsichord; \IMeditations of Thomas Traherne\i (1968), scored for descant recorder, band and orchestra; \IExplorations\i for piano and orchestra, the world premiere of which took place in 1970 in the presence of members of the royal family; \IGoldengrove,\i composed for string orchestra; \ISymphony\i (1980); and \IFrom Sorrowing Earth\i (1991), a piece for solo cello (performed by esteemed soloist \JDavid Pereira\j at a concert given to celebrate the composer's sixtieth birthday) and a major choral and orchestral work to be performed for the centenary of the city of Newcastle in 1997. Butterley was awarded an Order of Australia for his services to music.
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"Byrne, Debra (Debbie)",112,0,g,0
\I1957-\i
\ISinger and actress\i
Debra Byrne was born in Melbourne. As a child she studied ballet, and in 1971, known as Debbie Byrne, became one of the original \IYoung Talent Time\i television team members. She recorded several albums with the \IYoung Talent Time\i team and in 1974 released her first solo single, 'He's A Rebel', which reached No. 1 and gained her a gold record, and her first solo album, \IShe's A Rebel.\i In 1975 she appeared on the \ICliff Richard Show\i in the United Kingdom. In 1981 and 1982 she co-starred with \JJohn Farnham\j in \IFarnham and Byrne,\i an ABC-TV variety series. She had leading roles in the Australian productions of the musicals \ICats\i (1985), \ILes MisΘrables\i (1987) and \IHot Shoe Shuffle\i (1994) and the lead in \ISunset Boulevard,\i which opened in Melbourne in 1996. Her albums include \IThe Persuader\i (1985), \ICaught in the Act\i (1991) and \ISleeping Child\i (1994). She dropped the name Debbie in favour of Debra in 1994.
Her many awards include Logies for Best TV Teenage Personality, 1973 and 1974; \ITV Week\i Queen of Pop, 1974 and 1975; and the 1990 Mo Award for Female Musical Theatrical Performer.
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"Cadd, Brian",113,0,g,0
\I1946-\i
\IPop singer, composer and musician\i
Brian Cadd was born in Perth on 29th November 1946. He studied piano as a child and, after winning a talent quest at the age of twelve, became the pianist in a junior band for a children's television program. In 1966 he joined the Melbourne band Groop, and in 1969 became part of the new band Axiom (fellow members included Glenn Shorrock and Don Mudie), hailed at the time as Australia's first supergroup; Cadd was co-writer of the group's successful first single, 'Arkansas Grass'. Axiom disbanded in 1971 and after a short recording partnership with Mudie, Cadd went on to a successful solo career. In 1973 he won the composers' section of the Hoadley's National Battle of the Sounds with 'Don't You Know It's Magic', which went on to win Most Outstanding Composition Award at the 1973 Tokyo World Popular Song Festival and was later a hit single for \JJohn Farnham.\j
Cadd won the \ITV Week\i Most Popular Australian Musician and Biggest Contribution to the Australian Pop Industry awards for 1973 and 1974 and the 1973 Best Songwriter award. He has also written scores for film and television, including themes for the film \J\IAlvin Purple\j\i and the television show \IClass of '74.\i From 1974 to 1981 he was based in the United States, where he continued to both record his own songs and to write for other artists. Cadd's albums include \IBrian Cadd\i (1972), \IParabrahm\i (1973), \IMoonshine\i (1974), \IWhite On White,\i (1976, US) and \INo Stone Unturned\i (1985). In 1992 he teamed up with Glen Shorrock as the Blazing Salads--they released a co-written album in 1993. He now runs his own production company in Melbourne.
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"Cantrell, Lana",114,0,g,0
\I1943-\i
Lana Cantrell, Australian singer, was born in Sydney on 7th August 1943, the daughter of jazz musician Bert Cantrell. She grew up in Sydney's Dover Heights and became a regular singer with Australia's \Ibandstand\i in the 1960s. She made a number of appearances on both the \IJohnny Carson\i and \IEd Sullivan\i shows and now lives in New York.
In 1988 she undertook legal studies, and in 1994 became a lawyer specialising in show business contracts with Ballon Stoll Bader and Nadler in New York's theatre district.
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"Cape York Aboriginal Dance Festival",115,0,g,0
\IAnnual festival featuring traditional Aboriginal dancing\i
The Cape York Aboriginal Dance Festival has been held at Laura, in far north Queensland, over three days in June since 1983. Aboriginal communities from all over Cape York gather there to compete in a range of activities including traditional dancing (sometimes with a modern theme) and didjeridu playing. Judging is by Aboriginal elders.
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"Carandini, Maria",116,0,g,0
\I1826-94\i
\IContralto opera singer\i
In 1843 London-born contralto singer Mary Burgess married touring Italian dancer and singer Count Gerolamo Carandini in Hobart. Madame Carandini, as she became known, made her debut in Hobart later that year. After the birth of their first child in 1844 the couple moved to Sydney, he to open a dancing school, she to take singing lessons from \JIsaac Nathan\j. Madame Carandini later appeared in variety concerts and light opera as well as full opera performance; the latter included \IDaughter of the Regiment,\i \IGustavus the Third,\i \ILucia di Lammermoor,\i \ILa Sonnambula\i and the leading soprano role in the first Australian production of \III Trovatore.\i She toured widely and with success--she was a great favourite on the Bendigo gold fields, for example. In the 1860s she formed her own touring company, probably offering light variety, and toured extensively in Australia, even to Cooktown during the 1870s Palmer River gold rush. Five of her eight children were musicians, the best known Rosina, a concert artist and teacher.
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"Carden, Joan",117,kms95100.jpg,c,0
\I1938-\i
\IInternationally acclaimed soprano opera singer noted particularly for Mozart roles\i
Joan Carden was born in Melbourne. After graduating from the London Opera Centre she made concert and opera performances in the United Kingdom and Holland. In 1971 she joined the Australian Opera, making her debut as Liu in \ITurandot.\i In 1974 she made her Covent Garden, London, debut as Gilda in \IRigoletto,\i a role she had already performed in Australia; in 1977 she sang Donna Anna in \IDon Giovanni\i at Glyndebourne, England, and in the following year performed the same role with the Metropolitan Opera, New York.
Her work for the Australian Opera includes the roles of Leonora \I(II Trovatore)\i; Desdemona \I(Otello)\i; Marguerite \I(Faust)\i; Mimi \I(La BohΦme)\i; the Countess \I(The Marriage of Figaro)\i; Ellen Orford \I(Peter Grimes)\i; and the title roles in \ILakmΘ\,\i Madama Butterfly\i (also performed in the 1994 Opera in the Park, Sydney), \ILa Traviata\i and \IAdriana Lecouvreur.\i She has also appeared with the state opera companies in Australia. In 1992 she sang for US President Bush during his Australian visit and in 1993 performed at an Australia Day charity concert at Covent Garden before an audience that included Prince Charles. She has made numerous concert appearances and appears in videos of Australian Opera productions. Her recordings include \IJoan Carden Sings Mozart\i and \IMusic for Australia Day.\i
In 1988 she was made an AO (Officer of the Order of Australia) for her services to opera.
\BDescription:\b Joan Carden plays Medee \I(Fairfax Photo Library)\i
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"Carnivale",118,0,g,0
\IMulticultural festival in Sydney\i
Carnivale has been held annually in Sydney since September 1981. From 1993 to 1995 it was merged with the Festival of Sydney as the Sydney Festival and Carnivale.
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"Carr-Boyd, Ann",119,0,g,0
\I1938-\i
\IComposer and musicologist\i
Ann Car-Boyd was born in Sydney into a family of professional musicians. She studied music at the University of Sydney, in 1960 becoming its first music graduate. She went on to receive a Masters of Arts degree in 1963 and travelled to London for further study in composition on the Sydney Moss Scholarship, returning to Australia in 1967. Carr-Boyd is considered an authority on early Australian music, especially Australian music history from 1788-1888. She is a vocal supporter of the Fellowship of Australian Composers and the Asian Composers' League, often broadcasting on their behalf. Articles she has written on a variety of musical matters have appeared in \IThe New Grove Dictionary of Music and Musicians.\i She is well known for composing for unusual combinations of instruments and creating new sound sensations.
Her compositions include \ISymphony in Three Movements\i (1964); \IPatterns\i (1974) for string quartet and organ, commissioned by the Organ Institute of New South Wales; \IAustralian Baroque\i (1984) for small mandolin group; \IMusic for an Imaginary Italian Film\i (1985) for mandolin orchestra and toy shotgun; \IConcerto for Piano and Orchestra\i (1990-91) commissioned by Sally Mays; and \IFantastic Dance\i (1993) for violin and piano, commissioned by \JDulcie Holland\j for performance at her 80th birthday concert in Sydney the same year. Carr-Boyd has also composed a number of works for voice and has a large number of commercial recordings of her works to her credit.
#
"Carter, Andrew",120,0,g,0
\ISet designer\i
Born in Goomalling, Western Australia, Carter studied Industrial Design at Western Australia's Curtin University, receiving his BA 1979. He travelled to the United States and enrolled for Masters degree in Fine Arts (Design) at Yale University, studying with designers Ming Cho Lee and Jennifer Tipton. He graduated in 1984. Carter has designed more than sixty productions in Australia and overseas. His major work includes \ISong of the Night\i for the Nederlands Dans Theater; \J\IVast\j\i for the Sydney Dance Company; \ICamellias,\i \ISeven Deadly Sins\i and \ICinderella\i for the West Australian Ballet; \ITerra\i and \IFactory\i for the Chrissie Parrott Dance Company and \J\ICatalyst\j\i for the Australian Ballet.
Carter has had a number of major solo exhibitions featuring his work as a designer and painter. He was one of the contributors to the 1988 touring exhibition of Australian Design Work and has assisted the Board of the West Australian Academy of Performing Arts in the role of adviser. His design work is also valued outside the theatre-he was responsible for designing the light poles for the new Western Australian city of Joondalup. Carter built his own studio in Denmark, Western Australia, for painting and designing.
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"Cary, Tristram",121,0,g,0
\I1925-\i
\ITrailblazer in the field of electronic music\i
Born in Oxford, Tristram Cary (son of the English novelist, Joyce Cary) was one of the first composers to work with electronic music. He set up his own studio in 1952 and was co-director of the British studio EMS with Peter Zinofieff. The two men continued their partnership for many years, presenting papers on new technology at the international music seminar held at Melbourne University in 1981. Cary was an academic as well as a composer, holding the position of senior lecturer at the University of Adelaide, from which he has now retired. His book, \IIllustrated Compendium of Musical Technology,\i reflects his hands-on approach to and knowledge of his subject matter.
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"Castles, Amy",122,0,g,0
\I1880-1951\i
\ISoprano opera singer\i
Amy Castles was born in Melbourne, and as a young child moved with her family to Bendigo, Victoria. At the age of sixteen she won the soprano championship at the Ballarat Competitions. Money raised from the Victorian public through a series of concerts enabled her to leave for Paris in 1899 to study first with \JNellie Melba\j's teacher, Mathilde Marchesi, who trained her as a contralto, and then with former opera star Jacques Bouhy, who retrained her as a soprano. She made her London debut in 1901, appearing at St James Hall on the same program as fellow Australian \JAda Crossley\j. She returned briefly to Australia in 1902 for a highly successful concert tour for the J. C. Williamson theatrical organisation.
In 1906 she sang at a royal command performance; in 1907 she made her European debut in Cologne in Ambroise Thomas's \IHamlet\i; in 1909 J. and N. Tait brought her back in Australia for a four and a half month concert tour of 72 towns with baritone \JPeter Dawson\j. In the following year she made her first opera appearance in Australia in the role of Cio-Cio-San in \IMadama Butterfly\i for J. C. Williamson's. When her four-year contract with the Imperial Opera in Vienna, which began in 1912, was cut short by World War I, Amy Castles returned to Australia and in 1915 toured the capital cities with flautist \JJohn Amadio\j. In 1919, in what was her final season in opera, she sang leading soprano roles with the J. C. Williamson Grand Opera Company. She continued to make concert tours.
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"Catalyst",123,0,g,0
\IBallet\i
\JStephen Baynes,\j a dancer with the Australian Ballet, found the inspiration for his ballet \ICatalyst\i in Poulenc's \IConcerto for Two Pianos.\i In the work he represents the opposing violent and calm moods of the music through two groups of dancers: the first, two women led by a man and the second, two men led by a woman. The ballet shows the effect that these two trios have on six other couples. The work premiered as part of a triple bill that the Australian Ballet presented at the Sydney Opera House in 1990. The original designer was \JAndrew Carter\j and the lighting designer was Kenneth Rayner (the same team was also responsible for \JGraeme Murphy\j's \JVAST\j in 1988).
\ICatalyst\i was performed on the Australian Ballet's tour of the United States in 1990 and at London's Coliseum in 1992. The ballet was so well received in Britain that it won the Laurence Olivier award in the category for Best New Dance Production, presented annually by The Society of West End Theatre.
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"Catholics, The",124,0,g,0
\IJazz group\i
This Sydney-based group includes leader Lloyd Swanton (basses), Sandy Evens (saxophonist), James Greening (trombone), Sammila Sithole (percussion), Dave Brewer (guitar), Michael Rose (pedal steel guitar) and Toby Hall (drums). They toured Canada in 1994, visiting nine cities and performing seventeen shows; this was the most extensive tour of Canada ever undertaken by an Australian jazz ensemble. In 1995 the group made a video clip of 'Smoked Oysters', the opening track of their album \ISimple,\i in time for the album's release in the USA and Canada by Terra Nova Records. They also returned to Canada in 1995, followed by several weeks of concerts in Europe as part of the 'Experience Australia' package.
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"Cavalerie, Nathan",125,0,g,0
\I1981-\i
Nathan Cavalerie, Australian juvenile singer and guitarist, was born in Melbourne on 18th June 1981. He came to fame when after beating leukemia, he appeared on the Nine Network's show \IHey Hey It's Saturday.\i In 1994, he went to America to appear in a movie and played guitar with B. B. King. In 1996, he formed his own band.
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"Cave, Nick",126,cave.jpg,c,0
\I1957-\i
\IRock singer, songwriter, author and actor\i
Nick Cave was born and educated in Melbourne, where he began his career performing with a local punk band. He first came to notice with the group Birthday Party, which was formed in 1978 as Boys Next Door. In the early 1980s Cave and the band left for England where Cave's anguished style of singing and the band's drug-using lifestyle gained them a certain notoriety and following. After the band's breakup in 1984 Cave formed a new band, Bad Seeds, which included some members of the previous band. His albums with Bad Seeds include \IFrom Her To Eternity\i (1984), \IThe First Born Is Dead\i (1985), \IKicking Against The Pricks\i (1986), \IThe Good Son\i (1990) and \IHenry's Dream\i (1992). He has also become a widely respected international solo artist, with the album \IGhost of the Civil Dead\i (1989) and an Australian film of the same name in which he starred as a lunatic junkie to his name, and \ILet Love In\i (1994) made with the Bad Seeds. In 1995, with the Bad Seeds, he released a top-selling duet single with \JKylie Minogue,\j 'Where the Wild Roses Grow' later included on the album \ILovely Creatures\i: \ITen Murder Ballads\i (1996).
Cave is based in London.
\BDescription:\b Nick Cave \I(Fairfax Photo Library)\i
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"Ceberano, Kate",127,0,g,0
\I1967-\i
\IJazz and pop singer\i
Melbourne-born Kate Ceberano began singing professionally at the age of fourteen with her own band, the Hogie Cats. Three years later she joined the group I'm Talking as lead singer and with them toured the United Kingdom and released the single 'Trust Me' which won the group Best New Debut Single and Most Promising New Talent at the 1985 \ICountdown\i Awards. In 1992, after going solo, she toured South-East Asia with great success; performed at the 1992 Wizards of Oz showcase in Los Angeles; was Australia's special guest in Seville for Expo '92; and starred as Mary Magdalene in Harry M. Miller's concert version of \IJesus Christ Superstar.\j\i
In 1994 she hosted the variety series \IKate Ceberano and Friends\i for ABC-TV. Her solo albums include \IBrave\i (1989), \IThink About It\i (1991) and \IGlobe\i (recorded in New York in 1994); with \JWendy Matthews\j she recorded \IYou've Always Got the Blues\i (1988); and with Jeff Saarelaht \IOpen the Door\i (1992). Her hit singles include 'Bedroom Eyes' (1989), 'See Right Through' (1991), 'I Don't Know How to Love Him' (1992) and 'All I Want is You' (1994). Her many awards include \ICountdown\i Music and Video Most Popular Female Performer, 1985 and 1986; Mo Award for 1990 Female Rock Performer and Contemporary Concert Performer; People's Choice Award for Most Popular Female Vocalist, 1993; and she has several times been voted Most Popular Female Performer at the Australian Music Awards (AMA) and in 1988 and 1989 won Best Australian Female Artist at the ARIAs.
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"Cecil, Lionello",128,0,g,0
\IAustralian-born tenor based in Italy\i
Lionello Cecil was the stage name of Italy-based Cecil Sherwood. After going to Italy in 1914 to study, he remained there to build his career, performing mostly in provincial theatres. In 1928 he sang the leading tenor role in the first complete electronic recording of \ILa Traviata,\i made with singers from Milan's La Scala, including Mercedes Capsin, and in 1931 sang the lead in a La Scala complete recording of \IMadama Butterfly\i with the great Irish soprano Margaret Sheriden. He made several other recordings for La Scala. In 1932 he returned to Australia to tour with the J. C. Williamson Opera Company, and in the following year, with others members of the company, took part in a six-month live studio season of opera for the ABC. In 1940 he toured for the ABC with \JGladys Moncrieff\j and the pianist Raymond Lambert, performing songs from operetta and musical comedy, and during a short season of opera in Sydney in 1944 played the lead in \IPagliacci.\i
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"Challender, Stuart",129,schallen.jpg,c,0
\I1947-91\i
\IMusician and conductor\i
Tasmanian-born Challender was interested in music from his childhood years, though under family pressure to excel at sport. He studied at the Melbourne Conservatorium of Music and in 1968 was made music director of the Victoria Opera, two years after being employed to do backstage work. In 1977 he went to Europe and studied in Hamburg and Vienna, gaining experience as a repetiteur in opera houses. His first conducting experience was in Lucerne, where he was given a performance of \IKiss Me,\i \IKate\i and soon afterwards \ILa Traviata.\i Over the next ten years he conducted most of the standard operatic repertoire in Basle, Nuremberg and Zurich.
In 1980, with an international reputation as a fine conductor, Challender returned to Australia to become resident conductor with the Australian Opera and develop his interest in contemporary music as artistic director of the Seymour Group in Sydney. In 1986 he was appointed principal guest conductor of the Sydney Symphony Orchestra and 1987 became chief conductor, in which position he met the challenge of moving from the operatic to the orchestral repertoire and forged a relationship with the orchestra that helped raise its standard to new levels. He died in 1991, having publicly announced that he was suffering from AIDS.
\BDescription:\b Stuart Challender \I(Fairfax Photo Library)\i
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"Chambers, Barbara",130,0,g,0
\IBallet dancer\i
Barbara Chambers was born in Melbourne. She joined the \JBorovansky Ballet\j for its 1959-60 season, earning acclaim as the Fairy Candide and in the Bluebird Pas de Deux of \IThe Sleeping Princess\i in her first professional season. She went to Europe in 1961, where she danced with Walter Gore's London Ballet. On her return to Australia in 1962 she became a founding member (soloist) of the Australian Ballet; she was promoted to the rank of principal artist in 1966. Her most admired roles included Archer (the winning horse) in Rex Reid's \IMelbourne Cup,\i Swanilda in \ICoppelia,\i title roles in \IGiselle\i and \IPineapple Poll,\i Miss Victorine in \IKonservatoriet\i and the Moon Goddess in Robert Helpmann's \IYugen.\i She retired from the Australian Ballet in 1970 and in 1971 and 1972 danced with the Sydney Festival Ballet. She married fellow dancer Warren de Maria; since the late 1970s she has taught in Sydney.
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"Chan, Kai Tai",131,0,g,0
\IDancer, choreographer and artistic director\i
Malaysian-born Chan moved to Australia to study architecture in 1962 and began studying dance with \JMargaret Barr\j in 1970. Founding the company One Extra in 1976, he acted as mentor to many of Australia's emerging dancers, some of whom now hold high-powered positions in companies all over the world. His works choreographed for the company fused text, image and movement and covered a range of issues including domestic violence, \IFamily Portrait\i (1978); homosexuality, \IJacaranda Blue\i (1983); the struggle of women, \IThe Shrew\i (1986); being an Aborigine, \IMidday Moon\i (1984); life from an Asian point of view, \IAh Q Goes West\i (1984); \IDancing Demons\i (1991) and \IMade in Hong Kong\i (1993). Chan resigned as artistic director of One Extra in 1991 and in 1995 made his farewell to the dance world with a performance reflecting on his long association with the ensemble. His resignation stemmed from his frustration with Australian arts bodies, which he felt did not fully support his work.
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"Chard, Geoffrey",132,0,g,0
\I1931-\i
\IBaritone opera singer\i
Geoffrey Chard was born in Sydney. He was a foundation member of the \JNational Opera of New South Wales\j and in 1952 appeared with the 'national' company formed by the temporary merging of the New South Wales company with Melbourne's National Theatre Opera Company. Four years later he performed in \IThe Marriage of Figaro,\i the inaugural production of the Australian Elizabethan Trust Opera Company, the forerunner of the Australian Opera. After he moved to England in 1961 he sang at the Royal Opera House, Covent Garden, at Glyndebourne, at the Aldeburgh and Edinburgh festivals, and with the Welsh National Opera, and from 1969 to 1985 was a principal baritone with the English National Opera. He returned briefly to Australia in 1982 for an appearance with the Lyric Opera Company of Queensland, and following his permanent return in 1985 resumed his association with the Australian Opera. His roles for the company include Don Alfonso \I(Cosi fan tutte)\i; Rangoni \I(Boris Godunov)\i; the Secret Police Agent \I(The Consul)\i; the Herald \I(Lohengrin)\i; Paolo \I(Simon Boccanegra)\i; and the title roles in \J\IVoss\j,\i launched at the 1986 Adelaide Festival of the Arts, and \IGianni Schicchi.\i He has made numerous concert appearances and performs regularly in the United Kingdom. His recordings include both a CD and video of \IVoss.\i
In 1988 Geoffrey Chard was made an AM (Member of the Order of Australia).
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"Chester, Johnny",133,0,g,0
\I1941-\i
Johnny Chester, Australia country singer, was born in Melbourne on 26th December 1941. He started out as a mechanic with his father's "brake repair" business in St George's Road, Northcote after being educated at Preston Technical School. His first single in 1961 was the 'Hokey Pokey'. He also worked as a disc jockey on Melbourne's 3UZ. His hits include 'The Worlds Greatest Mum', 'She's My Kind of Woman' and 'Highway 31'. He has collected three Australian country music awards for Best Male Vocal.
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"Chrissie Parrott Dance Company",134,0,g,0
\IContemporary dance company\i
The Perth-based Chrissie Parrott Dance Company combines song, music and design in new contemporary dance works. Works presented by the Company include \ITerminal Velocity\i and \ISoftware Dragon\i (both at the 1991 Melbourne International Theatre Festival and the Kawaguchi Festival, Japan, 1992), \ISee Ya Next Century,\i a collaboration between artists \JRobyn Archer\j (writer and guest singer), Mary Moore (set and costume design), \JChrissie Parrott\j (choreographer and director) and Cathie Travers (composer and guest musician) at the 1993 Sydney Festival, and \ISatu Langit\i ('One Sky'), derived from impressions of Java and created for the 1994 Festival of Perth.
The Company grew out of the Chrissie Parrott Dance Collective, established by Parrott in 1986 as an outlet for performance and choreographic development within the contemporary medium. In 1992 the Company won the Sidney Myer Performing Arts Award.
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"Christina's World",135,0,g,0
\IOpera\i
\IChristina's World,\i composed by \JRoss Edwards\j with libretto by Dorothy Hewett, is set on a West Australian beach. Christina's family includes a father broken and numbed by his experiences, an uncle maddened by his military service in World War I and a mother who has chosen walking into the sea as a way of committing suicide. Christina falls in love and has a short fling with a young man. She is left with a baby (she thinks) whom she sends floating out to sea--or does she? Her boyish lover is shot--perhaps by mistake and perhaps by her uncle--it's left unclear. Although there are spoken words at the beginning of the piece, these become less numerous as the work becomes more and more ballad-like.
First performed at the Wharf Studio in 1994 by the Sydney Metropolitan Opera.
Conductor-pianist Roland Peelman directed a cast that included Linda Barcan (the young Christina), Gaye MacFarlane (the older Christina), Christopher Saunders (the boyish lover), James Bonnefin (the deluded uncle) and Garrick Jones (the apathetic father).
John Wregg produced the piece and Dan Potra designed the set.
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"Church",136,0,g,0
\I1980s pop group with a 1960s sound\i
The pop group Church was formed in Sydney in 1980 with the original line-up of Steve Kilbey (vocals and bass), Peter Koppes (lead guitar and vocals), Marty Willson-Piper (guitar and vocals) and Nick Ward (drums and vocals). In mid-1981 Richard Ploog replaced Ward and in 1989 Jay Dee Dougherty took over as drummer. The band was characterised by a 1960s Byrds-like sound and look--psychedelic costumes and twelve-string guitars. Their second single, 'The Unguarded Moment' (1981), reached the charts and was followed by a successful tour of eastern Australia and the follow-up single 'Almost With You' (1982). Although their debut album, \IOf Skins and Heart\i (1981), was released overseas and their second album, \IThe Blurred Image,\i reached the national Top 10 it was not until their \IStarfish\i (1988) album that they achieved commercial success in both the US and Australian markets. Later releases include \IUnder The Milky Way\i (1988) which won the 1988 ARIA Award for Best Australian Single; \IQuick Smile At The Spots\i (1991) and \IPriest\i = \IAura\i (1992).
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"Clapton, Richard",137,0,g,0
\IPop singer and song writer\i
Born Terry Gonk, Richard Clapton based his stage name on a combination of Keith Richards and Eric Clapton. After leaving school he trained as a commercial artist and also took up playing the guitar. In 1967 he went to London to further both interests, but ended up concentrating on his music, playing with bands in both the United Kingdom and Germany. He returned to Australia in 1972, and after making several records, had his first chart success in 1975 with 'Girls On The Avenue' from the album of the same name; later successful singles include 'Capricorn Dancer' (1977), 'I Am An Island' (1982), 'Trust Somebody' (1987) and 'Deep Water' (1989). His many albums include \IPrussian Blue\i (1973) acclaimed for its sensitive lyrics, \IGoodbye Tiger\i (1977), \IThe Great Escape\i (1982), \IGlory Road\i (1987) and \IDistant Thunder\i (1993).
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"Coe, Kelvin",138,kcoe.jpg,c,0
\I1946-92\i
\IBallet dancer\i
Kelvin Coe was born in Melbourne. He was a founding member of the Australian Ballet in 1962; in 1967 he was promoted to soloist and in 1969 was named principal artist, becoming the first member of the company to graduate through the ranks from corps-de-ballet to principal. He created roles in Igor Moiseyev's \IThe Last Vision\i (1969), Growth in Helpmann's \ISun Music\i (1968), the title role in Gillian Lynne's television and stage versions of \IThe Fool on the Hill\i (1975, 1976), Camille in \IThe Merry Widow\i (1975), Beyond 25 in Graeme Murphy's \IBeyond Twelve\i (1980) and D'Artagnan in Andre Prokovsky's \IThe Three Musketeers\i (1980). In 1973 Coe and \JMarilyn Rowe\j became the first Australian dancers to compete at the International Ballet Competitions in Moscow--both were awarded Silver Medals. Coe's remarkable repertoire embraced all the great classical roles, including Colas in \ILa Fille mal gardee,\i Jean de Brienne in \IRaymonda,\i Albrecht in \IGiselle,\i Romeo and Benvolio in \IRomeo and Juliet,\i Lensky and Onegin in \IOnegin,\i Prince Siegfried in \ISwan Lake\i and \ILes Sylphides,\i in addition to roles in \IThe Display,\i \IThe Dream\i and Robert Helpmann's \IHamlet.\i While on leave from the Australian Ballet Coe appeared as guest artist with major overseas companies including the American Ballet Theatre, the Bolshoi Ballet, the Chicago State Ballet and London Festival (now English National) Ballet.
During his dancing career Coe partnered many of the world's most distinguished ballerinas, including Margot Fonteyn, Carla Fracci, Elisabetta Terabust, Leslie Browne and Australians \JElaine Fifield,\j \JKathleen Geldard,\j Marilyn Rowe, \JMarilyn Jones\j and \JLucette Aldous.\j
Following his retirement from the Australian Ballet in 1981 he appeared as a guest artist for that company, the Sydney Dance Company, the West Australian Ballet and with the Australian Opera in its productions of \IDie Fledermaus.\i He was also a faculty member of the Australian Ballet School.
In 1980 Coe was made an OBE for his services to ballet.
The rock band Cold Chisel, formed in Adelaide in 1974, came to be regarded as one of the most successful Australian bands ever, both in live performance as well as recording. The original line-up was \JJimmy Barnes\j (vocals), Ian Moss (guitar and vocals), Don Walker (keyboard, organ and responsible for writing most of the group's material), Les Kaczmarek (bass) and Steve Prestwich (drums). In 1976 Phil Small took over on bass. Their first album, \ICold Chisel,\i was released in 1978 and a single from it, 'Khe Sanh', became the group's first hit single. They made their first major Australian and New Zealand tour in 1978 and early in the following year toured as support act to British singer Rod Stewart. Later albums include \IBreakfast At Sweethearts\i (1979), \IEast\i (1980), \ISwingshift\i (1981), \ICircus Animals\i (1982) and \ITwentieth Century\i (1984); their singles include 'Choir Girl' (1979), 'Forever Now' (1982), 'Hold Me Tight' (1983) and 'Flame Tree' (1984). In 1983, after announcing the breakup of the group, Cold Chisel gave a series of farewell concerts in a national tour called Last Stand. They subsequently released the albums \IChisel\i (1991) and \IThe Last Stand\i (1992).
Cold Chisel's awards include the 1980 \ICountdown\i Most Popular Group, Most Popular Record, Best Australian Album and Outstanding Achievement Award and the 1982 \ICountdown\i Most Consistent Live Act. Jimmy Barnes, Ian Moss and Don Walker also received individual awards in \IRAM\i \I(Rock Australia Magazine)\i between 1978 and 1983. At the 1989 ARIA Awards Moss and Walker won the Australian Song of the Year and Best Australian Debut Single awards with 'Tucker's Daughter' (1989), and Moss won Best Australian Album and Best Australian Debut Album with \IMatchbook\i (1989).
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"Collier, Marie",140,0,g,0
\I1928-71\i
\IAustralian-born soprano opera singer based in London\i
Marie Collier was born in Ballarat, Victoria, and made her Australian debut in 1952 as Santuzza in \ICavalleria Rusticana\i in a season presented jointly by the Melbourne-based National Theatre Opera Company and the Sydney-based National Opera of New South Wales. In 1953 she gained national recognition as Magda Sorel in \IThe Consul,\i in a performance which established her as both a singer and a dramatic actor. After further study in Italy she made her London debut at Covent Garden's Royal Opera House in 1956 as the First Lady in \IThe Magic Flute.\i Leading roles at both Covent Garden and Sadler's Wells followed. Marie Collier visited Australia for the 1964 Adelaide Festival of the Arts, appearing as Cressida in \ITroilus and Cressida,\i a role she had performed to great acclaim a year earlier at Covent Garden.
In 1965 she replaced US-born Greek soprano Maria Callas in \ITosca\i at Covent Garden, and three years later sang the role in Australia. In 1967 she made her debut at the Metropolitan Opera, New York, in the role of Christine Mannon in the world premiere of Martin David Levy's \IMourning Becomes Electra.\i Earlier in the same year she had finished recording the role of Chrysothemis in Richard Strauss' \IElektra.\i
She died in London after a fall from a window.
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"Collins, Geoffrey",141,0,g,0
\IFlautist\i
Adelaide-born Geoffrey Collins studied piano with Nancy Sales and flute with Victor McMahon, James Pellerite and Margaret Crawford at the New South Wales State Conservatorium of Music. He won the first National Flute Competition in 1976, which helped to establish him as one of Australia's best-known flautists. In 1982, whilst lecturing at the Queensland Conservatorium, Collins was awarded a Churchill Fellowship to study overseas with William Bennett, Michel Dubost and Peter Lukas-Graf. He has held the positions of resident flautist since 1983 with the \JAustralia Ensemble\j, Associate Principal Flute in the Sydney Symphony Orchestra and Principal Flute with the Australian Chamber Orchestra.
Collins has appeared as soloist with Australia's leading orchestras and toured as a soloist for the ABC in 1993. He has expressed his interest in contemporary music over the years by playing with groups such as AZ Music, ACME, the Seymour Group and Flederman. His playing has inspired composers to write works for him and he has recorded a number of CDs, including \IFlute Australia, Volumes 1 and 2.\i
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"Collins, Harold",142,0,g,0
\IDancer,\i \Ichoreographer and artistic director of the Queensland Ballet\i
Collins began his career as a dancer and was a founding member of the \JQueensland Ballet\j in 1960. He travelled and performed throughout the world spending seven years with London Festival Ballet working with some of the world's most important choreographers including Sir Frederick Ashon, Rudi van Dantzig, Sir \JRobert Helpmann\j and Sir Kenneth MacMillan. He also partnered some of the world's most famous ballerinas including Dame Margot Fonteyn and Galina Samsova. Collins became the artistic director of the Queensland Ballet in 1979 and since that time has choreographed a large number of ballets especially for the company including \ICarmen,\i \IThe Ice Maiden,\i \IRituals,\i \IRomeo and Juliet,\i \ILe Papillon,\i \ICamelot,\i \IOrpheus,\i \IPulcinella,\i \ISalome,\i \IThe Rite of Spring,\i \IAlice-Memories of Childhood,\i \IA Midsummer Night's Dream,\i \ICinderella,\i \IThe Taming of the Shrew,\i \IBamaga Diptych\i and \IThe Sleeping Beauty.\i
Classical music has been one of Collins' passions and he has maintained the artistic policy of commissioning and performing many major new Australian compositions for dance. The composers featured include \JCarl Vine\j, \JColin Brumby\j, \JVincent Plush\j, Anthony Partos and David Joseph. Under his leadership the Queensland Ballet was confirmed as one of the top four performing arts companies in Australia and announced its first major tour of the United States in 1996. Collins was made an MBE (Member of the British Empire) for his services to ballet.
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"Coney, Miranda",143,0,g,0
\IBallet dancer\i
Miranda Coney was born in Perth and joined the Australian Ballet in 1985 after graduating from the Australian Ballet School. She was promoted to principal artist in 1991. She created the roles of the ballerina Clara in \JGraeme Murphy\j's \INutcracker\i (1992) and Suzuki in \JStanton Welch\j's \IMadame Butterfly\i (1995). Her repertoire includes the ballerina roles in \IGiselle,\i \ILa Sylphide,\i \IRomeo and Juliet,\i \ILa Fille mal gardee,\i \IOnegin, Coppelia, Swan Lake\i and \IThe Sleeping Beauty,\i in addition to roles in works by Glen Tetley, Jiri Kylian, Stanton Welch and Jerome Robbins. In 1990 she appeared as guest artist with the Leningrad Kirov (now Maryinsky) Ballet and in 1992 she danced in Rudolf Nureyev's farewell tour of Australia. Miranda Coney joined Nederlands Dans Theater in 1994, then in late 1994 returned to the Australian Ballet.
#
"Constable, William",144,0,g,0
\IDesigner\i
Constable established his reputation as a designer with the Marie Ney dramatic company in 1940 and in 1941 began his fourteen years as resident designer with the \JBorovansky Ballet\j in Melbourne. His first ballet commission at this time was for the sets and costumes of \JLaurel Martyn\j's work \IEn Sag.\i A later Borovansky ballet design was \IThe Outlaw\i in 1951. In 1946 Constable designed the costumes and sets for the Mercury Players' first show at the New South Wales State Conservatorium of Music, with Peter Finch as star and director. When the National Theatre Ballet presented \ICorroboree,\i the first purely Australian ballet, at Sydney's Empire Theatre in 1950, Constable designed the set.
#
"Conway, Deborah",145,0,g,0
\IPop singer and songwriter\i
Born in Melbourne, Deborah Conway first came to prominence as a member of the Sydney-based group Do Re Mi, formed in 1982. Their successful first single, 'Man Overboard' (1985), was followed by two albums, \IDomestic Harmony\i and \IThe Happiest Place in Town.\i The latter was recorded in England in 1987 and for the next few years Conway worked in London and Los Angeles. In 1990 she contributed some operatic music to the score for Peter Greenaway's film \IProspero's Books\i and sang the role of the goddess Juno in the film. After her return to Melbourne later in 1990, she wrote songs for the group Boom Crash Opera and toured with a group called Drawcards which also included \JTim Finn\j. Her first solo single, 'It's Only the Beginning' (1991), reached the Top 20 and was quickly followed by another successful, self-written single, 'Under My Skin'. Her debut solo album, \IString of Pearls\i (1991), reached gold status.
With a band named Mother of Pearls, Conway toured Australia and New Zealand in 1991 and 1992, including performing as the support to Bob Dylan. She then went to Los Angeles as part of the EMA (Export Music Australia) project and on her return to Australia in 1993 released the single, `Alive and Brilliant'.
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"Conyngham, Barry",146,0,g,0
\I1944-\i
\ILeader of the\i 'middle generation' of Australian composers\i
Conyngham was born in Sydney where he studied at the University of Sydney and with \JRaymond Hanson\j. With a well-established early interest in jazz, he began to compose in a serious way when he was only twenty-one. In 1972 he went to the United States for two years on a Harkness Fellowship and on his return took up the position of lecturer at the University of Melbourne.
His compositions include \ISky,\i \IWater\i ... \IFootsteps\i ... \ITime,\i \IIce Carving,\i \ICrisis: Thoughts in a City, Five Windows,\i \ISouthern Cross\i (written for Roger Woodward and Wanda Wilkomirska) and \IEdward John Eyre,\i an opera. His enthusiasm for contemporary music and computer music led to his appointment as a member of the Music Board of the Australia Council.
In 1987 Conyngham and the record company EMI were presented with the Australian Record Industry Association (ARIA) award for Best Classical Recording for their release of \ISouthern Cross\i and \IIce Carving.\i The composer collaborated with \JGraeme Murphy\j on the dance work \J\IVAST\j\i in 1988. This piece, which is written in three acts (Coast, Centre and Cities), is one of the few full-length orchestral ballet scores to be composed in the late twentieth century. Conyngham was made Dean of the Faculty of Creative Arts at the University of Wollongong in January 1990. In 1993 the newly-formed Southern Cross University, with campuses at Lismore and Coffs Harbour, appointed him as its vice-chancellor.
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"Corroboree",147,0,g,0
\IBallet music\i
\JJohn Antill\j wrote this ballet suite in 1944, decorating the original manuscript with suggested costume designs. Corroboree holds an important place in Australia's composition history and was first performed as an orchestral work in 1946 under the baton of Sir \JEugene Goossens\j. Audiences and critics alike embraced the work, inspired by Aboriginal dance, and performances in London and Cincinnati soon followed the Australian premiere. The National Ballet staged the work in 1950 with choreography by \JRex Reid\j and sets by \JWilliam Constable\j.
Another production of \ICorroboree,\i with choreography by Beth Dean and designs by William Constable, was created for a Royal Gala in Sydney during Queen Elizabeth II's first visit to Australia in 1954. This version later toured New South Wales and Queensland for five months. In 1995, \JStanton Welch\j used excerpts from John Antill's score for a short ballet called \ICorroboree,\i performed in a gala session at San Francisco Opera House to celebrate the fiftieth anniversary of the United Nations.
#
"Cotton, Darryl",148,0,g,0
\I1949-\i
Darryl Cotton, Australian singer, was born in Adelaide on 4th September 1949. He came to fame with the band Zoot before setting off for the USA in 1972. In the six years he spent in America he worked as a session musician for stars such as Olivia Newton-John and the Osmonds. In 1979 he hosted the Adelaide television rock show \ISummer Rock.\i His hits include 'Don't Let It Get To You', and 'Same Old Girl'.
#
"Coughlan, Frank",149,0,g,0
\I1904-79\i
\IJazz musician\i
Born in Emmaville, New South Wales, Coughlan learnt music from his father. He played in various bands in Australia and overseas from 1922 to 1936. In 1936 he formed his own band to open the Sydney's Trocadero Club and for more than 30 years performed with and led bands at the Sydney and Melbourne Trocadero clubs. Founder of the Sydney Jazz Club, he was an exponent of swing music.
#
"Countdown",150,0,g,0
\ITelevision rock and pop show, broadcast\i 1974-87
In 1975, one year after this ABC program had begun on air, it was said to have an Australia-wide audience of approximately 1.5 million children and teenagers in the 10-17 years age group. It was shown twice a weekend (a Saturday repeat and a new edition on Sundays) on 180 stations around the nation. Like the earlier \ISix O'Clock Rock, Countdown\i showed the ability of the ABC to break new ground in appealing to a teenage audience with a program of contemporary rock music. Now live performances were mixed with video clips and the show had an influence on the local development of these as an art form of their own. Australian record companies found they had to produce an expensive video along with the release of a new song that would be acceptable to Ian 'Molly' Meldrum who, as the show's main compere and 'talent coordinator', chose the live performances and clips and contributed to interviews and a chat segment. This became the basic format of the program, which ended with a countdown of the local and overseas Top Ten, hence its name. A spin-off program, \IThe Countdown Revolution,\i was screened in 1990-91.
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"Covell, Roger",151,0,g,0
\I1931-\i
\IConductor, music critic and educationalist\i
Born in Sydney, Covell has made a strong impression on the Australian music scene through his column as chief music critic for the \ISydney Morning Herald\i and by the support he has shown for Australian composers. He has held many influential positions at the University of New South Wales, among them Professor and head of music and musical director of the University of New South Wales Opera and the Grainger Consort. The opera company has presented an impressive range of Australian stage works over the years, as well as interesting operas from around the world. It has also provided a much needed showcase for many aspiring young opera singers, many of whom have gone on to international success. Covell's publications include \IAustralia's Music: Themes of a New Society\i (1967). He has been a member of the Australia Council and president of the Australian Society for Music Education.
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"Crocker, Barry",152,0,g,0
\I1935-\i
\IActor and singer\i
Barry Crocker began his career as a chorus boy with the Geelong Musical Comedy Company in Victoria. His film work includes the title role in the comedy movies \IThe Adventures of Barry McKenzie\i (1972) and \IBarry McKenzie Holds His Own\i (1974). As a recording artist his many bestselling albums resulted in fifteen gold albums. For five years he hosted the television variety show \IThe Sound of Music\i and in 1984 he toured nationally in the title role of the show \IBanjo\i--\IThe Man.\i He has also worked as a variety show host on British television.
He was made an AM (Member of the Order of Australia) in 1987 for his services to the entertainment industry.
#
"Cronin, Stephen",153,0,g,0
\I1960-\i
\IComposer\i
Born in Brisbane, Cronin wrote \IThe Snake Pit\i in 1990. The Seymour Group performed his work \IEros Reclaimed\i in 1993, in which the composer was trying to capture 'the sentiment of remembering'.
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"Crossley, Ada",154,0,g,0
\I1871-1929\i
\IAustralian-born contralto singer in London\i
Ada Crossley was born in Tarraville, Victoria, and studied singing and piano in Melbourne. Her first public performance, in 1892, was with the Melbourne Philharmonic Society. She left for Europe in 1894, and after her London debut at the Queen's Hall in 1895 became a well-known oratorio singer in the United Kingdom. She gave five royal command performances before Queen Victoria. Crossley had a repertoire of some 500 songs, and could sing in seven languages, including Russian and Norwegian. She returned briefly to Australia in 1903 to give a concert tour with pianist \JPercy Grainger\j for the J. C. Williamson theatrical organisation, singing to great public acclaim in Sydney, Brisbane, Melbourne, Adelaide, Kalgoorlie and Perth.
Ada Crossley was probably the first Australian singer to record commercially when she made some records for the Victor company in New York during a tour of the USA early in 1903.
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"Crowded House",155,0,g,0
\IRock group\i
The rock group Crowded House was formed in 1986 by \JNeil Finn\j and grew out of the earlier group \JSplit Enz\j. The original line-up was Neil Finn (vocals and guitar), Nick Seymour (bass) and Paul Hester (drums). In 1985 the group moved to Los Angeles where they shared a 'crowded house'--hence the name. Seymour is also responsible for the group's album covers and stage sets. Their first album \ICrowded House\i (1986) sold more than one million copies in America. Their fourth single, 'Don't Dream It's Over' (1986), was Best Australian song at the 1986 ARIAs, became an international No. 5 hit and brought the trio much US media coverage; 'Better Be Home Soon' (1988), taken off their second album \ITemple Of Low Men,\i did not succeed in the American market although it was a hit in Australia and won Australian Song of the Year at the 1988 ARIAs. In 1991 the group was joined briefly by \JTim Finn\j, as singer and songwriter on the third album \IWoodface\i (1991)--which included the international hit 'Weather With You' written by the Finn brothers--and in 1992 the American keyboard player and guitarist Mark Hart joined the group.
Other Crowded House singles include 'World Where You Live' (1987), 'It's Only Natural' (1991) and 'Four Seasons In One Day' (1992). In 1994 drummer Hester left the group midway through a tour of the United States. In June 1996 Neil Finn announced that Crowded House was disbanding.
Crowded House won Best Australian Group at both the 1987 and 1992 ARIAs and was voted Rock Performers of the Year at the 1994 Mo Awards.
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"Cugley, Ian",156,0,g,0
\I1945-\i
\IComposer and percussionist\i
Born in Melbourne, Cugley studied with \JPeter Sculthorpe\j and Peter Maxwell Davies. He attended the University of Sydney, graduating with a B.Mus. in 1966. Moving to Tasmania, he took up a lecturing post at the University of Tasmania and a position as percussionist with the Tasmanian Symphony Orchestra. His compositions include \IThe Lake,\i \IPan,\i \IPrelude for Orchestra,\i \IThree Pieces for Chamber Orchestra\i and \IChamber Symphony.\i Nowadays he lives and works in Sydney.
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"Currency Lass, The",157,0,g,0
\IOperetta\i
Irish convict Edward Geoghegan had his operetta, \IThe Currency Lass\i, staged by the Royal Victoria in 1844. He was not acknowledged as the author because of his background. The piece is thought to be the first comedy to be set and written in Australia. It includes a mixture of fourteen songs and spoken dialogue, with Geoghegan often writing his own lyrics to existing folk and popular song tunes. The operetta was inspired by the young performer Tilly Jones. Only fifteen at the time, she was required to sing, dance and act as the heroine of the piece, Susan Hearty. In a twist of fate, Jones married before \IThe Currency Lass\i was produced and an English dancer, Mme Louise, took her place. The part was unfortunately too much for Louise, who was a good dancer but who could not sing, a serious problem as her role included a succession of five danced songs from five different nations. The loss of an Australian-born performer also lessened the impact of the play.
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"Dance North",158,0,g,0
\ITownsville-based contemporary dance company\i
The original company was established in 1968-69 as the North Queensland Ballet and Dance Society; the name was changed to Dance North in 1985 when the company became fully professional. Dance North commissions Australian choreographers, composers and designers to create a varied all-Australian repertoire and also participates in cultural exchange programs with South-East Asia.
In 1996 \JGraeme Watson\j was appointed to take over from artistic director Cheryl Stock in 1997. Watson plans to continue the company's association with South-East Asia and also introduce ties with Polynesian and Melanesian cultures.
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"Davidson, Frankie",159,0,g,0
\I1934-\i
Frankie Davidson, Australian singer and entertainer, was born at Black Rock near Sandringham in Melbourne on 12th January 1934, the son of a shearer's cook. He has had several hits including 'Have You Ever Been to See King's Cross', 'My Heart is an Open Book' and 'Gimme Dat Ding'. His other novelty songs were 'Hector the Trash Collector' and '50 Million Blowflies Can't be Wrong'. He currently works as a club comedian and singer, and has appeared in the TV series \IMatlock Police\i and \IHomicide.\i
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"Davies, Bryan",160,0,g,0
\ISinger and actor\i
While still a teenager Sydney-based Bryan Davis became a regular on the pop music television show \J\IBandstand\j.\i He had his first hit single, 'Dream Girl', in 1961, and in the same year began hosting his own television variety show, \IThe Bryan Davies Show,\i which ran for three seasons. In 1964 he returned to Australia after a short period in the United Kingdom with a Beatles-style appearance and a changed singing style. His singles include 'Five Foot Two' (1961), 'Raincoat in the River' (1964) and 'Alberta'; the album \ITogether By Myself\i was released in 1968. In the early 1970s he became a regular cast member of the satirical television revue \IThe Mavis Bramston Show.\i His other television work includes regular appearances in series such as \IMatlock Police,\i \IDivision 4\i and \IHomicide.\i
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"Dawson, Peter",161,0,g,0
\I1882-1961\i
\IBaritone singer best known for his ballads\i
Dawson was born in Adelaide, South Australia, where he sang as a boy soprano and began his vocal training. He joined the choir of St Andrew's Church at the age of seventeen. In 1901 he won a solo singing competition at Ballarat, and in the following year went to the United Kingdom to further his singing studies under English baritone Sir Charles Santley, and there developed his flawless vocal technique which is still much admired. His voice was even throughout its registers, and perfectly produced. In 1909 he appeared at Covent Garden, but did not pursue a career in opera, preferring oratorio and concert work. Later in the same year he returned to Australia to tour with \JAmy Castles\j, singing both ballads and operatic arias. He toured again at various times, returning permanently to Australia after his retirement in the 1950s.
Dawson was a prolific recording artist. His earliest records date from 1904, making him one of the first Australians to make a commercial recording, and in his long career he recorded some 3500 titles (the most popular being 'The Floral Dance'), using a number of aliases. He used the name Hector Grant when recording songs of the style made famous by Scottish comedian-singer Harry Lauder. Dawson kept his own name for operatic and choral music and for ballads. He composed many of the songs he recorded, including the well-known 'Boots', which he published under the name J. P. McCall. By 1940 he had sold more than 12 million records. He is perhaps the only singer to record by both the acoustic process and the stereophonic.
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"Dawson, Smoky",162,0,g,0
\I1913-\i
\ICountry music singer and songwriter\i
Smoky Dawson was born Herbert Henry Dawson in Warrnambool, Victoria. He learnt to play steel guitar, and in 1936 became the first live-to-air country and western singer on Australian radio. This success was followed by theatre and rodeo tours (including a whip, knife and axe display act) and recordings. Many of his songs were published by Allen Music during the 1930s and 1940s. In 1943 he was instrumental in establishing a School of Country Music in Melbourne. During World War II he served in the Army Entertainment Unit. In 1952 he played himself in \IThe Adventures of Smoky Dawson,\i a radio series that ran for ten years. His many recorded songs include 'The Stockman's Story', 'The Lights of Cobb and Co', 'The Overlander' and in 1988 one of his biggest hits, 'The Days of Old Khancoban', on the album \IHigh Country.\i In 1950 he played himself in the movie \IThe Cowboy From Down Under,\i and in 1988 appeared in the television series \IA Country Practice.\i
Dawson's name was entered on the Australasian Country Music Roll of Renown in 1977 and in 1980 he received an Honorary Award from the American Country Music Association.
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"De Graaff, Deborah",163,0,g,0
\I1960-\i
\IClarinettist\i
Melbourne-born de Graaff studied at the New South Wales State Conservatorium with Donald Westlake and later John St George. She was the 1983 winner of the ABC's Instrumental and Vocal Competition and a QE II Silver Jubilee Scholarship. Representing Australia in overseas competitions, she has also performed concerts with the Sydney Symphony Orchestra, Brisbane Sinfonietta, West Australian Orchestra, and plays with the Brandenburg Ensemble on original instruments. De Graaff formed the Ku-ring-gai Virtuosi in 1993 with \JLauris Elms\j and Michael Brimer. Her CD \IA Clarinet Collection\i was released on Walsingham Classics.
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"De Gunst, Molly",164,0,g,0
\I1905-94\i
Molly De Gunst, Australian opera star, was born at Bundaberg in Queensland on 28th June 1905. She studied at the Garcia School of Music in Sydney and came to fame in the 1932 J. C. Williamson season's of \ITosca, Aida\i and \IIl Trovatore.\i She travelled to London in 1936 and auditioned for \ISadler's Wells.\i During WWII, she married Gordon Lark, the son of well known English singer, Kingsley Lark. After WWII she settled in the Northumberland and Durham area of England where she promoted recitals and chamber music, but retired prematurely after a number of operations on her jaw. She died at her Northumberland home on 29th June 1994, the day after her 89th birthday.
#
"De Jong, Sarah",165,0,g,0
\I1952-\i
\IComposer\i
Born in Christchurch, New Zealand, De Jong studied with Australian composers \JBrian Howard,\j Peter Tahourdin and \JBarry Conyngham.\j She has written music for productions such as \ITwo Gentleman of Verona,\i \IInside the Island,\i \ICyrano de Bergerac,\i \IBrittanicus,\i \IInner Voices\i and \IVisions.\i
In 1982 she became composer-in-residence at the Lighthouse Theatre Company (as the South Australian Theatre Company was then called) in Adelaide.
De Jong's later works include \IThe Lizard King\i (1987), a TV drama; \IWaltz\i (1987) for dance; a score for the Toe Truck Theatre's \IA Change of Face\i (1988); a score of \ILes Enfants du Paradis\i (1988) for Belvoir Street; a score for \ISummer of the Aliens\i (1989), a play by \JLouis Nowra\j (to whom she was once married), co-produced by ABC-FM and the BBC; music and lyrics for the Kennedy Miller film \IFlirting,\i directed by John Duigan; a film score for a documentary about schizophrenia (1991) by Ann Deveson for ABC-TV; and the score for the Daniel Keene play, \ILow,\i premiered at Belvoir Street (1991). De Jong enjoys writing for voice and often creates music for live performance as well as recording sound sequences on tape. In 1993 her work \IPortrait of an Invisible Man\i was performed at Sydney's Wharf Theatre. It is a solo for four players: a koto player, a percussionist, a singer and a dancer.
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"Delltones, The",166,0,g,0
\IRock 'n' roll vocal group\i
The vocal group the Delltones was formed in Sydney in 1959 with the original line-up of Ian ('Pee Wee') Wilson (bass and vocals), Noel Widerberg (lead vocals), Brian Perkins (baritone) and Warren Lucas (tenor). They began their professional career as a backing group in both live performance and studio work. In 1960 they had their first hit, 'You're The Limit'; this was followed by 'Wonder' (1961) and 'Get A Little Dirt On Your Hands' (1962), by which time they were regular performers on the television pop music shows \ISix O'Clock Rock\i and \J\IBandstand.\j\i
The death of Widerberg in a car accident in mid-1962 sent the band into temporary retirement, but by late 1962 they were back, with vocalist Colin Loughnan, and early in 1963 had their biggest hit, 'Come A Little Bit Closer'. Later singles include 'Hangin' Five' (1963) and 'Hey Don't Bother Me' (1964); in 1964 they released the successful album \IThe Golden Hits Of The Golden Groups.\i The group disbanded in 1971; in 1981 Wilson formed an entirely new Delltones for limited club and television appearances.
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"De Maria, Warren",167,0,g,0
\I1945-\i
\IBallet dancer\i
Sydney-born Warren de Maria was a member of the \JBorovansky Ballet\j's last season in Melbourne in 1960-61 and in 1962 was a founding member of the Australian Ballet. He created roles in \JRex Reid\j's \IMelbourne Cup\i and Ray Powell's \IJust for Fun.\i De Maria left for Britain in 1963, there joining the Royal Ballet and dancing with the company on its 1965 US tour. He rejoined the Australian Ballet in 1966 as principal artist. The many major roles of his repertoire include Aegisthus in Helpmann's \IElektra,\i Captain Belaye in \IPineapple Poll,\i Prince Siegfried in \ISwan Lake\i \I(Act II)\i and the principal male roles in \IThe Lady and the Fool,\i \IJazz Spectrum,\i \IGiselle,\i \IPillar of Fire\i and \IBallet Imperial.\i He also danced with the Sydney Festival Ballet in 1971-72. De Maria is married to fellow dancer \JBarbara Chambers\j; he retired from the stage in 1972.
#
"de Masson, Paul",168,0,g,0
\IBallet dancer\i
Paul de Masson was born in Perth and began his professional career with the West Australian Ballet. He made his European debut with the Ballet de Marseilles and later joined the London Festival (now English National) Ballet, where he attained the rank of soloist. He joined the Australian Ballet in 1976 and in 1980 was promoted to principal artist. He created the roles of Aramis in AndrΘ Prokovsky's \IThe Three Musketeers\i (1980) and Hermes in Glen Tetley's \IOrpheus\i (1987). His repertoire includes the FiancΘ in \ILas Hermanas,\i Captain Belaye in \IPineapple Poll,\i the Husband in \IThe Concert\i and the principal male roles in \IGiselle,\i \ILa Sylphide,\i \ICoppΘlia,\i \IOnegin,\i \ISpartacus,\i \ILa Fille mal gardΘe,\i \IThe Display,\i \IThe Concert\i and \ISwan Lake.\i
Since leaving the Australian Ballet in 1988 to pursue a freelance career he has appeared as a regular guest artist with the Australian Ballet, West Australian Ballet and Queensland Ballet. In 1989 he performed in the stage play \IPastrana,\i for which he was nominated for a Green Room Award as Best Supporting Actor. He danced as guest artist with the Philippine Ballet Theatre in 1990, in 1990-91 he was balletmaster and guest artist with the Norwegian Ballet and was balletmaster and principal artist of the Berne Municipal Theatre. Switzerland, in 1992, where several works were created expressly for him, including the successful \IDon Juan.\i In 1993 de Masson returned to the Australian Ballet as repetiteur and in the following year was renamed a principal artist.
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"Devil Take Her, The",169,0,g,0
\IOpera\i
Written by composer \JArthur Benjamin\j, this hilarious one-acter was first produced by director \JRobin Lovejoy\j in 1953 for Clarice Lorenz's National Opera Company (a forerunner of the Australian Opera; see National Theatre Movement). It was half of a notable Australian double bill, sharing a program with the more austere \IEndymion\i by \JJohn Antill\j.
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"Devlin, Johnny",170,0,g,0
\I1938-\i
\INew Zealand-born pop singer and songwriter in Australia\i
Johnny Devlin was born in Wanganui, New Zealand. His first record, 'Lawdy Miss Clawdy', topped the local charts and became the first gold record awarded in New Zealand. In 1959 he moved to Australia and became a regular on the television pop music shows \J\IBandstand\j\i and \ISix O'Clock Rock.\i In the following five years he recorded several hit singles and his debut Australian album \IReal Nervous\i (1960). He wrote songs for other artists, for a period was a record company executive and later ran a theatrical and booking agency with his wife. He returned to the stage as one of the support acts on the Beatles' tour of Australia and New Zealand (1964).
He continued to perform through the 1970s and 1980s--he was part of Johnny O'Keefe's \IGood Old Days of Rock'n'Roll\i (1974)--and to release singles and albums. His many singles include 'Doreen' (1959), 'Got a Zack In The Back Of My Pocket' (1960), 'Charlie Mopps' (1961), 'Stomp The Tumbarumba' (1963) and 'Book Of Love' (1987). His albums include \ISurf Club Stomp\i (1963), \IHappy Days of Rock'n'Roll\i (1977), \I24 Original Golden Greats\i (1981) and \IStag-O-Lee\i (1989).
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"de Waart, Edo",171,0,g,0
\IConductor\i
Amsterdam-born Edo de Waart studied oboe and conducting at the Music Lyceum and when he graduated was appointed associate principal oboe of the Concertgebouw Orchestra. At the age of 23 he won first place in the Dimitri Mitropolous Conductors' Competition and became assistant conductor to Leonard Bernstein with the New York Philharmonic for the 1965-66 season. After his return to the Netherlands, de Waart was appointed assistant conductor of the Concertgebouw under Bernard Haitink; he held this position until 1967, when he became the conductor of the Rotterdam Philharmonic Orchestra and the Netherlands Wind Ensemble, which he founded. Six years later de Waart took on the music directorship in Rotterdam, staying there until 1979.
In 1975 de Waart became principal guest conductor with the San Francisco Symphony Orchestra and, two years later, music director. He held this position for eight seasons and later became music director for the Minnesota Orchestra for five seasons. De Waart was appointed chief conductor and artistic director of the Sydney Symphony Orchestra (SSO) in 1992, following the acclaim he received for his performance in the ABC's sixtieth birthday \ICelebration of an Orchestra\i concerts. In 1995 he took the SSO on its first European tour since 1974.
De Waart is the artistic director of the Music Centre of the Netherlands Radio and Television Organisation, and also director of the Netherlands Radio Philharmonic. His recording of John Adam's opera \INixon in China\i with the Orchestra of St Luke's received a Grammy nomination.
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"Diesel, Johnny",172,0,g,0
\I1966-\i
\IPop singer and songwriter\i
Diesel was born Mark Lizotte in the United States and arrived in Australia in 1971 with his parents and six brothers and sisters. Early in his professional career he performed as Johnny Diesel and the Injectors. He was 'discovered' by \JJimmy Barnes\j in 1988. In 1991 he released his first solo album. \IHepfidelity,\i followed by \IThe Lobbyist\i (1993) and \ISolid State Rhyme\i (1994). In 1992 Diesel was voted Australian Music Awards (AMA) Most Popular Australian Male Performer and in 1994 'Never Miss Your Water' (with Danny Tate) was reckoned by the Australian Performing Right Association (APRA) to be the Most Performed Local Work.
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"DIG",173,0,g,0
\IBand in the jazz tradition\i
DIG, an acronym for Directions In Groove, is a group of musicians in the jazz tradition with an element of rap and pop in their songs. The group's line-up includes Scott Sanders (keyboards, vocals), Rick Robertson (saxophones), Tim Rollinson (guitar), Sam Dixon (bass, who replaced Alex Hewetson), and Terepai Richmond (drums). In 1994 their debut album, \IDeeper,\i sold 40,000 copies. Its success followed the massive sales of their self-funded EP, \IDirections In Groove,\i which received strong airplay on radio station Triple J and was distributed by Polygram.
DIG has undertaken two overseas tours, in September/October 1993 and in July 1994. On the second tour they played at London's Jazz Club and at the Vienna Jazz Festival. The group won the 1994 APRA (Australian Performing Right Association) Music Award for jazz composition of the year for 'The Favourite'. The five musicians play mainly dance music, relying on their fine rhythm section for variation in beat and style. When receiving their award, Scott Saunders said of their style: 'Jazz is not so much style as an attitude. If there is one thing that links the members of the band together, and runs through all the music, it is the jazz attitude, that attitude of freedom and respect for the music; it colours all the things we do.'
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"Display, The",174,0,g,0
\IBallet\i
\JRobert Helpmann\j created his ballet \IThe Display\i for the third Adelaide Festival in 1964. The sets for the premiere production were designed by \JSidney Nolan\j and the music composed by \JMalcolm Williamson\j. The action takes place at a bush picnic, where one of the young girls in the group flirts shamelessly with a stranger. The male leader of the pack is furious and tension builds up to a violent climax when the girl is raped. Helpmann named the piece after the male lyrebird's performance to attract its mate.
\IThe Display\i was the first all-Australian production given by the Australian Ballet. The starring dancers were \JKathleen Gorham\j, \JGarth Welch\j and \JBryan Lawrence\j. The ballet was received with considerable enthusiasm and the company included it on many of its touring programs.
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"Divall, Richard",175,0,g,0
\I1945-\i
\IConductor\i
Sydney-born Divall took singing lessons after he left school and began working at the ABC, first as messenger, and later as music producer. He studied conducting at the New South Wales State Conservatorium of Music under \JJoseph Post\j, in 1969 co-founded Young Opera and in 1971 worked as musical director at Queens Opera. Divall became musical director of the Victoria Opera Company (later known as Victoria State Opera) in 1972, a position he retained although often conducting interstate. He was appointed associate professor of music at the Melbourne University Conservatorium in 1991. Divall was made an OBE in recognition of his services to music.
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"Divinyls",176,0,g,0
\IRock band\i
The rock band Divinyls was formed in Sydney in 1980 around the songs and dynamic live performance of lead vocalist Chrissie Amphlett (a cousin of \JLittle Pattie\j) supported by guitarist Mark McEntee. The original line-up was Amphlett, McEntee, Jeremy Paul (bass), Richard Harvey (drums), Bjarn Ohlin (keyboard, guitar and vocals); later members include Rick Grossman (bass), Roger Mason (keyboards) and Jim Hilbun (bass). Their first single, 'Boys In Town' (1981), reached the national Top 10. In 1982 the group wrote and recorded a six-track mini-album, \IMusic From Monkey Grip,\i to coincide with the release of the film \IMonkey Grip.\i They followed with their first full album. \IDesperate\i (1983); a track from this, 'Science Fiction', reached No. 13. The group has toured America and Europe; they recorded their second album, \ITemperamental\i (1988), in England. Two more albums, \IDivinyls\i and \IEssential Collection,\i were released in 1991.
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"Dixon, David",177,0,g,0
\I1971-\i
David Dixon, Australian singer and actor, was born in Brisbane, Queensland on 2nd May 1971. He formed the highly successful group Indecent Obsession in 1987, and appeared in some Brisbane television shows before the group came to fame after appearing on \IHey Hey It's Saturday.\i In October 1992, he was chosen by Sir Andrew Lloyd Webber to star in the Australian production of \IJoseph and the Amazing Technicolour Dream Coat.\i His hit records include 'Say Goodbye, Kiss Me, Indio' and 'Tell Me Something.'
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"Don John of Austria",178,0,g,0
\IOpera\i
First performed in Sydney in 1847, this work by \JIsaac Nathan\j is thought to be the first opera written and staged in Australia, although composer Stephen Marsh said that his opera, \IThe Gentleman in Black,\i was actually the first opera to be written in this country. Marsh's opera was not produced until 1861, however. \IDon John's\i cast included singers Theodosia Stirling, Louise Gibbs, Frank and John Howson and actor Francis Nesbitt. The work was performed twice at the Royal Victoria Theatre.
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"Dowd, Ronald",179,0,g,0
\I1914-90\i
\ITenor opera singer\i
Ronald Dowd was born in Sydney. By 1955, when he left for the United Kingdom, he had appeared in more than 20 roles and toured Australia, New Zealand and Japan. He made his London debut at Sadler's Wells (forerunner of the English National Opera) as Canio in \IPagliacci\i; he later appeared with the Royal Opera at Covent Garden, and with the Welsh National and Scottish National operas. He toured Europe as a guest artist with the Sadler's Wells company, performing the title role in \IPeter Grimes\i in Vienna, Munich, Frankfurt, Prague and Hamburg. His roles with the Australian Opera include the title roles in \IOtello,\i \IPeter Grimes\i and \ILohengrin\i; Count Ilya Rostov \I(War and Peace),\i in 1973 the first opera at the Sydney Opera House; Fatty \I(The Rise and Fall of the City of Mahagonny)\i; Florestan \I(Fidelio)\i; Herod \I(Salome)\i; and Radames \I(Aida).\i In 1988 he sang the role of the Emperor in a concert performance of \ITurandot.\i
#
"Dragon",180,0,g,0
\INew Zealand rock band in Australia\i
The rock group Dragon was formed in New Zealand in 1973 and arrived in Australia in 1975 with the line-up of Marc Hunter (vocals), Robert Taylor (guitar), Paul Hewson (keyboards), Todd Hunter (bass) and Neil Storey (drums); later members included Kerry Jacobson (drums, replacing Storey who died in 1976), Richard Lee (guitar, violin and vocals), Billy Rogers (harmonica, saxophone and piano), Alan Mansfield (keyboards) and Perry Doanne (drums). Musically the band ranged over pop, rock, reggae and calypso. In 1978, after reaching the top in Australia, they made their first tour of the United States.
In 1979 Marc Hunter left the group to pursue a solo career. Late in 1979 Dragon disbanded; two new versions of the band were later formed, one in 1982, based around the 1976 line-up, and another in 1988, with only the Hunter brothers remaining from the original line-up. Dragon's singles include 'This Time' (1976), 'Get That Jive' (1977), 'April Sun In Cuba' (1977), 'Are You Old Enough?' (1978), 'Rain' (1983), 'Book Of Love' (1988) and 'Summer' (1989); their albums include \ISunshine\i (1977), \IRunning Free\i (1977), \IO Zambezi\i (1978), \IBody and the Beat\i (1984) and \ICuts from the Hard Times\i (1991). Dragon's awards include \ITV Week\i 1977 Most Popular New Group and 1978 Most Outstanding Achievement Award.
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"Dusty, Slim",181,720038,c,0
\I1927-\i
\ICountry music singer and songwriter\i
Slim Dusty was born David Gordon Kirkpatrick in Kempsey, New South Wales. At the age of eleven he changed his name to Slim Dusty and in the following year began playing the guitar and wrote his first song; within three years he was performing live-to-air from the local radio station. His first recording, 'When the Rain Tumbles Down in July', was released in 1946. Eleven years later 'The Pub with No Beer', written by his friend Gordon Parsons, reached No. 1 on the Australian charts and was the first Australian recording to make the British charts, reaching No. 3; it remains Australia's all-time best-selling record. His next national No. 1, 'Duncan', released in 1980, was also a drinking song.
Slim Dusty has dominated the country music scene for five decades, recording more than 1000 songs on more than 90 albums which have resulted in more than 100 gold records. Many of his songs have been inspired by the poetry of Henry Lawson. His many Golden Guitar Awards include Best Album: 1973 \I(Me & My Guitar),\i 1974 \I(Live at Tamworth),\i 1975 \I(Australiana),\i 1976 \I(Lights on the Hill),\i 1977 \I(Things I See About Me),\i 1980 \I(Walk a Country Mile),\i 1981 \I(The Man Who Steadies the Lead),\i 1984 \I(On the Wallaby),\i 1985 \I(Trucks on the Track),\i 1988 \I(Neon City)\i and 1991 \I(Coming Home)\i; and Best Male Vocalist: 1975 ('Biggest Disappointment'), 1977 ('Angel of Goulburn Hill') and 1979 ('Marty'). His story has been told in his autobiography \IWalk a Country Mile\i (1979) and in \IThe Slim Dusty Movie\i (1985). In 1996 Slim Dusty celebrated 50 years of continuous recording with the EMI label; in the same year he also made his first concert tour of England, Scotland and Ireland (with wife Joy McKean and daughter \JAnne Kirkpatrick,\j both singer-songwriters)--until then his international tours had been limited to New Zealand, Papua New Guinea and the Solomon Islands.
In 1970 Slim Dusty was made an MBE for services to entertainment. His name was entered on the Australasian Country Music Roll of Renown in 1979.
Sydney-born Dyer studied piano and harpsichord at the New South Wales State Conservatorium of Music, and then in the Netherlands with Bob van Asperen at the Royal Conservatory in The Hague. While in Holland he performed with many early music orchestras and undertook ensemble direction and orchestral studies with Sigiswald Kujken and Frans Bruggen.
Since returning to Australia he has worked as a teacher, soloist and continuo player, including regular solo engagements with the Sydney Symphony Orchestra, Queensland Symphony Orchestra, Australia Ensemble, Australian Chamber Orchestra, the Australian Youth Orchestra and The Australian Opera. In 1989 he founded the Australian Brandenburg Orchestra, which under his artistic direction has had several successful seasons and made a number of critically acclaimed recordings. In 1994 Dyer was awarded a Churchill Fellowship for advanced studies of Baroque performance in the Netherlands, France and England.
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"Easybeats",183,0,g,0
\IRock band with international success\i
The Easybeats rock band was formed in 1964 in the Villawood Migrant Hostel, Sydney, with the line-up of Harry Vanda (lead guitar and lyrics), George Young (guitar and vocals), Stevie Wright (vocals), Gordon 'Snowy' Fleet (drums) and Dick Diamonde (bass); all were born overseas and had migrated to Australia with their families. In 1967 Tony Cahill replaced Fleet on drums. For the latter part of the 1960s the Easybeats dominated the Australian pop and rock scene, with three No. 1 hits, fifteen singles in the Top 40 and mobs of enthusiastic fans at their live performances. Vanda and Young wrote most of the band's material and by 1965 the Easybeats had became one of the most popular groups in Australia.
Their first No. 1 hit single was 'She's So Fine' (1965), their second 'Sorry' (1966). In 1966 the band travelled to the United Kingdom where they recorded the international hit 'Friday On My Mind' (1966) which reached No. 1 in Australia and also made the US and UK charts. In the following year, after a successful Australian tour, they toured the United States with popular US singer Gene Pitney. They also had international success with 'Hello How Are You?' (1968) and 'St Louis' (1969). By the end of 1969, with their popularity on the wane, the group disbanded. Stevie Wright pursued a solo singing career. Vanda and Young went on to a highly successful songwriting and producing partnership.
A number of Vanda and Young's songs have been recorded by both Australian and overseas artists, in particular 'Friday On My Mind', which has been covered by artists as diverse as David Bowie and the James Last Orchestra; 'Walking In The Rain' recorded by Grace Jones; and 'Love Is In The Air' (which saw a second wave of popularity with the film \IStrictly Ballroom)\i and 'Yesterday's Hero' by \JJohn Paul Young.\j Flash and the Pan, a studio group formed by Vanda and Young, enjoyed international success. In 1995 Vanda and Young were awarded the Australian Performing Right Association (APRA) Ted Albert Memorial Award for services to Australian music.
#
"Eddie, Robert",184,0,g,0
\I1932-\i
\IBaritone opera singer\i
Sydney-based Robert Eddie was a freelance illustrator before becoming a full-time opera singer. He studied singing in London. In 1968, after five years as a member of the Sadler's Wells company (forerunner of the English National Opera), he became a permanent member of the Australian Opera. His roles for the company include General Rayevsky in \IWar and Peace\i which in 1973 was the opening opera at the Sydney Opera House; Swallow \I(Peter Grimes)\i; Major Murgatroyd \I(Patience)\i; the King \I(Aida)\i; Avram \I(Fiddler on the Roof)\i; the Captain \I(Eugene Onegin)\i; Judd \I(Voss)\i and the title role in \IThe Mikado.\i
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"Edwards, Ross",185,0,g,0
\I1943-\i
\IComposer best known for his orchestral works\i
Sydney-born Edwards studied in Australia and Europe with such teachers as Richard Meale, \JPeter Sculthorpe\j, Peter Maxwell Davies and Sandor Veress. He held teaching positions at the University of Sydney and the New South Wales State Conservatorium of Music and now works full-time as a composer. He was awarded a Don Banks Fellowship in 1989 and in 1990 an Australian Artists Creative Fellowship. During the 1970s Edwards worked to create his own musical language evoking the sound and feel of Australia's eastern seaboard. His works \IThe Tower of Remoteness\i for clarinet and piano (1978) and \IKumari\i (1980) reflect his fascination with the sounds of insect life. In 1981 he began the hour-long \IManinya\i cycle of instrumental and vocal pieces (completed in 1986), in which the rhythmic patterns of nature become dance forms.
Best known for his orchestral pieces, Edwards composed the violin concerto \IManinyas\i in 1988 and \ISymphony Da Pacem Domine\i in 1991, the latter work receiving the 1993 APRA music award for contemporary classical composition of the year. More recent works by Edwards include \IVeni Creator Spiritus\i (1992) for the Academy of St Martin-in-the-Fields Octet, \IEnyato I\i (1994) for the Balanescu Quartet, \IEnyato II\i (1994) for the violist Patricia Pollet, and a guitar concerto premiered by John Williams at the 1995 International Guitar Festival. Edward's work \IEnyato III,\i composed especially for the Sydney Symphony Orchestra's 1995 European tour, is an overture in two movements.
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"Egan, Ted",186,0,g,0
\ICountry and western singer and songwriter\i
Ted Egan was born in Melbourne, later taught Aboriginal Studies at Alice Springs High School and for more than twenty-five years worked in the Department of Aboriginal Affairs, mostly based in the Northern Territory, with much of his time spent in the bush. His songs reflect Top End life and history, ranging from 'Drinkers of the Territory' to 'The Drover's Boy', a poignant comment on the relationship between pioneer cattlemen and the Aborigines they displaced.
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"Eighth Wonder, The",187,0,g,0
\IOpera\i
Premiering at the Sydney Opera House in 1995, \IThe Eighth Wonder\i was conceived by librettist \JDennis Watkins\j in 1989 when he was associate director at the Sydney Theatre Company. The subject matter, Joern Utzon's Sydney Opera House itself, was something with which he was familiar: a former guide at the famous building, he estimates that he conducted 2500 tours at Bennelong Point. Later, while working on the musical \IChess\i with composer Alan John and original director \JJim Sharman,\j the latter encouraged him to write the text as an opera libretto rather than as a musical. The central theme of the two-act work expresses the nature of architecture and ideas of spirituality and the spark of creation.
In 1992, the Australian Opera hosted a workshop of some early scenes (directed by Sharman) and the company then commissioned the full-length work. During the course of the writing, the key historical figures took on the dimensions of archetypal characters. These are the Architect, the Engineer, the Maestro and the Politician. The vision of the Architect (played by tenor \JDavid Hobson)\j is thwarted by pragmatism and a young soprano, Alexandra (Clare Gormley), dreams of singing in the completed building. Only five weeks from opening night, Sharman had to pull out as director and \JNeil Armfield\j took over. The role of the Premier was sung by \JRobert Gard\j: there were 18 principals' roles in all and 15 chorus roles. \JRichard Gill\j conducted the production and the set was designed by \JBrian Thomson.\j
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"Elder Conservatorium of Music",188,0,g,0
\IAdelaide tertiary institution for the study of music performance\i
The Elder Conservatorium of Music provides both academic and performance based music education. It offers a wide range of instrumental and vocal studies--including the full range of classical instruments as well as programs in jazz--and by presenting numerous concert performances has made a major contribution to the cultural life of South Australia. Its second director, \JJohn Bishop,\j was a driving force in the establishment of the Adelaide Festival of the Arts.
The Conservatorium was founded in 1898 by the University of Adelaide (which in 1884 became the first university in Australia to establish a Bachelor of Music Degree) after it received an endowment of ú20,000 from pastoralist and businessman Sir Thomas Elder.
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"Elms, Lauris",189,0,g,0
\I1931-\i
\IContralto singer in opera and concert\i
Lauris Elms was born in Springdale, Victoria and undertook her initial singing training in Melbourne. She began her professional career in 1952, appearing with the National Theatre Opera Company in Melbourne, and first sang for the ABC in 1953. In 1955 she left for Paris to further her studies and in 1957 made her debut as Ulrica in \IA Masked Ball\i at the Royal Opera, Covent Garden, London; from 1957 to 1959 she was a principal contralto with that company. She was a soloist with Musica Viva Australia from 1960 to 1970, and in 1965 she sang with the Sutherland-Williamson Opera Company. She sang also with the Australian Opera (which before 1970 was known as the Elizabethan Trust Opera Company). She received much acclaim for the role of Azucena \I(II Trovatore),\i singing opposite \JDonald Smith\j and Kenneth Collins. She has sung in several royal command performances (the first in 1958). In 1970 she appeared with an all-Australian cast in a performance of Verdi's \IRequiem\i at Royal Festival Hall in London conducted by Sir Charles Mackerras and marking the 200th anniversary of James Cook's landing in Australia. In 1973 she sang at the opening of the Adelaide Festival Centre and later that year took part in the opening concert at the Sydney Opera House, singing with \JMarilyn Richardson\j \IThe Six Days of Creation,\i a work especially written for their voices by \JIan Cugley\j. Her 1979 solo recital at the Sydney Opera House was the first ABC recital to feature a resident Australian singer.
Lauris Elms was made an OBE in 1974 and in 1982 was made an AM (Member of the Order of Australia). She retired from the stage in 1994.
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"Emmanuel, Tommy",190,0,g,0
\IRock, jazz, bluegrass, Spanish and classical guitarist\i
At the age of four Tommy Emmanuel formed his first band with his brothers Phil (guitar) and Chris (drums) and his sister Virginia (steel guitar). They were known as The Emmanuel Quartet. In the early 1960s, Tommy and his family moved from Gunnedah to Ingham, Victoria, and by this time the Quartet were appearing regularly on \INew Faces\i and \IShowcase.\i The family moved to Parkes, NSW, when Emmanuel's father died. By 1969, The Emmanuel Quartet had broken up and Tommy and Phil went on as The Trailblazers and then as The Emmanuel Brothers. After leaving the Emmanuel Brothers, Tommy became a session musician playing live and on albums with bands such as Dragon and Air Supply. He made his first solo album, \ITommy Emmanuel with Pee Wee Clark and Friends\i: \IFrom Out of Nowhere,\i in 1979. It was mixed direct-to-disc-what the band plays in the studio runs through the mixing console and then directly to the cutting room. Although this was a solo album, his real debut album is considered to be \IUp From Down Under\i (1987). He wrote all the material on it except for two tracks. His next two albums, \IDare to be Different\i and \IDetermination,\i were very successful, with \IDare to be Different\i hitting No. 1 in the Australian charts twice.
In 1993 Emmanuel felt he had really arrived when he signed with Sony and was able to take artistic control of his work, work with the people he wanted, and take as long as he wanted to record. For the first time in his career the quality of his recorded music captured the power of his live concerts. His next three albums--\IThe Journey,\i \ITerra Firma\i and \IClassical Gas\i--bear witness to this. \IClassical Gas\i was recorded live with the Australian Philharmonic Orchestra and features nine of Emmanuel's classic hits and three new songs.
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"Endymion",191,0,g,0
\IOpera\i
This opera by \JJohn Antill\j was first produced in 1953, although written 30 years before. It is a rather solemn reworking of ancient Greek legend and was produced for Clarice Lorenz's National Opera Company (a forerunner of the Australian Opera; see National Theatre Movement) by director \JRobin Lovejoy\j. Its first presentation was as a double bill with \JArthur Benjamin\j's hilarious one-act opera \IThe Devil Take Her.\i
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"Ensemble of the Classic Era",192,0,g,0
\IMusic group\i
Using instruments of the eighteenth century, the members of this Australian ensemble are devoted to music from the age of Haydn and Mozart. They perform works from the 1740s to the early nineteenth century in duo and trio combinations incorporating \JGeoffrey Lancaster\j (fortepiano), Paul Wright (violin), Susan Blake (cello) and Kate Clark (transverse flute).
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"Eternal Lovers, The",193,0,g,0
\IBallet\i
\IThe Eternal Lovers\i is thought to be \JPaul Grinwis\j' most successful choreographic work. He created the ballet in 1951 when he was a dancer with \JEdouard Borovansky\j's Jubilee Ballet. Grinwis danced the role of Romeo while \JKathleen Gorham\j took the role of Juliet. The ballet is set to Tchaikovsky's \IRomeo and Juliet Fantasy--Overture\i with the story based on the love and death of Shakespeare's tragic duo.
The ballet was beautifully designed by \JWilliam Constable\j and was thought to be the finest work ever created for the Borovansky company, remaining in the repertoire for ten years and being successfully mounted overseas as well.
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"Ewer, Graeme",194,0,g,0
\ITenor singer of opera and operetta\i
Melbourne-born Graeme Ewer joined the Australian Opera in 1967 (when it was known as the Elizabethan Trust Opera Company), making his debut as the Prince of Persia in \ITurandot\i. His roles since then have included Spoletta (\ITosca\i), Pong (\ITurandot\i), Rustighello (\ILucrezia Borgia\i), Hadji (\ILakme\i), Remendado (\ICarmen\i), Monostatos (\IThe Magic Flute\i), Frantz (\IThe Tales of Hoffman\i), the Rector (\IPeter Grimes\i), the Rabbi (\IFiddler on the Roof\i), Njegus (\IThe Merry Widow\i), Ko-Ko (\IThe Mikado\i), Don Pedro (\IPericole\i), Arnalta (\IL'Incoronazione di Poppea\i) and the title role in \IAlbert Herring\i. In 1973, with four other members of the Australian Opera, he co-wrote \IOpera Through the Time Machine\i, an introduction to opera for children; Ewer performed the role of Beppe.
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"Expressions Dance Company",195,0,g,0
\IBrisbane-based modern dance company\i
Expressions Dance Company was founded in 1985 by choreographer Maggi Sietsma, its current artistic director, and Abel Valls. A modern dance company, it has performed to critical acclaim both nationally and internationally. It tours annually within Australia, where it has performed at the Sydney Festival, the Melbourne International Festival of Choreography and Brisbane's Warana Festival. In 1988 it was one of two dance companies chosen to represent Australia at the Houston International Festival in the USA, and in the same year also performed at World Expo '88 in Brisbane, with one of their performances broadcast live to Osaka, Japan.
In 1995 the company travelled to Europe to perform as part of Experience Australia '95 in Bonn, Germany, and to Papua New Guinea where, during a five-week season, Maggi Sietsma created a combined work for Raun Raun Theatre and Expressions which was performed in Goroka and Port Moresby as part of Papua New Guinea's twentieth anniversary of independence celebrations. As well as its main company, Expressions has a separate touring team of three dancers which performs throughout regional Queensland as part of Expressions' dance in education program.
In 1987 the company received the Australian Society for Education in the Arts Excellence Award.
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"Fall of the House of Usher",196,0,g,0
\IOpera\i
\JLarry Sitsky\j's first opera was one of three commissioned by the Tasmanian Festival of Contemporary Opera and Music for the second national conference of composers to be held in Australia. With a libretto by poet \JGwen Harwood\j and based on Edgar Allen Poe's story, the opera is a dramatic work in one act. It was first performed at Hobart's Theatre Royal in 1965, to much acclaim. The production for ABC television starred soprano \JMarilyn Richardson\j and baritone Brian Hansford. The South Australian-based company, New Opera, revived the piece in 1973.
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"Farnham, John",197,jfarnham.jpg,c,0
\I1949-\i
\IPop and rock singer and songwriter and actor\i
John Farnham was born in London and at the age of ten arrived in Melbourne with his family. In 1967 his first single, 'Sadie the Cleaning Lady', not only reached No. 1 but also became the country's biggest-selling locally made single to that date; he followed this with the double-sided hit 'Underneath the Arches'/`Friday Kind of Monday' (1967). These and later hits, including 'Raindrops Keep Falling On My Head' (1969), 'Rock Me Baby' (1972) and 'Help' (1980), gained him a total of twelve gold record awards. In 1982 he joined the \JLittle River Band\j as lead singer (replacing Glen Shorrock). In 1987, after leaving the band, he had another hit solo single, 'You're the Voice' (which won the 1986 ARIA award for Best Australian Single). His many solo albums include \ILooking Through a Tear\i (1970); \IHits Magic and Rock and Roll\i (1973); \IUncovered\i (1980); the hugely successful \IWhispering Jack\i (1986); \IChain Reaction\i (1990); \IThen Again\i ... (1993) and \IRomeo's Heart\i (1996). His stage work includes the lead role in \IDick Whittington and His Cat\i (1971), \ICharlie Girl\i (1971), Ken Brodziak's \IPippin\i (1974) and the concert production of \IJesus Christ Superstar\i (1992).
His many awards include \ITV Week\i King of Pop 1969 to 1973, 1986 \ICountdown\i Music and Video Award for Best Album and 1986 ARIA Best Australian Album \I(Whispering Jack),\i ARIA Highest Selling Australian Album 1986 \I(You're The Voice),\i 1988 \I(Age Of Reason),\i 1990 \I(Chain Reaction)\i and 1994 \I(Then Again\i ...) and the 1986, 1987 and 1990 ARIA Best Male Artist. He was Australian of the Year in 1988.
\BDescription:\b John Farnham \I(Fairfax Photo Library)\i
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"Farrar, John",198,0,g,0
\I1945-\i
John Farrar, Australian musician, was born at Moonee Ponds in Melbourne on 8th November 1945. He came to fame as a member of The Strangers who had hits with 'Happy Without You' and 'Melanie Makes Me Smile'. He later worked with the Shadows in England before moving to America with his wife, singer Pat Carroll. In the 1980s he produced for Olivia Newton-John, who was a business partner with his wife Pat with their Koala Blue stores.
#
"Field, Billy",199,0,g,0
\I1956-\i
Billy Field, Australian singer-songwriter, was born in the Riverina area of New South Wales on 20th January 1956, the son of a wealthy grazier. He learnt violin as a child but when the family later moved to Sydney he turned to piano and rock and roll. He built the Paradise recording studios in Sydney and had a huge hit with 'Bad Habits' in 1981 and followed up with 'You Weren't in Love With Me.'
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"Fifield, Elaine",200,0,g,0
\I1930-\i
\IBallet dancer\i
Elaine Fifield left Sydney in 1946 on a dancing scholarship to study at the Sadler's Wells Ballet School in London. She subsequently joined the Sadler's Wells (now Royal) Ballet and also the Sadler's Wells Theatre Ballet where she became the first Australian-born dancer to attain the rank of principal artist. She created roles in John Cranko's \ITritsch-Tratsch\i and \IPineapple Poll\i; Alfred Rodrigues' \IBlood Wedding\i; and Frederick Ashton's \IHomage to the Queen,\i \IMadame Chrysantheme\i and \IBirthday Offering,\i and danced all the major classical roles. In 1956 she returned to Australia to join the \JBorovansky Ballet\j, dancing the title roles in \IPineapple Poll\i and \IFrancesca da Rimini,\i Odette/Odile in \ISwan Lake\i and the Sugar Plum Fairy in David Lichine's \IThe Nutcracker.\i
She retired from dancing in 1958 and settled in Papua New Guinea, but in 1964 returned to the stage as a principal of the Australian Ballet; there she created the ballerina role in Ray Powell's \IBeethoven Dances\i (1971). Her roles with the company include Columbine in \ILe Carnaval,\i Mademoiselle Elise in \IKonservatoriet,\i Swanilda in \ICoppΘlia\i and title roles in \IPineapple Poll,\i \IRaymonda\i and \IGiselle.\i In 1969 she was guest artist with Ballet Victoria in the title role of \IGiselle\i and in \JLaurel Martyn\j's \ICloth of Gold\i; and in 1971 she was ballerina with the West Australian Ballet for its twenty-first anniversary season and created the role of Juliet in Rex Reids' \IRomeo and Juliet.\i Fifield retired in 1973.
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"Finn, Neil",201,0,g,0
\I1959-\i
\INew Zealand-born pop singer-guitarist and songwriter in Australia\i
Neil Finn, the younger brother of \JTim Finn\j, joined \JSplit Enz\j in 1977 as a singer and guitarist and in the early 1980s wrote several hit songs for the group. In 1985, after Split Enz disbanded, Neil, drummer Paul Hester and bass player Nick Seymour formed \JCrowded House\j, with Neil as lyricist, composer and singer. Finn wrote the international hit 'Don't Dream It's Over' (1986); in 1993 he was named Songwriter of the Year by the London musical publication \IQ Magazine\i; and in 1993 and 1994 was named Songwriter of the Year by the Australian Performing Right Association--in 1993 with his brother Tim for their song 'Four Seasons in One Day' and in 1994 for his composition 'Distant Sun' from Crowded House's \ITogether Alone\i album. The album \IFinn\i (1995) features songs written and recorded with his brother Tim, including the single 'Suffer Never'.
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"Finn, Tim",202,0,g,0
\I1952-\i
\INew Zealand-born pop singer-guitarist and songwriter in Australia\i
Tim Finn was born in the township of Te Awamutu, on New Zealand's North Island. He was co-founder in 1972 of the band \JSplit Enz.\j In 1983 Finn recorded the solo album \IEscapade\i--three tracks from the album, including the hit 'There's a Fraction Too Much Friction', were successful singles. Later solo albums include \IBig Canoe\i (1986) and \ITim Finn\i (1989). The album \IFinn\i (1995) features songs written and recorded with his brother Neil. Tim Finn's solo singles include 'No Thunder, No Fire, No Rain' (1985), 'How'm I Gonna Sleep' (1989) and 'Not Even Close' (1990). In 1995 Finn joined Andy White and Liam O'Maonlai to form ALT (from the initials of their first names). His awards include \ICountdown\i 1981 Industry Vote Award for Best Australian Songwriter.
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"Fisher, Sylvia",203,0,g,0
\I1910-1996\i
\IAustralian-born soprano opera singer in the United Kingdom\i
Sylvia Fisher was born in Melbourne on 18th April, 1910. She studied singing at the Albert Street Conservatorium where, in 1932, she made her first stage appearance in \ICadmus and Hermione.\i In 1936 she won the Melbourne \ISun\i Aria Competition, and subsequently her strong, warm-toned voice was heard regularly throughout Australia in broadcast and concert. Before her departure for the United Kingdom in 1947 she had given many lieder recitals and sung in major concert performances of works as different as \IThe Flying Dutchman\i and \IAida\i on one hand, \IThe Messiah\i and Beethoven's \INinth Symphony\i on the other. She made her debut at Covent Garden in 1949, in the role of Leonore in Beethoven's \IFidelio,\i and was warmly received. As one of the company's leading dramatic sopranos she appeared as many of the Wagnerian heroines--Senta, Elsa, Elisabeth, Isolde and Brunnhilde. She created the role of Cressida in \ITroilus and Cressida\i in 1954, sang Kostelnicka in the first British performance of \IJenufa\i in 1956 and created Mrs Wingrave in Britten's \IOwen Wingrave\i in 1971. Her other Britten opera appearances include \IPeter Grimes,\i \IAlbert Herring\i and \IThe Rape of Lucretia.\i Throughout her career she continued her recitals of lieder. She made a concert tour of Australia in 1955, and appeared for the Elizabethan Opera Company (forerunner of the Australian Opera) as Ellen Orford in \IPeter Grimes.\i
In 1953 she married the Italian violinist Unbaldo Gardini, and made her home in Italy until his death. She eventually retired to Melbourne, where she died on 25th August 1996, aged 86.
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"Fitzgibbon, Smacka",204,0,g,0
\I1930-79\i
Smacka Fitzgibbon, Australian vaudeville star, was born on 12th February 1930. He recorded 'Carolina in the Morning' with Graham Kennedy and had a hit in 1972 with \IThe Adventures of Barry Mckenzie\i. Smacka died after brain surgery on 15th December 1979, aged 49.
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"Ford, Andrew",205,0,g,0
\I1957-\i
\IComposer and writer\i
Born in Liverpool, England, and educated at the University of Lancaster, Ford was appointed Fellow in Music at the University of Bradford at the age of 21, a post he held until 1982. The following year he came to Australia to join the staff of the School of Creative Arts at the University of Wollongong. In 1986 he relinquished his full-time lectureship, but continued to teach at Wollongong two days a week. Well known as a writer and broadcaster, commenting on a wide range of music, he became a regular contributor to \I24 Hours\i magazine in 1990 and in 1993 published a book of interviews with 30 of his colleagues, \IComposer to Composer.\i He has worked as a conductor and also as a performer of some of the more experimental voice repertory of the twentieth century. His music has been performed and broadcast, and featured in festivals, in many parts of the world.
In 1988 he was visiting composer at the Aspen Festival of Music in Colorado. In 1993 and 1994 he was visiting composer-in-residence with the Australian Chamber Orchestra. His music often finds its inspiration in literature and the theatrical or visual arts. Amongst his major works are the operas \IPoe\i (1983) and \IThe World in a Knot\i (1988), both with libretti by Graham Devlin; the music-theatre work \IWhispers\i (1990) written with Rodney Hall for the tenor Gerald English; \IThe Big Parade\i (1986) for large orchestra; the piano concerto \IImaginings\i (1991); \IHarbour\i (1992), a song cycle for tenor and seventeen solo strings, to words by Margaret Morgan; \IIn somnia\i (1992) for tenor, chorus and large ensemble; and \IThe Widening Gyre\i (1993) for chamber orchestra. Ford lives in Sydney.
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"Fowles, Glenys",206,0,g,0
\I1941-\i
\ISoprano opera singer\i
Glenys Fowles was born in Perth and made her operatic debut in the role of Micaela in \ICarmen\i for the West Australian Opera Company. In 1968 she became the first Australian to be awarded a cash prize in the finals of the New York Metropolitan Opera Auditions. After an intensive two-month training session with the Metropolitan Opera, she joined the Australian Opera (then known as the Elizabethan Trust Opera Company), making her debut in 1969 as Oscar in \IA Masked Ball.\i In 1974 she made her New York debut, again in the role of Micaela, for the New York City Opera; for the following eight years she was a resident lyric soprano with the company. She has also sung at the Glyndebourne Festival and at Covent Garden in the United Kingdom, and has toured with the Scottish Opera Company. Her roles for the Australian Opera include Mimi \I(La BohΦme),\i Susanna \I(The Marriage of Figaro),\i Sophie and the Marschellin \I(Der Rosenkavelier),\i Gilda \I(Rigoletto),\i Pamina \I(The Magic Flute),\i Tatyana \I(Eugene Onegin),\i Rosina \I(The Barber of Seville),\i Anna Glawari \I(The Merry Widow),\i Juliet \I(Romeo and Juliet)\i and Rosalinde \I(Die Fledermaus).\i She is also an accomplished concert performer. Her recordings include \IThe Merry Widow.\i
In 1986 Glenys Fowles was made an AM (Member of the Order of Australia) for her services to music.
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"Fretwell, Elizabeth (Betty)",207,0,g,0
\I1923-\i
\ISoprano opera singer\i
Elizabeth Fretwell began her career in Melbourne with the National Theatre Opera Company, with whom she sang many leading roles, including Elsa \I(Lohengrin),\i Senta \I(The Flying Dutchman),\i Donna Anna \I(Don Giovanni)\i and the title role in \ITosca\i opposite \JJohn Shaw\j and \JRonald Dowd\j. After studying in London she sang as a principal soprano with the Sadler's Wells company (forerunner of the English National Opera) and appeared also with the Royal Opera at Covent Garden, and the Scottish National and Canadian opera companies. She recorded extracts of her roles in \III Trovatore\i and \IThe Land of Smiles\i with the Sadler's Wells company. In 1970 she joined the Australian Opera as principal soprano. Her roles for the company include Alice \I(Falstaff),\i Musetta \I(La BohΦme),\i Lady Macbeth \I(Macbeth)\i and Berta \I(The Barber of Seville).\i In 1985 she took part in the Australian Opera/ABC concert performance of \IElektra\i in Melbourne and Sydney.
She was made an OBE in 1977 for her services to opera.
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"Gadd, Charmian",208,0,g,0
\IViolinist\i
Sydney-based violinist Gadd learnt from some of the world's finest players, including \JRichard Goldner\j, Josef Gingold, Henryk Szeryng and Janos Starker. She won Diplomas of Honour in the Tchaikovsky and Sibelius Competitions and won prizes in other international violin competitions. Winning the ABC Concerto Competition early in her career, Gadd toured nationally many times as an ABC soloist and as a member of the Trio Concertante for Musica Viva. She enjoyed an international career in the USA and Europe for 23 years before she returned to Australia. In 1988 she became head of the String Department at the Canberra School of Music, later taking the equivalent position at the New South Wales State Conservatorium of Music. She formed the acclaimed Macquarie Trio with pianist \JKathryn Selby\j and cellist \JMichael Goldschlager\j in 1993.
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"Galapagos Duck",209,0,g,0
\IJazz band\i
Galapagos Duck is a household name amongst Australian jazz followers, featuring very strongly in the evolution of the jazz idiom in Australia. It owes its unusual name to Spike Milligan, a long-time friend and drinking companion of the group, rather than to Charles Darwin and his theories of evolution. It was derived from one of Spike's comedy sketches involving the auctioning of a 'Giant Galapagos Turtle upon wheels with clockwork revolving eyes'. Spike said of the band: 'The Galapagos Duck are the sort of group which play the sort of music, which if you haven't heard them for four years, and hear them again, they're still ahead. They play the music, man. And they play it great.' The band must feel some empathy with Charles Darwin, however, because in 1992 it released an album titled, \IThe Voyage of the Beagle\i (Darwin's own ship).
Founded 27 years ago, the band has toured extensively throughout the world. It has also appeared at many of the world's most prestigious jazz festivals including the Montreaux Jazz Festival in Switzerland and the American Musexpo in the US. On the local scene, the band has written original scores for the Australian Ballet, the Aboriginal and Islander Dance Company and for dance performances in movies and in the Australian Bicentennial TV Spectacular.
Over the many years of Galapagos Duck's existence, there have been occasional changes to the line-up but the group has remained remarkably stable, priding itself on recruiting from the finest talent in Australia. Greg Foster (trombone, blues harp, chromatic harmonica, electric bass, clarinet and didgeridoo), the band's leader, joined the Duck in 1976 and writes and arranges original music for this and other groups. In 1993 he performed as featured soloist with the Sydney Symphony Orchestra. John Conley (electric, fretted and fretless bass, electric guitar, double bass, clarinet, vocals and percussion) joined the band in 1981. His extensive writing for the group includes the suite `Austorizon' for the Australian Dance Theatre and four songs nominated in the jazz category of the APRA awards. Glenn Henrich (piccolo, flutes, clarinets, saxophones, vibraphone, piano, keyboards and percussion) has played with bands led by Andrew Firth, Judy Bailey, James Morrison, Don Burrows, Tom Baker and joined the Duck in 1993. Tony Ansell (piano, electronic keyboards and keyboard bass) has performed with the Don Burrows Quintet and the Daly Wilson Big Band, and joined the Duck in 1987. Mal Morgan (drums, congas, bongos and percussion) joined in 1981.
Recordings made by Galapagos Duck include \IThe Removalists,\i St James,\i Moomba Jazz '76,\i \IEbony,\i \IQuill,\i \IMagnum,\i \IRight on Cue,\i \IIn Flight,\i \IThis Time,\i Voyage of the Beagle,\i \IEndangered Species,\i \IHabitat\i and \ILonely George.\i
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"Gallaher, Simon",210,0,g,0
\I1958-\i
Simon Gallaher, Australian singer and pianist, was born on 24th October 1958. He came to fame on \IThe Mike Walsh Show\i and starred in the stage play \IThe Pirates of Penzance\i and later purchased the rights to the musical. In 1990, he married Lisa McKenney and had two children. He is the owner of Purdy's Restaurant at Mt Tambourine in Queensland.
In 1993, he was chosen to star in the Australian production of \ICyrano de Bergerac\i which never went ahead. He continued with his Gilbert and Sullivan productions and had hits with \IThe Mikado\i and \IHMS Pinafore.\i
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"Gard, Robert",211,0,g,0
\I1928-\i
\IEnglish-born tenor opera singer in Australia\i
Robert Gard was born in Cornwall in the United Kingdom, and studied voice in London. He arrived in Australia in 1960, and in 1963 joined the Australian Elizabethan Trust Opera Company (forerunner of the Australian Opera). His roles include Prince Anatole \I(War and Peace)\i performed for the opening of the Sydney Opera House; Danilo \I(The Merry Widow)\i; Tom Rakewell \I(The Rake's Progress)\i; Shuisky \I(Boris Godunov)\i; Le Mesurier \I(Voss)\i; Grosvenor \I(Patience)\i; the Duke of Plaza Toro \I(The Gondoliers)\i; Panatellas \I(Pericole)\i; and Siegmund \I(Die Walkⁿrie).\i In 1973, with four other members of the Australian Opera, he created \IOpera Through the Time Machine,\i an introduction to opera for children; Gard performed the role of the Wizard of Op. He played Aschenbach in \JJim Sharman\j's production for the Australian Opera of Benjamin Britten's \IDeath in Venice,\i which premiered at the 1980 Adelaide Festival of the Arts, and repeated the role later for the Australian Opera and elsewhere-it became one of his greatest successes. In 1988 he sang the title role in \IRegarding Faustus,\i an opera written for him by \JHelen Gifford\j, and in 1995 sang the role of the Premier in the premiere of \IThe Eighth Wonder.\i
He was made an OBE in 1981 for his services to opera in Australia. During a 1991 revival season of \IDeath in Venice,\i in which he again sang the role of Aschenbach, Gard was presented with the Australian Opera Trophy in recognition of his important contribution to the company.
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"Garni Sands",212,0,g,0
\IOpera\i
George Dreyfus composed this opera in 1965-66. The libretto, written by Frank Kellaway, describes the violent cut-throat existence experienced by many early Australian settlers. Brutish acts such as cannibalism become even more shocking by their juxtaposition against the lyrical flow of the music. The 1972 production of \IGarni Sands\i by the New South Wales Opera was the first production of a full-length Australian opera for more than fifty years. Further production took place in Melbourne in 1972 and in New York in 1975.
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"Gasteen, Lisa",213,0,g,0
\I1958-\i
Lisa Gasteen, Australian opera star, was born in Queensland in 1958. She won a major international singing award in Wales on 22nd June 1958, when she was named the Cardiff Singer of the World. Her prize included A$10,000 dollars and numerous television and radio appearances with the BBC. She was nominated and sponsored by the Concert Music Department of the ABC and has been a member of the Australian Opera since 1987.
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"Gaston, Ed",214,0,g,0
\IJazz bass player\i
American-born and Sydney-based Gaston was a member of the Australian Jazz Quintet (AJQ) when it was formed in the United States in the 1950s. The other members of the group were Bryce Rohde (piano), Jack Brokensha (vibes and drums), Erroll Buddle (saxophones, flute, bassoon, oboe) and Dick Healey (saxophones, flute). Gaston toured extensively with the AJQ before coming to live in Australia in 1958 where the group disbanded at the conclusion of a local capital cities tour. Gaston then joined a quartet formed in Sydney by pianist Bryce Rohde (the other two members were drummer Colin Bailey and guitarist \JGeorge Golla\j), which lasted for the next three years. Later he formed the well-known Ed Gaston Quartet, which clinched his reputation as a top-notch Australian bass player. By 1994 he was a member of the Jan Adele/Terry Wilkinson Quartet, the Susan Gai Dowling Quintet, Joe Lane's Jazz Katz, the Kenny Powell/Marie Wilson Quartet, the Jenny Sheard Trio/Quartet and the Chuck Yates Trio.
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"Gault, Tony",215,0,g,0
\IAssociate concertmaster of the Australian Opera and Ballet Orchestra\i
Gault arrived in Sydney from Seattle in the United States in 1988 to study with \JCharmian Gadd\j and \JRichard Goldner\j. He acquired a Graduate Diploma at the New South Wales State Conservatorium of Music and obtained casual work with the Australian Chamber Orchestra, Australian Opera and Ballet Orchestra and the Sydney Symphony Orchestra. Having to make a choice of permanent employment in order to get a residency permit, Gault took up the post of principal second violin with the AOBA in 1992 and was appointed to the position of associate concertmaster in 1994. One of the highlights of his role was as concertmaster for the Australian opera \IThe Eighth Wonder\i in 1995. Gault has performed with top orchestras in the US as well as in Australia, including the Seattle Symphony Orchestra and the West Australian Symphony Orchestra. He is also a former member of the Sydney String Quartet.
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"Geldard, Kathleen",216,0,g,0
\IBallet dancer\i
Sydney-born Kathleen Geldard won a scholarship to the Royal Ballet School in London in the mid-1950s and after only nine months there was offered a contract with the Royal Ballet. From 1957 to 1962 she danced and toured with that company, being promoted to soloist and earning special acclaim as the Girl in Kenneth MacMillan's \ISolitaire.\i In 1962 she returned to Australia as a founding member (soloist) of the Australian Ballet; she was promoted to principal artist in 1966.
Kathleen Geldard created leading roles in \JRay Powell\j's \IJust for Fun\i and \IRoundelay,\i and the Experienced in John Butler's \IThreshold\i (1969). Apart from the major classical roles, she distinguished herself in a variety of dramatic ballets-the Girl in \JRobert Helpmann\j's \IThe Display,\i the title role in Helpmann's \IElektra\i and Hagar in Antony Tudor's \IPillar of Fire.\i She retired from the company in 1970 for the birth of the first of her three daughters (two of whom are dancers), but has returned on many occasions as guest artist--in 1992 she was invited by \JGraeme Murphy\j to perform in the Sydney premiere season of his \INutcracker\i for the Australian Ballet and in 1994 she danced the role of Madam in Kenneth MacMillan's \IManon.\i
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"George, Linda",217,0,g,0
\I1949-\i
Linda George, Australian singer, was born in England on 22nd May 1949 and came to Australia with her parents, settling in Adelaide when she was 15. She worked as a hairdresser before moving to Melbourne and recording her hits 'Neither One of Us,' and 'Mama's Little Girl.'
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"Geyer, Renee",218,0,g,0
\I1953-\i
\ISinger of jazz-rock\i
Renee Geyer was born in Melbourne and grew up in Sydney. She began singing with jazz-blues bands in her late teens, and for a period was a member of the blues group Mother Earth. She released her first album, \IRenee Geyer,\i in 1973; in the following year she had her first hit single, 'It's A Man's World', taken from the album of the same name. Later albums include \IReady To Deal\i (1975), \IMoving Along\i (1977), \IBlues Licence\i (1979), \IRenee Live\i (1983), \ILive At The Basement\i (1986), \ISummer Winter Spring and Fall\i (1993, with \JPaul Kelly\j) and \IDifficult Woman\i (1994); her singles include 'Heading In The Right Direction' (1975), 'Stares and Whispers' (1977), 'Say I Love You' (1981) and 'Every Beat of My Heart' (1984, with \JJon English\j). Since 1986 Geyer has moved between Los Angeles and Sydney.
Her many awards include \IRAM\i \I(Rock Australia Magazine)\i Best Female Singer (1978, 1979) and \IRolling Stone\i (Australia) Reader's Poll Best Female Singer (1976, 1977).
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"Gielgud, Maina",219,0,g,0
\I1945-\i
\IArtistic director of the Australian Ballet\i
Born in London and educated partly in France, Gielgud trained as a dancer in London with Tamara Karsavina and began her professional career in Paris with Roland Petit. She went on to dance with Grand Ballet Classique de France, Ballet of the 20th Century and the German Opera Ballet. She was principal artist with the London Festival Ballet from 1972-75, guest principal with Sadler's Wells Royal Ballet and guest principal with the Australian Ballet in Robert Helpmann's production of \IThe Sleeping Beauty,\i John Cranko's \IRomeo and Juliet\i and Frederick Ashton's \ILa Fille mal garΘe.\i Gielgud toured Australia in 1978 with 'Stars of World Ballet' and again in 1981 with her dancing partner Jonathan Kelly, this time in \ISteps,\i \INotes and Squeaks,\i devised in 1978. She was rehearsal director of London City Ballet in 1982 and was artistic director of the Australian Ballet from the beginning of 1983 to the end of 1996.
Under Gielgud's direction the company has successfully continued the pattern of international touring established by previous artistic directors, since 1988 having performed in England (twice), Russia, Japan, China and the United States (twice). She introduced a scheme whereby each year, during the company's annual break, four young dancers receive scholarships to travel to Europe and/or the United States to study and observe other notable companies. In 1985 she staged a new production of \IThe Sleeping Beauty,\i with designs by Hugh Colman, and in 1986 she staged \IGiselle,\i with designs by Peter Farmer.
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"Gifford, Helen",220,0,g,0
\I1935-\i
\IComposer\i
Melbourne-born Gifford is a highly regarded Australian composer with a substantial body of work behind her. Since her graduation from the University of Melbourne Conservatorium of Music she has received many awards, such as the 1965 Dorian Le Gallienne Award. In 1970 she became composer-in-residence with the Melbourne Theatre Company and from this time on many of her compositions have been written for the theatre. Her two most impressive music-theatre works are \IRegarding Faustus\i in 1976 (written for tenor Robert Gard) and \IJo Being\i in 1974 (for the Victoria State Opera). Gifford's non-theatre works include \IChimeraera\i (1967), \IMyriad\i (1968), \IOf Old Angkor\i (1970), \IBird Calls From an Old Land\i (1971), \IGoing South\i (1987) and \IMusic for the Adonia\i (1994). These works partly reflect another of her passions, the music of Asia.
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"Gilby, Barbara Jane",221,0,g,0
\IViolinist\i
Sydney-born and Canberra-raised Gilby studied with Vincent Edwards and \JErnest Llewellyn\j at the Canberra School of Music, graduating in 1976. After a time as concertmaster with the Queensland Theatre Orchestra, she furthered her studies at Boston University, where she won the University Concerto Competition in 1978. Gilby played with the Iceland Symphony Orchestra before spending three years in Hanover, Germany, performing with the Wⁿrttemberg Chamber Orchestra and the Hanover Chamber Symphony. In 1985 Gilby returned to Australia and was appointed concertmaster of the Tasmanian Symphony Orchestra and director of the \JTasmanian Symphony Chamber Players\j. She plays with many other Australian orchestras as leader or soloist and in 1993 was concertmaster of the Sydney Opera House Orchestra for its gala concert performance celebrating the Opera House's twentieth anniversary, and was guest leader of the contemporary music ensemble the Seymour Group.
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"Gill, Richard",222,0,g,0
\I1941-\i
\IConductor\i
Australian-born Gill trained at the New South Wales State Conservatorium of Music, the Sydney Teacher's College and the Orff Institute in Salzburg, his principal studies being in piano and voice. Currently the director of the chorus at The Sydney Opera and education consultant for the Sydney Symphony Orchestra, he has held many other important posts, including dean of the Western Conservatorium of Music, musical director of the New South Wales Conservatorium Singers and choir and rehearsal conductor with the Sydney Philharmonia Choir. Besides conducting regularly for most of the state Symphony Orchestras and the Australian Opera and Ballet Orchestras, Gill is known internationally for his work with young musicians and as a lecturer in opera, musical theatre, vocal and choral training. In 1994 he composed the score for a new opera, \IOedipus,\i with a libretto by Clare Scott-Mitchell, performed by the boys of the Sydney Grammar School for an international conference on dance held in Sydney, and is currently composing a second opera score based on the story of Beowulf.
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"Glanville-Hicks, Peggy",223,0,g,0
\I1912-90\i
\IInternationally acclaimed composer\i
Born in Melbourne, Glanville-Hicks left Australia at nineteen for overseas study. She won a scholarship to the Royal College of Music where she studied with such music greats as Nadia Boulanger, \JArthur Benjamin,\j Constant Lambert, Sir Malcolm Sargent, Ralph Vaughan Williams and Egon Wellesz. In the 1940s and 1950s she lived and worked in the United States, becoming a music critic for the \INew York Herald Tribune\i in 1943. During her time there she promoted contemporary music and American composers, introducing audiences to works they had never experienced before. She went to Greece in 1959, where her opera \J\INausicaa\j\i was produced in 1961 to great acclaim and was later recorded. Turning away from current European forms to find inspiration in the rhythm structures of Indian and oriental music and in the modal music of ancient cultures, she became a recognised expert in these areas. In 1975 she returned to Australia to direct the Asian music studies program at the Australian Music Centre.
In recognition of her fine work on behalf of contemporary composers, she received a number of international awards, such as the Guggenheim and Fulbright scholarships, the Carlotta Rowe Scholarship, a Rockefeller Grant and an Octavia Travelling Scholarship. Her major works, written for the theatre, opera and ballet, include \IChoral Suite,\i \IConcertino da Camera,\i \I13 Ways of Looking at a Blackbird,\i \IEtruscan Concerto\i for piano and orchestra, \IConcerto Romantico,\i \ISonata for Piano and Percussion,\i the song cycle \ILetters from Morocco,\i \IThomsoniana\i and the operas \IThe Glittering Gate\i and \INausicaa.\i Though referred to by composer \JPeter Sculthorpe\j as 'the mother of us all', her work is comparatively little known in the country of her birth.
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"Glittering Gate, The",224,0,g,0
\IHalf-hour dramatic opera\i
Peggy Glanville-Hicks based her opera on a play by Lord Dunsany. It was one of the first operas to use electronic effects. The 1972 production was staged at the Adelaide Festival of Arts by the Intimate Opera Group.
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"Golden Guitar Award",225,0,g,0
\IAnnual country music award\i
The Golden Guitar or Australasian Country Music Awards are presented to the winners of various performing and songwriting categories for records released in Australia and New Zealand in the previous year. They were first presented in 1973. The award is a 23 cm solid bronze guitar mounted on Tasmanian blackwood.
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"Goldner, Richard",226,0,g,0
\I1908-91\i
\IViolinist, violist and founder of Musica Viva\i
Romanian-born and Viennese-raised, Richard Goldner arrived in Australia in 1939 after escaping Nazi-occupied Vienna. He had been taught chamber music and viola by Simon Pullman at the Vienna Conservatorium-this respected teacher was later murdered by the Nazis in the Warsaw ghetto. Toward the end of World War II, Goldner formed a string orchestra of seventeen musicians in Sydney called Richard Goldner's Sydney Musica Viva. The group's first concert was held in the New South Wales State Conservatorium of Music at the end of 1945 in front of 1000 people. They were so well received that the Musica Viva Society was formed to promote the ensemble in 1947. By 1951 Goldner's group was giving almost 200 concerts a year and travelling thousands of kilometres. Although financial success was assured, the schedule was too demanding to be maintained. Goldner retired from full-time playing and in 1952 the Society's activities were put on hold until it re-formed two years later.
In the early 1960s Goldner was appointed lecturer in violin and viola at the New South Wales Conservatorium; in 1966 he moved to the United States with the violinist \JCharmian Gadd\j, an ex-pupil of his, whom he married in 1970. The two took up teaching posts in Pittsburgh and subsequently Washington State. In 1981 they returned to Sydney where Goldner continued working and inventing, an activity of which he was especially proud. He was working on one of his great successes, the Playonair shoulder rest for viola and violin players, on the day he died.
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"Goldner String Quartet",227,0,g,0
\IString quartet\i
Named after the founder of \JMusica Viva Australia\j, \JRichard Goldner\j, the Goldner String Quartet has received much acclaim since its inception in 1995. The four players, all members of the \JAustralia Ensemble\j, include \JDene Olding\j (violin), \JDimity Hall\j (violin), \JIrina Morozova\j (viola) and \JJulian Smiles\j (cello). The quartet, whose repertoire ranges from the Baroque to the contemporary, has played such works as Anton Webern's Slow Movement and \JNigel Butterley\j's fourth string quartet at Roger Woodward's Spring Festival (1995); Beethoven's \IGreat Fugue\i at Musica Viva's Fiftieth Anniversary Concert (1995); and toured for Musica Viva playing works by \JPeter Sculthorpe\j, Shostakovich, Beethoven and Webern in 1996.
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"Goldschlager, Michael",228,0,g,0
\ICellist specialising in chamber music\i
Born in New York City and now based in Western Australia, Goldschlager studied music in New York and London. His teachers included Bernard Greenhouse of the Beaux Arts Trio and David Soyer of the Guarneri Quartet. In New York he was appointed a principal with the Orchestra of St Luke's, Carnegie Hall's resident ensemble. On his arrival in Australia, he became a founding member of Perth's Cristofori Trio, resident at the University of Western Australia and at the Western Australian Conservatorium of Music. He was a performing artist with the Australian Festival Chamber Orchestra in Townsville and toured Australia in 1991 and 1992. In 1993, Goldschlager was one of eight cellists invited to perform at the Sydney Town Hall in the Great Cello Concert as part of the Sydney Festival. He is a member of the Macquarie Trio in residence at Sydney's Macquarie University and, until recently, was principal cellist of the West Australian Symphony Orchestra.
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"Golem, The",229,0,g,0
\IOpera\i
\JLarry Sitsky\j wrote this opera, commissioned by The Australian Opera, in 1980, but it was not produced by the company until 1993, when it was directed by \JBarrie Kosky\j. The lengthy three-act work has a libretto written by the poet \JGwen Harwood\j. The Golem, a construct taken from Jewish literature which makes its first appearance in the \IBook of Psalms,\i is a creature formed from mud. A Golem may be animated when the Name of God is placed in its mouth or on its head; its job is to work for the good of its creators against forces of darkness and oppression. In this opera, set in Prague, the Golem begins to take on human attributes and is destroyed when it can no longer be controlled by its maker. Chants from Jewish liturgy and snatches of folk song enrich the somewhat abrasive music of this powerful and violent work.
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"Golla, George",230,0,g,0
\I1935-\i
\IJazz guitarist and composer\i
Born in Chorzow, Poland, Golla migrated to Australia with his family in 1950 as a displaced person. He settled in Bowral, New South Wales, and taught himself clarinet and saxophone, switching to guitar later on and teaming as a duo with \JDon Burrows\j in 1960. He won an Australian National University (ANU) fellowship in 1973 that enabled him to compose a classical piece with electric guitar. This work, \IConcerto For Electric Guitar and Orchestra,\i was first performed by the ABC Sinfonia. Golla has written several instruction books for the guitar and taught in the jazz department at the New South Wales Conservatorium of Music.
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"Goodman, Isadore",231,0,g,0
\I1909-84\i
\IConcert pianist\i
Goodman was born in South Africa and went to England as a youth, teaching piano at the Royal Academy of Music and becoming a deputy professor while in his teens, and achieving note as a concert pianist. In 1930 he came to Australia to take up an appointment at the New South Wales State Conservatorium of Music. In the depression years he also performed on the piano for theatre and cinema audiences. Goodman gave recitals and performed as a soloist with all leading Australian orchestras, as well as in England with the BBC Symphony Orchestra, the Philharmonia, the London Symphony Orchestra and the Halle Orchestra. In 1932 he played the Liszt \IE-flat Concerto\i at the official inauguration of the ABC and later had his own television show for three years. In this and in all his work overall, his aim was to introduce to the general public a wide range of music, both serious and light. Though noted for his virtuosity, he struggled to be recognised as a serious musician and his career was dogged by health problems, such as nervous breakdowns and a severe hand injury. He overcame the latter to make a successful comeback in 1973 after a long break. In 1982 he was disappointed not to be invited to repeat his Liszt performance at the ABC Jubilee Concert.
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"Goolwa Folk and Steam Festival",232,0,g,0
\IInnovative music festival\i
The Goolwa Folk and Steam Festival combines two events held annually over the South Australian Labour Day weekend (October) in this former paddlesteamer port on the Murray River, south of Adelaide. The music festival, originally called the South Australian State Folk Festival, was first held in 1979, when it concentrated on traditional Celtic music and Australian bush bands. Since 1987 the festival has been based at Goolwa, and now, reflecting the multicultural nature of modern Australia, presents music ranging from African music to sea shanties. The `steam' part of the festival includes a display of old steam engines on the wharf.
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"Goossens, Sir Eugene",233,0,g,0
\I1893-1962\i
\IMusician and conductor\i
The London-born conductor and composer Goossens conducted the Cincinnati Symphony Orchestra in the United States from 1931. He came to Australia in 1946 to conduct the Queensland Symphony Orchestra in the first performance of a suite from the ballet score of \ICorroboree,\i written by \JJohn Antill\j in the 1930s. Goossens returned to Australia in 1947, appointed resident conductor of the Sydney Symphony Orchestra. The position was coupled with the directorship of the New South Wales State Conservatorium, a job attractive enough to entice such a well-known musician. During his ten years with the orchestra until 1956, he strengthened the calibre of the players and the interest of the general public, who demanded an increase in the number of subscription concerts from three to five. The orchestra also made its first commercial recording with Goossens at the helm.
In 1953, with Goossens as principal conductor, the Sydney Opera Company began a tour in Newcastle, New South Wales, with four operas performed over thirteen nights. Although Goossens was at the heart of Australia's music-making by this time, his life here was cut short when the New South Wales vice squad intercepted him at Sydney airport in 1956 and seized quantities of photographs. He was charged with importing obscene material, pleaded guilty, paid a fine and left the country.
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"Gordon, Timothy",234,0,g,0
\I1959-\i
\IChoreographer\i
New Zealand-born choreographer Gordon learnt dance as a child to combat asthma. He studied with the well-known Halliday sisters in Sydney before entering the \JAustralian Ballet School\j, and then the main company. In 1982 Gordon joined the Netherlands Dance Theatre and in 1984 moved to the Frankfurt Ballet, being appointed ballet master-choreographer with the company in 1985. An ankle injury forced him to retire from full-time dancing and he returned to Australia to teach at the Australian Ballet School in Melbourne. In 1986 he created a new work called \IJarabina\i for the Dancers Company (which consisted of graduating students) and was commissioned to choreograph \J\ISonata for Seven\j,\i which the Australian Ballet premiered at the Sydney Opera House in 1987. The company also commissioned him to create another work, \J\IMy Name is Edward Kelly\j,\i for a triple bill that formed the last program of its 1990 season.
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"Gore, Walter",235,0,g,0
\I1910-79\i
\IDancer and choreographer\i
Scottish-born Gore was trained by Massine and at the Italia Conti School. He danced in Ballet Rambert's first session at London's Lyric Theatre in 1930. In 1935 he joined the Vic-Wells Ballet and created the role of the Rake in \IThe Rake's Progress\i but left the same year to create dances for musicals. He subsequently returned to Ballet Rambert as a dancer and a choreographer. He choreographed many works, both for Ballet Rambert and for other companies, including Harkness Ballet in New York. In 1952-53 he became artistic director of the National Theatre Ballet Company in Melbourne (see National Theatre Movement). His wife Paula Hinton joined the company as a ballerina at the same time, dancing the title role of \IGiselle\i to much acclaim. Gore expanded the company's repertoire with other new works such as David Lichine's \IGraduation Ball\i and \IProtee\i reproduced by Kira Bousloff. Anton Dolin's production of \IPas de quatre\i and Gore's own \IAntonia,\i \ICrucifix\i and \IThemes and Variations.\i Gore and Hilton returned to Melbourne in 1955 as principal dancers in the Australian Theatre Ballet which made its debut in 1955.
From 1957-59 Gore was ballet master and chief choreographer of the Frankfurt State Opera Ballet Company and later, during the period 1961-63 had his own company in London. One of Gore's major works, \IVictim\i (with music by Paul Ben Haim), was choreographed for the Bat-Dor Dance Company and had its world premiere at the Habimah Theatre in Tel-Aviv for the 1975 Israel Festival. He died in Spain where he had been working and teaching.
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"Gorham, Kathleen",236,0,g,0
\I1932-84\i
\IBallet dancer and teacher\i
Kathleen Gorham was born in Sydney and trained with \JLeon Kellaway\j before making her professional debut at the age of fourteen as a member of the \JBorovansky Ballet\j in Melbourne--as 'A Youth' in \IScheherazade.\i In 1948, under the stage name Ann Sommers, she danced with Ballet Rambert, a British company on tour in Australia and New Zealand. In 1949, at the completion of the tour, she went to London to continue her studies where she danced with the Sadler's Wells (now Royal) Ballet and Roland Petit's Ballets de Paris. She returned to Australia in 1951 to rejoin the Borovansky Ballet as ballerina. She created the role of Miss X in \JEdouard Borovansky\j's \IThe Outlaw\i (1951), danced Juliet in \JPaul Grinwis\j' \IThe Eternal Lovers\i (1961), the leading role in David Lichine's \ICorrida\i (1956) and Principal Girl in \JRobert Pomie\j's \IThe Surfers\i (1960). Her repertoire embraced the ballerina roles in \IGiselle,\i \IThe Nutcracker,\i \ICoppelia,\i \ISwan Lake,\i and \IThe Sleeping Princess\i in addition to roles in \ILe Beau Danube,\i \ILes Sylphides\i and \ILa Boutique Fantasque.\i
Gorham went to Europe in 1961, returning in 1962 as the first prima ballerina and a founding member of the Australian Ballet. She created the roles of Archer in \JRex Reid\j's \IMelbourne Cup\i (1962), the Girl in Helpmann's \IThe Display\i (1964) and Moon Goddess in Helpmann's \IYugen\i (1965). For the Australian Ballet she also danced \ISwan Lake\i (in which she was partnered by Robert Pomie, her first husband), \ICoppelia,\i \ILes Sylphides,\i \ILa Nuit est une Sorcere\i and \IGiselle.\i She again danced \IGiselle\i with the company in Paris in 1965 in a production that won the Grand Prix de Paris at the Third International Festival of Dance and danced the same role for her farewell performance in 1966. Following her retirement Kathleen Gorham opened a ballet school in Melbourne and from 1979-80 was assistant director of the National Theatre Ballet School, Melbourne. She later moved to the Gold Coast, Queensland, where she continued to teach dance.
Her notable acting roles include the title role in a television production of \IJohnny Belinda\i and the title role in the pantomime version of \IAlice In Wonderland.\i
In 1968 she was made an OBE for her services to ballet in Australia.
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"Grabowsky, Paul",237,0,g,0
\IJazz pianist and composer\i
Papua New Guinea-born and Melbourne-based Grabowsky began taking piano lessons at the age of five and was studying under Mack Jost at the Melbourne Conservatorium by the time he was seven. At the age of sixteen he was awarded a Goethe Institute scholarship to study in Germany and was the top HSC student of his year in Victoria. Grabowsky left Australia in 1980 and settled in Munich for six years, where he performed and made several records. On his return to Australia he met film producer Bob Weis, who has since championed his career, and wrote the music for \IPetrov,\i \IGeorgia,\i \IThe Last Days of Chez Nous\i (1992) and the TV series \ICassidy\i and \IPhoenix\i (1991-92).
Grabowsky co-founded the quartet The Wizards of Oz with saxophonist \JDale Barlow\j and toured overseas with the group in 1988. He also enjoyed a stint as resident pianist, with his own sextet, on the \ISteve Vizard Show\i until 1992. In 1993 he wrote an opera about Harold Holt with libretto by Joanna Murray-Smith, composed a piece for the Melbourne Festival (a collage of Yiddish songs and 1930s cabaret classics) and released an album called \IViva Viva\i (1993)--his previous album \ITee Vee\i (1992) was voted one of the top 10 in British magazine \ITime Out's\i pick of the year. One of Grabowsky's ongoing dreams was to establish a permanent national jazz orchestra with a rotating musical director who changes every two years, as happens with the French national jazz orchestra. This was realised in 1994 when he established the 18-piece Australian Art Orchestra at the \JWangaratta Festival of Jazz\j in north-eastern Victoria. The band, keen to explore the music of jazz greats such as Duke Ellington and Charles Mingus, toured Australia in 1995.
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"Grandi, Margherita",238,0,g,0
\I1895-?\i
\IAustralian-born dramatic soprano singer in Italy\i
Born in Tasmania as Margaret Garde, Grandi was only sixteen when she left Australia to study at the Royal College of Music in London; she later moved on to study with Emma Calve in Paris. There, in 1914, she made her debut in \IWerther\i at the Opera-Comique under the name of Vecla, an anagram of Calve, and in the following year took part in the premiere of Massenet's \IAmadis\i at Monte Carlo. After an interruption to her career caused by World War I, and some further study, she made a belated second debut in Milan in 1932, as \IAida,\i and in the following year appeared at La Scala in \IMefistofele.\i In the next six years she performed in opera houses throughout Europe and in South America, usually singing the heavier roles of the Italian repertoire such as Tosca. Following World War II she again appeared at La Scala, and also at Covent Garden, Glyndebourne and the Edinburgh Festival. Her recordings include the role of Guilietta in a complete performance of \IThe Tales of Hoffmann.\i
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"Grant, Clifford",239,0,g,0
\IBass opera singer\i
Clifford Grant was born in Sydney and studied at the Sydney Conservatorium. After several opera appearances in Australia in the early 1950s he left for the United Kingdom, where he made his London debut with the Sadler's Wells Opera Company (forerunner of the English National Opera). His distinguished international career includes singing with the Royal Opera at Covent Garden, guest appearances with the Welsh National Opera, performing at Glyndebourne and appearing with many major British orchestras. He made his debut with the Metropolitan Opera, New York, in 1976, singing with \JJoan Sutherland\j.
In 1965 he returned briefly to Australia to tour with the Sutherland-Williamson International Grand Opera Company. In 1976 he made a guest appearance with the Australian Opera in the role of Nilakantha \I(Lakme),\i and in the following year joined the company as resident principal artist. His roles for the Australian Opera include Banquo \I(Macbeth)\i; Raimondo \I(Lucia di Lammermoor)\i; Pimen \I(Boris Godunov)\i; Ramphis \I(Aida)\i; Mr Bonner (\IVoss)\i at the world premiere at the 1986 Adelaide Festival of the Arts; Lodovico \I(Otello)\i and Matteo \I(Fra Diavolo).\i Grant retired from opera singing in 1990; his last appearance was at Joan Sutherland's farewell performance.
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"Grant, Nance",240,0,g,0
\ISoprano opera singer\i
Nance Grant was born in Melbourne. In 1963 she toured nationally with flautist Neville Amadio, and in the following year was soloist with the Melbourne Symphony Orchestra in the ABC Summer Symphony Series. She made her first appearance with the Australian Opera in 1971 in the roles of Amelia in \IA Masked Ball\i and the Marschellin in \IDer Rosenkavalier\i. Later roles include the title role in \ISuor Angelica\i, Leonora (\IFidelio\i), the Countess (\IThe Marriage of Figaro\i), Donna Anna (\IDon Giovanni\i) and Alice (\IFalstaff\i). Her concert appearances include performances of Brahms' \IGerman Requiem\i with the Melbourne Symphony Orchestra and the Royal Melbourne Symphony Orchestra and of Mahler's \IEighth Symphony\i at the Adelaide Festival of the Arts.
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"Gray, David",241,0,g,0
\I1932-94\i
David Gray, Australian singer, was born in Sydney on 1st December 1932. His roles included principal tenor for the English National Opera Company to entertainer on P&O cruise ships. In 1981 he underwent an operation for six heart bypasses by Sydney heart surgeon Dr \JVictor Chang\j. Gray later recorded an album, \IGenerations of Love\i, and signed all proceeds over to the Chang Memorial Research Foundation. Gray recorded 23 gold and three platinum records in a 30-year career. He died from a heart attack on 13th April 1994, aged 61. He was due to go on stage at the Sydney Town Hall when he fell from his chair at 11 am. Over the years, Gray had lead roles in over 30 operettas and musical comedies.
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"Greene, Andrew",242,0,g,0
\I1956-\i
\IConductor\i
Sydney-born Greene completed his musical studies at the New South Wales State Conservatorium of Music and in the major European opera houses, notably at the Royal Opera House, Covent Garden, with Sir Colin Davies and at the Oper der Stadt, Koln, with Sir John Pritchard. His appointments include trainee conductor and resident conductor for Victoria State Opera, head of music for the Lyric Opera of Queensland and music director of the State Opera House of South Australia. He is also in demand as a conductor of musicals and musical theatre. As a freelance artist Greene tours Australia and New Zealand, conducting a repertoire including Grand Opera, musical comedy and symphonic works.
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"Grinwis, Paul",243,0,g,0
\IDancer and choreographer\i
Belgian-born Grinwis was a member of Colonel de Basil's Original Ballet Russe in Europe. On coming to Australia he spent the period 1951-61 dancing and creating ballets for the \JBorovansky Ballet.\j He teamed up with the popular ballerina \JKathleen Gorham\j in \JEdouard Borovansky\j's \ILa Boutique Fantasque\i and \IThe Outlaw.\i Grinwis' own work, \IThe Eternal Lovers\i (1951), featured Gorham as Juliet and himself as Romeo. Other works Grinwis choreographed were \IL'Apres-midi d'un Faune\i (1951), \ILos Tres Diablos\i (1954) and \IJourney to the Moon\i (1960) in memory of Borovansky.
After Borovansky's death Grinwis and his wife, Christiane Hubert, formed their own small company. The Grinwis Ballet, which toured Victoria and New South Wales until Grinwis returned to Europe in 1964.
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"Gross, Eric",244,0,g,0
\I1926-\i
\IComposer best known for light music\i
Born in Vienna in 1926, Gross migrated to England with his family in 1938. He began his studies at London's Trinity College of Music after the Second World War and continued them at the University of Aberdeen, from which he finally graduated with an impressive string of degrees, including DMus. In 1958 he travelled to Australia and worked arranging light music for the ABC. Two years later he joined the staff of the University of Sydney Music Department (1960-74), later becoming Associate Professor of Music there (1974-91). He is best known as a composer of light music, his works including \ISymphony No. 1\i and \IFive Burns Songs.\i He has been active as a committee member of groups such as the International Society for Contemporary Music and the Asian Composers' League, and has been President of the Fellowship of Australian Composers.
#
"Gudinski, Michael",245,0,g,0
\I1952-\i
Michael Gudinski, Australian record company executive and founder of Mushroom Records, was born in Melbourne on 22nd August 1952 to Russian Jewish parents who had fled Moscow. He started running dances in Melbourne when he was 16 and left Caulfield High School without telling his parents. Married to Sue, he has one son and one daughter.
Gudinski discovered and promoted such Australian talents including Split Enz, Renee Geyer, Chain, Paul Kelly, Tim Finn, Madder Lake, Skyhooks, The Models, Jimmy Barnes, Kylie Minogue and Jason Donovan. He is credited with single-handedly rebuilding the Australian pop music industry in the late 1960s.
He is also the managing director of Frontier Touring Company which was voted the number one international touring company in the world in 1989 by America's \IPerformance Magazine.\i The company has promoted concerts by Frank Sinatra, Liza Minnelli, Sammy Davis Junior, Bon Jovi, Billy Joel and Guns and Roses.
#
"Hair, Graham",246,0,g,0
\I1943-\i
\IComposer, conductor and pianist\i
Born in Geelong, Victoria, Hair studied at the Melbourne University Conservatorium of Music, where he majored in piano. After graduating he was granted a Commonwealth United Kingdom Award which enabled him to complete a PhD at Sheffield University. Hair studied composition with Peter Maxwell Davies at the Elder Institute in Adelaide, going on to work on computer music at Princeton University and in Paris. His academic success was instrumental to his appointment as Senior Lecturer in Composition at La Trobe University and as head of Composition at the New South Wales Conservatorium of Music.
Hair's compositions include his vocal work \ISongs of the Sibyls,\i first heard in Australia in 1989, and presented again in 1993 in a refined and revised form, typical of the composer's method of working; and his work for three female voices, \IGershwin Paraphrases,\i which reflects his interest in American twentieth-century popular song. Graham Hair is currently professor of music at the University of Glasgow.
#
"Hall, Dimity",247,0,g,0
\IViolinist\i
Sydney-based Hall graduated from the New South Wales State Conservatorium of Music in 1986 and in the same year won the Wenkart Foundation Award. Winning a Netherlands Government Scholarship in 1987, she undertook postgraduate studies with Herman Krebbers in Amsterdam and gave recitals throughout the Netherlands. In 1989 Hall toured the European capitals with the Royal Concertgebouw Orchestra under the direction of Nikolaus Harnoncourt. A core member of the Australian Chamber Orchestra (ACO) from 1985, she was appointed principal second violin when she returned to Australia in 1989. During 1990 and 1991 she was an associate member of the Australia Ensemble and in 1992 she made the decision to leave the ACO to become a full core member of the Ensemble. She did not sever all ties with the ACO, however, and returned as Guest Concertmaster in 1993 for one of its national tours. Hall is also a founding member of the \JGoldner String Quartet.\j
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"Hammond, Dame Joan",248,0,g,0
\I1912-96 \i
\IInternationally renowned soprano opera singer\i
Joan Hammond was born in Christchurch, New Zealand, and arrived in Sydney as a schoolgirl. She studied singing and violin at the Conservatorium of Music in Sydney, and played with the Sydney Philharmonic Orchestra. She turned her attention to a singing career when an arm injury ended her prospects as a violinist. After having sung as a Valkyrie in performances of \IDie Walkⁿrie\i with \JFlorence Austral\j during her 1934-35 tour, she left Australia in 1936 to study singing in Vienna. Two years later she made her concert debut in \IThe Messiah\i in London, and in 1939 performed opera in Vienna. During World War II Hammond sang in engagements throughout Britain while also working as a volunteer ambulance driver. She made the first of her Covent Garden appearances in 1948. She has sung leading roles in more than thirty operas and from 1946 to 1961 performed throughout Europe and in the United States and the Soviet Union. She visited Australia in 1946 (a concert tour for the ABC) and in 1960 sang the title roles in \ISalome\i and \IMadame Butterfly\i for the Australian Opera. She returned to Australia after ill health forced her retirement from the stage in 1965.
Joan Hammond was made an OBE in 1954, a CBE in 1963 and a CMG (Companion of the Order of St Michael and St George) in 1972. In 1970 she received the Charles Santley Award from the Worshipful Company of Musicians, London, and in 1974 was appointed a Dame of the British Empire. She was artistic director of the Victorian Opera Company (now the Victoria State Opera) from 1971 to 1976. She has made numerous recordings; her \ITurandot\i was the first classical record to win a gold disc for sales of more than one million.
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"Handley, Vernon",249,0,g,0
\IConductor\i
British-born Handley began his conducting career at Oxford in the 1950s when, as a philology student, he conducted the University Students' Orchestra. He followed this by further music study at London's Guildhall School of Music and by the 1960s was assisting Sir Adrian Boult. He was principal conductor of the Ulster Orchestra from 1985 to 1989 and, after a long association with the Royal Liverpool Philharmonic Orchestra, is their Conductor Laureate. Handley is currently chief conductor of the West Australian Symphony Orchestra as well as principal guest conductor with the Melbourne Symphony Orchestra, and associate conductor of the Royal Philharmonic Orchestra. His first CD for the ABC Classics label, of orchestral music by Sir \JEugene Goossens\j with the Sydney Symphony Orchestra, was released in 1994.
#
"Hanke, Sonya",250,0,g,0
\I1933-93\i
\IPianist and teacher\i
Sydney-based Hanke studied piano at the New South Wales State Conservatorium of Music before travelling to Britain to attend the Royal College of Music and then to Siena, where she studied with Alfred Cortot, Guido Agosti and Rio Nardi. Returning to Sydney in 1974, she became a lecturer in keyboard at the Conservatorium in 1977, where she taught until 1992. An advocate of Liszt's music, she established the South Pacific Liszt Society in 1980 and was adviser to the Italian-based European Liszt Centre. To commemorate the centenary of Liszt's death, Hanke gave the world premiere of \IHexameron 1986,\i a set of variations by six Australian composers on a theme of Liszt. The Liszt Society commissioned the work, which was performed in Budapest in 1986. Hanke toured throughout Australia, Europe, the United States and the Middle East.
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"Hanson, Raymond",251,0,g,0
\I1913-76\i
\IComposer whose work was influenced by Hindemith's writing on harmony\i
Hanson was born in Sydney. His association with the New South Wales State Conservatorium lasted for most of his life. On completing his own study at that institution, he joined the teaching staff in 1948 and lectured there until his death. German composer Paul Hindemith's writings on the nature of harmony, \IThe Craft of Musical Composition\i (2 volumes) and \ITraditional Harmony,\i had a profound influence on Hanson's own thinking on this subject. His unpublished compositions include \IThe Immortal Touch, Gula, Concerto for Trombone and Orchestra, Sonata for Flute and Piano and Fern Hill.\i
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"Harding, John",252,0,g,0
\I1950-\i
\IViolinist, conductor and teacher\i
Co-concertmaster of the Sydney Symphony Orchestra since 1995, Harding studied with \JRobert Pikler\j at the New South Wales State Conservatorium, and in the United States with Joseph Silverstein, winning the Albert Spaulding prize at Tanglewood in 1975. He was invited to the US in 1972 by conductor David Zinman and during his time there he held, among other posts, a principal's position with the Rochester Philharmonic Orchestra and the leadership of the Orchestra of the Metropolitan Opera.
Well known in Australia, Harding has performed as a soloist with the orchestras of Sydney, Melbourne, Perth and Brisbane, and gave the premiere performance of Penderecki's \IViolin Concerto,\i conducted by the composer, in 1983. Posts he has held in Australia include artistic director of the Australian Chamber Orchestra, leader of the University of New South Wales Ensemble (now the Australia Ensemble), leader of the Sydney String Quartet, and leader of the Mittagong Trio.
As leader of the Orlando Quartet based in Holland, Harding recorded many chamber works and an award-winning video of the group called \IQuartet\i was released on the Philips label. During this period, until his return to Australia in 1995, Harding was a staff member of the Royal Conservatorium in the Hague.
#
"Harrell, Bev",253,0,g,0
\I1948-\i
Bev Harrell, Australian singer, was born in Adelaide on 24th October 1948. Her biggest hit in the 1960s was 'What Am I Doing Here With You'. She also appeared in the stage production of \ICats\i.
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"Harris, Rolf",254,78,c,0
\I1930-\i
\ISinger, musician and comedy entertainer\i
Rolf Harris was born in Perth. At the age of seventeen he won a talent quest on the radio show \IAmateur Hour,\i with a prize of a two-week professional engagement. Harris trained as a primary school teacher and in 1952 went to England to study art. On his return to Perth in 1959 he starred in and produced a daily children's show on West Australian television. His big break came with the recording of the worldwide hit single 'Tie Me Kangaroo Down Sport' (1960), on which he introduced a novel instrument, the 'wobbleboard'. A second hit in a similar comic vein--'Jake the Peg'--followed. By 1967 he was so well known in Britain that he had his own variety show, \IThe Rolf Harris Show,\i which ran until 1971 and was followed by \ICartoon Time\i (1984-89), and \IRolf's Cartoon Club\i (began 1989); he has also produced and performed in children's television shows in Western Australia. Harris represented Australia at world fairs from 1967 to 1987 and performed at the 1982 Commonwealth Games in Brisbane, the 1984 Los Angeles Olympic Gala Performance and the Bicentennial Command Performance in Sydney in 1988. His later singles include 'Two Little Boys' (1969) and 'Stairway to Heaven' (1992), a major hit in the UK, first performed on \JAndrew Denton\j's \ILive and Sweaty.\i
Rolf Harris was made an MBE in 1968, an OBE in 1978 and an AM (Member of the Order of Australia) in 1989.
\BDescription:\b Rolf Harris \I(J. King)\i.
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"Harvey, Geoff",255,0,g,0
\I1935-\i
Geoff Harvey, Australian musician and Channel 9 band leader, was born in England on 6th August 1935. He has served as band leader for the \IMike Walsh Show, The Midday Show\i with Ray Martin, \The Midday Show\i with David Reyne & Tracy Grimshaw, \IThe Midday Show\i with Derryn Hinch\i and is now working on \IThe Midday Show\i with Kerri-Ann Kennerley.\i
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"Harvey, Michael Kieran",256,0,g,0
\IPianist\i
An enthusiastic performer of contemporary Australian music, Harvey won the inaugural Ivo Pogorelich International Solo Piano Competition in 1993 and, since then, has performed recitals in Europe, the United States and Australia. In 1994 he appeared at the Pogorelich Festival near Munich, the Warsaw Contemporary Music Festival and at the John F. Kennedy Centre in Washington DC, and in Australia at the Melbourne International Festival and in concert with the percussion ensemble, \JSynergy\j. He has also appeared for the ABC and with the Melbourne Symphony Orchestra, Sydney Dance Company, Pipeline New Music Project, Astra, and the Australian Art Orchestra. His recordings include \IInspired 20th Century Piano Music\i (1992), \IPiano Miniatures\i (1994) with short pieces by forty-two Australian composers. and \IThrenody\i (1995) with works by seven Australian composers. The works he has composed include \IElektra\i (1992), \IToccata DNA\i (1993), \IAddict\i (1994) and \ISpindrift\i (1995). In 1995 Harvey performed Messiaen's piano cycle, while in 1996 he was featured at the Adelaide Festival and gave the premiere of David Joseph's \IPiano Concerto\i and Liszt's \ITotentanz\i with the Melbourne Symphony Orchestra. He is a recipient of a 1996 Young Australian Creative Fellowship.
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"Harwood, Gwen",257,0,g,0
\I1920-95\i
\IPoet and librettist\i
Born in Brisbane, Harwood was a prolific writer of poetry and librettos. Among her collections of verse, which dealt with such subjects as art, love, loneliness and alienation, was \IPoems\i (1963). Over the years she has formed fruitful working partnerships with composers such as \JLarry Sitsky\j, \JJames Penberthy\j and \JIan Cugley\j, all of whom valued her poetic approach to the stories they wished to express through music. Harwood's understanding of the rhythms and sound of language made her an outstanding librettist. In 1993, the Australian Opera staged \IThe Golem,\i an outstanding example of the collaboration between Larry Sitsky and Harwood.
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"Hazelwood, Donald",258,0,g,0
\I1930-\i
\IViolinist and concertmaster\i
Sydney-born Hazelwood joined the Sydney Symphony Orchestra in 1952, leaving in 1955 to study at the Paris Conservatoire. He rejoined the orchestra on his return to Australia and became joint concertmaster in 1965, concertmaster in 1966 and co-concertmaster since 1987. Hazelwood was artistic director of the National Ensemble from 1988-89 and director of the National Music Camp from 1989-91. He is a keen chamber music player and has played with the Austral String Quartet, the Hazelwood String Quartet and the Hazelwood Trio. He was made an OBE in 1977 and an AO in 1988.
#
"Hazelwood, Jane",259,0,g,0
\IViolist\i
Sydney-born Hazelwood began her professional life with the Australian Chamber Orchestra. She studied in Sydney and in Berlin, with Wolfgang Christ, working regularly with the Berlin Philharmonic Orchestra. On her return to Australia in 1986 she became principal violist with the Australian Chamber Orchestra. She has often performed with the \JAustralia Ensemble\j and, as a member of the Bergonzi Quartet, performed all the late Beethoven Quartets at the New Zealand International Festival of Arts in 1988. While living in Melbourne, she taught at the Victorian College of the Arts, played with the Australia Pro Arte Orchestra and appeared as guest soloist with the Australian Chamber Soloists. Since moving back to Sydney in 1995, she has played with the Sydney Symphony Orchestra.
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"Heathcote, Steven",260,0,g,0
\I1965-\i
\IBallet dancer of both classical and contemporary roles\i
Western Australian-born Steven Heathcote graduated from the Australian Ballet School in 1982. He joined the Australian Ballet in the following year, was promoted to soloist in 1985, senior artist in 1986 and principal artist in 1987. He created leading roles in Glen Tetley's \IOrpheus\i (1987), Timothy Gordon's \IMy Name is Edward Kelly\i (1990), \JStanton Welch\j's \IOf Blessed Memory\i (1991), Gideon Obarzanek's \ISand Siren\i (1992), Stanton Welch's \IDivergence\i (1994), the role of Pinkerton in Stanton Welch's \IMadame Butterfly\i (1995) and the leading role in Stanton Welch's \ICorroboree,\i in San Francisco, commissioned to commemorate the fiftieth anniversary of the United Nations. Heathcote's repertoire also embraces the nineteenth-and twentieth-century classics including \IDon Quixote, Romeo and Juliet, The Sleeping Beauty, Giselle, La Fille mal gardΘe, Onegin\i and CoppΘlia.\i He has appeared as a guest artist for a number of overseas companies including Ballet Nacional de Cuba, the Leningrad Kirov (now Maryinsky) Ballet, Japan's Inoue Ballet and Higaki Ballet, the Birmingham Royal Ballet and the American Ballet Theatre.
In 1991 he was made an AM for his services to ballet. In 1993 he received a Green Room Award for Male Dancer in a Leading Role in \IThe Merry Widow.\i He is married to Kathleen Reid, former senior soloist of the Australian Ballet.
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"Heinze, Sir Bernard",261,0,g,0
\I1894-1982\i
\IMusician, conductor and teacher\i
Heinze was born in Shepparton, Victoria, and studied in Melbourne, London, Berlin and Paris. In 1925 he became Ormond Professor of Music at the University of Melbourne, a position he held until 1955. During this time he founded the Melbourne String Quartet and initiated the Young People's concert series. He was conductor of the Victorian Symphony Orchestra 1933-56 and life conductor of the Melbourne Philharmonic Society from 1928. From 1929 he was music adviser to the newly established Australian Broadcasting Commission. In 1955 he left Melbourne University to become director of the New South Wales State Conservatorium of Music in 1956, retiring in 1965. He was made a Fellow of the Royal College of Music in 1931, was knighted in 1949, was named Australian of the Year in 1974 and in 1976 was named a Companion of the Order of Australia (AC).
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"Helfgott, David",262,0,g,0
\I1947-\i
David Helfgott, Australian pianist, was born in Melbourne on 19th May 1947. He was a child prodigy who went to London in the mid 1960s and, after intense family pressure, suffered a breakdown. He emerged in the early 1980s with the encouragement of Perth doctor, Chris Reynolds, who engaged him to play piano at his Ricardo's restaurant in Northbridge, Perth. He married his first wife, a widow and mother of four children, Carla Papp, in 1971 but divorced in 1983.
He was introduced to his second wife Gillian, and began a slow but successful return to concert performances. In 1996, the award-winning film about his life, \IShine,\i was made, and his wife published his life story called \ILove You to Bits and Pieces.\i On 19th January 1997, Australian actor Geoffrey Rush won the coveted Academy Award and the film industry's Golden Globe award in Los Angeles, for his portrayal of David in the film \IShine.\i
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"Helmrich, Dorothy",263,0,g,0
\I1889-1984\i
\IMezzo-soprano and lieder singer who was important in the founding of the Arts Council of Australia\i
Sydney-born Dorothy Helmrich studied singing first at the Conservatorium of Music in Sydney, and later at the London School of Opera. She was one of the few Australian singers to specialise in singing lieder (ballads of the German Romantic period), and made her reputation in Europe. In 1925 she returned briefly to Australia to tour with fellow Australian \JElsa Stralia\j; in 1935 she was back again, this time touring for the ABC. In 1940, because World War II made difficult her return to the United Kingdom after a tour of Australia, New Zealand and South-East Asia, she took up the position of professor of music at the New South Wales Conservatorium of Music in Sydney, where she taught until 1974.
While based in London, Helmrich was impressed by the work of the Council for the Encouragement of Music and Arts, and was instrumental in the establishment in 1943 of the Arts Council of Australia. She was made an OBE.
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"Helpmann, Sir Robert",264,0,g,0
\I1909-86\i
\IBallet dancer, choreographer, producer and actor\i
Born at Mount Gambier, South Australia, Helpmann began ballet training as a child. Known as Bobbie Helpman, he danced professionally from 1923 with the J. C. Williamson theatrical organisation. In 1926 he danced with the company formed by Anna Pavlova, which was touring Australia and New Zealand, and at Pavlova's suggestion changed his name to Robert Helpmann (adding the extra 'n' to his surname). From 1927 to 1932 he was a principal dancer with J.C. Williamson's. In 1933 he went to England, where he joined the Vic-Wells Ballet (later known as Sadler's Wells Ballet, and now as the Royal Ballet). He was principal dancer of the company from 1933 to 1950, partnering--among others--Margot Fonteyn in the 1940s. There he created important roles in many ballets, including Ninette de Valois' \IThe Haunted Ballroom\i (1934), \ICheckmate\i (1937), \IThe Prospect Before Us\i (1940) and \IDon Quixote\i (1950); Frederick Ashton's \IApparitions\i (1936), \INocturne\i (1936), \IA Wedding Bouquet\i (1937), \IDante Sonata\i (1940), \IThe Wanderer\i (1941), \IDon Juan\i (1948) and \ICinderella\i (1948). His choreographic credits include \IComus\i (1942), \IHamlet\i (1942), \IThe Birds\i (1942), \IMiracle in the Gorbals\i (1946), \IAdam Zero\i (1946) and \IElektra\i (1963).
In 1948 he choreographed the ballet film \IThe Red Shoes\i in which he danced opposite Moira Shearer. He played various roles at the Stratford Shakespeare Festival and for the Old Vic theatre company in London, touring Australia with the latter in 1955 (when he played opposite Katherine Hepburn in a season of Shakespeare) and again in 1961 with Vivien Leigh. In 1958 he toured Australia as guest artist with the Sadler's Wells Theatre Ballet (billed in Australia as the Royal Ballet), dancing the roles of Dr Coppelius in \ICoppΘlia\i and Tango in \IFacade,\i and the title roles in \IThe Rake's Progress\i and in his own ballet \IHamlet.\i His association with the Australian Ballet began in 1964, when he created \IThe Display,\i which premiered at the 1964 Adelaide Festival of the Arts. From 1965 to 1974 he was co-artistic director (with Peggy van Praagh) of the Australian Ballet, and from 1975 to 1976 he was artistic director. His choreographic credits with the company include \J\IYugen\j\i (1965), \J\ISun Music\j\i (1968) and \IPerisynthyon\i (1974), in addition to staging revivals of \IElektra\i and \IHamlet.\i He is also credited with having acquired the necessary rights to produce Hungarian composer Franz Lehar's operetta \IThe Merry Widow\i as a ballet in 1975 with choreography by Ronald Hynd. His performances with the Australian Ballet include Dr Coppelius in \ICoppΘlia,\i an Ugly Sister in \ICinderella,\i the title role in the stage and film productions of Rudolf Nureyev's \IDon Quixote\i and Sergeant Pepper in Gillian Lynne's original television version of \IThe Fool on the Hill.\i He made guest appearances with major ballet companies throughout the world and in Australia with Michael Edgley's Stars of World Ballet. He also appeared in many films, including \ITales of Hoffmann\i and \IChitty-Chitty Bang-Bang\i and the Australian films \IThe Mango Tree\i and \IPatrick.\i He produced the successful Australian staging of the musical \IDracula\i (1978), and works for the Australian Opera, including Handel's \IAlcina\i featuring \JJoan Sutherland.\j
Helpmann was named Australian of the Year in 1967 and in 1968 was created Knight Bachelor.
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"Henderson, Moya",265,0,g,0
\I1941-\i
\IComposer and developer of new instruments\i
Born in Quirindi, New South Wales, Henderson studied first at the University of Queensland and then at the Cologne Musikhochschule. She held the position of composer-in-residence with the Australian Opera for its opening season at the Sydney Opera House. After that, she went to Germany to study with Mauricio Kagel, pursuing her developing interest in music theatre (1974-76). Since returning to Australia she has lectured at a number of tertiary institutions, including the University of Sydney and Sydney College of the Arts. She has also developed some new musical instruments. Hendersons's opera \ILindy\i with a libretto by Judith Rodriguez was commissioned by the Australian Opera in 1990.
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"Herbert, William",266,0,g,0
\I1920-\i
\ITenor singer\i
Melbourne-born William Herbert sang and trained as a chorister in St Paul's Cathedral, Melbourne. Although he sang a little opera--Beppe in \II Pagliacci\i and Radames in a concert performance of \IAida\i (both in Australia)--he was primarily a singer of oratorio, singing his first \IMessiah\i with the Victorian Symphony Orchestra when only eighteen. He had wide experience with Australian orchestras before leaving for the United Kingdom in 1947, and returned several times to sing with them in the 1950s. From this period he is remembered for his near-perfect singing of Handel, both in solo pieces and in a complete performance of \IIsrael in Egypt.\i In the United Kingdom he was a frequent performer at the Promenade Concerts, sang often for the BBC and in 1951 sang at the opening of the Royal Festival Hall. He appeared in many countries of Europe, where his Evangelist in \ISt Matthew Passion\i was especially well received. In 1963 he took up the position of Professor of Voice at the University of Western Australia. His recordings include the complete \IMessiah.\i
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"Hewett, Colleen",267,0,g,0
\I1950-\i
\IPop singer and actor\i
Colleen Hewett was born in Bendigo, Victoria, and her first public performance, at the age of twelve, was an impromptu spot with a local band--she later became their regular vocalist. In 1967 she joined Creations, a Melbourne band, and in 1970 decided to follow a solo career. She won the 1970 \IBandstand\i Best Female Newcomer of the Year Award, and her first single, 'Superstar', was released in the following year. In 1972 her second single, 'Day By Day' (from the musical \IGodspell,\i in which she had a starring role), became a No. 1 hit around Australia. In 1973 she had a starring role in the Australian production of the rock musical \ITommy\i and in 1974 co-starred with \JJohn Farnham\j in the stage show \IPippin.\i After a period in the United States she returned to Australia in 1977 to a continuing role in the ABC television series \ITruckies.\i Her later singles include 'Dreaming My Dreams With You' (1980) and 'If You Ever Feel The Need' (1984); her albums include \IM'Lady\i (1973) and \IThe Power of Love\i (1983).
Her awards include \IBandstand\i Best Female Singer (1971), \IGo-Set\i national Pop Poll as Best Female Singer (1972) and \ITV Week\i Queen of Pop (1972, 1973).
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"Hill, Alfred Francis",268,0,g,0
\I1870-1960\i
\IViolinist, conductor and composer\i
Hill was born in Sydney. He showed pronounced musical ability from the age of three and at the age of fourteen was composing and performing pieces for the New Zealand Opera Orchestra, his family having moved to New Zealand when he was eighteen months old. By the age of fifteen he had outgrown all available violin teachers and at sixteen was sent to study at the Royal Conservatory of Music at Leipzig. He remained there from 1887-91 and achieved considerable recognition, winning a string of prizes and diplomas. During this period he became influenced by the works of Brahms and Grieg. On his return to New Zealand in 1891, he became director of the Wellington Orchestral Society and composed two string quartets written in Maori idiom. He returned to Australia in 1910 where he composed his own operas as well as conducting operas for J.C. Williamson's. Hill took up the position of first Professor of Composition and Harmony at the New South Wales State Conservatorium of Music in 1915. He founded and directed his own music school, the Alfred Hill Academy of Music, in 1935.
His huge creative output, often in the romantic style, included operas, oratorios, symphonies and other orchestral works, chamber music and songs, the most popular being 'Waiata Poi'. This song was based on Hill's collection of Maori myth and music which dated from 1902 and on which he became an authority. His greatest gifts as a composer are thought to be his pure melodic line and the charm and fluency which characterise his work. The ABC has been given the task of caring for most of his music and the Hill family established the biennial Alfred Hill Award, which sees an Australian composer, selected by Musica Viva, given a commission to write chamber music. The conductor Sir \JBernard Heinze\j once said that 'composition in Australia owes much more to Hill than to any other person who has written music here'. This is probably because he was a pivotal link between the traditional musical world of Europe and early twentieth century Australian composition, then in the first stages of its development.
In 1953 Hill was made an OBE, and in 1960 he received the CMG.
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"Hill, Mirrie",269,0,g,0
\I1892-1986\i
\IComposer and teacher\i
Born in Sydney in 1892, Hill studied piano with such respected musicians as Joseph Kretschman, Lawrence Godfrey-Smith and Edward Goll. Having a keen interest in composition, she studied harmony with \JAlfred Hill\j, whom she married in 1921. She spent many years as a staff member of the New South Wales State Conservatorium of Music. A great deal of Mirrie Hill's piano and chamber music has been published and her best-known works include \IAvinu Malkenu, Aboriginal Themes\i and \IArnhem Land Symphony.\i Hill published her first string quartet at the age of 87 and was made an OBE.
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"Hitchcock, Russell",270,0,g,0
\I1949-\i
Russell Hitchcock, Australian lead singer with Air Supply, was born in Melbourne on 15th June 1949. The group is one of the most successful acts ever to come from Australia. Their hits include 'Love and Other Bruises', 'Lost in Love', 'All Out of Love', 'Every Woman in the World' and 'Even the Nights are Better'.
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"Hobson, David",271,0,g,0
\I1961-\i
\ITenor opera singer\i
David Hobson grew up in Ballarat, Victoria, and began his musical career playing bass with several Melbourne-based bands. His first operatic appearance was with the Victoria State Opera in 1987. His roles for the Australian Opera include the leads in \IOrpheus and Eurydice\i and \JNick Enright\j's adaptation of \IPericole,\i Rodolfo in \JBaz Luhrmann\j's production of \ILa BohΦme\i (also shown on ABC TV and released on video) and the Architect in the 1995 premiere of \IThe Eighth Wonder.\i
Hobson won the 1994 Mo Award for Operatic Performer of the Year.
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"Holden, Mark",272,0,g,0
\I1954-\i
Mark Holden, Australian singer and actor, was born in Adelaide on 27th April 1954. While studying law at Flinders University, he formed a band with his brother and friends and had hits in 1976 with 'Never Gonna Fall in Love Again', and 'Last Romance'. He appeared in the \IYoung Doctors\i television series and starred in the 1977 film, \IBlue Fire Lady\i, written by radio personality Bob Maumill.
Holden moved to the USA in 1980 and turned his career to songwriting, penning 'Lady Soul' and 'Look Where You Started' for the Temptations. He has written and produced for Belinda Carlisle and Andrew Strong, and from 1993-96 guided David Hasslehoff with his music career. He is married to American Anna and has a daughter (1995); he has a son (1975) by a previous marriage.
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"Holland, Dulcie",273,0,g,0
\I1913-\i
\IComposer, pianist and organist\i
Born in Sydney, Holland has an established reputation as one of Australia's leading composers. She studied at the New South Wales State Conservatorium of Music and at London's Royal College of Music, pursuing private study with Roy Agnew and Matyas Seiber. She has had a long association with the Australian Music Examinations Board (AMEB), having been examining for it since 1967. As a result of this relationship, many of her piano pieces have been included in AMEB examination books. Over the years she has actively supported the Fellowship of Australian Composers; this level of commitment, as well as her personal contribution to the Australian music repertoire, has resulted in her winning the Brewster Jones award and the Henry Lawson award. Her own body of composition includes chamber and piano music, choral music and songs, \ISymphony for Pleasure, Kambala Suite\i and \ISummer Serenade.\i
In 1993 Holland's eightieth birthday was publicly celebrated, first with a January concert held during the Festival of Sydney and later with a celebration concert held at Cremorne, Sydney, featuring the Gallery Players. The premiere of her work for choir and strings or organ, \IAdoramus,\i took place at St Andrew's Cathedral School Music Festival in Sydney in 1996.
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"Hoodoo Gurus",274,0,g,0
\IRock band\i
The pop band Hoodoo Gurus was formed in Perth (it was first known as the Le Hoodoo Gurus) and in 1982 moved to Sydney. The original line-up was James Baker (drums), Rod Radjali (guitar), Kimble Rendall (guitar) and Dave Faulkner (guitar, vocals and lyrics); later members include Clyde Bramley (bass), Brad Shepherd (guitar), Mark Kingsmill (drums) and Rick Grossman (bass). After a live performance television debut on the children's television program \ISimon Townsend's Wonder World\i in a segment about a band starting out, the Hoodoo Gurus went on to successful national and overseas tours. Their album \IStoneage Romeos\i won the \ICountdown\i 1983 Best Debut Album; later albums include \IMars Needs Guitars (1985), Magnum Cum Louder (1989), Electric Soup\i (1992) and \ICranks\i (1994); their singles include 'My Girl' (1983), 'Bitter Sweet' (1985), 'Death Defying' (1986), 'What's My Scene?' (1987) and 'Castles In The Air' (1991).
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"Hopkins, John",275,0,g,0
\I1927-\i
\IMusician and conductor\i
Born at Preston near Hull in England, Hopkins studied cello at the Royal Manchester College of Music and conducting at the Guildhall School in London and the Mozarteum in Salzburg. His conducting career began when he took over the Yorkshire Symphony Orchestra at the age of twenty. Later, Hopkins was director and conductor of the New Zealand opera company for six years. After coming to Australia in 1963 as musical director of the ABC, he had an ongoing relationship as a conductor with National Music Camp Association. This organisation has provided a training ground for many of Australia's finest young musicians. He was the first dean of the School of Music at the Victorian College of the Arts in 1973 and director of the college (1984-85). Hopkins instigated the Prom concert series in Sydney and Melbourne and started the National Training Orchestra. He was director of the New South Wales State Conservatorium of Music from 1986-92. Hopkins was made an OBE for his services to music.
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"Horsman, Greg",276,0,g,0
\IBallet dancer\i
Greg Horsman was born in Victoria. He first studied ballet with Peter Dickinson in Geelong, and later studied at the Victorian College of the Arts School of Dance. He joined the Australian Ballet in 1982, being promoted to soloist in 1985 and to principal artist in 1987. He created leading roles in Stephan Baynes' \ICatalyst\i (1990) and in \JStanton Welch\j's \IOf Blessed Memory\i (1991) and \IDivergence\i (1994). He has danced leading male roles in nineteenth- and twentieth-century classics, including \ITales of Hoffmann, Onegin, La Fille mal gardΘe, The Sleeping Beauty, Giselle, CoppΘlia\i and \ISwan Lake,\i in addition to works by Glen Tetley and Jerome Robbins, Maurice Bejart and Jiri Kylian. Horsman and his ballerina wife, \JLisa Pavane\j, have been guest artists with the Boston Ballet (1987) and Leningrad's Kirov (now Maryinsky) Ballet (1989), and in 1991 they performed in the Sixth World Ballet Festival in Tokyo. Horsman has also appeared as a guest artist with the Royal Danish Ballet and the Houston Ballet. He left the Australian Ballet in 1994 to become a principal artist with the English National Ballet.
In 1992, with Miranda Coney, he received the Mo Award for Dance Performer of the Year.
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"Howard, Brian",277,0,g,0
\I1951-\i
\IOpera composer and conductor\i
Howard was born in Sydney. He studied conducting with George Tintner and Willem van Otterloo and composition with \JPeter Sculthorpe\j, \JRichard Meale\j and Bernard Rands at the universities of Sydney and Adelaide. He attended international composing and conducting courses in Europe and was a resident composer at the CitΘ Internationale des Arts in Paris and Queekhoven in Holland. In 1978 his work \IIl Tramonto della Luna\i won the highest award at the Trieste International Competition for Symphonic Composition. In 1979 his opera \IInner Voices,\i based on the play by Louis Nowra, was produced by the Victoria State Opera. Following this came the Anthony Besch production of the opera in 1983 in London. During 1980-81 he was composer-in-residence for the Royal Danish Ballet in Copenhagen. He has written a second opera, \IMetamorphosis\i (based on the story by Kafka), and \IA Fringe of Leaves\i for the Australian Chamber Orchestra. He is currently Dean at the West Australian Academy of Performing Arts.
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"Howard, Jenny",278,0,g,0
\I1902-96\i
Jenny Howard, Australian singer, actress and comedienne, was born Daisy Blowes in London in 1902. She came to fame when she entertained Australian troops and starred in a number of wartime revues. Her signature tune, 'A Brown Slouch Hat,' was written for her by George Wallace, becoming the most popular Australian war song. In the early 1970s, she made her musical comedy revue in \IPippin\i and was honoured with the Order of Australia in 1985. She died on 21st January 1996, aged 94.
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"Hughes, Richard (Dick)",279,0,g,0
\I1931-\i
\IJazz pianist\i
Born at Brighton, Melbourne, Hughes attended Melbourne University where he was president of the Rhythm Club. He studied jazz in London under Mary Lou Williams, settled in Sydney in 1955 and performed in the Port Jackson Band with Roger Bell, and with the Ray Price Band, before forming his own group, Famous Five. He was the first musician to play the jazz piano at the Sydney Opera House and has worked as a jazz newspaper journalist in Sydney. Hughes has written two autobiographical works, \IDaddy's Practising Again\i (1977) and \IDon't You Sing!\i (1994).
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"Human Veins Dance Theatre",280,0,g,0
\IModern Dance Company\i
The Human Veins Dance Theatre was founded in Melbourne in 1979 by Don Asker, a dancer with experience in the Netherlands. By 1984 it had become a fully professional company with a permanent base in Canberra (its home was a result of Asker's appointment in 1980 as artist-in-residence at the Australian National University, Canberra). The company presents works with a strong dramatic base rather than pure dance, mixing song, images, drama and instrumental music in productions that often focus on the values of modern society. The company toured extensively in Australia and New Zealand until 1988, when Asker resigned. Its last major production, \IDouble Shuffle\i (which looked at the behaviour of people in power), was presented in conjunction with the \JOne Extra Dance Company\j.
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"Hume, Lindy",281,0,g,0
\IOpera and theatre director\i
Sydney-born Hume studied dance and choreography with Gerhard Sibbritt, dancing for several years with the Australian Opera before working as a choreographer and director. She trained in opera production with the Scottish Opera in 1983 and with the San Diego Opera in 1985 before becoming staff director with the Australian Opera from 1986-87. She continued her traineeships in 1989-90 with the Vienna State Opera and the English National Opera and has been assistant to many fine directors. In 1993 Hume took up the position of artistic director at the West Australian Opera Company; she is also involved in theatre and collaborates in cross-artform projects with artists such as \JChrissie Parrott.\j
Hume's opera productions include \IThe Magic Flute, The Pearl Fishers\i and \ISamson and Delilah\i for the Victoria State Opera; \IThe Italian Girl in Algiers, The Iron Man, La BohΦme\i and \ISamson and Delilah\i for the State Opera of South Australia; \IThe Mikado, Carmen, Orpheus in the Underworld\i and \IThe Magic Flute\i for the West Australian Opera Company; \IIl Trovatore\i and \IThe Pearl Fishers\i for the Lyric Opera in Queensland; and \ILa Cenerentola\i and \IMadama Butterfly\i for Opera ACT. Hume's productions for The Australian Opera include \IThe Pearl Fishers, Lucrezia Borgia, Les Huguenots\i (which marked Dame \JJoan Sutherland\j's final performances with a worldwide telecast), \IDon Giovanni\i (for the 1991 Mozart Bicentennial), \IPericole\i and \ICarmen\i (1995).
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"Hunters and Collectors",282,0,g,0
\IRock band\i
Hunters and Collectors, which grew out of the Melbourne cult band Jetsonnes, gave its first performance in Melbourne in 1981. The original line-up was Mark Seymour (guitar and vocals), John Archer (bass), Geoff Crosby (keyboards), Doug Falconer (drums), Greg Perano (percussion) and Roy Totsiguerra (guitar), replaced in early 1982 by Martin Lubran. The band is characterised by powerful, rhythmic bass and drums. Their first single, 'Talking To A Stranger' (1982), became a cult classic. Their third album, \IThe Jaws of Life\i (1983), a celebration of Australian culture and landscape, was recorded while the band was in the United Kingdom, but it was the major hit album \IHuman Frailty\i (1986) that established Hunters and Collectors' place in the Australian rock scene. Later albums include \IGhost Nation\i (1989), \IBoxed Set\i (1991) and \ICut\i (1992).
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"Huntington Music Festival",283,0,g,0
\IAnnual festival featuring chamber music\i
Held annually in the Huntington Winery, Mudgee, central New South Wales, the festival consists of a five-day, eight-concert program ranging from orchestral works through chamber music to solo performances. Musical director is \JRichard Tognetti\j and performers include the Australian Chamber Orchestra. The concerts are recorded for broadcast by ABC National radio and, in Sydney, radio station 2MBS FM. The festival had its origins in an impromptu Mozart recital held in the winery in the late 1960s; the Sydney String Quartet played at the first four festivals.
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"Hurley, Jade",284,0,g,0
\I1943-\i
Jade Hurley, Australian singer, was born John Hurley on 17th June 1943. He started singing and playing the piano in 1960, and was given the name Jade by Johnny O'Keefe when he appeared on \ISix O'Clock Rock\i playing the piano with green gloves. He suffered two heart attacks in the 1980s, and in 1996 unsuccessfully stood for State politics in the Tweed Valley of New South Wales. His records include \IHow I Lied.\i
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"Hutchence, Michael",285,0,g,0
\I1960-97\i
Michael Hutchence, lead singer with \JINXS\j, was born Michael Kelland Hutchence in Sydney on 22nd January 1960. He grew up in Hong Kong, and came to Sydney with his parents when he was 14. He started out with a group called The Farris Brothers and also performed in the group called Max Q. He lived for a time with his mother in Hollywood where she was a film make-up artist. He has been linked with a number of glamorous women including Belinda Carlisle, Virginia Hey, Justine Bateman and was Kylie Minogue's boyfriend from 1989 until 1991.
In July 1993, he became engaged to model Helena Christensen. His hits with INXS include 'The Swing', 'Original Sin', 'Listen Like Thieves', 'Kick' and 'Elegantly Wasted'. His work as a solo artist includes 'Rooms for the Memory'. He appeared in the film \IDogs in Space\i which was directed by his friend Richard Lowenstein who produced a number of INXS video clips. In 1989, he released a solo album under the name Max Q. In 1995, he broke up from Danish model Helena Christensen and began living with Bob Geldof's wife Paula Yates, who had his daughter Heavenly Hiraani Tiger Lily in 1996. They lived together in London.
INXS were due to start a 20th anniversary tour in Australia in December 1997, however, on November 22, Michael was found dead inside his Double Bay motel room. He apparently hanged himself. He was 37 years old.
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"Hutchens, Francis",286,0,g,0
\I1892-1965\i
\IComposer and pianist\i
Born in Christchurch, New Zealand, Hutchens studied with Frederick Corder and Tobias Matthay at the Royal Academy of Music in London. After his arrival in Australia in 1915 he took up a teaching appointment at the New South Wales State Conservatorium of Music. He received recognition for his duo-piano work with Lindley Evans. A highly prized composition prize has been named after him in recognition of his contribution to Australian composition. His best-known works include \IThe Wayfarer, Weeping Mist, Fantasy Concerto, Ballade for Orchestra\i and \IConcerto for Piano and Strings.\i Hutchens was made an OBE in 1962.
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"Hutcheson, Ernest",287,0,g,0
\I1871-1951\i
\IConcert pianist and teacher\i
Hutcheson was born in Melbourne and placed in the care of the Irish organist Rev. Dr G. W. Torrance in 1879. Before this the young boy had been exploited by his guardians and labelled 'the young Mozart'. In 1880, at the age of nine, he played a recital including music by Bach, Beethoven, Chopin, Clementi and Mozart for an invited audience. He repeated the performance in 1881 in front of subscribers to his concerts. Hutcheson was educated by Torrance, later studying with Max Vogrich. He travelled to Germany to study piano at the age of fourteen, returning briefly to tour Australia in 1890. He spent the years from 1898 to 1900 in Berlin, working as a pianist, before travelling to the United States where he lived until his death. Hutcheson was hailed as one of the finest pianists of his time. His reputation as a concert pianist and teacher was recognised by his appointment as president of the famous Juilliard School of Music in New York in 1936.
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"Hyde, Miriam",288,0,g,0
\I1913-\i
\IComposer, pianist, teacher and examiner\i
Born in Adelaide, Hyde studied there at the Elder Conservatorium and at the Royal College of Music in London. She wrote her own piano concertos after studying with such people as Howard Hadley, R.O. Morris, \JArthur Benjamin\j and Gordon Jacob. She performed these concertos herself with many of the great British orchestras, such as the London Philharmonic and London Symphony, under the baton of the revered conductors Constant Lambert, Sir Malcolm Sargent and Sir Bernard Heinze. As one of Australia's best-known music teachers, she has been examining for the Australian Music Examinations Board (AMEB) since 1945. Her works include \ISymphonic Overture, Heroic Elegy,\i two piano concertos and many solos for piano.
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"Icehouse",289,0,g,0
\IPop and rock group\i
Icehouse grew out of the group Flowers, formed in Sydney in 1977 around vocalist, guitarist and songwriter Iva Davies, which gained a reputation around the local pub scene for its cover versions of songs by British singer David Bowie, US singer Lou Reed and others. The name change followed its first album, \IIcehouse\i (1980), because there was already a Scottish band called Flowers. Both the follow-up single 'Love In Motion' (1981), which reached the Top 10 on the Australian charts, and the album \IPrimitive Man\i (1982), also a national hit, were effectively solo efforts by Davies. Over the years the group has come to consist of Davies and a varying array of musicians. The 1987 album \IMan Of Colours,\i which won Best Australian Album at the 1987 ARIAs, also attracted international attention, selling well in both the United States and Canada; a single from it, 'Electric Blue' (1987), entered the Top 10 around the world. Other releases include the singles 'Touch The Fire' (1989) and 'Where The River Meets The Sea' (1991); and the albums \ICode Blue\i (1990), consisting of songs written by Davies about Australian history and lifestyle, and \IMasterfile\i (1992).
Davies, a former oboe student and graduate of the Sydney Conservatorium, has an international reputation as an electrosynthesiser musician and has written for film and ballet. In 1985 he and guitarist Bob Kretschmer composed the score for the Sydney Dance Company's successful production of \IBoxes,\i created from their idea. In 1995 Davies and the Sydney Dance Company's Graeme Murphy again collaborated to fuse rock music and dance in the creation of \IBerlin,\i described as a story of decline and resurgence. Icehouse released an album \IThe Berlin Tapes\i based on the score of the work. Davies' song 'Great Southern Land' featured in the 1988 film \IYoung Einstein.\i Davies was voted Most Popular Male performer at the 1982 \ICountdown\i Awards.
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"Ifield, Frank",290,0,g,0
\I1937-\i
\ISinger of popular music\i
Frank Ifield was born in Coventry, England, and arrived in Australia as a young child. He began his show business career working as a spruiker for tent shows and circuses and as a teenager performed as an amateur on radio. In the late 1950s and early 1960s he was a regular performer on Australian television rock and popular music shows, and achieved some success with his records on the local charts. He moved back to the United Kingdom and in 1962 released his worldwide hit single 'I Remember You', which included a yodelling segment. This was followed by a string of hits, including 'Lovesick Blues' (1962), 'Say It Isn't So' (1964), 'Wayward Wind' (1964) and 'Confessin' (1964).
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"IHOS Opera",291,0,g,0
\IExperimental music theatre performance group\i
Based in Hobart, IHOS Opera (its name is Greek for 'sound') was formed in 1990 by composer and artistic director Constantine Leos Koukias to present his work \IDays and Nights with Christ\i for the now defunct Salamanca Festival, Hobart. In 1992 it performed the same work at the Sydney Festival, becoming the first Tasmanian company seen at that festival. Its second production, \ITo Traverse Water,\i was presented at the 1995 Melbourne Festival. IHOS is known for its immense, site-specific, multimedia productions, which have included flooding the venue, making it rain indoors, building a wall of ice, and explosions and fireworks.
#
"Illman, Margaret",292,0,g,0
\I1965-\i
\IBallet dancer\i
Margaret Illman was born in Adelaide. She is a graduate of the Australian Ballet School and from 1983 to 1989 was a member of the Australia Ballet, attaining the rank of soloist. She joined the National Ballet of Canada in 1989, rising quickly through the ranks to become principal artist in 1991. Her repertoire embraces such roles as Aurora in \IThe Sleeping Beauty,\i Kitri in \IDon Quixote\i and Odette/Odile in \ISwan Lake,\i through to leading roles in the works of William Forsythe and Kenneth MacMillan, Jiri Kylian and John Cranko. She was a guest artist at Kirov Theatre's 'St Petersburg Renaissance' telethon in 1991 and has been guest artist with the English National Ballet and New York City Ballet. In 1993 she performed the leading role (as created on film by Moira Shearer in 1947) of the Broadway staging of \IThe Red Shoes.\i
#
"Ingram, Robert",293,0,g,0
\IViolinist\i
Ingram studied with Vaughan Hanley in Perth, at the New South Wales State Conservatorium of Music, and in Paris. He worked in England with the Royal Philharmonic Orchestra, the Philomusica of London and the English Chamber Orchestra. After his return to Australia, he joined the Sydney Symphony Orchestra in 1965. He was a founding member of the Sydney String Quartet in 1966, a teacher of violin and chamber music at the New South Wales State Conservatorium String Faculty (1966-70), leader of the Robert Pikler Chamber Orchestra (1969-71), concertmaster of the Elizabethan Sydney Orchestra (now the Australian Opera and Ballet Orchestra) 1973-77 and a founding member of the Australian Chamber Orchestra (1975-79). Ingram was a founding member of Soloists of Australia (1986), a tutor at the Hong Kong Music Camp (1987) and guest concertmaster of the Australian Opera and Ballet Orchestra (1992). He has done extensive work as a freelance concertmaster and was made an MBE in 1979.
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"Inner Voices (opera)",294,0,g,0
\IOpera\i
The Victoria State Opera commissioned this work by \JBrian Howard\j, which had its debut performance in 1979. With a libretto based on the Louis Nowra play, it tells how Ivan came to be the Russian Emperor. The first European performance took place in London in 1983.
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"INXS",295,0,g,0
\IPop and rock group formed in 1978.\i
The lead singer of INXS was the late \JMichael Hutchence\j (1960-97). The other members include the three Farriss brothers - Jon on drums, Tim on guitar and Andrew on keyboards - and Garry Gary Beers on bass and Kirk Pengilly on guitar and saxophone.
Michael Hutchence, one-time companion of \JKylie Minogue,\j was widely recognised as a charismatic live performer. He was frequently in the press for his widely publicised romances with Helena Christensen and Paula Yates (who had his baby in 1996). INXS were just about to embark on their 20th anniversary tour in Australia at the end of 1997, however, Michael was found dead inside his motel room in Sydney on November 22. He apparently committed suicide by hanging himself. He was 37 years old.
Kirk Pengilly was married for a short time to \JDeni Hines,\j daughter of \JMarcia Hines.\j
The musical brains behind the group, however, was said to be Andrew Farriss, who wrote most of their music. The group's first album, \IINXS,\i was released in 1980 and went gold. Their third album, \IShabooh Shoobah,\i sold as many copies in the United States as in Australia with world sales going beyond 300,000.
By 1988 INXS was said to be the most successful Australian band ever with sales of their sixth album, \IKick,\i around 7.5 million worldwide and a world rating of third most popular group after U2 and Bon Jovi. Their success continued with their 1991 albums \ILive Baby Live\i and \IX.\i
Some of their latest albums, \IWelcome to Wherever You Are\i and \IFull Moon Dirty Hearts\i failed to live up to the success of their previous albums. Later albums included \IGreatest Hits\i (1994) and \IElegantly Wasted\i (1997).
INXS won Best Australian Group at the 1986, 1988 and 1991 ARIAs.
#
"Isaacs, Mark",296,0,g,0
\I1958-\i
\IComposer and jazz pianist\i
Sydney-based Isaacs studied with \JFelix Werder\j in Melbourne. He began composing in the early 1970s, developing a particular interest in jazz. He won a Fellowship for the Young Composer's Summer School in 1983. His list of compositions include orchestral and instrumental pieces, a children's opera \I(Beach Dreaming),\i chamber music for the Australia Ensemble \I(So It Does)\i and improvisations. Two recent pieces, commissioned and performed by violinist Laszlo Kiss and cellist Susan Blake, are a Slavic-inspired threnody (1992) for violin and cello and a Iyric caprice (1993) for cello and piano in three connected movements.
Isaacs holds a Master of Music degree from the Eastman School of Music in the United States. He completed an extensive national tour with his jazz trio in early 1993 and was invited to tour European jazz clubs and festivals in the same year. He has written theme and background music for film and television and has conducted the Melbourne Symphony Orchestra, the Sydney Symphony Orchestra and the Australian Chamber Orchestra.
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"Iwaki, Hiroyuki",297,0,g,0
\IConductor\i
Born in Tokyo, Iwaki studied at the Instrumental Department of the Tokyo University of Fine Arts. He made his conducting debut with the Japanese Broadcasting Corporation's NHK Symphony Orchestra in 1956, became their permanent conductor in 1963 and is now their chief conductor for life. His long association with Australia began in 1973 when he first conducted the Melbourne Symphony Orchestra (MSO) and by 1987 he was appointed as the orchestra's first Conductor Laureate, a lifelong title which honours his contribution to the orchestra's development and his role in instigating its 1987 and 1994 tours of Japan.
In 1985 Iwaki was awarded honorary membership of the Order of Australia in recognition of his contribution to Australia's cultural life and in 1986 Monash University conferred an honorary Doctorate of Laws on him and appointed him the University's first Fellow of the Faculty of Arts in 1991. Iwaki has been honoured in Japan for his contribution to contemporary Japanese music and in Australia the ABC has named the MSO's new rehearsal studio 'The Iwaki Auditorium'.
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"Jacobson, Kevin",298,0,g,0
\I1935-\i
\IMusic promoter\i
Kevin Jacobson, older brother of rock singer \JCol Joye\j, was born in Sydney. In the early 1950s he toured with his brothers as piano player in the K. J. Quintet (the band that later became the Joy Boys), eventually taking over management of Joye and several other artists. Since then he has brought to Australia a number of big-name international acts (John Denver, Bruce Springsteen, Kiss and Billy Joel) and in 1994 staged a production of the opera \ITurandot\i in the Sydney Football Stadium. In 1985 he received an OAM (Medal of the Order of Australia) for services to the performing arts.
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"Jenner, Ann",299,0,g,0
\IBallet dancer\i
Ann Jenner was born in Surrey, England. She is a graduate of the Royal Ballet School, London, and in 1961 joined the Royal Ballet. She was promoted to soloist in 1967 and to principal artist in 1970. She joined the Australian Ballet in 1978 as principal artist, making her debut dancing the \IFlower Festival at Genzano\i partnered by \JKelvin Coe\j. Her other performances for the company include the title role in \IPineapple Poll,\i Lise in \ILa Fille mal gardΘe\i and Swanilda in the premiere of Peggy van Praagh's \ICoppΘlia\i (1979) with Kelvin Coe. In 1980 she retired from the stage to teach. She has been a guest teacher at the San Francisco Ballet and the Oakland Ballet and until 1994 was a director of the National Theatre Ballet School, Melbourne.
She is married to ballet dancer \JDale Baker\j.
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"Johnson, Gertrude",300,0,g,0
\I1894-1973\i
\ISoprano opera singer and campaigner for the establishment of national opera, ballet and drama companies\i
Gertrude Johnson was born in Melbourne and studied there at the Albert Street Conservatorium, where she was one of the small number of promising students taught during the years of World War I by Nellie Melba. Johnson made her debut in Melbourne in 1919 in \ILucia di Lammermoor\i as part of a company formed by Frank Rigo (based around four principals of the Italian Gonsalez-Opera Company who had remained in Australia at the conclusion of their tour). She also sang leads in \IRigoletto, La Traviata\i and \II Pagliacci.\i Johnson left for London in 1920, and for the next fifteen years was associated with the British National Opera Company, for which she sang such roles as Marguerite \I(Faust)\i and Micaela \I(Carmen).\i She also made many tours of Europe, where she was well received at Austria's Salzburg Festival. She made many recordings, including the songs of English composer Cyril Scott (to his piano accompaniment).
Gertrude Johnson returned to Australia in 1935. As she was financially independent she was able to change her original plan of returning to England to continue her career, and instead remained in Australia to meet the challenge of establishing local national theatre on a permanent basis. She founded the \JNational Theatre Movement,\j which aimed to foster locally-based opera, ballet and drama. It presented its first stage work late in 1936 and its first season of opera and ballet in 1939. In all Johnson directed the 'Movement' for 38 years, taking no payment for her services. Many opera, ballet and drama performances were given under her guidance, and opportunities provided for many young Australian performers.
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"Johnston, Brian",301,0,g,0
\I1957-\i
Brian Johnston, lead singer with the Australian rock group AC/DC, was born at Newcastle-On-Tyne in England on 5th October 1957. Formerly with the British band Geordie, he was asked to join the group after lead singer Bon Scott died in 1980. His hits include 'Flick of the Switch' and 'Fly on the Wall'.
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"Johnston, Suzanne",302,0,g,0
\I1958-\i
\IMezzo-soprano opera singer\i
Suzanne Johnston was born in Murrumbeena, Victoria, and studied opera and music at the Victorian College of the Arts in Melbourne. In 1981 she made her debut with the Victoria State Opera in the role of Prince Orlofsky in a concert performance of \IDie Fledermaus\i; her other roles for the company include the title role in \ICarmen,\i Suzuki \I(Madama Butterfly)\i and Rosina \I(The Barber of Seville)\i; in 1983 she performed the role of the Second Lady in \IThe Magic Flute\i for the State Opera of South Australia. At the 1984 Adelaide Festival of the Arts she starred in the Australian premiere of Edward Cowie's \IKate Kelly's Roadshow.\i She made her debut with the Australian Opera in 1986 in the role in Feodor in \IBoris Godunov.\i Her other roles for the company include the title role in \IL'Incoronazione di Poppea\i; Dorabella \I(Cosi fan tutte),\i a role she repeated at Glyndebourne, England, in 1992; Hansel \I(Hansel and Gretel),\i a performance that won her both the 1993 Critics' Circle Award for Opera Performer of the Year and the 1993 Mo Award; the lead in \IPericole\i; and the title role in Lindy Hume's 1995 production of \ICarmen.\i She was also one of the performers at a 1993 Australia Day charity concert at the Royal Opera House, Covent Garden, London, before an audience that included Prince Charles.
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"Jones, Marcie",303,0,g,0
\I1945-\i
Marcie Jones, female Australian singer of the 1960s, was born in Melbourne on 26th June 1945, and came to fame singing with the Thunderbirds. She took up hairdressing when she left school but by 1965 was appearing regularly on television shows. She recorded songs such as 'Quiet,' and 'Danny Boy,' then teamed up with the Cook sisters to become known as Marcie Jones and the Cookies. They worked in Brisbane for a year before going to England where they appeared with Cliff Richard.
After being engaged to Normie Rowe, she eventually married Michael Barnett who became her manager; they have two sons Ben (1974) and Beau (1978). She made several more records, \IArmed and Extremely Dangerous\i as well as \IGonna Get Married\i in 1974. She and her husband later established the Melbourne night spot Alexanders, and the Melbourne outlet of Olivia Newton-John's Koala Blue stores.
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"Jones, Marilyn",304,0,g,0
\I1940-\i
\IBallet dancer, teacher and administrator\i
Marilyn Jones was born in Newcastle, New South Wales. In 1955, funded by an \IAustralian Women's Weekly\i Scholarship, she began training with the Royal Ballet School, London. Within a year she was accepted into the corps-de-ballet of the Royal Ballet with which she toured the United States before returning to Australia in 1957. She danced first with \JRobert Pomie\j's Ballet de Francais, in Sydney, before joining the \JBorovansky Ballet.\j Her performances for the Borovansky Ballet include Aurora in \IThe Sleeping Princess,\i Odette in \ISwan Lake (Act II),\i Principal in \ILes Rendezvous\i and the title role in \IGiselle.\i She went to Europe in 1961 as ballerina of the Grand Ballet du Marquis de Cuevas, Paris, returning to her homeland in the following year to become a founding member (principal artist) of the Australian Ballet. She created leading roles in \JBetty Pounder\j's \IJazz Spectrum\i (1964) and in \JGarth Welch\j's \IIllyria\i (1966). Her repertoire with the Australian Ballet included roles in \ILes Sylphides, One in Five, The Lady and the Fool, Othello, Serenade, Ballet Imperial,\i the title role in \IRaymonda\i and Lise in \ILa Fille mal gardΘe.\i Jones is particularly acclaimed for her interpretation of the title role in \IGiselle\i (in which she was partnered by her then husband, Garth Welch) and her roles in \ISwan Lake, The Sleeping Princess\i and \IRomeo and Juliet.\i She retired from the company in 1971 but rejoined as principal resident artist from 1975 to 1978, during which period she created the role of Eleanor Rigby in Gillian Lynne's television and stage productions of \IThe Fool on the Hill\i (1975-76).
In 1972 Marilyn Jones was guest artist with the West Australian Ballet, there creating the principal role in Garth Welch's \IWoman of Andros\i; in 1974 she choreographed the three-act \ISylvia\i for the Ballet Theatre of Queensland. From 1971 to 1975 Jones was director of the National Theatre Ballet School, Melbourne, and from 1979 to 1982 was artistic director of the Australian Ballet. She has since made regular guest appearances with the Australian Ballet, the Sydney Dance Company, the Queensland Ballet and the West Australian Ballet. In 1991 she created the leading role in her son \JStanton Welch\j's \IOf Blessed Memory\i; her other son, Damien Welch, is a member of the Australian Ballet.
Marilyn Jones was made an OBE in 1972 in recognition of her services to ballet.
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"Jones, Maureen",305,0,g,0
\IPianist\i
Maureen Jones made her debut at the age of ten playing the Beethoven \IPiano Concerto No 1\i with the Sydney Symphony Orchestra. In 1948 she joined the Musica Viva Chamber Players as permanent pianist and gave 200 concerts every year in Australia and New Zealand. In 1951 she travelled to Europe where she performed widely at festivals and with major orchestras. In 1968, Jones was awarded the Harriet Cohen Medal. With her husband Amadeo Balovino, she is a member of the Trio di Trieste and has been pianist of the FaurΘ Quartet. Having recorded extensively, she holds a yearly chamber music seminar in Florence, where she now lives. The Italian Government honoured her with the title Cavaliere dall'Ordine Merito for her musical achievements. Jones toured for Musica Viva in 1992 with \JBarry Tuckwell\j and the late Brenton Langbein. She made a welcome appearance in Sydney in 1995 playing at Musica Viva's Fiftieth Anniversary Concert.
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"Jones, Vince",306,0,g,0
\I1954-\i
\IJazz trumpeter, singer and composer\i
Originally from Paisley, Glasgow, the Jones family settled in Wollongong, New South Wales, when Vince Jones was ten. Although he learnt trumpet as a child, it was only in 1980 that he decided to focus on jazz. Featuring an original mixture of rock and jazz, his tenth album appeared in 1994. Jones has toured Europe and the United States. His albums include \IWatch What Happens\i (1982), \ITell Me a Secret\i (1986) and the compilation \IOne Day Spent\i (1989).
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"Joy Boys",307,0,g,0
\IEarly local popular rock group\i
The rock group the Joy Boys, first known as the K. J. Quintet, was formed in 1957 in Sydney, based around the three Jacobson brothers--Kevin (piano), Keith (bass guitar) and Colin, known as \JCol Joye\j (vocals); its other original members were Dave Bridge (guitar) and John Bogie (drums). Their first hit was 'Bye Bye Baby' (1959, with Col Joye), and while sharing in the success of their lead singer, the band also released their own instrumental-only recordings, including the singles 'Istanbul' (1961), 'Smokey Mokes' (1961), 'Whistlin' Rufus' (1962), 'Southern 'rora' (1962) and 'Murphie The Surfie' (1963); they also recorded the albums \ICookin' Up A Party\i (1963) and \IOn Top of the World\i (1974). The Joy Boys disbanded in 1976.
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"Joyce, Eileen",308,0,g,0
\I1912-91\I
\IConcert pianist\i
Joyce was born in Zeehan, Tasmania, into an impoverished family, which moved to the goldfield town of Kalgoorlie in Western Australia when she was still a baby. Although the hut she lived in was virtually unfurnished, she attended a convent school where she learnt to play the piano. On the advice of Wilhelm Backhaus and \jPercy Grainger\j, who heard her playing in 1926, a public subscription was organised which enabled her to study in Germany at the Leipzig Conservatorium. Three years later, while still a teenager, Joyce went to London to continue her studies. She made her London debut playing Prokofiev's \IThird Piano Concerto\i at a 1931 promenade concert conducted by Sir Henry Wood.
Joyce made many broadcasts for the BBC and recorded for Parlophone. By then internationally renowned, the pianist was brought to Australia in 1936 by the ABC to play with the ABC Symphony Orchestra under the baton of guest conductor Maurice Abravanel. She recorded several movie soundtracks, including \IThe Seventh Veil, Brief Encounter\i and \IWherever She Goes.\i The last, filmed in 1950, was based on the story of her own life. Joyce made many international tours, including a second visit to Australia in 1948, but she found touring too demanding and retired suddenly from concert performance in the early 1960s. Joyce died in England.
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"Joye, Col",309,0,g,0
\I1937-\i
\IRock singer and musician\i
Born Colin Jacobson in Sydney, Joye was one of Australia's best known pop singers from the late 1950s to the mid-1970s. He bought his first guitar at the age of sixteen and in 1957 joined his brothers in the K. J. Quintet, the band that later became the \JJoy Boys.\j He had his first hit, 'Bye Bye Baby' in 1959; it was followed by 'Rockin' Rollin' Clementine' (1959); 'Oh Yeah Uh Huh' (1959), Australia's first locally produced No. 1 hit; 'Teenage Baby' (1960) and 'Heaven Is My Woman's Love' (1973) for which he won the 1974 Golden Guitar Award for Best Male Vocalist. Col Joye and the Joy Boys were a regular act on the television program \J\IBandstand\j\i from its beginning in 1958 to its close in 1972. From the mid-1960s Joye began to build business in the areas of music publishing and agency work, in 1966 forming his own record label, ATA. He continued to release popular albums, including \IFor The Good Times\i (1972), \IThe Col Joye Story\i (1973), \IGreatest Hits\i (1988), \IBack To Rock 'N' Roll\i (1990) and \IRocks and Stomps\i (1992).
In 1994/95 Col was a regular on the satirical skit \IIan\i that was a part of the ABC's \IClub Buggery.\i
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"Justin, Jay",310,0,g,0
\I1940-\i
Jay Justin, Australian singer, was born Jay Justin McCarthy in Cessnock, New South Wales on 1st May 1940. He grew up in Sydney, where he started out as a shoe salesman. He studied at the Sydney Conservatorium of Music where his teacher advised him to pursue a classical career, but he preferred the Sinatra ballad style. He released his first single 'Nobody's Darlin' but Mine' in 1960.
He was a regular on \IBandstand\i and \ISix O'Clock Rock.\i His other hits include 'Proud Of You, Why Don't You Try' and 'Reminiscing.' He wrote a number of songs for people such as Bryan Davies, Patsy Ann Noble and Little Pattie.
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"Kamahl",311,0,g,0
\I1937-\i
\ISinger\i
Kamahl was born on 13th November 1937. Malaysian-born of Sri Lankan parents, Kamahl (real name Kandiah Kamalesvaran) spent his late teenage years in Adelaide where, after winning a television talent contest, he began singing in nightclubs and on local television. His first album, \IA Voice To Remember,\i was released in 1967; in 1970 his album \IPeace On Earth,\i commissioned by the BP oil company with proceeds going to the Freedom From Hunger Campaign, became a bestseller which earned Kamahl six gold records. His many later albums include \ISounds of Kamahl\i (1970), \IKamahl At The Opera House\i (1974), \IJourneys\i (1978) and \IEvergreen\i (1981). He is a popular entertainer in the United Kingdom, Europe and South-East Asia.
In 1994 Kamahl was made an AM (Member of the Order of Australia) in dual recognition of his services to the entertainment industry and his community and charity work.
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"Karin, Janet",312,0,g,0
\IBallet dancer and teacher\i
Janet Karin was born in Perth and studied in Melbourne with \JLaurel Martyn.\j From 1956 she was a leading member of the Victorian Ballet Guild where she created roles in Martyn's \IVoyageur\i (Priscilla), \IRoyal Command\i (Premiere-Danseuse) and the two-act \ISylvia\i (title role). She danced with the \JBorovansky Ballet\j in its final season in 1960 to 1961 and in 1962 was a founding member (soloist) of the Australian Ballet. In 1966 she was promoted to the rank of principal artist. Her roles for the company include the Debutante in \IMelbourne Cup,\i Mazurka in \ILes Sylphides,\i the Lilac Fairy in \IAurora's Wedding,\i Myrtha in \IGiselle,\i second ballerina in \IBallet Imperial\i and Clytemnestra in \IElektra.\i In 1967 both she and her husband, \JBryan Lawrence,\j retired from the stage to open a ballet school in Canberra. She has been awarded the OAM (Medal of the Order of Australia) for her services to ballet.
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"Kay, Barry",313,0,g,0
\I1932-85\i
\ISet designer\i
Melbourne-born Kay was commissioned by the Victorian Ballet Guild in 1954 to design \JLaurel Martyn\j's staging of Ivanov's \ISwan Lake\i (Act 2) and Alison Lee's work \IMaldicion.\i Following the success of these initial commissions, he designed \ISoft Sorrow\i for Walter Gore's Australian Theatre Ballet before moving to London. In England Kay designed Peter Darrell's dance piece \IThe Prisoners\i for the Western Theatre Ballet in 1957; subsequent commissions from Darrell included \IChiaroscuro\i (1957) and \ISalade\i (1961). In 1964 Kay designed \IImages of Love\i for Kenneth MacMillan as part of The Royal Ballet's Shakespeare Quatrocentenary program at the Royal Opera House, Covent Garden. Shortly afterwards, Kay designed Rudolph Nureyev's first (1966) production of \IDon Quixote\i for the Vienna Staatsoper Ballet as well as a new production of \IRaymonda\i (Act 3).
Kay continued his long association with MacMillan in 1967 in Berlin, where he designed the sets and costumes for \IThe Sleeping Beauty\i and for MacMillan's own one-act work \IAnastasia\i (extended to a three-act ballet in 1971 for The Royal Ballet). One of the highlights of Kay's career was his production of \IDon Quixote\i for the Australian Ballet in 1970. Filmed in 1972, the piece was released as a feature-length film in 1973 to international acclaim. Kay designed not only for ballet but also for the Aldeburgh Festival, the Royal Opera, the Old Vic Company and the Royal Shakespeare Company.
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"Keays, Jim",314,0,g,0
\I1946-\i
Jim Keays, Australian singer and original member of the group Masters Apprentices was born in Scotland on 9th September 1946. The group had a number of hits from 1966 which include 'Living In A Child's Dream', 'Elevator Driver', 'Bridgette', '5.10 Man' and 'Turn Up Your Radio'.
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"Kellaway, Leon",315,0,g,0
\IBallet dancer, teacher and choreographer\i
Leon Kellaway, also known as Jan Kowsky, was born in London and brought up in South Africa, where he appeared as a child actor in professional theatre in Cape Town. He came to Australia at the age of fifteen, and later studied dance in London. He was a member of Anna Pavlova's company from 1929 until her death in 1931. In 1934 he toured Australia as a member of the DandrΘ-Levitoff Russian Ballet, after which he remained to work in musicals for the J.C. Williamson theatrical organisation (his older brothers, actors Alec and Cecil Kellaway, were based in Australia). In 1937 he opened a ballet school in Sydney; his pupils over the ensuing decade included \JValrene Tweedie,\j Lynne Golding, \JKathleen Gorham,\j \JElaine Fifield,\j \JMarilyn Burr\j and Paul Hammond.
From 1946 to 1949 he was dancer/teacher/balletmaster with the \JBorovansky Ballet\j and was a founding member, 1949 to 1952, of the National Theatre Ballet (see \JNational Theatre Movement\j), where he created a leading role in \JRex Reid\j's first ballet, \ILes Belles CrΘoles\i (1949). His other major roles included Wolfgang/von Rothbart in the first Australian staging of the four-act \ISwan Lake\i (1951), Hilarion in \IGiselle,\i Headmistress in \IGraduation Ball\i and Pierrot in \ILe Carnaval.\i Kellaway rejoined the Borovansky Ballet in 1954 and remained a member until its closure in 1961, during which time he created the role of Uncle Heinrich in David Lichine's \IThe Nutcracker.\i In 1962 he joined the Australian Ballet as associate balletmaster. There he created the role of the Wowser in Rex Reid's \IMelbourne Cup\i and appeared as Wolfgang in \ISwan Lake,\i the Duke of Courland in \IGiselle\i (dancing with guest artists Margot Fonteyn and Rudolf Nureyev) and performed in Peggy van Praagh's award-winning new production of \IGiselle\i during the Australian Ballet's first international tour, 1965-66. Kellaway was a faculty member of the Australian Ballet School from its inception in 1964 and upon his retirement in 1980 was made Emeritus Professor of Dance.
In 1986 he was awarded the OAM (Medal of the Order of Australia) for his services to ballet.
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"Kelly, Jonathan",316,0,g,0
\IBallet dancer\i
Jonathan Kelly was born in England and trained at the Royal Ballet School in London, on graduation being accepted into the Royal Ballet. He later danced with the London Festival (now English National) Ballet and the National Ballet of Washington. From 1975 to 1977 he was a principal artist with the Australian Ballet and from 1982 to 1986 was again a member of the company--in the intervening period he toured extensively throughout Italy as partner to Carla Fracci and throughout Europe with \JMaina Gielgud\j's \ISteps Notes and Squeaks.\i Kelly has danced most of the classical repertoire, including the leading roles in \ISwan Lake, Don Quixote, Giselle, The Merry Widow, Anna Karenina, Romeo and Juliet, Onegin, Spartacus\i and \ITales of Hoffmann\i; he also danced Sergeant Pepper in \IThe Fool on the Hill\i and the lead in \IRaymonda (Act Three).\i In 1987 he joined the staff of the Australian Ballet, becoming principal repetiteur. He regularly performs as guest artist with the company and is a faculty member of the Australian Ballet School.
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"Kelly, Paul",317,0,g,0
\I1956-\i
\IPop singer, musician and songwriter\i
Paul Kelly began his professional career with the Adelaide group, the Debutants. Since then he has been vocalist and played guitar with a number of Melbourne bands including Paul Kelly and the Dots (1978-82), the Paul Kelly Band (1982-83) and Paul Kelly and the Messengers (1989-92). His singles include 'Midnight Spares' (1981), 'Look So Fine, Feel So Low' (1987, Paul Kelly and the Coloured Girls), 'Don't Stand So Close' (1988), 'When I First Met Your Mum' (1992) and 'Jump From the 16th Floor' (1994); his albums include \IPost\i (1985) and \ILive\i (1992). His songs have been recorded by a number of artists including Jenny Morris ('Beggars on the Street of Love') and \JYothu Yindi.\j He won the 1990 Mo Award for Male Rock Performer and in the same year his band, Paul Kelly and the Messengers, won the Mo Award for Top Rock Group. Kelly produced \JRenee Geyer\j's 1994 album \IDifficult Woman.\i
Paul Kelly was inducted into the Hall of Fame and also won Best Male Artist at the 1997 ARIAs.
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"Kenny, Yvonne",318,0,g,0
\I1951-\i
\ISoprano opera singer\i
London-based Yvonne Kenny was born in Sydney. She studied chemistry at university before pursuing a singing career. At the age of twenty-one she won a scholarship to study for a year at La Scala in Milan. She then moved to the United Kingdom where she made her debut with the Royal Opera Company at Covent Garden in the role of Barena in \IGenusa.\i She has performed in Vienna, Milan. Munich, Salzburg, Glyndebourne (England) and Venice. Her performances for the Australian Opera include \IThe Pearl Fishers\i and the title role in \IAlcina,\i a role she also sang at Covent Garden in 1993. Earlier in the same year, at Covent Garden, she sang a duet with the Spanish tenor JosΘ Carreras at an Australia Day charity concert before an audience that included Prince Charles. Kenny is a regular soloist with the Australian Chamber Orchestra. In 1994 she appeared as Cleopatra in the Australian Opera's first production of Handel's \IJulius Caesar,\i a role which required her to step naked from a bath of ass's milk. She makes regular broadcasts for the BBC, appears in festivals at Aix-en-Provence in France, and Glyndebourne and Edinburgh in the United Kingdom. She has many recordings by more than fifteen composers and with twelve different recording companies to her credit.
In 1989 she was made an OA (Officer of the Order of Australia) for services to music.
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"Kernaghan, Lee",319,0,g,0
\I1963-\i
\ICountry singer and songwriter\i
Lee Kernaghan was born in Albury, New South Wales, and grew up in various country areas. The experiences of his youth as well as those gained travelling throughout rural Australia for concert tours form the basis of his songs. Many of these celebrate mateship and other continuing values of the 'Country Crowd', this being the title of one of the songs on his successful 1995 album 1959. His previous two albums, \IThe Outback Club\i and \IThree Chain Road,\i between them won eight Australian Country Music Golden Guitar awards and two top ARIAs (Australian Recording Industry Awards). \IThree Chain Road\i was the top-selling country album for 1994. Kernaghan's live concert appearances have won him five Mo awards and a Variety Club Entertainer of the Year award.
#
"Kerry, Gordon",320,0,g,0
\I1961-\i
\IComposer\i
Melbourne-born and Sydney-based, Kerry began playing the flute at ten and by fifteen was composing for the school choir. He graduated from the University of Melbourne with a double major in English Literature and Music and soon began composing for several Melbourne music groups including Elision. He moved to Sydney in 1987 and spent a year as composer-in-residence for the Sydney Philharmonia and a year for Musica Viva's education program. Kerry began work on the opera \J\IMedea\j\i in 1990. The libretto was written by \JJustin Macdonnell\j and adapted from Seneca's play of the same name. \IMedea\i was performed in Melbourne in 1993. Kerry's music reflects his sense of humour and his intellectual interests, besides being complex and full of beauty. Good examples of this can be heard in the \ISonata de Camera\i which he composed for Musica Viva in 1990 and the more recent \ISinfonietta: Like Meteors From Elysium\i performed by the West Australian Symphony Orchestra 20th Century Ensemble. In 1991 the Sydney Philharmonia performed his choral-symphonic poem \ICipangu,\i based on three poems by William Hart-Smith about Christopher Columbus.
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"Kimber, Beryl",321,0,g,0
\I1928-\i
\IViolinist\i
Perth-born Kimber grew up in Tasmania and studied at the Royal Academy of Music in London, later studying with Georges Enesco in Paris and with the great David Oistrakh. Kimber toured the Soviet Union in 1960 and in 1962 she played with the London Philharmonic under Sir Malcolm Sargent. On returning to Australia Kimber toured nationally six times between 1948 and 1962. She was appointed to Adelaide's Elder Conservatorium as reader in violin (1963-93). In 1963 she became the first Australian violinist to be elected Fellow of the Royal Academy of Music, London, and in 1980 she was made an OBE (Officer of the British Empire) for her services to music. Nowadays she is based in Adelaide.
#
"Kirkaldie, Michela",322,0,g,0
\IBallet dancer and teacher\i
Michela Kirkaldie was born in England and arrived in Australia as a child. She received her early training in Melbourne from \JLaurel Martyn\j and Paul Hammond. After graduating from the Australian Ballet School, she joined the Australian Ballet in 1970. She was promoted to soloist rank in 1973 and to principal artist during the 1977 season. Her repertoire includes \ISwan Lake, Onegin, The Merry Widow,\i Rasline in \IRomeo and Juliet,\i the Girl in \IAfternoon of a Faun,\i Julia in \ISpartacus,\i Zoebeide in \IScheherazade, Anna Karenina\i and \ITales of Hoffmann.\i In 1979 she danced as principal artist with London Festival (now English National) Ballet.
Michela Kirkaldie retired from the Australian Ballet in 1984; from 1986 to 1986 she was assistant director at the National Theatre Ballet School, Melbourne; from 1987 to 1988 she was a faculty member of the Victorian College of Arts School of Dance; and she has been a guest teacher for the Royal New Zealand Ballet and the New Zealand School of Dance. She is a faculty member of the Australian Ballet School. She is married to former Australian Ballet soloist Rex McNeill.
#
"Kirkpatrick, Anne",323,0,g,0
\ICountry music singer and songwriter\i
Anne Kirkpatrick, the daughter of country music singers Joy McKean and \JSlim Dusty\j, was born in Sydney. By the age of twelve she had appeared in many shows with her family and had made several recordings with her father. Her early recordings include \IDown Home\i (1971), her first solo album; \ILet the Songs Keep Flowing Naturally\i (1976) and \IShoot the Moon\i (1979) with the song 'Grievous Angel' for which she won a \JGolden Guitar Award\j for Best Female Vocalist. In 1991 \ITwo Singers, One Song,\i a duo album with Slim Dusty, won the Golden Guitar Award for Top Selling Record. In the same year her album \IOut of the Blue\i won the ARIA Best Country Album, a Mo Award and Golden Guitars for both Best Album and Best Female Vocal; \IGame of Love\i (1993) received critical acclaim.
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"Kirsova, Helene",324,0,g,0
\I1911-62\i
\IBallet dancer, choreographer and teacher\i
Born Ellen Wittrup in Denmark, Helene Kirsova was a member of Colonel de Basil's Monte Carlo Russian Ballet which toured Australia 1936-37. She remained in Australia where in 1940 she opened a School of Russian Ballet.
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"Kirsova Ballet",325,0,g,0
\IProfessional ballet company in Australia\i
The Kirsova Ballet was founded in 1941 by Danish dancer Helene Kirsova, who came to Australia as prima ballerina in Colonel de Basil's Monte Carlo Russian Ballet in 1936-37. In 1940 Kirsova opened a School of Russian Ballet in Sydney. In the following year the Kirsova Ballet made its debut at the State Conservatorium of Music in Sydney with two ballets by Kirsova--\IA Dream and a Fairy Tale\i and \IVieux-Paris.\i The initial company of sixteen members included a core from the Covent Garden Russian Ballet of 1938-39 as well as Australians Henry Legerton and Strelsa Heckelman; later in 1941 it was joined by New Zealand-born \JPeggy Sager\j. The company's 1942 production of \IFaust\i ran for 25 consecutive weeks, an Australian record; in 1943 it presented the first production by an Australian company of \ISwan Lake (Act II)\i (with Sager as Odette); and its production of \ICapriccio,\i to the music of Rimsky-Korsakov, saw Kirsova herself again take the stage. Kirsova created two original three-act ballets for the company, with commissioned musical scores by Henry Krips--\IFaust\i (decor and costumes by Loudon Sainthill) and \IRevolution of the Umbrellas\i (decor and costumes by Wolfgang Cardamatis).
In 1944 the rival \JBorovansky Ballet\j accepted financial backing from the J.C.Williamson theatrical organisation, and so could offer dancers full-time employment; Kirsova Ballet, unable to compete, lost many of its dancers to Borovansky's company. Kirsova Ballet gave its last professional performance in Brisbane in 1944. In 1947 Helene Kirsova left Australia to live in Paris.
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"Knight, Grace",326,0,g,0
\I1955-\i
Grace Knight, Australian singer, was born on 23rd December 1955. She came to fame in the group the Eurogliders and went solo in the late 1980s. She had hit albums with \ICome in Spinner\i and \IStormy Weather,\i featuring a revival of 1940's style of music.
#
"Knowles, Karen",327,0,g,0
\I1964-\i
Karen Knowles, Australian singer, was born in Richmond, Victoria on 4th March 1964. She starred in Network Ten's \IYoung Talent Time\i and was the first school girl in Australian history to receive a gold record at aged 16 for her hit 'Why Won't You Explain'. Her other hits include 'You are the Reason' and 'Love Us All'.
She dropped a law degree at Melbourne's Monash University to become a full-time singer and married in 1988. In 1989 she starred in the stage production of \IBig River\i. In July 1990, she replaced Julie Anthony as the female lead singer in The Seekers.
#
"Kobets, Semyon",328,0,g,0
\IConcertmaster of the Australian Opera and Ballet Orchestra\i
Born in the Soviet Union, Kobets travelled to the United States in 1991 on a temporary business visa. Although the future was uncertain he and his wife, fellow violinist Tatiana Kobets, vowed not to return to Russia. When a friend suggested he apply for the position of senior lecturer at the James Cook University in Townsville, he decided to do so. By 1992 Kobets was teaching for half a year in Townsville and playing in small ensembles and teaching for the rest of the year. When the post of concertmaster for the Australian Opera and Ballet Orchestra (AOBO) came up Kobets was appointed to the position in November 1993. Nowadays Kobets teaches at the New South Wales State Conservatorium of Music and has private students as well. He has also organised a chamber orchestra of about 15 members, mostly made up of members of the AOBO.
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"Kosky, Barrie",329,0,g,0
\I1967-\i
\IOpera and theatre director\i
Born in Melbourne of Polish and Hungarian parents, Kosky saw his first opera at the age of seven and has since seen hundreds. He formed his first company, Treason of Images, which became the theatre-in-residence at Melbourne University, when he was eighteen. By 1988 he was a student director at Melbourne University and in 1989 he directed the Australian premiere of Michael Tippett's 1970 opera \IThe Knot Garden\i in the Art Centre's Studio at the Spoleto Festival (now Melbourne International Festival of the Arts). In 1990 Kosky mounted the Australian premiere of Malcolm Williamson's \IThe Growing Castle,\i based on Strindberg's \IA Dream Play,\i with his company Treason of Images at Theatre Works, St Kilda; a production of \IThe Barber of Seville\i; \JRobyn Archer\j's cabaret \ICafe Fledermaus\i at Belvoir Street Theatre in Sydney; and a Melbourne production of Handel's \IBelshazzar.\i
In 1991 Kosky directed Mozart's \IMarriage of Figaro\i for the Victorian State Opera; his own version of \IThe Oresteia\i with Treason of Images and with specially commissioned music by Liza Lim; and he launched his national Jewish theatre company Gilgul, whose name means 'transmigration of souls', with a production of \IThe Dybbuk\i (a Yiddish theatre classic) by Solomon Ansk. In 1992 Gilgul went on to present \IEs Brent\i ('It Burns') which is based on a mixture of texts and writings. It comes second in the trilogy Kosky calls 'The Exile Trilogy', following on from \IThe Dybbuk.\i His 1995 treatment of \INabucco\i for the Australian Opera, with designer Peter Corrigan, was surrealist in approach and took the story of Nebuchadnezzar to heights of post-modernism.
Barrie Kosky won two Victorian Green Room awards for best production and direction of 1991 with \IThe Dybbuk\i and directed the 1996 Adelaide Festival.
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"Kuepper, Ed",330,0,g,0
\I1955-\i
\IMusican and songwriter\i
German-born Ed Kuepper began his musical career in Brisbane in 1973 as guitarist with Kid Galahad and the Eternals, the band which then formed the nucleus of The Saints, Australia's first punk band. The Saints' debut single 'I'm Stranded' (1976) reached the Top 30 on the British Hit Parade and was Britain's first punk hit. After he left the group in late 1978 Kuepper formed a new band, Laughing Clowns, described as 'avante-garde jazz rock', which made its debut in Sydney in 1979. The group released several critically acclaimed albums and mini-albums (some of the early works on Kuepper's own label, Prince Melon) before disbanding in 1984 after the release of the \IGhosts of an Ideal Wife\i album.
Kuepper then spent a year writing and recording, the result being his first solo album \IElectrical Storm\i (1985), on which he played most of the instruments; this was followed by \IRooms of the Magnificent\i (1986). He later put together a new backing band, The Yard Goes on Forever, and with it recorded \IEverybody's Got To\i (1988); in 1989 he toured Europe and America with the band. The next album, \IToday Wonder\i (1990), focused on Kuepper's distinctive rhythm guitar-playing technique. In 1991, while also continuing to perform and record solo, he formed The Aints which re-recorded some of Kuepper's earlier Saints material; in the same year he released a solo album, \IHoney Steel's Gold.\i Later solo albums include \IBlack Ticket Day\i (1992, which won the ARIA Award for Best Independent Album), \ISerene Machine\i (1993, which again won the ARIA Award for Best Independent Album), \IButterfly Net\i (1993), \ICharacter Assassination\i (1994), \IA King in the Kindness Room\i (1995) and \IEd Kuepper Sings His Greatest Hits for You\i (1995); his singles include 'Not a Soul Around' (1987), 'Nothing Changes in My House' (1987), Happy As Hell (1989), 'Black Ticket Day' (1992) and `I'm With You' (1995).
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"Lancaster, Geoffrey",331,0,g,0
\IKeyboard player\i
Lancaster studied modern piano with Larry Sitsky at the Canberra School of Music, then at the Tasmanian Conservatorium before receiving an Australian Council scholarship to study fortepiano (eighteenth-century piano) with Stanley Hoogland at the Royal Consevatory in Den Haag. In 1986 he won first prize in the International Mozart Fortepiano Competition at the twenty-third Flanders Festival. In 1990 he directed the Tasmanian Symphony Chamber Players in their ARIA award-winning recording of Vivaldi's \IFour Seasons\i and in the same year won a Sounds Australian Critics award for his modern piano performance of Larry Sitsky's \IThe Secret Gates of the House of Osiris.\i
Lancaster was curator of musical instruments at Sydney's Powerhouse Museum in 1991-92, in 1993 he was awarded a four-year Australian Artists Creative Fellowship, and in 1995 took up a position as associate professor at the Royal College of Music in London. He performs in the Early Music centres of Europe and in Australia for Music Viva, the ABC, the Australian and Adelaide Chamber Orchestras, the Huntington Music Festival and the Melbourne International Festival of the Arts. In 1996 he worked with the Canadian Baroque orchestra, Tafelmusik, on tour in Japan. He has recorded with ABC Classics, the Tasmanian Symphony Chamber Players and in a 1996 release with his own Ensemble of the Classic Era. He has also recorded five compact discs as keyboard player with Tafelmusik.
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"Lance, Albert",332,0,g,0
\I1925-\i
\IParis-based Australian tenor opera singer\i
Born Lance Ingram at Menindee, in far western New South Wales, Albert Lance went to Adelaide at the age of nineteen to study music at the Elder Conservatorium. Two years later, in Melbourne, he won a singing competition with the prize of engagements in a variety theatre and on radio. He developed a popular following as 'The Australian Street Singer'. In 1951 he made his operatic debut as Cavaradossi \I(Tosca)\i for the National Theatre Movement and later sang in \ILa BohΦme, Madama Butterfly\i and \IThe Tales of Hoffmann\i (the latter a royal performance before the Queen and Prince Philip in 1954) for the National Theatre Movement in Melbourne.
In 1954 he was heard by a visiting French singing teacher, Dominique Modesti, who offered him a two-year scholarship in Paris. After fifteen months in Paris, and with his name changed to Albert Lance, he took up a contract with the OpΘra Comique, and after well received performances moved across to the larger Paris OpΘra. In less than a year he sang the leads in \ILa BohΦme, Werther, Faust\i and \IMadama Butterfly\i and as well recorded complete performances of the last two. Established as a principal tenor of the Paris OpΘra, Lance sang opposite most of the great singers of the day, including \JJoan Sutherland\j and Maria Callas, and was a guest artist at Covent Garden and many of the other great opera houses of Europe.
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"Lane, Don",333,0,g,0
\I1933- \i
Don Lane, Australian TV host and club singer, was born in the Bronx, New York, the son of a policeman, on 13th November 1933. He served with his brother in the US Army where he developed his nightclub act. He was discovered in America by Australian television producer John Collins and brought to Australia to host a tonight show on TCN9. The twice married Lane is the father of a son Phillip, and a keen supporter of the South Sydney Football club. He was at his peak from the late 70s while doing a breakfast radio show on Melbourne radio's 3UZ and performing two nights a week on Channel 9 on \IThe Don Lane Show.\i
In 1984 his variety show was cancelled by the Nine Network. He moved back to the United States and in 1986 worked for six months with the 3AK-2UE CBC Network before being signed to the Ten Network where he hosted a show called \IYou've Got to be Joking.\i In 1988 he signed to host a late night talk show on Network 10 and in 1990 he did a morning radio show with 2KY. In 1991-92 he fronted the American gridiron football broadcasts on ABC TV. He now works on the home shopping channel, TVSN.
#
"Lang, Maria",334,0,g,0
\IBallet dancer\i
Swedish-born Maria Lang first danced in Australia in 1972 as a member of Canada's Royal Winnipeg Ballet. In 1975, with her Australian-born husband \JWalter Bourke\j, she settled in Australia and joined the Australian Ballet as a principal artist. Her roles for the company include the title role in \IPineapple Poll\i (partnered by Bourke), Olga in \IOnegin,\i the Mother and Sweetheart in \IBilly the Kid,\i Valencienne in \IThe Merry Widow,\i Lise in \ILa Fille mal gardΘe\i and Bourke's \ITarantella.\i In 1977, with Bourke, she co-produced a season for the South Australian Ballet Company. She retired in 1978.
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"Langbein, Brenton",335,0,g,0
\I1928-93\i
\IViolinist and conductor\i
Born in Gawler, South Australia, Langbein began his career playing with the Sydney Symphony Orchestra. He moved to Europe in 1951, settled in Switzerland and founded an orchestral school at the Basel Academy. He was concertmaster at the Collegium Musicum in Zurich for many years. Langein was a virtuoso violinist who often returned to Adelaide to conduct and perform. He founded the \JBarossa Music Festival\j.
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"Lanigan, John",336,0,g,0
\I(1921-96)\i
John Lanigan, international opera star, was born at Seldon, South Australia on 7th January 1921, the son of a tenor and operatic mother. He started out singing in children's choirs as an alto and studied in Melbourne. He won the Sydney Sun Aria in 1945 and moved to London via Italy. He made his debut in the Jay Pomeroy seasons at the Cambridge Theatre in 1949. After auditioning for Sir Thomas Beecham in 1951 he joined the Covent Garden company and stayed with them for 25 years singing in more than 80 roles. He sang with the Royal Opera company before retiring to live in Canada, where he died on 1st August 1996, aged 75.
#
"Lawrence, Bryan",337,0,g,0
\IEnglish-born ballet dancer and teacher in Australia\i
Bryan Lawrence trained at the Royal Ballet School, London, and was a member of the Royal Ballet before emigrating to Australia to join the Australian Ballet, which he entered as principal artist in 1964. There he created the role of the Leader in \JRobert Helpmann\j's \IThe Display\i; his other performances for the company include the Polovtsian Warrior in \IPrince Igor,\i Monsieur Alexis in \IKonservatoriet,\i Albrecht in \IGiselle,\i Abderachman and Jean de Brienne in \IRaymonda,\i Captain Belaye in \IPineapple Poll,\i Premier Danseur in \IBallet Imperial\i and Orestes in Helpmann's \IElektra.\i In 1967 both he and his wife \JJanet Karin\j retired from the stage to establish a school of ballet in Canberra.
#
"Lawrence, Marjorie",338,0,g,0
\I(1908-79)\i
\ISinger with a beautiful and powerful dramatic soprano voice\i
Marjorie Lawrence was born in Deans Marsh, Victoria. In 1928 she won the \ISun\i Aria and, encouraged by visiting baritone \JJohn Brownlee\j (himself a protΘgΘ of Nellie Melba) she left Australia to study in Paris. She made her debut in Monte Carlo in 1932, singing Elisabeth in \ITannhΣuser\i opposite George Hill, and in the following year performed in Paris. She became noted for her dramatic as well as her singing abilities, especially in Wagnerian roles. In 1935 she joined the Metropolitan Opera Company in New York, where she spent five seasons. In 1939 she was invited to sing Brⁿnnhilde at the Bayreuth Festival in Germany, but was unable to fulfil the engagement due to the outbreak of World War II.
In 1941, at the height of her operatic career, Lawrence was crippled by poliomyelitis while performing in Mexico City. After treatment in Minneapolis by Sister Elizabeth Kenny, a fellow Australian, she returned to work in 1942 in specially staged versions of \ITannhΣuser\i in which she sat on a couch. It was the first of many performances given either from a wheelchair or with the help of a mobile frame. She gave concerts with orchestras in Australia in 1944 and returned for other tours in the following years. As well as giving recitals, she sang in concert performances of \ISalome\i and \IElektra\i and in 1951 sang in \IAida\i for the National Theatre Opera Company in Melbourne. During World War II she sang for troops in the South-West Pacific, Britain and Europe. She remained based in the United States, where she taught singing from 1960 until her death. Her most notable opera appearances included \IAida, Salome, Die Walkⁿrie, Lohengrin\i and \ITristan und Isolde.\i Her recordings include the closing scenes of \IG÷tterdΣmmerung\i and \ISalome.\i Her autobiography, \IInterrupted Melody\i (1949), was made into a film in 1955.
#
"Le Gallienne, Dorian",339,0,g,0
\I1915-63\i
\IComposer and music critic\i
Le Gallienne was born in Melbourne and studied under Herbert Howells and \JArthur Benjamin\j at the University of Melbourne Conservatorium of Music and the Royal College of Music. In Melbourne, he worked for the \IArgus\i and the \IAge\i as a music critic and he worked for the ABC as a music officer. His works include \IOverture in Eb, Sinfonietta, Three Sonnets of Shakespeare, Four Divine Poems of John Donne\i and \INocturne.\i His manuscripts are kept in the performing arts section of the State Library of Victoria.
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"Lee, Laurel",340,0,g,0
\I1941-92\i
Laurel Lee, Australian singer who starred in shows such as \IBandstand\i and \ISix O'clock Rock,\i was born Lorraine May Chapman on 3rd October 1941. She adopted the name Laurel Lee when she became a singer on the Nine Network's \IBandstand\i when she was 14. She was divorced from singer Kevin Todd to whom she had a son Mark (1965). In the space of only seven days she went from performing on stage, to being diagnosed as suffering from lymphoblastic leukemia, to dying at Sydney's Royal Prince Alfred Hospital on 30th January 1992, aged 49.
#
"Lee, Lonnie",341,0,g,0
\I1940-\i
\IPop singer\i
Lonnie Lee, born Lonnie Rich, grew up on a sheep station at Rowena, New South Wales, where he started singing in the local church choir and later graduated to woolshed dances and other local functions. In 1957 he won an Elvis Presley contest in Sydney which led indirectly to a recording contract, the formation of his own band and appearances on the television shows \J\IBandstand\j\i and \ISix O'Clock Rock.\i His hit singles from this period include 'Ain't It So' (1959), 'Starlight Starbright' (1960) and 'I Found A New Love' (1960). In the mid-1960s he sang in clubs in Australia, New Zealand, South-East Asia, Europe and the United Kingdom. He later spent ten years working in the music industry in Nashville in the United States, and after his return to Australia in 1983 toured nationally with The Living Legends of Six O'Clock Rock. In 1993 he released the CD \IDon't Look Back.\i
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"Leek, Stephen",342,0,g,0
\I1959-\i
\IComposer of music for dance, theatre, education and performance by young people\i
Born in Sydney, Leek played the cello at high school and came to composition later. He studied in Canberra with \JLarry Sitsky\j and from this sound background went on to develop his own distinctive voice. He has been composer-in-residence at such places as the Tasmanian Dance Company; the Arena Theatre Company (Victoria); the Mersey Valley Festival of Music (Tasmania); the Sydney Youth Orchestra; St Peter's Lutheran College (Brisbane); the Sydney Children's Choir; the Canberra Youth Theatre and Sydney Grammar School, and has worked with many of Australia's leading young musicians.
Leek developed several innovative projects which explore areas of new music and dance: NEWMUSICNEWDANCE, VoiceWorks and DANCEMUSICAUSTRALIA. He is the founder and artistic director of Voice Art, an experimental vocal ensemble. His compositions include \IBallade,\i a song cycle for tenor and accompanying instruments (1983); \IThe Axeman\i for four-part children's choir (1985); \IIn Flight,\i three pieces for young orchestra (1990); and \IVoices of a Land\i for small orchestra (1991).
Leek's awards for musical achievements include the Sounds Australian National Critics' Award for Best Australian Choral Work performed in 1990; in the same year he received the award for the Most Distinguished Contribution to the Presentation of Australian Music by an Individual. In 1992 he received an Australia Council Composer Fellowship.
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"Lenz",343,0,g,0
\IOpera\i
\JLarry Sitsky\j began composing this psycho-drama in 1970 to a libretto by poet \JGwen Harwood\j based on a novel by Georg Bⁿchner. It was commissioned by the Australian Opera and premiered with \JFelix Werder\j's opera, \IThe Affair,\i at the Sydney Opera House in 1974.
\IProducer:\i \JStephen Hall\j
\IDesigner:\i Vicki Feitscher
\IConductor:\i \JRichard Divall\j
#
"Leonetti, Tommy",344,0,g,0
(1929-79)
Tommy Leonetti, American singer and entertainer, was born in New Jersey in America on 10th September 1929. He hosted the \ITommy Leonetti\i national variety show for the Channel Seven network in Australia for three years in the 1960s. He wrote the theme to the film \ISqueeze a Flower\i and became a Sydney "icon" when he recorded 'My City Of Sydney', which was used as the television station's sign-off song every night for ten years. The song reached the heart of many Sydneysiders and is considered by some as the city's anthem. He died from cancer in Houston, Texas on 16th September 1979, aged 50.
#
"Lewis, Jeannie",345,0,g,0
\I1945-\i
\ISinger, actor and writer\i
Sydney-born Jeannie Lewis began her career singing in folk clubs and arts festivals in the mid-1960s. In 1967 she represented Australia at the International Festival of Contemporary Song in Cuba and in the early 1970s performed with the Ray Price Quintet. Her first album, \IFree Fall Through A Featherless Flight\i (1974), was voted Australian Radio Awards Female Album of the Year. She spent three years in South America in the late 1970s, where she was active in both music and politics. After her return to Australia she starred in Pam Gem's play \IPiaf\i (1980) and in the following year devised and presented, with actor John Derum, \IPiaf, the Songs and Story\i (1981); she is particularly well known for her portrayals of Edith Piaf, the most recent being \IPiaf: The Songs and Story in Concert\i (1995). Her other performances include Jenny in \IThe Threepenny Opera\i (1981) for the State Theatre Company of South Australia; \IFor A Dancer,\i a show she devised, at the 1982 Adelaide Festival of the Arts; and \ICarmen--Another Perspective\i (1984) for the Melbourne Theatre Company. In 1990 she premiered her show \IVoxy Lady\i at the Adelaide Festival of the Arts and in 1995 celebrated her fiftieth birthday with a series of concerts.
#
"Lindsay, Reg",346,0,g,0
\I1931-\i
\ICountry and western singer and songwriter\i
Reg Lindsay was born in Sydney and as a teenager worked on country properties in South Australia. In 1951 he won a recording contract as first prize in a talent quest and in the following year began broadcasting \IThe Reg Lindsay Show,\i a country music program which ran for twelve years on Sydney radio. In 1974 he became the first Australian to appear at the Grand Ole Opry in Nashville in the United States. He has recorded more than sixty albums, including \ILifetime of Country\i (1987) and \INo Slowing Down\i (1994); his more than 250 singles include `Armstrong' (1970), 'July, You're A Woman' (1974, which won him a Golden Guitar Award for Best Male Vocalist) and 'Silence on the Line' (1978, Best Male Vocalist). Reg Lindsay's name was entered on the Australasian Country Music Roll of Renown in 1984.
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"Lindy",347,0,g,0
\IOpera\i
\JLindy Chamberlain\j and Medea, two women separated by the centuries but both associated with tragedy and murder, are the subjects of two Australian operas \ILindy\i and \IMedea. Lindy,\i by composer \JMoya Henderson\j and librettist Judy Rodriguez, was first performed by the Australian Opera in 1995. The story of a mother jailed for the murder of her baby daughter, Azaria, and later found not guilty of murder, has also been the subject of a feature film starring \JSam Neill\j and Meryl Streep, as well as a number of books.
#
"Little, Jimmy",348,0,g,0
\ICountry and western singer\i
Jimmy Little was born near Echuca on the Murray River in Victoria and at the age of eight moved with his parents to the south coast of New South Wales. He had two hit singles in the 1960s--'Royal Telephone' (1963) and 'One Road' (1964). He has released some thirty-five albums, including \ICountry Sounds, Travellin' Minstrel Man\i and \IJimmy Little Live at the Opera House.\i His film credits include \IShadow of the Boomerang\i (1954, produced by the Billy Graham organisation) and \IUntil the End of the World\i (US, 1990). He has also been the subject of numerous documentaries, including one for the ABC directed by his daughter, Francis Peters.
Jimmy Little was voted Aborigine of the Year in 1989.
#
"Little Pattie",349,0,g,0
\I1949-\i
\IPop singer of 'surf music'\i
Born Pattie Amphlett in Sydney, Little Pattie, surf music singer of the 1960s, made her first television appearance on the talent show \IOpportunity Knocks,\i followed shortly afterwards by a spot on \ISaturday Date\i; she soon became a regular singer at the Maroubra Surf Club dance. In 1963 her first record, 'He's My Blonde Headed Stompie Wompie Real Gone Surfer Boy'/'Stompin' At Maroubra', was a double-sided hit; she followed this with 'We're Gonna Have A Party Tonight' (1964) and 'Dance Puppet Dance' (1965). In the late 1960s she graduated from surf dances to the television show \J\IBandstand\j\i and the club circuit and also sang at the Royal Command Performance for the Queen Mother at the 1966 Adelaide Festival of the Arts. She is married to Keith Jacobson, former Joy Boys member. She continued to record throughout the 1970s and to perform regularly on television and in clubs.
#
"Little River Band",350,0,g,0
\ISoft rock band that found success in the United States\i
The Little River Band (also known as LRB) was formed in Melbourne in 1975 with a core of experienced musicians from the Adelaide group Mississippi--the line-up was Graham Gobles (guitar and vocals), Beeb Birtles (guitar and vocals), Rick Formosa (guitar), Roger McLachlan (bass), Derek Pellici (drums), ex-Twilights' and Axiom singer Glenn Shorrock (lead vocals) and was managed by Glenn Wheatley, former bass player with the Master's Apprentices. Their musical style of tight vocal harmonies was designed to appeal to an international, specifically an American, market. Within a year they were touring both the United Kingdom and the United States; with \IDiamantina Cocktail\i (1977) they became the first Australian band to have an album reach platinum in both the United States and Australia. Other successful albums include \IFirst Under The Wire\i (1979) and \ITime Exposure\i (1981); hit singles include 'Help Is On Its Way' (1977), 'Shut Down Turn Off' (1978) and 'Reminiscing' (1978).
In 1982 Shorrock left the group to pursue a solo career and was replaced by \JJohn Farnham\j. Releases with the new line-up included the hit singles 'Down On the Border' (1982) and 'The Other Guy' (1983). LRB disbanded in 1986, but in 1988 Shorrock re-formed the group with some of the original members for selected Australian Bicentennial events.
The group's awards include the 1977 \ITV Week\i King Of Pop Award for Australian Record of the Year ('Help Is On Its Way') and Best Australian International Performers and the 1979 \ITV Week Countdown\i Award for both Most Popular Group and Best Australian Album \I(First Under The Wire).\i
#
"Llewellyn, Ernest",351,0,g,0
\I1915-82\i
\IViolinist and conductor\i
In 1945, respected string player and teacher Llewellyn became leader of the renowned Brisbane String Quartet, later becoming leader of the Melbourne Symphony Orchestra. He spent many years as conductor of the Sydney-based ABC Training Orchestra for young musicians wanting a career in one of Australia's Symphony orchestras. Towards the end of his career he moved to Canberra and became founding director of the Canberra School of Music in 1966.
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"Lola Montez",352,0,g,0
\IMusical\i
\ILola Montez,\i an Australian musical written in the style of a Broadway show, was staged by the Union Theatre Repertory Company in 1958. The real-life story tells of the visit of an Irish dancer, Lola Montez, to the goldfields at Ballarat in 1855. The show's score was composed by Peter Stannard and the lyrics by Peter Benjamin and Alan Burke. The 37-year-old heroine of the piece is forced to dance before the rowdy miners. While John Sumner's premiere successfully captured the desperation of a once-glamorous, ageing woman, the Australian Elizabethan Theatre Trust's production at Brisbane's Her Majesty's Theatre later in the year lacked a mature singer and lost money.
#
"Lovelock, William",353,0,g,0
\I1899-1986\i
\IComposer, critic, teacher and adjudicator\i
Born in London, Lovelock studied at London's Trinity College of Music where he completed a DMus degree under W.B. Burrows. He taught at Trinity College himself from 1935-56. After travelling to Australia, he was appointed the first Director of the Queensland State Conservatorium of Music (1956-59). After 1960 much of his time was devoted to composing, adjudicating, acting as music critic for the \ICourier Mail\i in Brisbane and writing many standard music textbooks on musical theory and harmony. Lovelock died in the United Kingdom at Shipston-on-Stour, Warwickshire.
#
"Lumsdaine, David",354,0,g,0
\I1931-\i
\IComposer with an international reputation\i
Lumsdaine was born in Sydney. He began his music studies at the University of Sydney and the New South Wales State Conservatorium of Music, later travelling to England in 1953 to study with Matyas Seiber. He has gone on to become one of England's best-known composers. His most popular works include \IEaster Fresco, Kangaroo Hunt, Annotations of Auschwitz\i and \IHagoromo.\i
#
"Lyric Opera of Queensland",355,0,g,0
\IState opera company formed in 1981\i
The Lyric Opera was formed with the aid of funding from the Queensland Government. It stages opera, light opera, musical theatre works and concerts in Brisbane and other regional centres in Queensland. The company's first home venue was Her Majesty's Theatre in Brisbane. Its inaugural performance, a production of Gilbert and Sullivan's \IIolanthe,\i was held there in 1982. In 1985 the company moved to the new Lyric Theatre at the Queensland Performing Arts Complex and opened there with a grandscale production of \IAida.\i The company moved again in late 1995, along with the Queensland Conservatorium of Music, to new premises on the South Bank. Highlight productions of recent years have included \ILucia di Lammermoor\i in 1993 and \IEugene Onegin\i in 1994, a co-production with the Victoria State Opera which has been taken up for later staging by the State Opera of South Australia and the Australian Opera. The Lyric Opera is committed to the creation of new Australian works and plays an active role in this and the development of young Australian artists, for example, the successful staging of the contemporary Australian work \ILove Burns\i in 1992.
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"Lyster, William S.",356,0,g,0
\I1827-80\i
\IOpera entrepreneur and theatre manager\i
William S. Lyster was born in Dublin and first came to Australia in 1842 during a voyage around the world to recover from a severe illness. He returned for a longer stay in 1861, as manager of the W.S. Lyster Royal English and Italian Opera Company (on tour from San Francisco), a small troupe he founded with his brother Fred, a baritone and conductor. Stars of the company were Italian-trained American singers soprano Lucy Escott and tenor Henry Squires. The company made its headquarters in Melbourne, where it opened at Melbourne's Theatre Royal with \ILucia di Lammermoor, Maritana\i and \ILurline,\i and spent the next six years touring Australia and New Zealand.
In 1870 Lyster returned with a new company recruited in Italy and contracted until early 1871. In the following decade he imported Italian companies to present opera seasons in Australia and New Zealand. From 1873 to 1880 he was manager of the Prince of Wales Opera House, Melbourne. Lyster offered Australian audiences high quality productions of new operas very soon after they appeared overseas; in 1877 he staged \ILohengrin\i only two years after it was first seen in London. The Production was sung in English, as requested by Wagner.
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"Macdonnell, Justin",357,0,g,0
\IOpera librettist\i
Justin Macdonnell has worked as Projects Manager for the Australian Opera, as administrator of the State Opera of South Australia and as director of the National Opera of New Zealand. He has also managed several music theatre companies and toured Chamber Made Opera's production of \IRecital\i to South America in 1992. After studying Seneca's play \IMedea\i at university he became convinced that the piece lent itself to opera. Having already begun a translation, he inspired composer \JGordon Kerry\j to write the score and the new hour-long opera \J\IMedea\j\i was born.
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"Mackerras, Sir (Alan) Charles",358,0,g,0
\I1925-\i
\IMusician and conductor\i
Born in the United States of Australian parents but educated in Sydney, Mackerras studied at the New South Wales State Conservatorium of Music and at the Prague Academy of Music. From 1944 to 1946 he was principal oboist with the Sydney Symphony Orchestra. His career as a conductor began at Sadler's Wells Opera in London in 1948. He was a conductor of the BBC Concert Orchestra 1954-56, principal conductor of the Hamburg State Opera 1966-69, musical director of the English National Opera (formerly Sadler's Wells) 1970-77, chief conductor of the Sydney Symphony Orchestra 1982-85, and has been musical director of the Welsh National Opera since 1987. Sir Charles has written and lectured on orchestration and eighteenth-century performance practice. His many fields of interest include the music of Smetana. He was knighted in 1979.
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"Maconaghie, Ronald",359,0,g,0
\I1931-\i
\IBaritone opera singer\i
New Zealand-born Ronald Maconaghie sang with the Sadler's Wells Company (forerunner of the English National Opera) from 1956 to 1959 and with the New Zealand Opera Company from 1961 to 1963. From 1963 to 1986 he was a principal artist with the Australian Opera. He made his first Australian appearance for the Elizabethan Trust Opera Company (forerunner of the Australian Opera), in the title role in \IThe Marriage of Figaro,\i followed by Papageno in \IThe Magic Flute.\i He was part of the cast of War and Peace,\i the opening opera at the Sydney Opera House, in the role of Denisov. His other appearances for the company include \IFalstaff, Turandot, The Marriage of Figaro, TannhΣuser\i and \IThe Magic Flute.\i Since 1991 he has been Deputy Dean of Music and Head of the Opera Voice Department at the Victorian College of the Arts.
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"Madge, Geoffrey Douglas",360,0,g,0
\I1941-\i
\IPianist and composer\i
Adelaide-born Madge began piano lessons at the age of eight, and decided to become a professional pianist after hearing a recital by Benno Moiseiwitsch. He studied at Adelaide University with Clemens Leski, won first prize in the 1963 ABC Piano Competition, and settled in Holland in 1970 to take up an appointment as a senior lecturer in piano at the Royal Conservatory (Den Haag). Throughout his career he has championed neglected works and included them in his personal repertoire. He has recorded such demanding scores as the \IOpus Clavicembalisticum\i by Sorabji, Xenakis's piano concerto \ISynaphai\i (he performed the Australian premiere at the 1996 Adelaide Festival), a six compact disc set of major piano works by Ferrucio Busoni, piano music by Godowsky, Mitropoulos, Reubke and Mossolov, three piano concertos by the Russian composer, Nicholas Medtner, and works for piano and orchestra by Gershwin. Besides an extensive recording career, Madge is a composer and has a love of literature, especially Russian works.
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"Manly Jazz Festival",361,0,g,0
\IAnnual beachside festival of jazz music\i
The Manly Jazz Festival, held in a Sydney seaside resort suburb, has taken place over the three days of the October Labour Day long weekend since 1975. It attracts top soloists and bands from around Australia and artists from overseas who perform in a range of venues including Manly Wharf, an aquarium and a church on Manly's pedestrian plaza, The Corso.
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"Mannix, Brian",362,0,g,0
\I1961-\i
Brian Mannix, Australian singer, was born in Melbourne on 7th October 1961. The lead singer with Uncanny X Men, he is the nephew of former Melbourne Archbishop Dr Mannix. Brian also starred in the Nine Network's \IThe Flying Doctors.\i
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"Marchant, Adam",363,0,g,0
\I1963-\i
\IBallet dancer\i
Adam Marchant was born in Canberra and studied there with \JJanet Karin\j and \JBryan Lawrence\j before joining the Australian Ballet in 1982. He was promoted to soloist in 1986, senior artist in 1988 and principal artist in 1989. In 1984 he received an overseas study grant to visit ballet companies in the United Kingdom and Europe.
Marchant's repertoire includes Gad in \ISpartacus,\i Bill in \IThe Sentimental Bloke,\i Basilio in \IDon Quixote,\i Albrecht in \IGiselle,\i Prince Siegfried in \ISwan Lake, Mercutio and Romeo in Romeo and Juliet,\i James in \ILa Sylphide,\i Colas in \ILa Fille mal gardΘe,\i the title role in \IOnegin\i and Prince Florimund in \IThe Sleeping Beauty.\i He has achieved much success with the works of Jiri Kylian \I(Forgotten Land),\i Maurice Bejart \I(Songs of a Wayfarer\i and \ILe Concours).\i Marchant has made guest appearances with the Ballet de Monte Carlo and the Leningrad Kirov (now Maryinsky) Ballet, and in 1992 performed in Rudolf Nureyev's Farewell Tour of Australia. He has toured with the Australian Ballet to Japan, China, the USSR, the United Kingdom, Greece, Taiwan, Thailand, Singapore, the United States and Italy. He left the Australian Ballet in 1993 to perform in the 1994 Victoria State Opera/International Management Group's production of \IWest Side Story\i at Melbourne's Princess Theatre. In 1994 he returned to the Australian Ballet as guest artist and was appointed resident principal artist in 1995; he created the role of Sharpless in \JStanton Welch\j's \IMadame Butterfly\i (1995).
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"Marron, Bill",364,0,g,0
\ISet and costume designer\i
Sydney-based Marron began his working life in North Queensland as a freelance graphic designer, also designing costumes and sets for amateur theatrical productions. He was one of the resident designers for the Six Years Old Company, working on productions such as \IAngels, Strictly Ballroom\i and \IHaircut.\i His other productions include \IAgnes of God\i (New Moon Theatre Company) and three operas for the Australian Opera codesigned with \JCatherine Martin\j: \ILake Lost--The Ra Project\i (1988), \ILa BohΦme\i (1992) and Benjamin Britten's \IA Midsummer Night's Dream.\i
Awards Marron has won include the 1990 Mo award for operatic performance of the year for \ILa BohΦme\i; the Prix de la Jeunesse for best film Cannes Film Festival; a 1992 AFI award and a 1993 BAFTA award (British Association of Film and Television Arts) for \IStrictly Ballroom.\i
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"Marshall-Hall, George William Louis (G. W. L.)",365,0,g,0
\I1862-1915\i
\IComposer best known for his operas\i
Born in the United Kingdom, Marshall-Hall studied violin and organ as a child, attending Oxford University, King's College and London's Royal College of Music but never completing a course. A prolific composer at a young age, he had already completed 30 songs, three anthems, six piano works and two operas before a scene from his third opera, \IHarold,\i was performed in 1888 by the London Symphony Orchestra with George Henschel conducting and the star baritone Charles Santley singing the part of Harold. The opera was based on Edward Bulwer-Lytton's story of the last Saxon king of England.
In 1891 Marshall-Hall came to Melbourne as founding professor of music at the University of Melbourne. From the time of his arrival he was a powerful and controversial figure, being an atheist and a bohemian with artist friends amongst the Heidelberg painters. Once settled in Melbourne, he conducted nine of his own orchestral works, two of his operas and excerpts from three others. In 1895 Marshall-Hall used his own money to establish the \JAlbert Street Conservatorium\j where he combined academic and practical courses along the lines of similar German institutions. One of his books of poetry, \IHymns Ancient and Modern,\i caused a public outcry in 1898 and as a result his contract as professor was not renewed in 1900. He managed to remain director of the conservatorium as it did not belong to the university. It was renamed the Melbourne Conservatorium.
Marshall-Hall based his one-act opera, \IStella\i (1910), on Puccini's \IMadama Butterfly\i which he had recently seen. It tells the story of a young woman at a 1909 seaside town near Melbourne, who commits suicide because she cannot face the shame of her teenage elopement becoming known and of her likely abandonment. His next opera, \IRomeo and Juliet\i (1912), was also influenced by Puccini and the two were both performed in 1912. Marshall-Hall took his operas to London in 1913 and tried to establish himself there with only partial success--\IStella\i was produced unsuccessfully on a variety bill at London's Palladium in 1914. He returned to Melbourne in 1915 to his old chair at Melbourne University but died unexpectedly from peritonitis shortly after his return. Many of his works were revived by \JRichard Divall\j.
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"Martin, Bruce",366,0,g,0
\IBass baritone singer, especially of oratorio\i
Bruce Martin was born in Perth. In 1968 he won both the Sydney and Melbourne \ISun\i Aria awards. His first appearance with the Australian Opera was in 1979 as Fasolt in a concert performance of \IDas Rheingold\i. Later roles include the Commendatore and the title role in \IDon Giovanni\i, Don Alfonso (\ILucrezia Borgia\i), Varlaam (\IBoris Godunov\i), the title role in \IThe Mikado\i, Escamillo (\ICarmen\i) and Swallow (\IPeter Grimes\i). In 1993 he sang the role of Hans Sachs in \IDie Meistersinger von Nⁿrnberg\i.
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"Martyn, Laurel",367,0,g,0
\I1916-\i
\IDancer, choreographer and teacher\i
Martyn was born in Queensland and began her ballet training in Brisbane. She was a student and performer in London and Paris during the 1930s. A former soloist with London's Sadler's Wells Ballet and Opera companies, she returned to Australia in 1938 to dance for Jennie Brenan in Melbourne. By 1939 she had become the first ballerina of \JEdouard Borovansky\j's Melbourne-based company, dancing in his popular work \IValtava.\i The works Martyn choreographed for the company include \ISigrid\i (1935) and \IEn Saga\i (1941).
In 1947 Martyn established the \JVictorian Ballet Guild\j, which was responsible for creating a number of major works during the subsequent twenty years. Her role encompassed that of director, choreographer and principal dancer. Two works Martyn choreographed at about this time were \IThe Sentimental Bloke\i (1952) and \IMathinna\i (1954). By 1963 the Victorian Ballet Guild had been renamed the Victorian Ballet Company. It became \JBallet Victoria\j in 1967, with Martyn becoming its executive director. Her first artistic director was Danish dancer Poul Gnatt, with \JGarth Welch\j appointed assistant artistic director in 1973. Martyn was president of the Classical Dance Teachers of Australia from 1983; from 1986-89 she taught at the Victorian College of the Arts, and from 1989 she taught at Box Hill College of TAFE.
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"Mathy Awards",368,0,g,0
\IAwards for young singers\i
The Mathy Awards, open to amateur and professional singers under the age of 26, are the culmination of a series of concerts known as the Australian Singing Competition which provide an opportunity for the finest of Australia's young singers to display their talents as they compete for the Marianne Mathy Scholarship. The Opera Awards, part of the same competition, are contested by nominees of Australia's professional opera companies.
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"Matters, Arnold",369,0,g,0
\IBass-baritone opera singer\i
Arnold Matters was born in South Australia and studied singing in Adelaide at the \JElder Conservatorium of Music\j. He sang bass leads in oratorio in Adelaide and for the local Bach Society. He first attracted wider attention in 1927 when he won eight prizes at the Ballarat \ISun\i Aria Contest. On the strength of this win \JNellie Melba\j engaged him as an associate artist for a concert in Melbourne and in 1928 for a tour of New Zealand. In the following year he went to the United Kingdom where he joined the choir of Westminster Abbey and sang frequently for the BBC. In 1932 he became a member of the Sadler's Wells Opera and sang principal baritone roles with that company for the next eight years. He made his Covent Garden debut in 1935. He spent most of the years of World War II in Australia, and at the end of the war returned to England to sing with Sadler's Wells until 1954, when he took up a teaching position with the Elder Conservatorium in Adelaide.
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"Matthews, Wendy",370,0,g,0
\I1961-\i
\IPop singer\i
Sydney-based Wendy Matthews was born in Montreal, Canada and worked as a session singer in Los Angeles before moving to Australia in 1983. In Australia she worked first as a session singer and as a backing vocalist. In 1988 she recorded the album \IYou've Always Got The Blues\i with \JKate Ceberano.\j Her single 'Token Angels' (1990) won Best Australian Debut Single and Matthews was named Best Australian Female Artist at the 1990 ARIA Awards; she recorded her debut solo album, \IEmigrΘ,\i in the following year. Her second album, \ILily\i (1992), which went triple platinum, was followed by \IWitness Tree\i (1994); a single, 'The Day You Went Away', won Best Australian Single at the 1992 ARIA Awards; she again won Best Australian Female Artist at the 1992 and 1993 ARIAs. In 1995 'Standing Strong', by Matthews and Glen Skinner, won the Australian Performing Right Association (APRA) Award for most performed Australian work. In 1997 Wendy released another album titled \IGhosts\i.
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"Maunder, Stuart",371,0,g,0
\I1958-\i
\IDirector, specialising in operas and musicals\i
Maunder grew up on a sheep and cattle farm on the outskirts of Boggabri in northern New South Wales. He studied law after leaving high school and has no formal training in opera or music.
Maunder joined the Australian Opera (AO) in 1978. He spent three years stage-managing a range of productions before leaving the company to take on the role of stage director of \IThe Best Little Whorehouse in Texas,\i later becoming production manager for the Australian Elizabethan Theatre Trust's staging of \IA Lesson from Aloes.\i He rejoined the AO as resident producer in 1982 and revived productions such as \IPatience, Rigoletto\i and \IA Midsummer Night's Dream.\i Maunder restaged \INabucco\i for Melbourne and Sydney seasons in 1984 and produced the highly acclaimed \IDon Pasquale\i by Donizetti and Gilbert and Sullivan's \IYeoman of the Guard\i in 1985. In 1986 he directed \IThe Barber of Seville\i for the \JLyric Opera of Queensland\j and a new production of \IDie Fledermaus\i for the Australian Opera, while 1987 saw him directing \ILa Traviata\i for the State Opera of South Australia in Adelaide and \IA Song to Sing, O!\i for Theatre South, Wollongong.
Maunder spent a very busy year in 1988, working on three bicentennial productions for the Australian Opera: \IThe Merry Widow\i with Dame Joan Sutherland, \IThe Magic Flute\i and \IFiddler on the Roof.\i He also directed \ICarmen\i for the State Opera of South Australia, \IEvita\i for the Canberra Philharmonic Society and \IYeoman of the Guard\i for the Brisbane Light Opera Company. In 1992 he accepted a job at Covent Garden in London, returning to Australia to direct Max Gillies in \IFiddler on the Roof.\i Nowadays he is based in London.
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"Max Merritt and the Meteors",372,0,g,0
\INew Zealand rock group in Australia\i
Max Merritt was born in Christchurch, New Zealand. He formed the Meteors in his home town in 1956. The group later played in Auckland and in 1964 made the move to Australia with the line-up of Merritt (guitar and vocals), Peter Williams (guitar), Johnny Dick (drums) and Teddy Toi (bass guitar); later members included Bruno Lawrence (drums; Lawrence later starred in the ABC television series \IFrontline)\i and Bill Christian (bass); after 1967, when the band was completely rebuilt, 'Stewie Spears' (drums), John Harrison (bass), Bob Bertles (saxophone); and after 1975 Lance Dixon (bass), John Gourd (guitar and piano), Howard Martin Deniz (bass), Phil Lawson (bass), Paul Grant (guitar) and John Williams (keyboards). Merritt and the various Meteors have always been regarded as highly professional musicians. Their hits include the singles 'Western Union Man' (1969), 'Slipping Away' (1975) and 'Let It Slide' (1976); albums include \IA Little Easier\i (1975), \IOut Of The Blue\i (1976) and \IBlack Plastic Max\i (1980). Merritt now lives and works in Los Angeles writing and recording songs.
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"May, Brian",373,0,g,0
\I1934-97\i
Brian May, Australian composer and arranger, was born in Adelaide on 28th July 1934, and studied music at the Elder Conservatorium. He directed the Melbourne Showband from 1968 until 1982 and came to fame in the 1970s with his ABC Showband on ABC television and records. He composed the theme for the television series \IRush\i, \IReturn to Eden, The Last Frontier\i and \ITales from the Crypt\i. His 40 movie scores included \IGallipoli\i, \IMad Max 1 & 2\i ,\ISky Pirates\i, \IThe True Story of Eskimo Nell\i, \IKitty and the Bagman\i, \IYankee Zephyr\i, \IThe Killing of Angel Street\i, \IHarlequin\i, \IMissing in Action 2\i, and \INightmare on Elm Street\i, as well as 17 soundtrack albums.
He firmly believed that the tune to 'Waltzing Matilda' would have made a far better Australian National Anthem than 'Advance Australia Fair'. Divorced from his first wife, Beryl, to whom he had four children, his second marriage to Ruth ended in 1996. He died at a friend's home in Melbourne on 25th April 1997, aged 62.
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"May, Ricky",374,0,g,0
\I1944-88\i
Ricky May, popular New Zealand Maori singer, was born in 1944. He came to Australia in 1962 to appear at the Latin Quarter Night Club, and made regular appearances with Norm Erskine. He became an Australian in a Bicentennial celebration in Wollongong on 1st January 1988. In 1986, he starred as Nicely Nicely in \IGuys and Dolls.\i Dave Brubeck said that Ricky May was the best jazz singer in the world, and Buddy Greco said that he was one of the best five talents in the world.
He died on 1st June 1988, aged 44, after he collapsed in a corridor on the way to his room following a performance at the Don Burrows supper club at the Regent Hotel in Sydney.
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"McAllister, David",375,0,g,0
\I1963-\i
\IBallet dancer\i
David McAllister was born in Perth and after graduating from the Australian Ballet School in 1982 joined the Australian Ballet in 1983. Shortly after joining the company he received an overseas study grant from the Friends of the Australian Ballet. He was promoted to senior artist in 1986 and principal artist in 1989. He created leading roles in \JGraeme Murphy\j's \IGallery\i (1987) and \INutcracker\i (1992); \JStanton Welch\j's \IOf Blessed Memory\i (1991) and \IDivergence\i (1994) and also, with partner \JElizabeth Toohey,\j the pas de deux \ILa Favourita,\i choreographed by Petal Miller-Ashmole expressly for the Australian Ballet's twenty-fifth Anniversary Gala. His major roles with the company include those in the traditional works \ILa Fille mal gardΘe, Don Quixote, Giselle, CoppΘlia\i and \IRomeo and Juliet,\i in addition to such contemporary works as \IEquus, Checkmate, The Leaves are Fading, Return to the Strange Land\i and \IGraduation Ball.\i
In 1985 he won a Bronze Medal at the Fifth International Ballet Competition in Moscow and in the same year won the Oceanic Equity Art Award for Young Achievers in Perth. He has appeared as guest artist with major international companies including Russia's Bolshoi Ballet and Kirov (now Maryinsky) Ballet, the Georgian State Ballet, the National Ballet of Canada and the Birmingham Royal Ballet. In 1991, with \JFiona Tonkin,\j he was guest artist on Rudolf Nureyev's Farewell Tour of Australia. In 1991 he also appeared as guest artist with the West Australian Ballet, dancing \IFavorita\i and \IFlower Festival.\i His roles for television include Colas in Ashton's \ILa Fille mal gardΘe, simulcast by the ABC in 1989, and the Nutcracker Prince in Graeme Murphy's \INutcracker,\i simulcast by the ABC in 1994. McAllister has toured with the Australian Ballet to Japan, China, the USSR, the United Kingdom, Greece, Taiwan, Thailand, Singapore, the United States and Italy.
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"McBride, Max",376,0,g,0
\I1949-\i
\IConductor and bass player\i
Sydney-born McBride returned to Australia in 1979 after studying in Vienna with the conductor Otmar Suitner, and playing with the Niederosterreichische Tonkunstlerorchester as well as conducting the Vienna Hochschulorchester. He has since conducted all the major Australian orchestras as well as opera productions at the Australian Opera and the Victoria State Opera. Also a well-known double bass player, McBride plays regularly with major Australian orchestras and ensembles. Since 1992 he has taught double bass at the Canberra School of Music.
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"McDonald, Hector",377,0,g,0
\IFrench horn player\i
Europe-based McDonald took up the French horn when he was eighteen. Within three years he was appointed second horn in the Berlin Philharmonic under Herbert von Karajan and in 1977 was engaged as solo horn with the Berlin Radio Symphony Orchestra. He returned to Australia in 1980 to become director of the brass faculty of the Canberra Institute of the Arts, a position he held until 1988. During this period he performed in Australia and overseas, giving an outstanding performance as soloist with the Australian Chamber Orchestra of Olivier Messiaen's \IDes Canyons aux Etoiles,\i with the composer himself in attendance. McDonald has lived in Europe since 1989, holding the position of solo horn with the Viennese Symphony Orchestra, also playing first horn with the original instrument group Concentus Musicus under Nikolaus Harnoncourt. He recently made his solo debut as soloist with the Vienna Symphony and in 1994 gave his Vienna debut recital in the Musikverein with Australian pianist \JLisa Moore\j. Highly regarded as a horn teacher, McDonald appears regularly at brass workshops as teacher and recitalist.
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"McEachern, Malcolm",378,0,g,0
\I1883-1945\i
\IBasso singer of oratorio and popular songs\i
Malcolm McEachern was born in country New South Wales and in his early years sang widely in oratorio. In 1916 he undertook a world tour with his pianist wife, and was especially well reviewed in the United States. After the pair settled in London, McEachern appeared as a soloist and in the 1920s recorded oratorio, opera and popular ballads. In 1925 he went into partnership with B. C. Hilliam to form the comedy singing duo Flotsam and Jetsam. Popular and successful, they performed on stage and radio for the next twenty years, and are best remembered for the duet 'Izzie an Ozzie, Izzie, Lizzie?' in which McEachern's flawless production and diction are evident. He appeared in the filmed version of Oscar Asche's musical play \IChu Chin Chow.\i
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"McGann, Bernie",379,0,g,0
\IJazz musician and alto saxophonist\i
Sydney-based McGann is a renowned veteran of the Australian jazz scene. He toured Canada with the Bernie McGann Trio in 1993 with bassist Lloyd Swanton and drummer John PochΘe and released a jazz album, \IMcGann McGann\i, in 1995 with the same line-up plus James Greening on trombone for the Rufus Records label. It featured his own compositions. McGann is noted for using cires, pops, smears and vocalisations to enhance his bop alto sound.
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"McGregor, Jennifer",380,0,g,0
\ISoprano opera singer\i
Jennifer McGregor studied at the New South Wales State Conservatorium of Music in Sydney. She began her professional career in straight theatre, appearing in the role of Melba in Jack Hibberd's \IToast to Melba\i for the Old Tote Theatre Company. From 1982 to 1986 she was a resident principal artist with the Australian Opera, where her roles included Adele \I(Die Fledermaus),\i the Queen of the Night \I(The Magic Flute),\i Titania \I(A Midsummer Night's Dream),\i Sophie \I(Der Rosenkavalier),\i Ophelia \I(Hamlet),\i Zerlina in \IFra Diavolo,\i Yum-Yum \I(The Mikado),\i Juliet \I(Romeo and Juliet)\i and the title roles in \IManon, Lucia di Lammermoor\i and \ILulu\i (which she first performed in concert with the Sydney Symphony Orchestra in 1988). She has also appeared with the Lyric Opera of Queensland, the Western Australia Opera and the Victoria State Opera.
In 1988 McGregor made her European debut as principal soprano with the Heidelberg Opera, Germany, where she remained until 1990. Her frequent appearances with the ABC symphony orchestras include performances of \IPeer Gynt, L'Enfant et les Sortileges\i and the concert series \IBroadway Ladies\i; other concert appearances include excerpts from \IWest Side Story\i with the Melbourne Symphony Orchestra. She is the sister of actor \JJulie McGregor\j.
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"McGuire, Marshall",381,0,g,0
\IHarpist\i
Melbourne-born McGuire studied at the Victorian College of the Arts with Huw Jones. Later, having received Australia Council and QEII Silver Jubilee Trust grants, he studied at the Paris Conservatoire with Marie-Claire Jamet and the famous Pierre Jamet. In 1992 he won a Clark Scholarship to London's Royal College of Music where he studied baroque harp. From 1988 to 1993 he was principal harp with the Australian Opera and Ballet Orchestra, and lecturer in harp at the New South Wales State Conservatorium of Music. McGuire has appeared as a soloist with the Australian Chamber Orchestra, the Melbourne Chamber Orchestra, the Australian Brandenburg Orchestra and the Melbourne Symphony Orchestra and is a member of the Sydney Alpha Ensemble. In 1995 he released his first solo compact disc, \IAwakening,\i featuring solo harp works by Australian composers. In 1996 he performed at the Adelaide Festival and was artistic director of the inaugural Chamber Music Series for the 1996 Sydney Gay and Lesbian Mardi Gras. Both as a soloist and as a member of the Elision ensemble, he has premiered works commissioned from \JAndrew Ford\j, Michael Finnissy, Alessandro Solbiati, \JGordon Kerry\j and Elena Kats-Chemin.
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"McIntyre, Stephen",382,0,g,0
\IPianist\i
Melbourne-born McIntyre learnt piano from Ada Freeman, Nadia Boulanger and Arturo Benedetti Michelangeli. From 1962 he was based in Europe and performed there and in India and Japan. In 1975 he was appointed to a foundation teaching position at the Victorian College of the Arts and he continued there as head of piano until 1994. He was acclaimed for his cycle of the complete piano music of Ravel, for which he won the National Critics' award and an invitation to perform it in Paris. He has appeared as a concerto soloist with all the major Australian orchestras and as an associate artist with visiting artists such as the violinists Valery Klimov, Viktoria Mullova and Nelli Shkolnikova, violist Wolfram Christ, cellist Anner Bylsma, and the Gabrieli String Quartet. McIntyre founded the Australian Chamber Soloists and has been artistic director of the Melbourne International Festival's chamber music program since 1989. He was a featured artist at the 1996 Adelaide Festival, and was featured in Musica Viva's 1996 Composer Portrait Series, having been appointed the Group's principal music advisor in 1995.
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"Meale, Richard",383,0,g,0
\I1932-\i
\IOne of Australia's most distinguished composers\i
Born in Sydney, Meale studied clarinet, piano and harp at the New South Wales State Conservatorium of Music. In 1960 he travelled to the United States, on a Ford Foundation Grant enabling him to study non-Western music at the University of California in Los Angeles. During the sixties Meale was instrumental in ensuring for Australian music the international recognition it deserved. As a leading figure of the times he helped inspire the next generation of composers. He took up an appointment as Lecturer/Teacher (Instrumental) in the \JElder Conservatorium of Music\j at the University of Adelaide in 1969, becoming Senior Lecturer in 1972 and Reader in 1978. Meale was appointed an AM (Member of the Order of Australia) in 1985 for services to music. In 1988 he left Adelaide after nineteen years at the Elder Conservatorium and settled in northern New South Wales to work on his second opera, \IMer de Glace.\i
His compositions include \IViridian\i (an orchestral work written in 1979 and later choreographed by \JGraeme Murphy\j for the Sydney Dance Company), \IHomage to Garcia Lorca, Images (Nagata), Very High Kings, Clouds Now and Then\i (a 1969 orchestral composition inspired by a haiku of the same name written by the Japanese poet Basho), \ISoon it will die, Las Alboradas, Coruscations\i and the opera \IVoss\i (commissioned by the Australian Opera and based on the Patrick White novel, with a libretto by novelist \JDavid Malouf\j). Meale's second opera, \IMer de Glace,\i also with a libretto by Malouf, was premiered by the Australian Opera in Sydney in 1991. In 1992 Meale reorchestrated his work \IInteriors/Exteriors\i and his \ISymphony\i No. 1 premiered in 1994.
#
"Medea",384,0,g,0
\IOpera\i
The opera \IMedea,\i about a mother prepared to murder her children in revenge for their father's betrayal, was the brainchild of librettist \JJustin Macdonnell\j, who had studied the original Seneca work at university and found his language both theatrical and musical. Macdonnell began working on a translation and in 1990, after a conversation with composer \JGordon Kerry\j, decided to take the project seriously. Kerry wrote the score (for four instruments: flute, synthesiser, percussion and cello) in four months, beginning work at an artist's colony in Virginia in the United States. The resulting song cycle was performed later the same year by Elizabeth Campbell with Tony Fogg directing the piece. Chamber Made Opera, in conjunction with ABC Fine Music, commissioned the 60-minute opera, which was workshopped in Sydney at the beginning of 1993 and opened at Melbourne's Athenaeum II Theatre in April of that year.
The music and words in \IMedea\i work together to enhance the drama. Kerry has made good use of ensemble singing juxtaposed with a contrasting solo line and counterpoint which allows a number of characters to vocalise different reactions at the same time. Macdonnell's libretto is a completely new adaptation of Seneca's play rather than a new translation: half uses the original language and half is new material. He uses techniques such as having Medea sing sometimes in Latin to emphasise that she is an outsider in her husband's homeland as well as being a witch. These complementary elements add up to a powerful contemporary opera.
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"Meehan, John",385,0,g,0
\I1951-\i
\IBallet dancer and choreographer\i
John Meehan was born in Brisbane, where he began his dance studies. He graduated from the Australian Ballet School in 1969 and in the following year joined the Australian Ballet, where he rose through the ranks to the position of principal dancer. He created roles in \JGlen Tetley\j's \IGemini\i (1973) and in Robert Helpmann's \IPerisynthyon\i (1974) and the role of Count Danilo in \IThe Merry Widow\i (1975) (in which he partnered Margo Fonteyn on tour in New York, Washington, London, Manila and Australia). His other roles include \IThe Sleeping Beauty, Giselle, Romeo and Juliet, La Fille mal gardΘe\i (in which he partnered \JMarilyn Jones)\j and the title role in \IOnegin.\i From 1977 to 1981 he was principal artist of the American Ballet Theatre, and with that company toured Australia with \JMichael Edgley\j's Stars of World Ballet (1978-79). Since 1981 he has appeared as a guest artist with companies in the United States and around the world and starred in the London, Australian and Broadway productions of Andrew Lloyd Webber's \ISong and Dance.\i His credits as a choreographer include \IMemory\i and \J\INight Episode.\j\i
John Meehan is now based in North America. From 1990-93 he was artistic director of the Royal Winnipeg Ballet and most recently was teaching ballet in New York.
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"Melba, Dame Nellie",386,king0097.jpg,c,0
\I1861-1931\i
\ISoprano opera singer of worldwide renown\i
Born at Lilydale, near Melbourne, as Helen Mitchell, Melba studied singing in Melbourne with Italian-born tenor Pietro Cecchi. She made her first professional solo appearance in 1884 in a concert at the Melbourne Town Hall. In 1886 she began lessons in Paris with Mathilde Marchesi, who encouraged her to adopt the stage name 'Melba'. In the following year she made her operatic debut in Brussels in the role of Gilda in \IRigoletto.\i She made her London debut at the Royal Opera House, Covent Garden, in 1888, in the title role in \ILucia di Lammermoor,\i and in 1889 made her Paris debut as OphΘlia in Ambroise Thomas' \IHamlet.\i Melba appeared regularly at Covent Garden until the theatre was closed by World War I, and in 1919 sang at its reopening. She appeared at La Scala, Milan, in 1893, and from 1893 until 1901 was a member of the Metropolitan Opera in New York. Her brilliant, high soprano voice brought her acclaim in such roles as Violetta \I(La Traviata)\i and the title role in \ILakmΘ\i; she also sang less likely parts, such as Elsa \I(Lohengrin).\i In later years she was particularly associated with the roles of Mimi \I(La BohΦme)\i and Desdemona \I(Otello).\i
Melba returned to Australia in 1902-03 for a triumphant concert tour for theatrical entrepreneur George Musgrove and from 1910 appeared regularly in her home country. In 1911 the first Melba-Williamson Opera Company toured nationally, with Melba appearing in the roles of Violetta, Mimi, Juliette \I(RomΘo et Juliette),\i Marguerite \I(Faust)\i and Desdemona \I(Otello).\i Melba-Williamson companies also toured in 1924 and 1928. In 1913 Melba gave a concert in Melbourne to raise funds for Melbourne Conservatorium's Melba Hall; in 1915 she established a singing school at the \JAlbert Street Conservatorium\j in Melbourne. She made her final Covent Garden appearance in 1926. In 1927 she sang the national anthem at the opening of Parliament House in Canberra. After a number of farewell performances, she made her final appearance in Australia in Geelong, Victoria, in 1928.
Melba was appointed a Dame of the British Empire in 1918 and GBE (Dame Grand Cross of the British Empire) in 1927. She is buried at Lilydale, near Melbourne.
Her wide popularity led the famous French chef Georges Escoffier to name his icecream dish \IpΩche melba\i after her. Melba toast is also named after her, the origin of this being less certain.
\JRex Reid\j's ballet \IThe Melbourne Cup\i was presented as part of the \JAustralian Ballet\j's inaugural 1962 season at Her Majesty's Theatre in Sydney. The three-scened \Iballet-bouffe,\i the first work commissioned by the newly-formed company, was set in the 1860s, with music arranged by Harold Badger. The work was received with enthusiasm by ballet-going audiences and kept its place in the Australian Ballet's repertoire for five years.
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"Melbourne Symphony Orchestra",388,0,g,0
\ISymphony orchestra based in Melbourne\i
The Melbourne Symphony Orchestra is funded by the Australian Broadcasting Corporation for its day-to-day operations in conjunction with the Victorian state government and the City of Melbourne. It presents some 150 performances each year through its subscription series, concerts in non-metropolitan and regional centres, special schools and family concerts, the Sidney Myer Free Concert series and live and recorded radio broadcasts and television performances. International tours include Canada (1967), the United States (1970) and Japan (1987 and 1994). Hiroyuki Iwaki has been chief conductor of the orchestra since 1973.
The ancestry of the orchestra can be traced back to the group of musicians assembled for the opening of Australia's Centennial Exhibition in Melbourne in 1888. In 1932 the Melbourne Symphony Orchestra was formally established under the charge of the Australian Broadcasting Commission (later Corporation) with the merging of the University of Melbourne Conservatorium Orchestra (conductor \JBernard Heinze\j) and the \JAlbert Street Conservatorium\j's Melbourne Symphony Orchestra (conductor Fritz Hart). Initially Heinze and Hart were joint conductors, but in 1934 Heinze gained sole control of the orchestra. Guest conductors and artists who have worked with the orchestra include British conductors Malcolm Sargent and Sir Thomas Beecham, Israeli conductor and concert pianist Daniel Barenboim, US violinist Isaac Stern, US pianist Arthur Rubinstein, US singer Jessye Norman and New Zealand singer Dame Kiri Te Kanawa. The orchestra toured Australia with British singer Elton John (1978) and US singer Frank Sinatra (1991). The orchestra has released numerous recordings.
\IMembers of the Melbourne Symphony Orchestra\i
\IConductor Laureate:\i Hiroyuki Iwaki
\IPrincipal Guest Conductor:\i Vernon Handley
\IPrincipal Players:\i
\IConcertmaster:\i Lazar Shuster
\IAss. Concertmaster:\i Marina Marsden
\IPrincipal First Violin:\i Michael Kisin
\ISecond Violin:\i Rudolf Osadnik
\IViola:\i Katherine Brockman
\ICello:\i David Berlin
\IDouble Bass:\i Steve Reeves
\IFlute:\i Prudence Davis
\IPiccolo:\i Frederick Shade
\IOboe:\i Jeffrey Crellin
\ICor Anglais:\i Geoffrey Dodd
\IClarinet:\i Phillip Miechel
\IBass Clarinet:\i Alan Bray
\IBassoon:\i Rolf Kuhlmann
\IContra Bassoon:\i Ian Mansell
\IFrench Horn:\i Graeme Evans
\ITrumpet:\i Brett Kelly
\ITrombone:\i Brett Kelly
\IBass Trombone:\i Eric Klay
\ITuba:\i Fabian Russell
\ITimpani:\i Christine Turpin
\IPercussion:\i Robert Clark
\IHarp:\i Julie Raines
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"Melvin, Noel",389,0,g,0
\I1924-\i
\IBass-baritone singer\i
Born in Sydney, Noel Melvin began his musical studies at the New South Wales State Conservatorium of Music in Sydney. During World War II he took part in concerts for the armed forces, and by the late 1940s was recognised as one of Australia's foremost resident singers. He preferred concert work to opera, and is especially associated with Handel's \IMessiah\i (which he performed 168 times) and the title role in Mendelssohn's \IElijah.\i Throughout his career he sang in numerous concerts under Sir \JEugene Goossens\j and with other distinguished local and visiting conductors and in the early years of television sang on his own program.
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"Men at Work",390,0,g,0
\IPop and rock group\i
The group Men At Work was formed in Melbourne in 1979 with the line-up Colin Hay (lead vocals and guitar), John Rees (bass and vocals), Jerry Speiser (drums and vocals), Ron Stryket (lead guitar and vocals) and Greg Ham (keyboards, flute, saxophone and vocals). The release of their first album \IBusiness As Usual\i (1981) took the group from local pub status to huge international success, particularly in the United States, where the album stayed at the top of the charts for fifteen weeks. 'Down Under', a single taken from the album, reached No. 1 in Australia, Europe, the United Kingdom and the United States and later became the unofficial theme song for Australia's successful 1983 America's Cup challenge. The group won the 1981 \ICountdown\i Award for Best Debut Single ('Who Can It Be Now?') and Best Debut Album \I(Business As Usual),\i the 1982 Grammy Award for Best New Artist and the US \IRolling Stone\i Best New Artist Award. Later albums include \ICargo\i (1983), which went to No. 1 in Australia, and \ITwo Hearts\i (1985). The group disbanded in 1985. Colin Hay released a number of solo albums.
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"Mental As Anything",391,0,g,0
\IPop and rock group\i
The group Mental As Anything (also known as the Mentals) was formed in 1976 at art school in Sydney with the line-up of Reg Mombassa (real name Chris O'Doherty, guitar and vocals), his brother Peter O'Doherty (bass), Wayne De Lisle (drums), Martin Plaza (real name Martin Murphy, vocals and guitar) and Andrew 'Greedy' Smith (keyboards, harmonica and vocals). Their first hit, the single 'The Nips Are Getting Bigger' (1979), established their reputation as a good-humoured, good-time, party band with a musical style that was a wacky mixture of pop and country, overlaid with thoughtful lyrics, and they were soon playing regularly at university, college and inner-city venues. A string of albums followed--\IGet Wet\i (1979), \IExpresso Bongo\i (1980), \ICats And Dogs\i (1981), \ICreatures Of Leisure\i (1983), \IFundamental\i (1985), \IMouth To Mouth\i (1987) and \ICyclone Raymond\i (1989). 'Live It Up' (1985) from the \IFundamental\i album reached No. 1 in Australia and No. 5 in the United Kingdom. Their version of 'Crocodile Rock' was used in the film \ICrocodile Dundee\i (1985) and that of 'Rock'n' Roll Music' in the film \IYoung Einstein\i (1988). The single 'If You Leave Me, Can I Come Too?' won the 1981 \ICountdown\i Award for Best Australian Single. The group returned to the music scene with the release of the album \ILiar Liar Pants on Fire\i in 1995.
Members of the group have continued their involvement with the art scene--Chris O'Doherty and Martin Murphy create T-shirt designs for the Mambo clothing label.
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"Mer De Glace",392,0,g,0
\IOpera\i
This \JRichard Meale\j opera, with libretto by \JDavid Malouf\j, was commissioned by the Australian Opera and enjoyed its Australian premiere in 1991. The story is about Frankenstein writer Mary Shelley and her friends. Singer Lyndon Terracini returned from Italy, where he was living at the time, to sing the role of the monster.
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"Mercurio, Paul",393,0,g,0
\I1963-\i
\IDancer, choreographer and actor\i
Born at Swan Hill, Victoria, Mercurio trained in ballet, tap, flamenco, modern dance and choreography as well as in theatre production, acting, speech, scripting, direction and Tai Chi. He made his film debut as Scott Hastings in \IStrictly Ballroom\i (released 1992), one of Australia's highest grossing feature films, seen in 37 countries worldwide. For his performance, Mercurio received a nomination for an AFI Award as best leading actor and, in recognition of his contribution to Australian culture, the inaugural Star of the Year award from the Motion Picture Exhibitors Association of Queensland.
Since 1992, Mercurio has appeared in six feature films; Australian productions \IBack of Beyond\i (1993 Dir: Michael Robertson), \ICosi\i (1995 Dir: Mark Joffe), and the American movies \IExit to Eden\i (1993 Dir Gary Marshall), \IRed Ribbon Blues\i (1995 Dir: Charles Winkler), \IWelcome to Woop Woop\i (1996 Dir: Stephan Elliott) and \IThe Dark Planet\i (1996 Dir: Albert Magnoli). Mercurio's television credits include the 1995 Emmy award winning mini-series \IThe Bible: Joseph\i (Dir: Roger Young) and the short \IMuseum of Love\i (1995 Dir: Christian Slater). Mercurio has performed guest roles in Australian TV drama series such as \IMedivac, Water Rats\i and \IHeartbreak High.\i
Prior to his film career, Mercurio had spent 10 years as a principal dancer with Sydney Dance Company performing throughout the world in major works by choreographers such as Graeme Murphy, Louis Falco and Ohad Naharin. From 1992-94 he was artistic director of the Australian Choreographic Ensemble producing new works and performing extensively throughout Australia. His choreographic credits now include over 30 dance theatre works and various music theatre productions.
While Mercurio's work is mainly in film, he recently returned to the stage, choreographing and performing for Sydney Dance Company and at the Brisbane International Festival. In 1996, he directed a short film \ISpilt Milk\i which he also wrote and performed in. In between acting engagements, Mercurio is developing a theatre production \IIndian Pacific\i which has been commissioned by Sydney Theatre Company, and is co-writing and directing a feature film.
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"Meryl Tankard Australian Dance Theatre",394,0,g,0
\IModern dance company\i
In 1993 \JMeryl Tankard\j was appointed artistic director of the \JAustralian Dance Theatre\j. In recognition of her artistic achievements, the company was renamed the Meryl Tankard Australian Dance Theatre. In 1994 the company was invited to the prestigious German dance festival Nordrhein-Westfalen Internationales Tanzfestival where it performed to sell-out houses and standing ovations.
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"Mewton-Wood, Noel",395,0,g,0
\IConcert pianist\i
Melbourne-born pianist Mewton-Wood studied under Seidel at the Melbourne Conservatorium until the age of fourteen, when he went to London's Royal Academy of Music for further study. From there he travelled to Italy, spending a few months learning from Artur Schnabel. On his return to London the young pianist played Beethoven's \IC-minor Concerto\i at his Queen's Hall debut and gave a recital at Wigmore Hall. In 1946 he toured Australia for the ABC and later toured to all parts of the world. Mewton-Wood often broadcast from the BBC. He added many modern works, such as Hindemith's \ILudus Tonalis\i, the Busoni \IConcerto\i and Benjamin Britten's \IPiano Concerto\i, to his repertoire. At the beginning of the 1950s he formed duos with violinist Max Rostal and tenor Peter Pears. He was at the height of his powers when he died.
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"Michel, Joanne",396,0,g,0
\I1958-\i
\IBallet dancer\i
Joanne Michel was born in Canberra and there undertook her initial ballet training with \JJanet Karin\j and \JBryan Lawrence\j. She graduated from the Australian Ballet School in 1976 into the Australian Ballet in 1977, was promoted to soloist in 1980 and in 1982 was named principal artist. She created roles in \JGraeme Murphy\j's \IMeander\i (1984) and Jacqui Carroll's \ICanzona\i (1986). Her repertoire includes \IDon Quixote\i (in which she was acclaimed for her performance as the Queen of the Dryads), title roles in \IAnna Karenina, The Merry Widow, Giselle\i and \ILa Sylphide,\i and contemporary works including \IConcerto Pas de Deux,\i Glen Tetley's \IRite of Spring\i and Jiri Kylian's \IReturn to the Strange Land.\i She danced at the 1984 International Ballet Festival, Los Angeles, and in 1987 joined the Nederlands Dans Theater. She retired following her return to Australia and became a faculty member of the Australian Ballet School, but in 1994 returned to the stage as a member of the Melbourne Dance Theatre.
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"Midnight Oil",397,3_0083.jpg,c,0
\IHard rock group of the 1980s\i
Midnight Oil (also known as the Oils) grew out of a Sydney band called the Farm and in the mid-1970s began playing the pub circuit on Sydney's northern beaches. The original line-up was Rob Hirst (drums), Jim Moginie (keyboard and guitar), Andrew 'Bear' James (bass), Peter Garrett (lead vocals) and Martin Rotsey (guitar); Peter Gifford (bass) was a member from 1980-87. The group has always refused to use the usual industry channels for publicity, such as appearances on the television pop music show \ICountdown,\i and started their own label, Powderworks, as a way of maintaining maximum creative control of their work. Their musical style ranges from hard rock to surf rock and they often use non-rock instruments such as the didgeridoo. Many of their lyrics reflect the band's political stance on social issues such as Aboriginal land rights, unemployment and the environment. Their first album, \IMidnight Oil\i (1978), was followed by \IHead Injuries\i (1979), but it was not until \IPlace Without A Postcard\i (1981) that they made the national album charts. It was \I10,9,8,7,6,5,4,3,2,1\i (1982) (the nuclear war countdown), however, that provided their big break, staying in the Top 20 for nearly a year. The name was a reference to the nuclear countdown. This was their first major success. In 1988 their album \IDiesel and Dust\i sold more than 3 million copies in the United States alone and was in the US Top 20 albums chart.
Midnight Oil released \IEarth and Sun and Moon\i in 1993 and towards the end of 1996 they released another album titled \IBreathe.\i
\BDescription:\b Midnight Oil \I(DFAT)\i
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"Miller-Ashmole, Petal",398,0,g,0
\IChoreographer\i
Perth-born Petal Miller married British-born dancer \JDavid Ashmole\j and the couple worked together for the \JAustralian Ballet\j for about ten years. London-based since 1993, Ashmole worked for a time as assistant to Maina Gielgud, artistic director of the Australian Ballet. She was appointed ballet mistress of the London Festival Ballet in 1993. One of the highlights of her choreographic work is the ballet \ISnugglepot and Cuddlepie\i (1988) based on May Gibbs' characters. It was produced by the Australian Ballet with music by \JRichard Mills\j and designs by Hugh Colman.
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"Mills, Richard",399,0,g,0
\I1949-\i
\IComposer and conductor\i
Born in Toowoomba, Queensland, Richard Mills studied first in Queensland and then in London where his teachers were Gilbert Webster (percussion) and Edmund Rubbra (composition). His outstanding work was rewarded with the Gregory Saltzmann Memorial Prize and a Corporation of London Scholarship. He joined four prestigious orchestras in the United Kingdom before returning to Australia in 1976 as principal percussionist with the Tasmanian Symphony Orchestra and then the Queensland Symphony Orchestra. Then, at the Queensland Conservatorium, he became director of the contemporary music ensemble and the symphony orchestra. The well-known Australian violinist Leonard Dommett performed his \IViolin Concerto\i with the Melbourne Symphony Orchestra conducted by \JHiroyuki Iwaki\j and his concerto for violin and viola was performed at the 1994 Adelaide Festival. Nowadays Mills is also well known for his conducting.
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"Minogue, Dannii",400,0,g,0
\I1971- \i
Dannii Minogue, international singer and sister of Kylie, was born Danielle Jane Minogue in Melbourne on 20th October 1971. She came to fame on the Ten Network's \IYoung Talent Time\i in the mid 80s. She also appeared on \IThe New Generation\i and the soap \IHome and Away.\i Her hits include 'Love and Kisses' and 'Success'. In 1992 she appeared in the movie \ISecrets.\i On 2nd January 1994 she married actor Julian McMahon, son of former Australian prime minister Sir William McMahon. However, by January 1996, they had announced they had separated.
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"Minogue, Kylie",401,kyliem.jpg,c,0
\I1968-\I
\ISinger and television and film actor of international popularity\i
Kylie Minogue was born in Melbourne. She made her first television appearance at the age of eleven in the serial \IThe Sullivans\i; her later television work includes the series \ISkyways\i (1980), \IThe Henderson Kids\i (1985), \IThe Sullivans\i and the central continuing role of Charlene in the soap opera \INeighbours\i (1985), which bought her national and international recognition. In 1987 she became the youngest performer to win the Silver Logie for the Most Popular Actress in Australia. In the same year she released 'Locomotion', the biggest selling Australian single of 1987. Her next single 'I Should Be So Lucky' (1988) was an international hit and her first album, \IKylie\i (1988), was released worldwide. Her later singles include 'Got To Be Certain' (1988), 'Tears On My Pillow' (1990), 'What Do I Have To Do?' (1991), 'Time' (1992, with Jason Donovan), 'Confide in Me' (1994) and 'Where the Wild Roses Grow' (1995, as a duet with \JNick Cave\j backed by the Bad Seeds). Later albums include \IRhythm Of Love\i (1990), \ILet's Get To It\i (1991), \IGreatest Hits And Remixes\i (1992) and \IKylie Minogue\i (1994). In 1989 her international fame was symbolised by the placing of her wax effigy in Madame Tussaud's in London. Her film appearances include \IThe Delinquents\i (1989) and \IStreet Fighter.\i
Her many awards include four Logies in 1988 (the first time an actor had won four Logies on a single night and including the Gold Logie for Most Popular Personality on Australian Television), the ARIA Highest Selling Single 1987 ('Locomotion') and 1988 ('I Should Be So Lucky') and the ARIA 1989 Outstanding Achievement Award.
London-based Yvonne Minton was born in Sydney and studied music at the New South Wales State Conservatorium of Music in Sydney. She held the Elsa Stralia scholarship of the \JAlbert Street Conservatorium\j, Melbourne, from 1956 to 1959 and later won the Shell Aria Competition at the Canberra Eisteddfod, and in 1961 moved to Europe to study at the Joan Cross Opera School in London. She made her Covent Garden debut in 1965 as Lola in \ICavalleria Rusticana,\i and was a principal singer there until 1971. She was also guest soloist for the Cologne Opera, the Hamburg State Opera and the Metropolitan Opera, New York, and has appeared at Germany's Bayreuth Festival and Austria's Salzburg Festival. Her roles for the Australian Opera include Octavian \I(Der Rosenkavalier)\i and Sieglinde \I(Die Walkⁿrie)\i; in 1991 she sang Clytemnestra for the South Australian Opera. Her recordings include roles from her operatic career, such as Octavian and Brangane \I(Tristan und Isolde),\i as well as Handel's \IMessiah\i and Mahler's \IDas Lied von der Erde.\i
She is a CBE (Commander of the British Empire).
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"Miracle City",403,0,g,0
\IAustralian musical\i
It was gospel music that drove Max Lambert, co-composer of \IBerlin\i with Iva Davis (see \JIcehouse\j), to approach playwright and librettist \JNick Enright\j with the idea of writing a musical. Between them they conceived \IMiracle City,\i the story of TV evangelists Ricky and Tora Lee Truswell (based on US evangelists Jim and Tammy Bakker) who try to ward off a million-dollar debt and build Miracle City, a theme park based on Old Testament stories. During the course of the musical Tora Lee is stripped of her radiant certainty; everything changes for her as she loses her marriage, beliefs and position. The work was choreographed by Ross Coleman and directed by \JGale Edwards.\j
\IFirst production:\i The Wharf Theatre, Sydney, January 1996
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"Mo Awards",404,0,g,0
\IMusical entertainment awards\i
Established in 1975, the Mo Awards are presented annually to acknowledge excellence in all fields of `live' entertainment. A voting panel of industry specialists (including producers, directors, members of the press, entertainment directors and venue bookers) decide awards in categories ranging from musical theatre, variety, country, jazz and opera to new wave comedy. Past winners include \JJon English\j (Entertainer of the Year, 1983, 1984, 1985), Ricky May (Entertainer of the Year 1979, 1988), \JJohn Farnham\j (Entertainer of the Year, 1980, 1986), \JJames Morrison\j (Performer of the Year, 1990), \JStuart Challender\j (Performer of the Year, 1991), \JKate Ceberano\j (Female Rock Performer, 1989), \JYothu Yindi\j (Rock Performers of the Year, 1993), \JJudi Connelli\j (Female Musical Theatrical Performer, 1994), \JKerrie Biddell\j (Jazz Vocal Performer, 1994) and \JStephen Page\j (Dance Performer of the Year, 1994).
The award, in the form of a statuette, is named after vaudeville performer and radio comedy star Roy 'Mo' Rene. The Mo Association is a registered charity which raises money to provide emergency welfare to entertainers, their families and all people employed in the live entertainment industry.
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"Models, The",405,0,g,0
\IPop group\i
The pop group The Models was formed in Melbourne in 1979 with the original line-up Ash Wednesday (keyboards and synthesiser), Janis Freidenfields (also known as Johnny Crash, drums), Sean Kelly (guitar and vocals and the only continuous member throughout the lifetime of the group) and Mark Ferrie (bass); eleven other musicians were members at various later stages including guitarist and vocalist James Freud, who joined the line-up in 1981 and was central to the group's success. The group was known for its innovative sound and witty lyrics. Its second album, \ILocal Or General (1981), was well-received both in Australia and overseas and their third, \IThe Pleasure Of Your Company\i (1983), made the Top 20 in the Australian album chart; further releases include \IOut Of Sight Out Of Mind\i (1985) and \IMedia\i (1987). The group disbanded in 1988.
\ISoprano singer of light opera and musical comedy\i
Born in Bundaberg, Queensland, Gladys Moncrieff made her first public appearance at the age of six at a charity concert in her home town. Her father, an exhibitor of moving pictures in the Queensland outback, accompanied her on the piano; she later sang at his film shows. Moncrieff appeared in Gilbert and Sullivan roles in Townsville, and by 1909, under the direction of her mother, a singing teacher, was a regular vaudeville performer in Brisbane. She then undertook further singing training in Sydney, and there was engaged by the J.C. Williamson theatrical organisation; in 1914 she sang the role of Josephine in \IThe Pirates of Penzance\i at Her Majesty's Theatre and in 1917-18 toured South Africa and New Zealand for Williamson's. In 1921, at the Theatre Royal in Melbourne, she made her first appearance in the title role of \IThe Maid of the Mountains,\i the part with which she is most strongly identified. Successes in New Zealand, the United Kingdom, South Africa and North America followed, with additions to her repertoire including \IThe Arcadians\i and \IThe Merry Widow.\i From 1926 to 1928 she appeared on the London stage; after her return to Sydney in 1928 she opened in the musical comedy \IRio Rita\i for Fullers', a New Zealand-based theatrical organisation operating in Australia. During the economic depression of the 1930s many theatres were forced to close, and by sad coincidence Moncrieff, in \IThe Maid of the Mountains,\i gave the final performance in two of them Her Majesty's Theatre, Sydney and the Theatre Royal, Melbourne (where she first sang this role).
In 1938 Moncrieff was seriously injured in a car accident. After a long period of recovery, she returned to the stage in 1942 and made concert tours for troops in Australia and New Guinea. Her last appearance as 'the Maid' was in Perth in 1952. She retired in 1961 after a three-year farewell concert tour of Australia and New Zealand. Her many recordings, some made in England, continue to be reissued.
\BDescription:\b Gladys Moncrieff \I(J. King)\i
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"Mondo Rock",407,0,g,0
\IPop and rock band\i
Mondo Rock came together in Melbourne between 1976 and 1978 with the line-up of Ross Wilson (lead vocals), Peter Laffy (guitar and vocals), Randy Bulpin (guitar), Tony Slavich (keyboards and vocals), Iain McClennan (drums and vocals) and Simon Gyllies (bass). Their single 'The Fugitive Kind' (1978) reached No. 28 on the national charts. The group disbanded in February 1980 but two months later a second version was formed by lead vocalist Wilson--its members were Eric McCusker (guitar and responsible for most of the group's material), James Black (guitar and keyboards), Paul Christie (bass) and Gil Matthews (drums). Their first single 'State Of The Heart' (1980) reached No. 6 on the Australian charts and their first album \IChemistry\i (1981) was voted Best Album at the 1981 \ICountdown\i Awards and McCusker was voted Best Songwriter. The group reformed briefly in the early 1990s.
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"Montsalvat Jazz Festival",408,0,g,0
\IWeekend of jazz in artists' community\i
The Montsalvat Jazz Festival has been held over each Australia Day weekend since 1988 in the artists' community of Montsalvat, north-east of Melbourne. It presents all forms of jazz from mainstream to traditional to modern funk and attracts jazz musicians and jazz enthusiasts from around Australia.
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"Moore, Lisa",409,0,g,0
\I1960-\i
\IConcert pianist and chamber music player\i
Canberra-born pianist Moore was a pupil of such teachers as Gilbert Kalish, David Burge, Yvonne Loriod-Messiaen, \JLarry Sitsky\j, Albert Landa, \JSonya Hanke\j and William Heiles. She studied in the United States for some years and completed her Doctorate of Musical Arts at the State University of New York, Stonybrook, in 1992. Moore has performed as a soloist and orchestral pianist with many of the world's finest orchestras and chamber music groups. Awards she has won include the silver medal in the 1981 Carnegie Hall International American Music Competition, the 1983 Australian Alliance Francaise Award for studies in Paris, the 1985 Bernstein Fellowship to the Tanglewood Festival and the 1992 Sounds Australia Award for the best performance of an Australian composition (Michael Smetanin's \IStroke).\i
Moore has released CDs with the Australian record label Tall Poppies and with overseas labels and recently performed and directed the music for the documentary film \ICharles Blackman, Dreams and Shadows.\i A leading exponent of twentieth-century piano music, she has performed and commissioned works in collaboration with such composers as Milton Babbitt, Lukas Foss, Jacob Druckman, Ralph Shapey, Iannis Xenakis and Gunther Schuller. Moore teaches at the Hoff-Barthelson Music School in Scarsdale, New York, and at Marymount College. She has had several month-long appointments as musician-in-residence at Australian institutions such as the University of Wollongong and the New South Wales State Conservatorium of Music.
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"Moorish Maid, A",410,0,g,0
\IOpera\i
This comic opera was written by \JAlfred Hill\j and had its Australian premiere in 1906 at Sydney's Palace Theatre. The work, performed by New Zealand's Comic Opera Company and conducted by the composer, is a fairly typical musical comedy with a tuneful score, adeptly and cunningly orchestrated. One of the original singers, the soprano Rosina Bookmen, was praised by the critics of the time for the quality of her pure voice.
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"Moreland, Barry",411,0,g,0
\I1940-\i
\IDancer, choreographer, artistic director\i
Melbourne born and educated, Moreland danced in the \JBorovansky Ballet\j's final season and was invited by Dame Pegg van Praagh to become a founder member of the \JAustralian Ballet\j, before travelling to London in 1964. His first West End experience was Sir \JRobert Helpmann\j's \ICamelot\i at Drury Lane Theatre and while studying classical ballet he found time to work with Gower Champion in \IHello Dolly\i and Jerome Robbins in \IFiddler on the Roof.\i Between 1969 and 1974 Moreland choreographed for a number of London companies including an appointment as resident choreographer at the London Festival Ballet. He also created an award-winning ballet, \IKontakion,\i for Thames Television and new works for New Ballet London and the BBC Promenade Concerts in association with Sir Peter Maxwell-Davies.
In 1974 Dame Peggy van Praagh invited Moreland to create a new ballet, \ISacred Space,\i for the Australian Ballet and in 1975 his two act ballet, \IProdigal Son (in ragtime),\i was performed in Sydney by the London Festival Ballet on its first Australian tour. Between 1976 and 1979 Moreland worked all over the world as a freelance choreographer, creating works such as \ISummer Solstice\i (1980) for the Paris Opera Ballet; \IOndine\i (commissioned by Natalia Makarova, performed with Anthony Dowell) for Makarova and Company on Broadway; and a new ballet for La Scala, Milan, with composer Iannis Xenakis. Moreland returned to Australia and, from 1979 to 1982, created his first work for the Queensland Ballet, \ILost Domains; Mansions, Dialogues and Daisy Bates\i for \JSydney Dance Company\j; a solo, \IRainbow Serpent,\i for \JKelvin Coe\j; and \ITrocadero\i for the Australian Ballet.
Appointed artistic director of West Australian Ballet in 1983, Moreland has choreographed full-length works such as \IRomeo and Juliet, Lady of the Camellias,\i and \IA Midsummer Night's Dream\i for the company. He has also invited other Australian choreographers such as \JGraeme Murphy,\j \JGarth Welch,\j \JGraeme Watson,\j \JChrissie Parrott\j and Jacqui Carroll to contribute works to the company's repertoire, besides encouraging younger choreographers from within the company, such as Edmund Stripe and Elizabeth Hill, to create new works. In 1994 Moreland choreographed the Gordon Frost Organisation's production of \IHello Dolly\i which toured nationally in 1995 and, following the success of the world premier of \IMedea,\i a collaboration with composer Brian Howard and set designer \JAndrew Carter,\j Moreland created \IThe Passion\i which premiered in August 1995.
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"Morison, Alzao",412,0,g,0
\I1924-\i
\ISoprano opera singer\i
London-based Alzao Morison was born in Ballarat, Victoria. At the age of eighteen she won the Melba Scholarship for three years' study at the \JAlbert Street Conservatorium\j. At the completion of her course the people of Ballarat raised money to assist her to go overseas to further her studies, a gesture she repaid many years later when she founded the Alzao Morison Singing Prize for Sopranos with part of the proceeds of her 1960 concert tour of Australia. She joined the Royal Opera Company at Covent Garden in 1953. In 1957 she returned briefly to Australia for the role of Marenka in \IThe Bartered Bride\i for the Elizabethan Trust Opera Company (forerunner of the Australian Opera) and again in 1960 for a concert tour.
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"Morozova, Irina",413,0,g,0
\IViolist\i
Sydney-based violist Morozova studied at the New South Wales Conservatorium of Music with \JRichard Goldner\j and \JRobert Pikler\j before undertaking further advanced study in the United States and Europe. She is a foundation member of the \JAustralia Ensemble\j and has held the positions of principal violist with the Elizabethan Trust and Australian Chamber Orchestras and guest principal with the Sydney Symphony Orchestra. She has appeared as soloist with many of Australia's major orchestras and has collaborated with many distinguished Australian musicians. She performed the world premiere of Richard Mills's concerto for violin and viola, with her husband \JDene Olding\j, at the 1994 Adelaide Festival. Morozova is also a member of the Goldner String Quartet, named after the founder of Musica Viva.
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"Morris, Jenny (singer)",414,0,g,0
\IPop singer\i
Jenny Morris was born in New Zealand. Her albums include \IBody and Soul (1987), Honeychild\i (1991, from which the hit single 'Break in the Weather' comes) and \IThe Story So Far.\i Her awards include the ARIA for Best Australian Female Artist for 1986 and 1987. In 1992 Morris was opening act on the Australian tour of British rock legend Paul McCartney. She is a roving ambassador for the National Drug Offensive, is involved with the ARK environmental group and has visited Somalia on behalf of World Vision.
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"Morris, Russell",415,0,g,0
\I1949-\i
Russell Morris, Australian singer, was born in Richmond, Victoria on 31st July 1949. He joined the group Somebody's Image in 1966 and in 1968 left to pursue a solo career where he immediately hit the big time with 'The Real Thing', written by Johnny Young. He was managed by Ian Molly Meldrum and the song was a number one hit, and the biggest selling hit of 1969. Other hits were 'The Girl That I Love', 'Part Three Into Paper Walls', 'Rache'l, 'Sweet Sweet Love' and 'Wings of An Eagle'.
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"Morrison, James",416,0,g,0
\I1962-\i
\IJazz multi-instrumentalist musician\i
Born on 11th November 1962 in Boorowa, New South Wales, into a musical family, Morrison started playing the cornet at the age of seven. While in secondary school he became a member of the Young Northside Big Band which played at the United States Jazz Festival in 1979. Morrison started playing the piano in 1974 and led a quartet (which included his brother John on drums) which played in clubs. In 1979-80 he studied jazz at the New South Wales State Conservatorium of Music, returning there in 1983 to teach. In 1982 he joined Don Burrows for an Australian tour for Musica Viva. By then his main instruments had become trumpet, trombone and piano. His engagements during 1983 included the Asian Art Festival and performances with the Morrison Brothers Big Bad Band which he and his brother had set up with fellow graduates from the Conservatorium. In 1984 he played at the Los Angeles Olympics Jazz Festival and in 1985 was a soloist with and musical director of the Australian contingent at Expo '85 in Japan. In 1986 he was named Australian Jazz Musician of the Year.
Since 1989 he has been a member of and soloist with the Phillip Morris Superband. Known internationally as a jazz recording artist, arranger, composer and flamboyant virtuoso performer, his range of instruments includes all winds, as well as piano and vocals. His trumpet playing has been described by an American reviewer as 'brash and athletic, with a tone as penetrating as a laser'. On their 1994 European tour the group 'James Morrison and the Hot Horn Happening' played mainly original pieces composed by Morrison. He also performed at various European jazz festivals with the Ray Brown Trio in the same year. Morrison and The Hot Horn Happening released a CD called \ILive in Paris\i in 1995.
In 1997, Morrison was awarded an AM for services to music, particularly jazz. He also featured on Channel Nine's \IThis is Your Life\i the same year.
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"Morton, Tex",417,0,g,0
\I1916-83\i
Tex Morton, Australian country singer, was born Robert William Lane in Nelson, New Zealand, on 30th August 1916. He learnt to play guitar and sing from his Maori neighbours. At the age of 16, he joined Wirths Circus as a kitchen hand when it was visiting New Zealand. He emigrated to Australia in 1932 and sang around Sydney pubs before travelling around Queensland, riding a motor bike in the Wall of Death, and even fighting in the Jimmy Sharman boxing tent.
In 1937 his records started to sell, and he became known as the 'Yodelling Boundary Rider', but radio man Jack Davey named him Tex. He later perfected an hypnosis act and in 1951 visited Canada. In 1973, he had his biggest hit, 'The Goondiwindi Grey', a song about the great race horse Gunsynd. He died in a Sydney hospital from pneumonia and pleurisy on 23rd July 1983, aged 69.
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"Moshinsky, Elijah",418,0,g,0
\I1946-\i
\ITheatre director\i
Shanghai-born Moshinsky immigrated to Australia with his family at the age of five. He studied at Melbourne University and after graduating lectured in history for three years at Monash University. In 1970 he travelled to England to study for his Doctorate in History at Oxford University. The general administrator of Covent Garden saw one of his student productions and invited him to join the Royal Opera, London, as resident associate producer in 1973. Once there, some of his first assignments were as assistant producer for Gotz Friedrich's \IRing Cycle\i and for Otto Schenk's \IUn Ballo in Maschera.\i A new 1975 production of Benjamin Britten's \IPeter Grimes\i received a lot of interest and later toured to La Scala, Milan. Moshinsky's first Australian production for the Australian Opera was Alban Berg's \IWozzeck,\i mounted at the 1976 Adelaide Festival. He went on to stage new productions of \IThe Rake's Progress, Samson and Delilah and Macbeth\i for Covent Garden and \IA Midsummer Night's Dream, Boris Godunov, Il Trovatore\i and \IDialogues of the Carmelites\i for the Australian Opera.
Moshinsky was sacked from the artistic directorship of the Adelaide Festival in 1984, a position he had held for only a short time. Undaunted by this setback, he collaborated with Sir \JSidney Nolan\j in 1987 on Mozart's \IThe Abdication from the Seraglio\i for the Royal Opera; in 1990 he withdrew from a second collaboration with the famous artist on Wagner's \IRing Cycle\i for the Victorian State Opera. In 1992, as artistic director of the Australian Opera, Moshinsky received the inaugural Hotel Inter-Continental award for opera direction. He directed Engelbert Humperdinck's \IHansel and Gretel\i for the company in the same year, which won him the 1993 Hotel Inter-Continental award for opera direction. In 1995 he directed \IRigoletto\i and \IThe Barber of Seville\i and in 1996 a return season of \IIl Trovatore\i for the Australian Opera. Nowadays Moshinsky is based in London.
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"Mulry, Ted",419,0,g,0
\I1949-\i
Ted Mulry, Australian singer, was born Edward Mulry in Oldham, England on 8th September 1949 and came to Australia when he was 20. He took a job as a bulldozer driver for the Department of Main Roads in New South Wales. Tony Geary from EMI heard one of his songs by chance, and 'Julia' was released in April 1970. Other hits include 'Falling In Love Again' and 'Memories'. He formed the Ted Mulry Gang in 1974 and their hits their include 'Jump in My Car', 'Darktown Strutters Ball', 'Steppin' Out' and 'Struttin'.
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"Murdoch, William",420,0,g,0
\I1888-1942\i
\IConcert pianist\i
Born at Bendigo in Victoria and educated at Melbourne University, Murdoch was awarded the Clarke Scholarship to the Royal College of Music in London and went there to study at the age of seventeen. He travelled widely during his career as an orchestral soloist and a solo recitalist. On one occasion in Sydney he was soloist in the first orchestral concert broadcast by the ABC from the New South Wales State Conservatorium. By 1930 Murdoch was one of the few artists whose work had been recorded on disc. He made a number of records with the violinist Albert Sammons. Murdoch encouraged the cities of Sydney and Melbourne to form permanent orchestras to accompany visiting soloists and present Australian and overseas works in their own right. A versatile musician, he arranged several of Bach's organ works for piano and published books about Chopin and Brahms. He died at Dorking in England.
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"Murphy, Graeme",421,fornicon.jpg,c,0
\I1950-\i
\IDancer, choreographer and director\i
Born in Melbourne, raised in Mathinna, Tasmania, and now based in Sydney, dancer Graeme Murphy was the youngest boy dancer to be accepted by the Australian Ballet School in Melbourne. He created his first ballet, \IEcco,\i for a choreographic workshop in 1971. Soon after, a grant from the Australia Council enabled him to study and dance in New York before joining the Sadler's Wells Royal Ballet in England and later the Ballets Felix Blaska in Grenoble, France, with whom he danced and toured Europe for two years. He returned to Australia in 1975 and worked as a freelance choreographer before rejoining The Australian Ballet, both as a dancer and as a resident choreographer. He was appointed as Artistic Director of The Dance Company (NSW) in November, 1976, where he began to build a large repertoire of orginal works by Australian choreographers. Graeme Murphy created his first full length work, \IPoppy,\i in 1978. In 1979 he initiated the change of name to Sydney Dance Company, announced at a Gala Performance of the company's \ISignature Season\i at the Sydney Opera House. He has choreographed over thirty original works for the company, including his 1992 short work \IPiano Sonata,\i and \ISynergy with \ISynergy,\i his sixteenth full length production.
In addition to his prolific output at Sydney Dance Company, Graeme Murphy has choreographed five original works for The Australian Ballet including \IBeyond Twelve,\i created for Kelvin Coe in 1980, \IGallery\i in 1987 and, more recently, a new version of Tchaikovsky's \INutcracker,\i which premiered at the Sydney Opera House in March 1992. For The Australian Opera he has directed Brian Howard's \IMetamorphosis\i and an acclaimed production of \ITurandot\i in 1990. He has also choreographed for The Royal New Zealand Ballet, The Canadian Opera Company and numerous pieces for Torvill and Dean including \IFire and Ice\i for London Weekend Television. In 1988 he was commissioned by the Australian Bicentennial Authority to create a landmark dance spectacle - \IVAST.\i The work brought together the combined talents of seventy dancers from four companies - Australian Dance Theatre, The Queensland Ballet, The West Australian Ballet Company and Sydney Dance Company.
During 1993, he choreographed an original version of \IBeauty and the Beast\i to music, by Carl Vine as well as \IThe Protecting Veil,\i set to John Tavener's score of the same name. In 1994, he created his new production of \IBerlioz's Les Troyens\i for The Australian Opera, as well as devising and choreographing a new dance-film titled \ISensing,\i for ABC-TV to a commissioned score by Ross Edwards. He led his company on tours to Taipei and Tokyo that year, presenting \ISynergy with Synergy,\i his major collaborative work with the percussion ensemble \ISynergy.\i In 1995, Graeme Murphy created two new full length productions - \IFornicon,\i which premiered in the Opera Theatre in May prior to its national tour; and \IBerlin,\i a major new work in collaboration with singer and composer Iva Davies of Icehouse, created for the Drama Theatre at the Sydney Opera House.
Graeme Murphy is known as a champion of contemporary music, using a broad variety of new scores by both Australian and overseas composers as a basis for many of his dance works. He has commissioned new music from leading Australian composers such as Carl Vine, Graeme Koehne, Iva Davies, Martin Armiger and Barry Conyngham, among others. In addition, Graeme Murphy has created new works to existing scores by such international composers as Luciano Berio, Steve Martland, Gavin Bryars, Olivier Messaien, John Tavener and by Iannis Xenakis whose \IKraanerg\i he staged in a new version in 1988.
\IThis information was supplied courtesy of Sydney Dance Company.\i
\ILargest entrepreneur of chamber music in the world\i
Each year Musica Viva Australia presents more than 2000 concerts of fine ensemble music featuring Australian and international artists through its annual concert seasons in the major Australian cities, its wide regional concert network (the Musica Viva Countryside program) and its Musica Viva in Schools scheme across Australia. It seeks principally to present the established heritage of Western music in a repertoire spanning the period from the twelfth century to the present day. Musica Viva has brought to Australia international performer/composers such as Philip Glass, Pierre Boulez and Steve Reich; exponents of early music such as the Tallis Scholars, the Academy of Ancient Music under Christopher Hopwood and the Monteverdi Choir; and has introduced new musical forms such as those of the Amsterdam Loeki Stardust Quartet. It supports and promotes new Australian ensembles, commissions work from Australian composers and manages tours for Australian musicians overseas (under Musica Viva Export, in association with the Department of Foreign Affairs and Trade and the Performing Arts Board of the Australia Council).
Established in Sydney in 1945 by the Viennese musician \JRichard Goldner,\j it was originally a string orchestra called the Musica Viva Society. Its first concert, at the New South Wales State Conservatorium in Sydney, was given under wartime blackout conditions and lighting was by car head-lights. In the early 1950s financial problems caused the temporary shutdown of the organisation; it was resurrected in 1995 and under Charles Berg, Ken Tribe and Regina Ridge, its first general manager, Musica Viva became an entrepreneur rather than a performing ensemble.
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"My Name is Edward Kelly",423,0,g,0
\IBallet\i
The \JAustralian Ballet\j commissioned Timothy Gordon to choreograph \IMy Name is Edward Kelly\i as the final work of a triple bill to end its 1990 season. The company was celebrating its fiftieth anniversary in that year and was keen to end with a flourish of Australian material. The 50-minute ballet is set to the music of \JPeter Sculthorpe\j's \IPort Essington\i (1974-77), \IString Quartet No. 8\i (1969) and \IEarth Cry\i (1986). The cast of thirty dancers featured \JSteven Heathcote\j in the title role of Ned and \JMarilyn Jones\j as Ned's mother. The designs for the premiere were done by \JKenneth Rowell.\j Gordon worked hard to capture the feeling of dust, heat and the earth that the Kelly family would have experienced at that period of Australia's history. The ballet is based on Ned's letters and some of his thoughts. It doesn't try to be a mammoth historical piece. It's interesting to note that gordon used the same composer and designer that \JRobert Helpmann\j used to create his 1968 work \ISun Music.\i
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"Myers, Raymond",424,0,g,0
\I1939-\i
\IBaritone opera singer\i
Raymond Myers was born in Sydney. He won the 1963 Melbourne \ISun\i Aria and in 1965 the Verdi Gold medal. In 1963 he made his first appearance with the Australian Opera (then known as the Elizabethan Trust Opera Company) in the role of Don Fernando in \IFidelio.\i His later roles for the company include the title roles of \IThe Flying Dutchman, Rigoletto, Gianni Schicchi\i and \IWozzeck\i (the last at the 1976 Adelaide Festival of the Arts); Scarpia \I(Tosca)\i; Wolfram \I(TannhΣuser)\i; Dapertutto and Dr Miracle \I(The Tales of Hoffman)\i; Escamillo \I(Carmen)\i; Sharpless \I(Madame Butterfly)\i; the Wanderer \I(Siegfried)\i; Telramund \I(Lohengrin)\i; Pizarro \I(Fidelio)\i; and the Rabbi in the world premiere of \JLarry Sitsky\j's \IThe Golem.\i His numerous recordings include Brahms' \IDie Sch÷ne Magalone Cycle\i and Mahler's \IEighth Symphony.\i
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"Nathan, Isaac",425,0,g,0
\I1790-1864\i
\IComposer of the first Australian opera\i
Born in Canterbury in England, Nathan arrived in Australia in 1841. A friend of Lord Byron, Nathan believed himself to be the grandson of the last king of Poland, Stanislaus Poniatowsky. His opera \IDon John of Austria\i (1848) is thought to be the first opera written and performed in Australia. His dominating presence on the Australian music scene as teacher, composer, organist and conductor helped to raise local performance standards. Rather surprisingly for a musician with his roots firmly planted in the European tradition, Nathan was the first person to study Aboriginal music in a serious way. Perhaps inspired by his vigorous forefather, his great-great-great-grandson is the well-known Australian conductor Sir \JCharles Mackerras\j.
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"NAISDA College of Dance",426,0,g,0
\BNational Aboriginal & Islander Skills Development Association\b
\ITraining school for Aboriginal and Torres Strait Islander performers\i
The National Aboriginal & Islander Skills Development Association (NAISDA) College of Aboriginal and Islander Dance is based in Sydney; it grew out of a six-week workshop in Redfern in 1975. It provides quality training for young Aboriginal and Torres Strait Islander students from all over Australia in dance, music, stagecraft and related academic subjects. Students attending the NAISDA College have performed nationally and internationally in works that blend traditional Aboriginal and Islander dance with Western dance. Graduates from the College can audition to join either the Aboriginal and Islander Dance Theatre (AIDT) or non-Aboriginal dance companies.
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"National Folkloric Festival",427,0,g,0
\IAnnual multicultural arts festival in Sydney\i
The week-long National Folkloric Festival is held each June around the Queen's Birthday Weekend. Held at the Sydney Opera House, the festival includes outdoor performances on the steps and forecourt. Activities feature song, music and dance from more than thirty countries, a reflection of the cultural diversity of modern Australia.
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"National Opera of New South Wales",428,0,g,0
\ISydney-based opera company with national aspirations operating 1951-55\i
The company was founded in Sydney in 1951 by Mrs Clarice Lorenz. It grew out of the opera school of the New South Wales State Conservatorium of Music, Sydney, and was funded in part by the New South Wales Government. \JJune Bronhill\j appeared in its first season before leaving for further studies in London; other singers included \JRonald Dowd\j, \JGeoffrey Chard\j, Alan Light and John Dudley. In 1952 the company joined forces with \JGertrude Johnson\j's Melbourne-based National Theatre Movement Opera Company to form a national company for seasons in Brisbane, Sydney and Melbourne. At the end of the season, Mrs Lorenz renamed her company the National Opera of Australia and Johnson, affronted by this presumption, refused further joint ventures. Each company then mounted separate touring programs. This financially draining exercise brought both down. After a tour of New Zealand Mrs Lorenz's company gave a season of six operas at the Empire Theatre in Sydney in 1954 and in the following year gave its last season at the Palladium in Sydney.
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"Nausicaa",429,0,g,0
\IOpera\i
This three-act opera, based on popular Greek folk themes, is popularly regarded as Peggy Glanville-Hicks' finest composition. The libretto was written by Robert Graves, based on his novel \IHomer's Daughter.\i The opera, composed in 1960, was first produced for the 1961 Athens Festival with sponsorship by the Greek Government; it received considerable critical praise. The original cast, including singer Teresa Stratas in the title role and conductor Carlos Surinach, recorded the opera.
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"Nearly Beloved",430,0,g,0
\IBallet\i
\JGraeme Murphy\j's work \INearly Beloved\i was first performed at the Sydney Opera House in August 1986. With music by Graeme Koehne and set design by Stephen Curtis, it plays with the concepts of time and memory as the present (in the form of the bridegroom) arrives about twenty years too late at the wedding he fled from to find the past (wedding guests and jilted bride) still waiting. The work has three acts: the first with scenes set at the pictures in a country town in New South Wales in 1954 and then the night before a wedding in 1955; the second at an inner city apartment in 1986; the third back at the country town once more.
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"Neate, Kenneth",431,0,g,0
\ITenor opera singer\i
Kenneth Neate was born in Cessnock, New South Wales. He left Australia in 1940 and in 1941 made his debut with the Metropolitan Opera, New York, in a gala performance of \IThe Magic Flute\i. His London debut, at the Royal Opera House, Covent Garden, was in 1946 as Don JosΘ in \ICarmen\i, and for the following five seasons he sang leading tenor roles in London. He later sang with major Italian houses and with touring companies in Spain. In 1955 he returned to Australia for a season to sing with an Italian opera company touring Australia for the J.C. Williamson theatrical organisation, and was back again for the 1960 season as principal tenor with the Australian Elizabethan Trust Opera (forerunner of the Australian Opera) in \IThe Magic Flute, Rigoletto\i and \IMadama Butterfly\i. After his return to Europe he based himself in Germany, where he specialised in Wagnerian roles.
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"Newton-John, Olivia",432,0,g,0
\I1948-\i
\IActor and pop and country singer\i
Olivia Newton-John was born in Cambridge, England, and arrived in Australia with her family at the age of five; she grew up in Melbourne. As a teenager she sang folk songs in a coffee lounge; after winning a talent quest on Johnny O'Keefe's \ISing, Sing, Sing\i television show she became a popular performer on teenage television. In 1965 she left for London (her prize in the quest, which she had delayed taking) and there had some success in the pop music world. In 1971 she moved to the United States and changed to a country style of music. In the same year she released a single of Bob Dylan's 'If Not For You', which became an international hit, and 'On The Banks Of The Ohio', also a hit. In 1974 'I Honestly Love You', a song written for her by Peter Allen, went to No. 1 in the United States and won her two Grammy awards--1974 Record of the Year and 1974 Best Pop Vocal Performance.
For the next two decades she was a leading country and popular music singer in America and around the world. Her later hit singles include 'If You Love Me' (1975), 'You're The One That I Want' (1978, with John Travolta), 'Xanadu' (1980, with the Electric Light Orchestra) and 'Physical' (1981); her albums include \IFirst Impressions (Greatest Hits)\i 1975, \IGrease\i (1978, with others), \IPhysical\i (1981) and \ISoul Kiss\i (1985). Her film work includes \IGrease\i (US, 1978), \IXanadu\i (1980) and \ITwo of a Kind\i (1982). In 1988 she returned briefly to Australia to make the television special \IOlivia Newton-John in Australia\i and in 1994 was back again to settle on the north coast of New South Wales. In 1994 she released a new album, \IGaia: One Woman's Journey.\i
Olivia Newton-John has suffered from breast cancer and has also split up with her husband, Matt Lattanzi.
In the mid-90s Olivia hosted an Australian documentary series on Channel 9, called \IWildlife,\i and in 1996 she signed up with Panasonic to feature in a number of television commercials.
#
"Night Episode",433,0,g,0
\IBallet\i
\INight Episode\i was one of four works sponsored by the \JAustralian Ballet\j with the \ICanberra Times\i in 1974 to encourage young choreographers in the company. 'Ballet 1974', the event at which the four ballets were judged by a panel of Australian critics, was held in July of that year. The winner was \INight Episode's\i choreographer \JJohn Meehan\j who had set his work to Benjamin Britten's \ISerenade for Tenor, Horn and Strings.\i Tenor Ronald Dowd sang the voice solo role and received high praise for his performance, as did the choreographer. The piece presents the difference between sex and sexual love as the difference between animals and humankind. The work was presented later that year in the Australian Ballet's second season at Melbourne's Princess Theatre.
#
"Noble, Buster",434,0,g,0
\I1913-90\i
Buster Noble, Australian variety artist, comedian, dancer and singer, was born in Adelaide on 1st March 1913. He began his stage and singing career in 1930 and played the Australian Tivoli circuit, before going to London in 1952. His hallmarks were comedy without profanity, a banjo slung around his neck, dressed in an outrageous checked suit with a wide brimmed hat, and an acclaimed tap-dance routine. His record, \IThe Pommie Jackeroo,\i was a hit in 1963.
Married to Helen de Paul, he had two daughters, Amanda and Trisha (once known as Patsy Ann Noble). (Trisha became an Australian pop star before going to America and finding work as an actress.) Buster amazed family and friends when he nearly died in 1983 after he burst his aorta, the main artery to his heart. He died from lung cancer on 14th July 1990, aged 77.
#
"Noble, Patsy Ann",435,0,g,0
\I1944-\i
Patsy Ann Noble, Australian singer and actress, was born Patricia Noble at Marrickville, New South Wales on 3rd February 1944. She is now known as Tricia Noble, daughter of the late country singer Buster Noble. She was discovered by \IBandstand's\i Brian Henderson in 1960 as a Brenda Lee sound-a-like. Her most famous hit was 'Good Looking Boy.'
#
"Nock, Mike",436,0,g,0
\I1940-\i
\IJazz composer and keyboard player\i
New Zealand-born Nock came to Australia in the late 1950s, travelling to the United States on a scholarship to Berkeley in 1961, where he worked with such jazz greats as Sam Rivers, Sonny Stitt and Yuseef Lateef. While living in California in the late sixties, Nock formed The Fourth Way, an early jazz-rock fusion band. From the States he made frequent forays to Europe, where he is still invited to tour. He returned to Australia in 1985 and nowadays composes, plays, tours with musicians such as the American tenor saxophonist Billy Harper and drummer Malcolm Pinson (1992), and teaches in the jazz studies course at the Sydney Conservatorium of Music.
#
"Norman, Gary",437,0,g,0
\I1951-\i
\IBallet dancer and teacher\i
Gary Norman was born in Adelaide. He graduated from the Australian Ballet School in 1969 and in the following year joined the Australian Ballet, becoming a soloist in 1971 and a principal artist in 1972. He created roles in Glen Tetley's \IGemini\i (1973), Barry Moreland's \ISacred Space\i (1974); the role of Vronsky in \IAnna Karenina\i (1979) and the Duke of Buckingham in \IThe Three Musketeers\i (1980)-both works by AndrΘ Prokovsky. His repertoire included the leading male roles in \IGiselle, La Fille mal gardΘe, Raymonda, Spartacus, Swan Lake,\i Roland Petit's \ICarmen\i and Jerome Robbins' \IAfternoon of a Faun.\i From 1975 to 1977 he danced as principal artist with the National Ballet of Canada and the Royal Winnipeg Ballet, in partnership with his dancer wife \JGailene Stock\j, before rejoining the Australian Ballet. In 1983 he became a faculty member of the Australian Ballet School; in 1988 he became senior lecturer in dance at the Victorian College of the Arts School of Dance; and in 1991 was appointed senior teacher on the faculty of the Australian Ballet School. He is a regular guest artist with the Australian Ballet and in 1995 created the role of The Bonze in Stanton Welch's \IMadame Butterfly.\i
#
"Nova Ensemble",438,0,g,0
\IWestern Australian-based contemporary music ensemble\i
Nova Ensemble, formed in 1983 by David Pye, specialises in the presentation of serious contemporary music. Its range of activities encompasses composition, commissioning, performance, recording original Australian music, running workshops and building instruments. Its annual program includes concert performances (formal concerts as well as music-theatre and dance-theatre collaborations), work with school children and the exploration of music of other cultures. Its specialist performances include 'Terminal Velocity', an electro-acoustic program incorporating four to six musicians using digital technology; 'Junkelan', four musicians performing on instruments made from scrap metal, PVC tubing and other industrial and household wastes; and 'Orchestra of the Global Nomads'. Nova has worked with a number of Western Australian arts organisations, including the \JChrissie Parrott Dance Company\j, the West Australian Opera, Deck Chair Theatre and Artrage Festival. It has performed at festivals throughout Australia and has toured to Tokyo (1992), Malaysia (1994) and Taiwan (1994).
#
"Obarzanek, Gideon",439,0,g,0
\I1965-\i
\IDancer and choreographer\i
Melbourne-born Obarzanek journeyed to Israel with his family when he was one to live on a kibbutz for eight years, returning to Australia in 1974. He graduated from the \JAustralian Ballet School\j in 1987 and joined The Queensland Ballet. While still a student, Obarzanek began his choreographic career with three short works. One of these, \IThe Heat,\i was performed during the 1987 Dancers Company tour. He went on to choreograph \IDrift Office\i for the 1988 Queensland Ballet's choreographic workshop and \IMr Crowther and the Wallflower\i for the 1989 opening of the Australasian Drama Studies Association Conference. This later work was filmed and received a great deal of exposure and acclaim.
In 1990 Obarzanek received a Marten Bequest Scholarship on which he travelled to New York and Madrid to study dance and choreography. In the same year he joined the \JSydney Dance Company,\j taking roles such as the Best Man in \J\INearly Beloved\j\i and the Shepherd in \IKing Roger.\i In 1991, \JGraeme Murphy\j commissioned him to create one of six short works entitled \IThe Shakespeare Dances.\i Obarzanek's piece was based on \IMacbeth\i and called \ISleep No More.\i The Sydney Dance Company performed it on their 1992 tour of France as well as for their Sydney season. In 1992 Jonathan Tayler commissioned Obarzanek to create \IYou've Got me Floating\i for a season at the Malthouse Theatre and he has also spent time working with choreographer \JGraeme Watson.\j In 1995 Obarzanek's company Chunky Move performed at the Melbourne Festival and premiered at the Sydney Performance Space with Garry Stewart's \ISpectre in the Covert Memory\i and Obarzanek's own \IFast Idol.\i
#
"Of Blessed Memory",440,0,g,0
\IBallet\i
\IOf Blessed Memory,\i choreographed by \JStanton Welch\j, had its premiere season with the \JAustralian Ballet\j in 1992. The choreographer dedicated the work to his mother, in gratitude for the life they spent together and for introducing him to the world of dance, and to the memory of a friend, Anthony McBride. The work explores the journey of a child and its mother through life, bonded inevitably by the time spent sharing the same body.
The ballet is set to the music of Joseph Canteloube from his \IChants d'Auvergne.\i The original design was by \JKristian Fredrickson\j with lighting by William Akers; the soprano soloist was Joanna Cole.
#
"O'Hagan, Jack",441,0,g,0
\I1899-1987\i
Jack O'Hagan, Australian composer, was born in 1899 and composed over 100 songs, ballads, and stage productions, his most famous being 'On the Road to Gundagai', which was the theme to the \IDad and Dave\i radio serial. His other songs included 'Our Don Bradman' and 'God Bless Australia', which he had hoped would one day be set to the music of 'Waltzing Matilda' and become Australia's national anthem. He died in a Melbourne nursing home on 15th July 1987, aged 88.
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"O'Keefe, Johnny",442,0,g,0
\I1935-78\i
\IRock singer and television show host; pioneer of Australian rock music\i
Johnny O'Keefe was born in Sydney and began his working life as a salesperson in his family's furniture store. His interest in music was encouraged by his father, Ray O'Keefe, who had his own club band. Johnny O'Keefe worked on amateur radio and in clubs, slowly building up a reputation for his distinctive homegrown rock style. In 1957 he formed the band the Deejays and appeared as a supporting act for the touring US group Bill Haley and the Comets and later in the year toured with Lee Gordon's \IBig Show.\i 'The Wild One' (1958), his third release, was his first hit, and provided him with his nickname 'Wild One' (he was also known as 'JO'K'); later in 1958 the single 'So Tough' gained him his first gold record. From 1958 to 1974 he had five No. 1 hits and another eight in the Top 10, including 'She's My Baby' (1960) and 'Move Baby Move' (1963); 'Shout' (1959), the song many associate with him, did not go beyond No. 11. In 1959 O'Keefe became compere of the rock 'n' roll television show \ISix O' Clock Rock\i; he later hosted his own television program, \IThe Johnny O'Keefe Show.\i
Although his popularity waned with the 1960s style of pop music--1964, which he described as one of his worst years, was the year the Beatles burst upon the pop scene--he continued to make hit records into the 1970s and also ran his own management company. Other hit singles include 'I'm Counting on You' (1961), 'Right Now' (1961), 'Sing' (1962), 'She Wears My Ring' (1964), 'So Tough' (1972 version) and 'Mockingbird' (1974, with Margaret McLaren). His 1975 album, \IThe Living Legend,\i was awarded a platinum record. He struggled with personal problems, including alcohol and depression, and died suddenly of a heart attack in 1978.
#
"Olding, Dene",443,0,g,0
\I1956-\i
\IViolinist\i
Brisbane-born Olding is the son of pianists Maxwell Olding and Pamela Page. He studied with Ivan Galamian and Margaret Pardee at the Juilliard School of Music in New York from 1970 to 1978 before taking up the position of concertmaster with the Florida Orchestra. In 1982 he returned to Australia, becoming a violinist with the newly formed \JAustralia Ensemble.\j He was also musical director and leader of the Australian Chamber Orchestra in 1982-83. International recognition came in 1985 when Olding was a prizewinner in the Queen Elizabeth of Belgium International Violin Competition. In the same year he was awarded a Churchill Fellowship to study overseas with Herman Krebbers and Gyorgy Pauk. In 1987, Olding was appointed co-concertmaster of the \JSydney Symphony Orchestra\j and has appeared as a soloist with all the major Australian orchestras, performing over twenty-five violin concertos including world premieres of concertos by \JRoss Edwards,\j Bozidar Kos and \JRichard Mills\j. Olding is also a founding member of the \JGoldner String Quartet,\j named after the founder of Musica Viva and formed in 1995.
#
"Olsen, Dennis",444,0,g,0
\I1938-\i
\IActor and singer noted for Gilbert and Sullivan roles, and theatre director\i
Dennis Olsen began his professional career as a pianist and was joint winner of the 1959 ABC Concert Competition. In the following year he entered NIDA and subsequently appeared with the Old Tote Theatre Company, the State Theatre Company of South Australia, the Melbourne Theatre Company and the Sydney Theatre Company. In 1969 he made his first appearance with the Australian Opera (then known as the Elizabethan Trust Opera Company) in the role of the Lord Chancellor in \IIolanthe.\i His other Gilbert and Sullivan roles for the company include Sir Joseph Porter \I(HMS Pinafore),\i Major-General Stanley \I(The Pirates of Penzance),\i the Duke of Plaza-Toro and Don Alhambra \I(The Gondoliers)\i and Ko-Ko \I(The Mikado).\i He sang the role of Andres in the company's production of \IPericole.\i His directing credits include \ICountess Maritza,\i for the Australian Opera, the State Opera of South Australia and the Victoria State Opera; \IThe Pirates of Penzance, The Abduction from the Seraglio\i and \IThe Czardas Princess,\i for the State Opera of New South Wales; \ICosi fan tutte,\i for the West Australian Opera; and the play \IMiddle Age Spread\i for the Adelaide Festival Centre Trust.
His acting credits include \IThe Importance of Being Earnest, Six Characters in Search of an Author, The Cherry Orchard, The Winslow Boy\i and \IPrivate Lives.\i In 1994 he appeared in the autobiographical 'Legends' series at Sydney's Tilbury's Hotel.
Dennis Olson was made an AO (Officer of the Order of Australia) in 1987 for his services to the performing arts.
The One Extra Dance Company was founded in 1976 (as the One Extra Dance Group) by Malaysian-born choreographer \JKai Tai Chan\j. Its performance works are a combination of movement, design and sound which explore ideas in ways that both challenge and entertain-this includes presenting work in a variety of situations and locations to make it accessible to as wide an audience as possible. One Extra has been a fully professional company since 1981; it tours extensively in Australia and overseas. Its original works include \IThe Turn of the Tide, The Shrew,\i which toured Europe and Asia; \IUrban Fairies and Other Stories,\i which the company performed at the 1988 Houston International Festival; and \IDancing Demons,\i created in 1991 for Indonesian and Australian artists and presented in Indonesia and Sydney.
Following the departure of One Extra founding artistic director and choreographer Kai Tai Chan in 1991, choreographer \JGraeme Watson\j, a long-time creative collaborator of Chan's, and Julie-Anne Long became co-artistic directors. In 1993 the company toured New South Wales with \ISuburban Pirates,\i in conjunction with the Flying Fruit Fly Circus, and in 1994 presented \IDrowning in a Sea of Dreams,\i an original work based on the novel \ILove in the Time of Cholera\i by celebrated Latin American writer Gabriel Garcia Mßrquez. In early 1996 both Long and Watson announced they would be leaving One Extra; Watson to take up the position of artistic director of \JDance North\j from 1997.
The company was co-winner of the 1990 Sidney Myer Performing Arts Award. One Extra and Kai Tai Chan have helped forge the careers of a number of Australia's leading dancers, including Julie Shanahan (who went to Germany's Pina Bausch Company), Lloyd Newson (who became director of London's DV8), \JChrissie Parrott\j and Julie-Anne Long.
#
"O'Neill, Sharon",446,0,g,0
\I1952-\i
Sharon O'Neill, singer, was born in Nelson on the South Island of New Zealand on 23rd November 1952. She began her career in the record library of her local radio station 2ZN in Nelson. She came to Australia in 1979, and her first album was \IWords\i in 1980. She toured Australia as the support act for Boz Scaggs, was voted the most popular female artist at the Countdown Awards in 1982, and recorded the soundtrack to the movie \ISmash Palace\i in 1983. Her hits include 'Maxine' and 'Power'.
#
"Othello",447,0,g,0
\IBallet\i
\JGarth Welch\j created his ballet \IOthello\i in 1969 for the \JAustralian Ballet School\j. The work is set to Jerry Goldsmith's score for the film \IPlanet of the Apes.\i The ballet's four characters, Othello, Iago, Desdemona and Emilia, have been plucked from the pages of Shakespeare's tragedy and dance on a bare stage. At its 1971 premiere by the Australian Ballet at Adelaide's Her Majesty's Theatre, the four starring roles were danced by \JGarth Welch\j, \JAlan Alder\j, \JMarilyn Jones\j and \JJanet Vernon\j.
\IOthello\i was part of the repertoire the Australian Ballet performed on their sixth international tour to Russia, Poland, Romania, Czechoslovakia and London in 1973. The work was also performed by the company in 1974 and 1979.
#
"Outlaw, The",448,0,g,0
\IBallet\i
\JEdouard Borovansky\j's ballet \IThe Outlaw\i premiered in 1951 with \JPaul Grinwis\j dancing the role of Ned Kelly and \JKathleen Gorham\j as his girlfriend. The sets were designed by \JWilliam Constable\j and the score was written by Verdon Williams. The dance drama has five scenes spread over two acts, with a spoken prologue. Borovansky's choreography in this ballet was not sufficient to keep it in his company's repertoire after 1952.
#
"Oxenbould, Moffatt",449,0,g,0
\I1943-\i
\IOpera producer and administrator\i
Sydney-born Moffatt Oxenbould, a NIDA graduate, joined the Australian Opera as a stage manager in 1963. From 1966 to 1967 he worked as a stage manager at Sadler's Wells Opera in London. In 1967 he joined the Elizabethan Trust Opera Company (in 1969 reorganised as the Australian Opera); his productions for the company include \IThe Rape of Lucretia\i (1971) and \ITrittico\i (1973). In 1984 he was appointed the company's artistic director. He was made an AM (Member of the Order of Australia) for services to the performing arts.
#
"Page, Stephen",450,0,g,0
\IDancer and choreographer\i
Queensland-born Stephen Page arrived in Sydney at the age of sixteen to audition for the NIDA actor's course but instead studied dancing with the National Aboriginal & Islander Skills Development Association (NAISDA). After graduating he danced with the \JSydney Dance Company\j in \IAfter Venice, \JNearly Beloved\j, Shining, \JPoppy\j, CafΘ, Soft Bruising Company of Women\i and \IKing Roger.\i \JGraeme Murphy\j featured Page in the role of the Faun in \ILate Afternoon of a Faun\i in which \JGarth Welch\j also starred. In 1988 Page toured to Germany and Finland with NAISDA's performing arm, the Aboriginal Islander Dance Theatre.
As a choreographer, Page developed \IMooggrah\i for the Sydney Dance Company' season \IShakespeare's Plays\i in 1991; in the same year the Sydney Theatre Company commissioned him to choreograph \ITrackers of Oxyrhynchus\i and the Australian Opera commissioned a sextet for their season of Mozart's \IMarriage of Figaro.\i Page joined \JBangarra Dance Theatre\j as principal choreographer in September 1991, where his first choreographic undertaking was \IUp Until Now.\i At the end of that year he was appointed artistic director of Bangarra and choreographed and directed the company's first full-length work, \IPraying Mantis Dreaming.\i Since that time he has choreographed a number of interesting pieces including the contemporary operatic film \IBlack River,\i which was awarded the Grande Prix Opera Screen 93 prize in Paris, \IPride\i for the ABC's Choreographers' Series \ISeven Deadly Sins,\i as well as co-choreographing the half-time entertainment at the 1993 AFL Grand Final.
In 1994 Page won dance performer of the year at the 1994 Mo Awards and in 1995 was appointed choreographer and artistic director of the Olympic flag handover ceremony to close the 1996 Atlantic Games.
#
"Painter, John",451,0,g,0
\I1932-\i
\ICellist and musical director\i
Painter began studying cello at the age of ten with Harold Parsons at the Elder Conservatorium in Adelaide. By 1944 he had won the Elder Conservatorium Scholarship and, after only three and a half years of lessons, was offered a position in the South Australian Symphony Orchestra. In 1949, almost crippled with back pain, he went to Sydney to study with Lauri Kennedy, who helped him with his posture, but by 1950, at the age of 18, he was back in Adelaide having been offered the post of principal cellist with the South Australian Symphony Orchestra. Soon after his return he won the ABC Concerto and Vocal Competition and established the Adelaide String Quartet with Andrew Hoffman, which later re-formed in Sydney as the Hoffman Quartet.
Painter returned to Sydney in 1954 as a member of the Sydney Symphony Orchestra and gradually ascended to the posts of associate and, by 1960, principal cellist. In the same year he was appointed part-time lecturer in cello at the New South Wales State Conservatorium of Music. By 1966 he had left the SSO and formed the Sydney String Quartet with \JRobert Pikler\j, Harry Curby (later \JCarl Pini\j) and Robert Ingram. He also managed the Robert Pikler Chamber Orchestra and was active in numerous Musica Viva ensembles and concerts. At a time when Australia's Conservatoriums were expanding, Painter became head of the String Department of the New South Wales State Conservatorium in 1972, deputy director in 1974 and director from 1982 to 1985. During the same period, he was an executive member of Musica Viva and its deputy chairman from 1978 to 1984.
After leaving the New South Wales Conservatorium, Painter was appointed director of the Canberra School of Music, founded by \JErnest Llewellyn\j in 1966. He held this post until his retirement in 1995, when he returned to Sydney. He continues to serve as a board member of the Australian National Academy of Music.
#
"Parkinson, Doug",452,0,g,0
\I1946-\i
\ISinger and musician of popular music and actor of stage and television\i
Doug Parkinson was born on 30th October 1946 in Newcastle, New South Wales, and formed his first band, Strings and Things, in 1965 and in the following year formed The 'A' Sound, both while still at school. He later joined Questions, and in 1967, after coming second in a nation-wide Battle of the Sounds competition, he and the band toured nationally as a supporting act for The Who and the Small Faces. In 1969 Parkinson and a new band, In Focus (which included some members of the earlier group), released the singles 'Dear Prudence' and 'Without You'/'Hair', both of which reached No. 5 on the national charts; Parkinson and the band also won the Battle of the Sounds. Parkinson's later singles include 'Baby Blue Eyes' (1970, with In Focus), 'Everlasting Love' (1974), 'The Sun Ain't Gonna Shine Anymore' (1981) and 'Willing and Abel' (1987). His television work includes a role in the series \IThe Young Doctors\i (1980) and appearances in the children's series \IButterfly Island.\i In 1983-84 he played Judas in \IJesus Christ Superstar.\i
#
"Parrott, Chrissie",453,0,g,0
\IDancer, choreographer and artistic director\i
Parrott joined the West Australian Ballet at nineteen but it was her association with Tanz Forum in Cologne that helped steer her in the direction of the innovation, daring and imagination needed for her future work. Her first choreographic work, \ILike Hiroshima: Just Another Fallout,\i was performed in 1976 on the anniversary of the Hiroshima bombing. Her first commissioned work, \ICatherine's Wedding,\i premiered at the Sydney Opera House in 1978. She has since choreographed over 30 works for Australian and international companies such as Tanz Forum, Germany; \JOne Extra Dance Company\j, Sydney; \JDance North\j, Townsville; and \JAustralian Dance Theatre\j, Adelaide. In 1986 Parrott established the Perth-based \JChrissie Parrott Dance Company\j (then called the Chrissie Parrott Dance Collective) as an extra vehicle for her creative energy.
Works that Parrott has choreographed include \IEarthworks\i (Festival Fringe 1987), \IRecycling of a Suburban Angel\i (1988 Artrage Festival), \IMirra Coda\i (1989 Festival of Perth), \IEarth Angels\i (which she co-directed at the Quarry Amphitheatre for the 1990 Festival of Perth), \ISoftware Dragon\i (1991 International Melbourne Festival) and \ISatu Langit\i ('One Sky'--created for the 1994 Festival of Perth).
#
"Parsons, Geoffrey",454,0,g,0
\I1929-95\i
\IPianist and accompanist\i
Sydney-born Parsons studied at the New South Wales State Conservatorium of Music and began his career as a concert accompanist in 1948. In 1950, he settled in London. Since first being invited to accompany lieder singer Gerhard Hⁿsch in 1955, in his long career he has accompanied, among others, \JPeter Dawson\j, Victoria de los Angeles, Elisabeth Schwarzkopf, Ruggiero Ricci, \JJoan Hammond\j and Jessye Norman. From 1950 Parsons was based in London. As well as concerts in England and Europe, he made more than 29 concert tours of Australia for the ABC and was considered one of the world's finest accompanists. He was made an OBE and in 1990 was appointed an AO.
#
"Parsons, Gordon",455,0,g,0
\I1927-90\i
Gordon Parsons, Australian country music writer and performer, was born in 1927. He was a timber cutter in the Bellingen River area of New South Wales before he wrote Slim Dusty's all time greatest selling single and number one hit 'A Pub With No Beer'. The song was first released in 1957 and was on the Australian charts for six months. Parsons had a hit himself in 1946 with 'The Australian Bushman', after an appearance on Terry Dear's \IAustralian Amateur Hour.\i He was honoured in the Tamworth Country Music roll of honour in 1982. Parsons died from a heart attack at his south Granville home in Sydney's west on 17th August 1990, aged 63.
#
"Pavane, Lisa",456,0,g,0
\IBallet dancer\i
Lisa Pavane was born in Newcastle, New South Wales. She graduated from the Australian Ballet School in 1980 and joined the Australian Ballet in the following year, being promoted to principal artist rank in 1986. Her repertoire includes the ballerina roles of all the nineteenth- and twentieth-century full-length ballets, in addition to roles such as the Black Queen in \ICheckmate,\i Terpsichore in \IApollo,\i the Sleepwalker in \INight Shadow,\i the Italian Ballerina in \IGala Performance\i and the leading roles in \ICatalyst\i and \IOf Blessed Memory.\i Lisa Pavane and her husband, ballet dancer \JGreg Horsman\j, have been guest artists with the Boston Ballet, in 1987; the Leningrad Kirov (now Maryinsky) Ballet, in 1989; and in 1991 and 1994 they danced in the Sixth World Ballet Festival in Tokyo. In 1991 Lisa Pavane made a guest appearance with the Birmingham Royal Ballet and in 1992 performed at the International Festival of Ballet in Nervi, Italy. She left the Australian Ballet in 1994 to become a principal with the English National Ballet.
#
"Pearce, Michael",457,0,g,0
\ISet designer\i
South Australian-trained Michael Pearce attended the School of Art in Adelaide and Flinders University. He was assistant designer for Melbourne Theatre Company and assisted \JKristian Fredrickson\j for the \JAustralian Ballet\j's \ICinderella.\i As resident designer for the South Australian Theatre Company (SATC) his productions included \IJugglers Three, Crete and Sgt Pepper, Occupations, Comedy of Errors, Long Day's Journey into Night, Bride of Gospel Place, The Three Cuckolds, The Department, Equus\i and \IOthello.\i Other of his theatre designs include the 1980 production of Thomas Keneally's \IBullie's House\i for Sydney's Nimrod Theatre and \ITwo Gentlemen of Verona\i for the Chung Ying Theatre Company for the 1990 Hong Kong Arts Festival.
On receiving an Australia Council Study Grant, Pearce travelled to the United Kingdom where he assisted John Bury at London's National Theatre and to New York, Teheran and Paris where he designed productions for Marilyn Woods' Celebration Group. His commissions for dance include designs for \JGraeme Murphy\j's \IWilderness\i for the \JSydney Dance Company\j in 1982; Glen Tetley's \IRevelation and Fall\i for the Nederlands Dans Theater in 1986; Leigh Warren's \IBeyond the Flesh\i for the Australian Dance Theatre at the 1990 Adelaide Festival of the Arts; \IThe Decay of Lying\i performed by the Royal New Zealand Ballet for the New Zealand Festival of the Arts, \IDon't Forget the 40s\i for \JDance North\j (to commemorate the 50th anniversary of the Battle of the Coral Sea) and \J\ISand Siren\j\i for the Australian Ballet in 1992.
#
"Peasley, Colin",458,0,g,0
\IBallet dancer\i
Colin Peasley was born in Sydney and studied classical ballet with \JValrene Tweedie\j and modern dance with \JGertrud Bodenwieser\j. He made his first appearance with the Bodenwieser Ballet in \ITarantella\i in 1957 and also danced with the National Theatre Ballet, the \JVictorian Ballet Guild\j and on television. He was a founding member of the Australian Ballet in 1962 where he remains a principal artist noted for the diversity and quality of his character roles. He created the roles of Baron Mirko Zeta in \IThe Merry Widow\i (1975) and Cardinal Richelieu in Andre Prokovsky's \IThe Three Musketeers\i (1980).
His remarkable repertoire includes Friar Laurence in \IRomeo and Juliet,\i Widow Simone and the Notary in \ILa Fille mal gardΘ,\i Gamache in \IDon Quixote\i (both on stage and film), the Headmistress and the General in \IGraduation Ball,\i Dr Coppelius in \ICoppΘlia,\i Mother in \IBeyond Twelve,\i Balletmaster in \IKonservatoriet,\i Madge in \ILa Sylphide\i and an Ugly Sister in \ICinderella.\i Peasley was RΘgisseur General with the Australian Ballet; his most recent position is manager of the Australian Ballet's education program. He will continue to perform character roles with the company.
#
"Pelly, Noel",459,0,g,0
\I1926-\i
Noel Pelly, former administrator of The Australian Ballet, was born in Albury on 17th December 1926. After studying law, he became a publicity officer for the Elizabethan Theatre Trust and, after the Trust's merger with The Australian Ballet, became publicity and press officer and then administrator from 1983-91.
#
"Penberthy, James",460,0,g,0
\I1917-\i
\IDistinguished Australian composer\i
Born in Melbourne, Penberthy studied first at the Melbourne Conservatorium of Music and later in England, France and Italy. He founded the Western Australian Opera Company and was co-founder and Music Director of the West Australian Ballet Company. From 1976 to 1980 he was Director of Music at the Northern Rivers College of Advanced Education in Lismore, New South Wales.
His works include \IThe Beach Inspector and the Mermaid\i (1958), a ballet Penberthy composed to his own story; \ICantata on Hiroshima Panels; Symphony No 6; Concerto for Saxophone and Orchestra, Romance for Violin and Piano;\i and two operas, \IHenry Lawson\i (1989) and \ICreation of the World\i (1990). He is an AM.
#
"Pereira, David",461,0,g,0
\I1953-\i
\ICellist\i
Canberra-based Pereira studied cello first with John Painter at the New South Wales State Conservatorium of Music and later with Fritz Magg at Indiana University in the United States, where he completed a masters degree in cello performance. Back in Australia, he was principal cellist with the \JAustralia Ensemble\j for eleven years, principal cellist of the Australian Chamber Orchestra for seven years and principal cellist with the Sydney Symphony Orchestra for three years. Smaller groups he has played with include Flederman and the Seymour Group. As a concert soloist, Pereira has played with all the major Australian orchestras, performing concertos by a variety of composers including Australians \JRichard Mills\j, \JBarry Conyngham\j and Bruce Cale.
Since late 1990 Pereira has been senior lecturer in cello at the Canberra School of Music while continuing to be in demand as a performer. In 1993 he played a solo recital as part of the Sydney International Spring Festival of Music, during which he performed eleven new solo works commissioned by Tall Poppies Records from Australian composers. This musical treat commemorated both the tenth anniversary of the renaming of Uluru and the International Year of Indigenous Peoples. His first solo compact disc, \IEvocations 1: The Poet,\i was released on the Tall Poppies Label in 1992. Two more solo compact discs followed in 1992, one with pianist Lisa Moore. Recordings of the Prokofiev, Carter and Janacek sonatas were released in 1994.
#
"Peters, Jane",462,0,g,0
\I1962-\i
\IViolinist\i
Born in Adelaide, Peters was a student of Lyndall Hendrickson and made her performance debut at the age of ten. She later travelled and performed in major summer festivals in Europe before returning to study in Australia. Now based in Paris, Peters performs with orchestras and in recitals in Europe, Asia, South America, Australasia and Africa. In 1986 she won the bronze medal in the International Tchaikovsky Competition in Moscow, also winning the award for artistry. In 1994 she was invited back to Moscow to judge the competition and in the same year won the prestigious Pro Musicis award in Paris, as a result of which she gave recitals in Paris and New York. Since 1993 she has played a Guadagnini violin, on loan from the South Australian Guadagnini Trust.
#
"Pikler, Robert",463,0,g,0
\I?-1984\i
\IViolinist, violist and conductor\i
Hungarian-born Pikler graduated from the Royal Conservatorium at Budapest and came to Australia as a refugee after World War II. Having spent much of his life in Australia, he led the original Musica Viva Chamber Players (1946-51), was leader of the Sydney Symphony Orchestra for many years, performed many violin and viola concertos and founded the Sydney String Quartet (1965). He enjoyed a long association with the New South Wales State Conservatorium of Music as senior lecturer from 1965 and founded the \JRobert Pikler Chamber Orchestra\j in 1969, which he conducted. Many of Australia's current string teachers and performers learnt from this outstanding musician. Pikler was awarded the Encyclopaedia Brittanica award (1972) and appointed an OBE in 1974 for his services to the arts.
#
"Pini, Carl",464,0,g,0
\IViolinist and conductor\i
Melbourne-based Pini began his career in London in 1960 as leader of the London String Quartet and the Philomusica of London. In 1968 he arrived in Sydney to spend six years forming the Sinfonia of Sydney and the Carl Pini String Quartet with which he made three world tours. On his return to Britain he became co-leader of the English Chamber Orchestra and in 1975 was appointed concertmaster of the Philharmonia. During the next six years he also appeared as soloist in concertos with many famous conductors. Pini was appointed assistant conductor of the Hong Kong Philharmonic in 1980 and from 1983 to 1988 was leader and artistic director of the Australian Chamber Orchestra, directing the high-profile orchestra on its Bicentennial tours of the US and Europe. In 1992 Pini gave the first performance of a violin concerto composed for him by \JRichard Mills\j and commissioned by the ABC. In 1989 he was appointed as concertmaster of the Melbourne Symphony Orchestra, a position he held until 1995.
#
"Plush, Vincent",465,0,g,0
\I1950-\i
\IComposer and teacher\i
Vincent Plush was born in Adelaide. In 1971, after completing his music studies at the University of Adelaide, he joined the Federal Music Department of the ABC. In 1975 he was appointed as a lecturer at the New South Wales State Conservatorium of Music and the Music Board awarded him a Composer's Fellowship in the same year. Plush founded the Seymour Group and remained its Music Director until 1979. He took up a Harkness Fellowship in the United States in 1981. His interest in the impact of Old World cultures on New World environments led him to work with the Oral History project at Yale University, after which he spent a year studying computer music at the University of California, San Diego. Since late 1986 Plush has been championing Australian Music Centre in the United States, which has led in turn to the setting up of an International Promotions Unit (AMCIP) as part of the Australian Music Centre in Sydney.
In 1984 he spent some months in Brisbane at the Queensland Conservatorium of Music. In 1985 he was appointed Musica Viva Composer-in-Residence and in late 1987 was one of three inaugural composer-in-residence with ABC radio. Plush returned to the United States in mid-1988 and has been, among other things, artist-in-residence and visiting professor at the Colorado College, Colorado Springs, where he worked closely with Stephen Scott's bowed piano ensemble and advised on a new program in Australian Studies. Plush strives to find an Australian voice, looking back to Australia's colonial and folk roots as well as forwards to Australia's role in an international context.
His works include \IEncompassings\i (1975) for organ with assistant; \IStevie's Wonder Music\i (1979) for flute and tape; \IFireRaisers\i (1984) for solo trumpet and ensemble; \IThe Maitland and Morpeth String Quarter\i (1979/1985) with text by Nicholas Enright; \IPacifica\i (1986, revised 1987) for orchestra; and \IConcord/Eendracht\i (1990, revised 1991) for orchestra and \IOn Shooting Star.\i
#
"Pollet, Patricia",466,0,g,0
\IViolist\i
Pollet began her studies in Adelaide and then studied in London and Berlin. She was a prize-winner at the Lionel Tertis International Viola Competition and was then invited to join i Soloisti Veneti. Performing as a solo viola player and chamber musician, she toured Europe before returning in 1986 to a lectureship and musician-in-residence position at the University of Queensland. She is a founding member of the group Perihelion. Pollet has commissioned several new solo works and her first solo CD was released in 1995.
#
"Pomie, Robert",467,0,g,0
\I?-1991\i
\IBallet dancer, choreographer and teacher\i
Moroccan-born Robert Pomie trained at Ecole de Danse, Paris, and graduated into the Ballet de l'Opera, Paris, where he attained the rank of soloist. After coming to Australia he joined the \JBorovansky Ballet\j in 1957. There he created the role of King of the Birds in Paul Grinwis' \IJourney to the Moon\i (1960); choreographed \ISerenade Classique\i (1957) and \IThe Surfers\i (1961); and appeared in \ISwan Lake, Giselle, Graduation Ball\i and \IThe Sleeping Princess.\i He joined the Australian Ballet in 1963--dancing opposite this then wife, \JKathleen Gorham,\j in \ISwan Lake,\i its opening production--but left later that year while the company was on tour in New Zealand. He directed his own ensemble, Ballet de Francais, firstly in Sydney during the late 1950s and later, during the 1960s, in Melbourne. He was guest artist with the West Australian Ballet in 1959 and 1961 and with the Victorian Ballet Guild in 1963, and choreographed and danced on television in Sydney and Melbourne. His choreographic works include \IPas Classique\i (1963) and the television ballet \IThe Web.\i
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"Poppy",468,0,g,0
\IBallet\i
\JGraeme Murphy\j's ballet \IPoppy\i is Australia's first full-length ballet as well as being the choreographer's first major work. It is a dance biography based on the work of the French poet Jean Cocteau, whose poems Murphy discovered during the period he spent in France at Ballets Felix Blaska of Grenoble. The original version of \IPoppy\i was presented in Australia in 1978 with visuals by George Gittoes and Gabrielle Dalton and puppets by Joe Gladwin. The composer, \JCarl Vine\j, begins the work by recapturing the musical environment of Cocteau's Paris and progresses to electronic music by Act II, depicting the fantastic imaginings of the poet's mind. Murphy refined the work in 1981, stripping some of the ingredients and tightening the action for performance in Sydney, London and New York.
The first act of the piece is realistic in style, depicting some of Cocteau's boyhood experiences at school, his love for the tragic Raymond Radiguet, who died young, and the bar and cabaret world of Paris. The second act leaves realism behind, presenting the surreal images of a creative intelligence under the influence of opium. The popular ballet returned for further Sydney seasons at the Opera House in 1987 and 1991.
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"Porcelijn, David",469,0,g,0
\IConductor\i
Dutch-born Porcelijn studied flute and composition at the Royal Conservatory in the Hague and conducting and composition in Geneva. He was musical director of the Netherlands Dance Theatre for nine years and has also conducted many of the world's major orchestras including the Israel Philharmonic Orchestra and the Metropolitan Opera Orchestra. Porcelijn often conducts operas, including a yearly new production with the Netherlands Opera. He spends a large part of each year in Australia where he is principal conductor and artistic adviser of the Tasmanian Symphony Orchestra and chief conductor and artistic director of the Adelaide Symphony Orchestra (ASO).
In 1992 Porcelijn conducted the premiere season of John Adam's opera \INixon in China\i for the Adelaide Festival and recorded two major works by \JRoss Edwards\j for release on the ABC Classics label. A conducting highlight of 1994 was the world premiere of \JRichard Meale\j's \ISymphony\i with the ASO at the Adelaide Festival, later recorded for ABC Classics.
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"Post, Sir Joseph",470,0,g,0
\I1906-72\i
\IMusician and conductor\i
Sydney-born Post began studying at the New South Wales State Conservatorium of Music on a piano scholarship when he was nine years old. At thirteen he joined the State Orchestra under \JHenri Verbrugghen\j and became an oboe soloist at fifteen. He was appointed professor of piano and oboe at the Conservatorium when he was only eighteen and later became the Conservatorium's director. However, it was as a conductor that Post really came into his own.
In 1932 Post was chorus master of the Italian Opera Company, which was touring Australia for J.C. Williamson's. Called in to conduct \IAida\i at short notice, he conducted regularly for the rest of the tour. Post joined the ABC as assistant director of music and transferred from Sydney to Melbourne in 1936 as conductor of the Melbourne Symphony Orchestra and Wireless Chorus. Back in Sydney by 1947, Post was appointed associate conductor of the Sydney Symphony Orchestra to Sir \JEugene Goossens,\j retaining this position and that of principal conductor of the National Theatre Opera Company for ten year. After many years with the ABC, Post became musical director of the Elizabethan Trust Opera Company in 1956. He took over the directorship of the New South Wales State Conservatorium of Music in 1966, succeeding Sir \JBernard Heinze.\j Post was appointed an OBE for his services to Australian Music.
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"Pounder, Betty",471,0,g,0
\I1921-90\i
\IChoreographer\i
Melbourne-born Pounder began dancing at the age of four. She won a British ballet scholarship at sixteen and studied in London under Edouard Espinosa. On returning to Australia at the beginning of World War II, Pounder joined J.C. Williamson's as a dancer in musical comedies, later becoming ballet mistress, choreographer and dance director. She choreographed hundreds of JCW productions including \IHello Dolly\i (1965), \IMan of La Mancha\i (1968-72) and \IGypsy\i (1975), as well as several operas for the Victorian State Opera. Pounder taught at the Australian Ballet for whom she choreographed \IJazz Spectrum\i (1964). She was awarded an AM and died in Melbourne.
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"Powell, Ray",472,0,g,0
\IDancer, teacher and choreographer\i
Ray Powell was born in Hitchin, near London, and studied at Sadler's Wells Ballet School. After a twenty-year association with Britain's Sadler's Wells (now Royal Ballet), Powell joined the \JAustralian Ballet\j in its inception year of 1962. During the following twenty years he spent with the company, he produced two of his own works, \IOne in Five\i and \IJust for Fun,\i as well as dancing many important roles and reproducing John Cranko's \IThe Lady and the Fool.\i In 1982, Powell retired from the Australian Ballet but returned in 1988 with \JMarilyn Jones\j and \JGarth Welch\j to perform in the Bicentennial Gala performance of \IThe Lady and the Fool\i at Melbourne's State Theatre. Since 1985, Powell has created new works for the Australian Ballet School and assisted at the yearly graduation performance of the \INutcracker.\i An MBE, Powell was awarded the Lifetime Achievement Award at the 1990 Green Room Awards.
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"Price, Ray (musician)",473,0,g,0
\I1921-90\i
Ray Price, Australian jazz musician, was born Raymond Arthur Price in Sydney to New Zealand parents on 20th November 1921. As a guitarist, he was at his peak, billed as the best in the world. He began playing guitar and banjo while serving in the Army from 1940-43. He took over the Port Jackson Jazz Band in 1947 and also played double bass with the Sydney Symphony Orchestra, which also included his brother David, who played trumpet, and his sister Doreen, who played the viola.
Ray Price's services with the orchestra were terminated in 1956 when he failed to obey a directive to stop playing with his Port Jackson Jazz Band. Married three times to Bettel, Nadine and Sandra, Price had two children, Benjamin (1970) and Meredith (1972) by his third wife Sandra. He died at Redcliff Hospital in Brisbane on 5th August 1990, aged 69; he had previously survived five heart attacks.
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"Pringle, John",474,0,g,0
\IBaritone opera singer and actor\i
John Pringle won the 1967 Melbourne \ISun\i Aria award. In the same year he joined the Australian Opera (before 1970 known as the Elizabethan Trust Opera Company). He has sung many of the lyric baritone roles for the company, including the title roles in \IThe Marriage of Figaro, Eugene Onegin\i and \IDon Giovanni\i; Marcello \I(La BohΘme)\i; Prince Andrei \I(War and Peace)\i; and Tarquinius \I(The Rape of Lucretia)\i; in 1994 he appeared in \IThe Pearl Fishers,\i singing the famous 'In the depths of the temple' duet with tenor Patrick Power. He has also performed with the Victoria State Opera, the State Opera of South Australia and the Lyric Opera of Queensland, and has given recitals with most Australian symphony orchestras. In 1993 he performed the one-person show \IPostcards from Provence\i based on short stories of the nineteenth-century French writer Alphonse Daudet.
In 1988 he was made an AM (Member of the Order of Australia) for services to opera.
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"Prior, Marina",475,0,g,0
\I1963-\i
\ISoprano singer, noted for musical theatre\i
Born in Papua New Guinea on 18th October 1963, Prior grew up in Melbourne and trained in operatic singing as part of a degree at the University of Melbourne before achieving acclaim as a star of musicals. Her first notable success was as the lead in \IThe Pirates of Penzance\i for the Victoria State Opera in 1984. Over the next few years she performed the lead roles in several long-running musicals such as \ICats, Anything Goes\i and \ILes MisΘrables.\i In 1990 she created the role of Christine in the original Australian production of \IThe Phantom of the Opera,\i which she performed for three years and in which she was able to use her classical training to good effect. In 1994 she performed Maria in a new production of \IWest Side Story\i and again in the production which opened Sydney's renovated Capitol Theatre in 1995. Also in 1995 she played the role of Lily in the musical version of the children's classic \IThe Secret Garden.\i In 1994 she undertook a highly successful concert tour of Australia and New Zealand with noted Spanish tenor JosΘ Carreras.
Marina Prior has released three albums--\ILeading Lady\i (1991), which reached platinum status, \IAspects of Andrew Lloyd Webber\i (1992) and \ISomewhere--The Songs of Sondheim and Bernstein\i (1994). Her many awards include two Green Room Awards, three Mo Awards and the 1993 Advance Australia Award for her contribution to the performing arts.
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"Pushee, Graham",476,0,g,0
\ICountertenor singer\i
Born in Sydney, Pushee began singing lessons as a teenager and first achieved note in the early 1970s when he was cast as Oberon by \JRoger Covell\j in a production of \IA Midsummer Night's Dream.\i At the same time he began singing with the early music group, the Renaissance Players. In 1977 he received a Churchill Fellowship which allowed him to study in London and Basel, Switzerland. His arrival in Europe coincided with the revival of interest in early music and in authenticity in its performance, which thus created an increased demand for countertenors. In 1979 he sang the title role in \IPoro\i at the Handel Festival in Karlsruhe, Germany, and went on to build up a successful performing and recording career as a countertenor and male falsetto soloist. He makes annual guest appearances at the Karlsruhe Handel Festival. Other performances have included Handel's \IJulius Caesar\i (in the title role) in his debut at the Paris Opera, and \IDido and Aeneas\i and \IOrpheus in the Underworld\i at the Frankfurt Opera. Based in Basel, Pushee returned to Australia in 1992 to sing the role of Ruggiero in Handel's opera \IAlcina\i for the Australian Opera (AO) and in 1994 and 1995 achieved a huge success in the title role of the AO's \IJulius Caesar.\i He returned to Australia in 1996 to again sing the role of Ruggiero.
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"Queensland Ballet",477,0,g,0
\IQueensland-based professional ballet company\i
The Queensland Ballet is known for its innovative approach to neo-classical dance. It seeks to promote the development of Australian dance, dance works and dance professionals. Its repertoire includes contemporary classical ballets and features new Australian-devised and choreographed ballets that comment upon the spectrum of Australia's diverse society. The company tours Queensland every year and has performed in Sydney, Canberra, Melbourne, Adelaide and regional New South Wales and South Australia. The Queensland Ballet was the first professional company to emerge after the demise of the Borovansky Ballet. It grew out of the Lisner Ballet, a private company formed in 1960 by French dancer, choreographer and entrepreneur Charles Lisner and funded in part by the income from his ballet school. The company made its debut in 1961, and in 1962 changed its name to the Queensland Ballet; by 1965 it was a full-time professional company.
Lisner, artistic director from the inception of the company until 1974, had hoped to commission new works from Australian choreographers, designers and musicians, but in the early years had to choreograph most of the works himself (he created 33 ballets during his time with the company). In July 1966 financial pressures caused the company to disband, but it was able to reappear eighteen months later, subsidised by a grant from the Queensland government. In 1969 it presented a production of \IGiselle,\i staged by \JGarth Welch,\j in the following year it toured Tasmania, and in 1971 made its first tour of New South Wales. In 1975 Harry Haythorne, an Australian formerly with the Scottish Ballet, took over as artistic director, and in the same year the company presented the world premiere of \JWalter Gore\j's \ICinderella.\i In 1979 \JHarold Collins,\j a soloist with the company since 1974, became artistic director.
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"Queensland Conservatorium of Music, Griffith University",478,0,g,0
\ITertiary institution for music education and training in Brisbane\i
The Queensland Conservatorium of Music, a college of Griffith University, offers a wide range of courses
in the performance and composition of music including instrumental and vocal studies, opera, orchestra,
jazz, composition, conducting and music technology.
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"Queensland Performing Arts Complex",479,0,g,0
\IMulti-theatre performing arts venue\i
The Queensland Performing Arts Complex comprises three auditoria: the Lyric Theatre and the Concert Hall (each seating around 2000) and the Cremorne Theatre (seating up to 350). Companies that have performed in the complex include the Chicago Symphony Orchestra, the Royal Philharmonic Orchestra, the Australian Ballet, the Bolshoi Ballet and the Australian Opera; the musical \ICats, The King and I\i and \ISouth Pacific\i have been staged there; and it has also been host to pianist Roger Woodward and New Zealand soprano Dame Kiri Te Kanawa. The Lyric Theatre's opening opera, in August 1985, was a huge production of \IAida\i.
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"Queensland Philharmonic Orchestra",480,0,g,0
\IEnsemble established in 1976\i
With a base complement of over 30 players, the Queensland Philharmonic Orchestra has the primary role of supporting the state's opera, ballet and theatre companies. In addition, it presents an annual concert series at the Queensland Performing Arts Complex in Brisbane and regularly participates in festivals and other public events. In 1991 the Orchestra toured Japan and in 1995 made a successful tour of South-East Asia and performed at Papua New Guinea's Twenty Years of Independence celebrations. Its repertoire ranges from baroque to modern classical and also includes modern popular music.
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"Queensland Symphony Orchestra",481,0,g,0
\IBrisbane-based symphony Orchestra\i
The Queensland Symphony Orchestra consists of 71 musicians. Conductors and soloists of international renown who have appeared with the orchestra include James Galway, Arthur Fiedler, Sir \JEugene Goossens\j, Sir \JCharles Mackerras\j, Sir Malcolm Sargent, Sir Thomas Beecham and Barry Tuckwell. Chief conductors who have contributed to the orchestra's development include Rudolph Pekarek, Ezra Rachlin, Patrick Thomas, Werner Andreas Albert, Vanco Cavdarski and Muhai Tang. Apart from its Master Subscription Series, the orchestra undertakes regular concert tours in centres along the northern Queensland coast (the longest land-based trek of its kind in the world), gives concert performances for children and young people, performs for both ballet and opera, hosts many free public concerts, undertakes studio performances of contemporary works and makes broadcasts and recordings. It has toured internationally to China.
The Queensland Symphony Orchestra was formally inaugurated in 1947; in the same year it introduced its first subscription series and gave its first concert with Percy Code conducting and pianist Eunice Gardiner as soloist.
\IMembers of the Queensland Symphony Orchestra\i
\IChief Conductor\i: Muhai Tang
\IConcertmaster\i: Alan Smith
\IPrincipal Players\i:
\ISecond Violin\i: Wayne Brennan
\IViola\i: Paula Stofman
\ICello\i: David Lale
\IDouble Bass\i: John Fardon
\IFlute\i: Gerhard Mallon
\IPiccolo\i: Jeanette Manricks
\IOboe\i: Duncan Tolmie
\ICor Anglais\i: Robin Powell
\IClarinet\i: Paul Dean
\IBass Clarinet\i: John Harrison
\IBassoon\i: Leesa Dean
\IContra Bassoon\i: Trevor Williamson
\IFrench Horn\i: Neil Crellin
\ITrumpet\i: Geoff Spiller
\ITrombone\i: Jason Redman
\IBass Trombone\i: Tom Coyle
\ITuba\i: Craig Cunningham
\ITimpani\i: Mark Collier-Vickers
\IPercussion\i: David Montgomery
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"Radojovic, Danilo",482,0,g,0
\IBallet dancer\i
Danilo Radojovic trained with \JValrene Tweedie\j and after one year at the Australian Ballet School was taken into the corps-de-ballet of the Australian Ballet; he was promoted to soloist in 1977. He appeared in the Peasant Pas de Deux of Sydney Festival Ballet's \IGiselle\i during 1972. He earned success with the Australian Ballet in the title role of \IBilly the Kid\i and in the stage production of \IThe Fool on the Hill.\i In 1977 he won a Gold Medal at the International Ballet Competition in Moscow, dancing \JWalter Bourke\j's \ISuperboy Came to Class.\i In 1978 he joined the American Ballet Theatre as a soloist and was promoted to principal artist in 1981. He returned to Australia for both of Michael Edgley's Stars of World Ballet tours in 1978 and 1979; during the 1980s danced as guest artist with the Australian Ballet; and was a member of Rudolf Nureyev's Farewell Tour of Australia in 1991. He remained with the American Ballet Theatre until his retirement from the stage in the early 1990s.
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"Raisbeck, Rosina",483,0,g,0
\I1916-\i
\IDramatic soprano opera singer\i
Rosina Raisbeck was born in Ballarat, Victoria, and moved to Newcastle, New South Wales, as a girl. She began studying at the New South Wales State Conservatorium of Music in Sydney in 1942. In 1947 she won the Sydney \ISun\i Aria Competition and moved to London to further her studies and career. Later in the same year she made her debut at the Royal Opera House, Covent Garden, as a mezzo-soprano singing Maddelena in \IRigoletto.\i On the advice of Sir Thomas Beecham, who felt that she was better suited to dramatic soprano roles, she retrained as a soprano and early in 1950 again sang at Covent Garden, in the role of Ortrud in \ILohengrin.\i For the next twelve years she sang for both the Royal Opera Company and the Sadler's Wells Company (forerunner of the English National Opera). After her return to Australia in 1962 she sang the role of the Mother Abbess in the Australian production of \IThe Sound of Music\i; appeared with the Australian Opera in many productions including \IBoris Godunov, Il Trittico\i and \IThe Gondoliers\i; and also took part in broadcasts and television productions.
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"Rappel, Carolyn",484,0,g,0
\IBallet dancer\i
Brisbane-born and trained, Carolyn Rappel joined the Australian Ballet in 1965 following one year at the Australian Ballet School. She was promoted to soloist in 1967 and named principal artist in 1973. She created roles in Charles Lisner's \IImages Classiques\i (1972) and Glen Tetley's \IGemini\i (1973). Her repertoire included Odette in \ISwan Lake (Act II),\i Clytemnestra in \IElektra,\i Desdemona in \IOthello,\i Tsarevna in \IThe Firebird,\i Bathilde and Myrtha in \IGiselle,\i Fairy Godmother in \ICinderella,\i the Tango in Frederick Ashton's \IFaτade\i (which she performed to much acclaim partnered by \JRobert Helpmann)\j. In 1972 she was guest artist with North Queensland (now Dance North) Ballet. From 1974 to 1975 she was a principal artist of the \JQueensland Ballet\j and created the role of Priscilla in \JWalter Gore\j's \ICinderella\i (1975). Since her retirement from the stage in 1975 she has returned periodically as guest artist to the Queensland Ballet.
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"Ray, Robert",485,0,g,0
\I1947-\i
\IChoreographer, teacher and dancer\i
Ray received his early dance training with the Scully-Borovansky School and later with the Australian Ballet School in Melbourne. His professional career began with engagements with the London Festival Ballet, shows for J.C. Williamson's and appearances with the Dance Company of New South Wales under the then director, Suzanne Musitz. After this Ray went to work with the West Australian Ballet, at the same time beginning his teaching career in Perth. Later, Ray travelled to the United States where he came under the influence of modern dance greats such as Merce Cunningham and George Balanchine. This experience led him to analyse his approach to choreography and to the teaching of classical and modern dance techniques.
One of Ray's seminal choreographic works is the \ISentimental Bloke,\i created for the Australian Ballet in 1985 and arranged by John Lanchbery to a score by Albert Arlen. The work was designed by Kenneth Rowell and was produced during the Australian Ballet's 1988 tour to the USSR.
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"Raymond, Glenda",486,0,g,0
\ISoprano opera singer\i
Glenda Raymond was born in Melbourne. In 1944 she sang the part of \JNellie Melba\j in a musical radio drama, \IThe Melba Story,\i which was produced by Dorothy Crawford. Following a concert tour of Australia she went to London to study with Dino Borgioli, a former principal tenor with Melba's opera companies. In 1948 she appeared in a concert with the London Philharmonic Orchestra. In the same year she made her London operatic debut in the role of Etain in Rutland Boughton's \IThe Immortal Hour\i; was signed by the BBC for a series of broadcasts; and gave recitals at London's Wigmore Hall. She returned briefly to Australia in 1949 for a national concert tour and returned permanently in late 1950 when she married Hector Crawford. She continued to sing with a number of orchestras; in 1954 took part in a national concert tour for the ABC; and in 1955 gave recitals in New Zealand.
Glenda Raymond appeared as a soloist with the combined Sydney and Victorian Symphony Orchestras, conducted by Sir \JBernard Heinze\j during the 1956 Olympic Arts Festival in Melbourne, and in 1958 and 1960 sang with the Elizabethan Trust Opera Company (forerunner of the Australian Opera) as Gilda in \IRigoletto\i and the Queen of the Night in \IThe Magic Flute.\i
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"Reddy, Helen",487,0,g,0
\I1941-\i
\IAustralian singer in the United States\i
Helen Reddy, daughter of comedian Max Reddy and actor Stella Lamond, was born in Melbourne. By the late 1950s she was appearing on local television; in 1965 she starred in the ABC radio show \IHelen Reddy Sings\i and in 1966 won a trip to the United States as first prize in a talent quest. She later moved to Los Angeles, where she secured a contract with Capitol Records. She wrote 'I Am Woman', which in 1972 was an international hit. Her other hit singles include 'Delta Dawn' (1973) and 'Angie Baby' (1974); her albums include \ILove Song For Jeffrey\i (1974), \INo Way To Treat A Lady\i (1975), \IWe'll Sing In The Sunshine\i (1978) and \IImagination\i (1984). She has also worked as a television actor and starred in and is heard on the soundtrack of the Disney film \IPete's Dragon\i (1977).
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"Redfern, Jamie",488,0,g,0
\I1958-\i
Jamie Redfern, Australian child singing star in the 70s, was born in Liverpool, England on 9th April 1958 and migrated to Australia with his parents when he was seven. Jamie rose to fame in the television show, Johnny Young's, \IYoung Talent Time\i. At the age of 13 he toured the United States as a Liberace protΘgΘ, working at the Las Vegas Hilton. He has run a singing school in Melbourne since 1986, and is married with a daughter, Hayley (1996).
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"Redgum",489,0,g,0
\IFolk-pop group\i
Redgum was formed in Adelaide in 1975 with the line-up John Schumann (guitar and vocals), Verity Truman (flute, tin-whistle, saxophone and vocals), Michael Atkinson (vocals, guitar and mandolin) and Chris Timms (violin), who were all students at Adelaide's Flinders University; Timms was later replaced by Hugh McDonald, and other members at various times have included Dave Flett (bass), Tom Stehlic (drums), Chris Boath (bass), Gordon McLean (drums), Geoff Gifford (drums) and Russ Coleman (drums). The group is best known for its No. 1 single 'I Was Only 19' (1983), about a young soldier in the Vietnam War. A successful live album, \ICaught In The Act,\i followed later in the same year. Both John Schumann and Hugh McDonald released solo albums in the early 1990s, following the demise of the group.
#
"Reid, Rex",490,0,g,0
\I1930-\i
\IDancer and choreographer\i
Reid did his early dance training in Adelaide where his exposure to performances by Ballets Russes had a profound influence on him. His first professional engagement as a dancer was with Sadler's Wells (now Royal Ballet) in London; he also worked with Ballet Rambert and did further study in Paris. One of Reid's best-known choreographic works is \ICorroboree,\i the original version of which he created in 1950. He was instrumental in helping to establish the \JAustralian Ballet\j, along with \JMargaret Scott\j, Paul Hammond, Geoffrey Ingram and others. One aspect of his varied career that was very important to him was his teaching, especially his work with young children.
#
"Renaissance Players, The",491,0,g,0
\IProfessional early music group\i
The Renaissance Players grew from a group of musicians who, under the direction of Winsome Evans, gave a series of concerts of medieval music at Sydney University in 1966. In the following year, as the Renaissance Players, they performed at ABC Prom concerts in Sydney and since then have presented numerous concerts (often featuring a mixture of poetry, mime, dance and colourful costumes) of mediaeval, renaissance and varieties of folk music throughout Australia and South-East Asia; as well the group has provided background music for television, film and radio programs and has produced albums and compact discs.
#
"Revell, Digger",492,0,g,0
\I1944-\i
\IPop singer\i
Born Gary Hildred, Revell grew up in Dubbo, New South Wales, and in 1961 became lead singer in the group the Denvermen. Together they appeared on television pop shows such as \ISix O'Clock Rock\i and \IBandstand.\i Revell's first hit single was 'I'm Building Castles In The Air' (1963), followed by 'My Little Rocker's Turned Surfie' (1965) and 'My Prayer' (1965). After a period in the United States (1965-66) he changed his style to country music and continues to be a regular performer on both the country circuit and in Sydney clubs.
#
"Reyne, James",493,0,g,0
\IPop singer and television actor\i
Melbourne-based James Reyne was a lead vocalist and founding member of the group \JAustralian Crawl\j and following its breakup went on to a successful solo career. His singles include 'Heaven On A Stick' (1988), 'Trouble In Paradise' (1989), 'Some People' (1991) and 'Way Out West' (1992, with James Blundell); his albums include \IHard Reyne\i (1989), \IElectric Digger Dandy\i (1991) and \IThe Whiff Of Bedlam\i (1994). He was voted 1980 and 1981 \ICountdown\i Most Popular Male Performer. His television work includes a lead role in the mini-series \IReturn To Eden\i (1983).
#
"Richards, Digby ('Dig')",494,0,g,0
\I1941-82\i
\ISinger in the early days of Australian rock `n' roll\i
Dig Richards was born at Dunedoo and grew up at Narooma, both in country New South Wales. Soon after moving to Sydney at the age of sixteen he helped form the R'Jays and in 1960 had a hit with his first release, 'I Wanna Love You', and became a regular performer on the television pop show \ISix O'Clock Rock.\i A change of style in the early 1960s saw him move on to the club circuit as an all-round entertainer and by 1964 he had his own television show, the \IDig Richards' Ampol Show.\i In the early 1970s, after a year in the United Kingdom, his style again changed, moving more to country and western, and he began using the name Digby. His later singles include 'People Call Me Country' (1972) and 'Do The Spunky Monkey' (1974). His albums include \IHarlequin\i (1971), \IWhiskey Sundown\i (1978) and \IIf You Could Read My Mind\i (1982).
#
"Richardson, Marilyn",495,0,g,0
\I1936-\i
\ISoprano opera singer\i
Marilyn Richardson was born in Sydney where she studied piano and music at the New South Wales State Conservatorium of Music. She won the Adelaide \IAdvertiser\i Aria Competition in 1969 and in 1971 was awarded a Churchill Fellowship to study in Europe. She made her debut with the Australian Opera in 1975. Her roles for the company include the title roles in \ISalome, Aida\i and \ITosca\i; the Marschellin \I(Der Rosenkavalier)\i; Isolde \I(Tristan und Isolde)\i; Amelia \I(A Masked Ball)\i; Violetta \I(La Traviata)\i; Anna Glavari \I(The Merry Widow)\i; and she created the role of Laura in \IVoss\i in the Australian Opera's production for the 1986 Adelaide Festival of the Arts. In 1985 Richardson made her debut with the English National Opera in the role of Aida. She has command of nine languages and for the 1985 Festival of Sydney performed all of Chopin's songs in Polish, accompanied by Roger Woodward. She also appeared in the ABC television production of Larry Sitsky's \IThe Fall of the House of Usher.\i
#
"Riedel, Deborah",496,0,g,0
\ISoprano opera singer\i
Deborah Riedel studied music and piano at the New South Wales State Conservatorium of Music in Sydney. She won the 1986 Sydney \ISun\i Aria Award. She began her singing career as a mezzo-soprano, and made the change to soprano in 1988. She made her first appearance with the Australian Opera in 1984 in the role of Countess Ceprano in \IRigoletto\i; later roles for the company include Zerlina (\IDon Giovanni\i), Susanna (\IThe Marriage of Figaro\i), the title role in \IThe Gipsy Princess\i, Micaela (\ICarmen\i), Juliet (\IRomeo and Juliet\i) and Donna Elvira (\IDon Giovanni\i). Her roles for state companies include Hansel (\IHansel and Gretel\i), Meg Page (\IFalstaff\i), the title roles in \ICountess Maritza\i and Mimi (\ILa BohΘme\i) for the West Australian Opera; Marguerite (\IFaust\i) for the Victoria State Opera; the title role in \IThe Czardas Princess\i for the State Opera of South Australia; and Donna Anna (\IDon Giovanni\i) for the Lyric Opera of Queensland. She has also made many concert performances, appears regularly as a soloist with the Australian Pops Orchestra and has performed with the Australian Chamber Orchestra. She won the inaugural Givenchy Opera Award in 1990. In 1993 she made her debut with the San Diego Opera Company in the lead role of Amina in Bellini's \ILa Sonnambula\i. Her recordings include \IThe Australian Opera's Mozart: A Bicentennial Celebration\i.
#
"Rites of Passage",497,0,g,0
\IOpera\i
Peter Sculthorpe composed this opera in 1974 to a libretto which he wrote himself. The work was the first full-length opera ever produced by the Australian Opera and was staged at the Sydney Opera House.
\IFirst produced\i: Sydney Opera House, 1974
\IDesigned by\i: \JKenneth Rowell\j
\IProduced by\i: Jaap Flier and Wenzel de Neergaard
\IChoreographed by\i: Jaap Flier
\IConducted by\i: \JJohn Hopkins\j and Geoffrey Arnold
#
"Roach, Archie",498,0,g,0
\I1956-\i
\ISinger and songwriter\i
Born near Warrnambool in Victoria, Archie Roach, an Aborigine, was taken from his parents at the age of three under a federal government 'assimilation' policy and placed with European foster parents who were later prosecuted for his mistreatment. His first album, \ICharcoal Lane\i (1990), included the autobiographical 'Took the Children Away', poignantly describing his early life; his second album, \IJamu Dreaming,\i followed in 1993. His awards include the 1990 ARIA Best New Talent and Best Indigenous Record, the 1996 ARIA Best Indigenous Record and a Mo Award. He is married to the singer Ruby Hunter.
#
"RoadKnight, Margret",499,0,g,0
\I1943-\i
\IFolk and blues singer\i
Margret RoadKnight began her career in the early 1960s singing in Melbourne. In 1974 she studied contemporary music in the United States on an Australia Council grant. After her return to Australia she recorded 'Girls In Our Town' (written by Bob Hudson), which in 1976 became a national hit. Her repertoire includes contemporary folk, spirituals, classic blues and jazz. Her albums include \IPeople Get Ready\i (1973), \IOut Of Fashion ... Not Out Of Style\i (1981), \ILiving in the Land of Oz\i (1984), \IMoving Target\i (1988) and \IFringe Benefits\i (1993).
#
"Rob E.G.",500,0,g,0
\I1942-\i
Rob E. G., Australian musician, was born Robert George Porter at Ashfield in Sydney on 4th June 1942. He began playing the steel guitar at eight, and specialised with a 1939 Rickenbacker steel guitar; at 18 he recorded his own tune 'Whiplash' which went straight into the charts. He then had a string of instrumentals including '5-4-3-2-1-Zero', 'Si Senior', 'Jezabel' and '55 Days at Peking'.
In the mid 60s, he left Australia to work in England and America, and returned in the 70s as a writer and producer for the Wizard label, in which he had a financial interest. He then returned to the United States where he produced hits for Air Supply, Rick Springfield, Marcia Hines, and Tommy Emmanuel. He produced 15 straight top 10 hits for Air Supply and, combined with Rick Springfield's hits, he has sold more than 25 million records.
Divorced from his first wife, French model Colette Bertrand, he has two children by his second wife, actress Jill Wagner, whom he married in 1976. He was involved in a serious car crash in 1963 which prematurely brought his rock career to an end. He appeared with Charlotte Rampling in the film \IThree.\i
#
"Robert Pikler Chamber Orchestra",501,0,g,0
\IClassical music ensemble\i
During 1969 a number of Australia's leading musicians were eager to have the opportunity of working with \JRobert Pikler\j, violinist and leader of the Musica Viva Chamber Players (1946-51), and principal violist with the Sydney Symphony Orchestra. The success of this ensemble throughout Australia under Pikler's direction led to the first international tour of a professional Australian chamber orchestra. Although the group disbanded when Pikler retired, it was the inspiration for the formation of the now internationally acclaimed Australian Chamber Orchestra.
#
"Robinson, Brad",502,0,g,0
\I1958-96\i
Brad Robinson, guitarist with the Australian rock group Australian Crawl, was born in 1958. He formed the band with singer and songwriter James Reyne in 1978. Robinson was also known for his television documentaries and his work on \IGood Morning Australia\i and \IPage One\i. He also worked on radio with EON-FM. Crawl were one of the biggest bands of the 1980s and sold over 500,000 records until they disbanded in 1986.
Their hits include 'The Boys Light Up', 'Downhearted' and 'Beautiful People', and the albums \ISirocco, Sons of Beaches\i and \IPhalanx.\i In the last two years of his life he ran his own company, Advantage International, promoting sports and celebrities. Robinson is not the band's first member to die young; guitarist Guy McDonough succumbed to pneumonia in 1984. Robinson died at Melbourne's Freemasons Hospital from lymphoma on 13th October 1996, aged 38.
#
"Rose Tattoo",503,0,g,0
\IHeavy metal rock group\i
The Sydney-based band Rose Tattoo was formed in Melbourne in 1976 with the line-up \JAngry Anderson\j (vocals), Peter Wells (guitar), Ian Riland (bass guitar), Michael Cocks (guitar) and Dallas 'Digger' Royal (drums). All wore tattoos featuring a rose. Members at later stages include Geordie Leach (bass), Lobby Lloyde (bass), Rob Riley (guitar), Greg Jordan (slide guitar), John Meyer (guitar) and Robert Bowron (drums). The group's first single, 'Bad Boy For Love' (1977), reached No.13 on the Australian charts; their first album, \IRose Tattoo\i (1978), was produced by ex-\JEasybeats\j songwriting team Vanda and Young. The band spent most of 1981 working in Europe and the United Kingdom and in the following year toured the United States. The group disbanded in 1986, but briefly re-formed in 1992 for the Guns'n'Roses tour.
#
"Rowe, Marilyn",504,0,g,0
\I1946-\i
\IBallet dancer\i
Marilyn Rowe was born in Sydney. After graduating from the Australian Ballet School she joined the Australian Ballet in 1965. She was promoted to principal artist rank in 1970, the first School graduate to rise through the ranks to ballerina status. She created the title role in Igor Moiseyev's \IThe Last Vision\i (1969), Principal Girl in Glen Tetley's \IGemini\i (1973), Hanna Glawari in Ronald Hynd's \IThe Merry Widow\i (1975) and the title role in AndrΘ Prokovsky's \IAnna Karenina\i (1979). Her repertoire embraces the classic roles, including Kitri and Queen of the Dryads in \IDon Quixote,\i Lise in \ILa Fille mal gardΘe, Juliet in \IRomeo and Juliet,\i Tatiana in \IOnegin,\i the title role in \IGiselle,\i Odette/Odile in \ISwan Lake\i and Flavia in \ISpartacus,\i in addition to the Girl in \IAfternoon of a Faun,\i Elder Sister in \ILas Hermanas\i and Debutante in \IThe Concert.\i
Her partnership with \JKelvin Coe\j is legendary, and together in 1973 they were the first Australians to compete at the International Ballet Competitions in Moscow--both were awarded Silver Medals. In 1973 she was guest artist with the Bolshoi Ballet, Moscow. Since her retirement from the stage at the end of 1979 Marilyn Rowe has appeared as a regular guest artist with the Australian Ballet. She was ballet director (1981-82) and deputy artistic director (1983-84) of the Australian Ballet, and later served as artistic consultant and coach to the Australian Ballet School and as a board member of the Australian Ballet Foundation.
Marilyn Rowe was appointed an OBE in 1980 for her services to ballet. She is also known as Marilyn Rowe-Maver.
#
"Rowe, Normie",505,0,g,0
\I(1947-)\i
\IPop singer and actor of stage and television\i
Normie Rowe was born in Melbourne and in his childhood sang in the church choir; he formed his own band while a high school student. In the early 1960s he performed in Melbourne with the bands Thunderbirds and Playboys, while also working as a trainee technician with the Postmaster-General's Department (now Telstra)--his decision to leave and become a full-time professional entertainer was prompted by a dispute arising from his refusal to cut his long hair). By 1965 he had become well known on Melbourne television. His first single, 'It Ain't Necessarily So' (1965, with the Playboys) reached No. 1, although some radio stations banned it as blasphemous. Other hits followed, including 'I (Who Have Nothing)' (1965), 'Que Sera Sera' (1965), 'Tell Him I'm Not Home' (1965), 'Breaking Point' (1966), 'Ooh La La' (1966), 'It's Not Easy' (1966) and the doublesided 'Going Home'/'I Don't Care' (1967), all of which reached the Top 10; he won the first \IGo-Set\i Poll (1966) and was \ITV Week\i King of Pop in 1967 and 1968.
In 1968 he was conscripted into the Army and spent two years in Vietnam. On his return to Australia he worked the cabaret and club circuit until the 1980s, when he turned to television acting, appearing for two years in the serial \ISons and Daughters.\i In 1989 he sang the lead in the stage musical \ILes MisΘrables\i and in 1990 appeared in a stage show based on his life, \IIt Ain't Necessarily So.\i
Rowe is an AM (Member of the Order of Australia).
#
"Rowell, Kenneth",506,0,g,0
\ISet designer\i
In 1948 Rowell, at that time a young dancer and painter with the \JBorovansky Ballet,\j designed the sets for \IWinter Night,\i choreographed by \JWalter Gore.\j This was his first ever commission from a professional ballet company and he subsequently went on to design more than 70 productions in an international career in Australia, Great Britain and Europe.
When the \JAustralian Ballet\j was formed under the Australian Elizabethan Theatre Trust in 1962, many dancers, choreographers and designers were eager to become involved. The company embarked on its first overseas tour in 1965, winning the Grand Prix de Paris for best production of the year with Dame Peggy van Praagh's new staging of \IGiselle,\i which Rowell designed. In 1968, the fledgling company opened its season with the world premiere of \J\ISun Music,\j\i choreographed by Sir \JRobert Helpmann\j to the music of \JPeter Sculthorpe\j with costume and set designs by Rowell. The work was hailed as a milestone in Australian ballet and audiences flocked to see it.
Rowell designed for opera as well as ballet and teamed up with Sculthorpe again in 1974 to produce the sets for his opera \J\IRites of Passage,\j\i staged at the Sydney Opera House.
#
"Rubinstein, Martin",507,0,g,0
\I1924-\i
\IBallet dancer and teacher\i
Martin Rubinstein was born in Offenbach, Germany, and migrated with his family to Melbourne in 1938. There he trained with the Jennie Brenan Ballet Academy. In the 1940s he was a member of the first of \JEdouard Borovansky\j's ballet companies, dancing the great male roles of the era to great acclaim around the country. When serious illness forced his premature retirement from the stage in 1951, he became a teacher at Xenia Borovansky's Dancing Academy. In the late 1950s he became a Children's Examiner for the Royal Academy of Dancing, an international organisation based in London, and in 1968 became a Major Examiner, the first non-British person to hold that position. By the time of his retirement in 1995, he had travelled to more than 37 countries to assess the standard of pupils and teachers; he also taught in ballet companies around the world. Rubinstein was awarded a Fellowship by the Royal Academy, its highest accolade.
#
"Ryan, Ross",508,0,g,0
\I1951-\i
Ross Ryan, Australian singer, was born in America on 13th December 1951. He came to Australia in 1959 with his parents and settled at Albany, Western Australia. He had a one hit wonder with 'I Am Pegasus' in 1973, and now lives on a farm outside Sydney.
#
"Sager, Peggy",509,0,g,0
\I1924-\i
\IBallet dancer and teacher\i
Peggy Sager was born in New Zealand and came to Australia in 1941 to study and dance with Helene Kirsova; from 1941-44 she was a member of the \JKirsova Ballet.\j She created the roles of Soul of the Lost Umbrella in Kirsova's \IRevolution of the Umbrellas\i (1943) and Dawn Fairy in \IHansel and Gretel\i (1943). In 1946 she joined the Borovansky Ballet where she created the role of Australia in \JEdouard Borovansky\j's \ITerra Australis\i (1946). She spent 1946 to 1950 in Europe, dancing with Britain's Metropolitan Ballet and Glyndebourne Opera and L'OpΘra de la ThΘatre de Monnaie, Brussels. She also danced with \JRobert Helpmann\j in the film \IThe Red Shoes.\i In 1950 she returned to Australia and rejoined the \JBorovansky Ballet,\j for which she danced the role of Aurora in the Australian premiere of \IThe Sleeping Princess\i (1951) and created the role of Sugar Plum Fairy in David Lichine's \IThe Nutcracker\i (1955). Her repertoire included Odette/Odile in \ISwan Lake,\i title roles in \IGiselle\i and \IPineapple Poll\i and Ballerina in \IPetrushka.\i
She retired from the company in 1958, but returned as guest artist in 1960-61 for the Borovansky Ballet's last season. In 1952, while continuing to dance with the Borovansky, she opened a ballet school in Melbourne with fellow dancer Paul Hammond. After leaving the stage she opened her own ballet school at Mount Eliza in Victoria, where she taught for many years before retiring to northern New South Wales.
#
"Sand Siren",510,0,g,0
\IBallet\i
\ISand Siren\i was commissioned by the \JAustralian Ballet\j for a world premiere in 1992. The work was choreographed by \JGideon Obarzanek\j as an extension of his short work \ISiesta to Dusk,\i performed at the Australian Ballet's choreographic workshop shown at the National Theatre, Melbourne, in 1991. Obarzanek based the work on his own reflections on the Middle East where he grew up. He imagined an eternal sand siren of the sandy oceans who, for thousands of years, drew people into her deserts only to let them drown.
The ballet is set to the music of Paul Giger and Arvo Pαart, with original designs by \JMichael Pearce\j and lighting by Roderick Van Gelder.
#
"Sang, Samantha",511,0,g,0
\I1953-\i
Samantha Sang, Australian singer, was born Cheryl Lau Sang on 5th August 1953. She began her career on Melbourne television's \IIn Melbourne Tonight\i show as Cheryl Gray, which was the surname of her paternal grandmother. At the Cashbox-Billboard awards in 1978 she was voted Top New Female Singer and runner-up to Linda Ronstadt in the Top Female Singer category. She had two hits; one in 1967 as Cheryl Gray, 'You Made Me What I Am', and the Bee Gees composition, 'Emotion' in 1978.
#
"Sangster, John",512,0,g,0
\I1928-95\i
\IJazz musician and composer\i
Born in Melbourne, Sangster was a versatile jazz musician and played a number of instruments. In 1949 he was noticed as a trumpeter and worked in bands with Graeme and Roger Bell. He played drums on the Bells' band's renowned second international tour in 1950 and was later prominent in the modern jazz scene on vibraphone at the Kings Cross club El Rocco. After working on the musical \IHair,\i he recorded the first album of a massive project based on Tolkien's book \ILord of the Rings.\i The \ILord of the Rings\i suite was recorded over six albums and spilled over into other albums such as \IThe Hobbit Suite\i and \IMiddle Earth.\i Many knowledgeable in the jazz scene consider the body of work Sangster has left unrivalled in Australian jazz.
#
"Schultz, Andrew",513,0,g,0
\IComposer\i
Brisbane-born composer Schultz writes for a variety of musical forms, including chamber, orchestral and vocal works. The best-known of these are \IEkstasis, Barren Ground\i and \IStick Dance.\i His affinity with Aboriginal music was the inspiration for his opera \IBlack River,\i a one-acter based on the inquiry into black deaths in custody. Some of the characteristics of Aboriginal music, its general sounds and ideas are an integral part of the opera's score and also of the more recent expanded film score. When writing the piece he drew on his Brisbane childhood memories: rain beating down on an iron roof and the cries of rain birds signalling rain. Although Schultz uses drone-like sounds of a stark percussive nature in his opera, he has resisted using the didjeridu, feeling that its inclusion would be a tokenistic borrowing from another culture with its own strong musical heritage.
#
"Scotney, Evelyn",514,0,g,0
\I1886-1967\i
\ISoprano opera singer\i
Evelyn Scotney was born in Ballarat, Victoria, and studied at the \JAlbert Street Conservatorium\j. At a reception for Lord Kitchener in 1910 her singing was heard by \JNellie Melba\j, who was so impressed with Scotney's ability that she arranged for her to study in Paris with Mathilde Marchesi, Melba's own teacher. In 1911 she was engaged by the Boston Opera where she made her debut as Fresquita in \ICarmen\i; on one occasion she stood in for the renowned Italian operatic soprano Luisa Tetrazzini. From 1919 to 1921 she sang at the Metropolitan Opera in New York, and appeared with Italian tenor Enrico Caruso in \ILa Juive,\i his last role. Her high soprano was heard in the roles of Lucia, Gilda and Violetta, and she also sang in \IThe Tales of Hoffmann.\i She later turned to concert performances, mainly in the United States, the United Kingdom and Australia (where she made a concert tour in 1916). She made many recordings.
#
"Scott, Dame Margaret",515,0,g,0
\I1922-\i
\IBallet dancer and teacher\i
Margaret Scott was born in Johannesburg, South Africa, and trained there before being accepted into the Sadler's Wells (now the Royal) Ballet School. She danced with the Sadler's Wells Ballet from 1941-43 and with Ballet Rambert from 1943-49. She came to Australia in 1947 with the touring Ballet Rambert, dancing principal roles including Russian Ballerina in Antony Tudor's \IGala Performance,\i Elder Sister in AndrΘe Howard's \IThe Fugitive\i and Planet Mars in Tudor's \IThe Planets.\i She remained in Australia and became a founding member and principal artist (1949-50) of the National Theatre Ballet; her repertoire included \IAurora's Wedding, The Listeners, Les Sylphides\i and \IRomantic Suite\i and she also danced in the pantomime \IThe Glass Slipper\i (1949-50) and choreographed \IPeter and the Wolf\i (1950). After a further period in England, she returned to Australia in 1951 and opened her own ballet school in Melbourne.
Following the formation of the Australian Ballet in 1962, Margaret Scott became the founding director of the Australian Ballet School, a position she held from 1963 to 1990. She choreographed \IClassical Sonata\i (1971, revised 1973) and \IRecollections of a Beloved Place\i (Ballet Victoria, 1975). She was a jury member of the Moscow International Ballet Competitions in 1980 and 1983. In 1992, as guest artist with the Australian Ballet, she created the role of the Elder Clara in \JGraeme Murphy\j's \INutcracker.\i
Margaret Scott was appointed an OBE in 1977 and made a Dame of the British Empire in 1981. In 1988 she was made an honorary life member of the Australian Ballet. She is a member of the National Council of both the Australian Ballet and the Australian Opera.
#
"Sculthorpe, Peter",516,0,g,0
\I1929-\i
\IComposer whose best known works include the Sun Music series\i
Sculthorpe was born in Launceston, Tasmania. From 1945-50 he studied at the University of Melbourne Conservatorium of Music and from 1958-60 at Wadham College in Oxford. He was appointed to the University of Sydney's music department in 1963 and has been reader in music since 1968. One of the few internationally recognised Australian composers of the 1960s, he was awarded the Harkness Fellowship in 1966 and appointed an MBE in 1969. The Music Board of the Australia Council granted him a major composition fellowship in 1974 and in the same year the Australian Opera mounted a production of \J\IRites of Passage\j,\i Sculthorpe's full-length opera.
In 1982, to celebrate its 50th anniversary, the ABC commissioned the television opera \IQuiros,\i which it also broadcast. His later works have been influenced by Balinese gamelan music and other music of the Pacific. Other major works include \ISun Music, I, II, III\i and \IIV\i (composed between 1965 and 1969), \IMangrove\i (an orchestral piece) and \IRequiem\i (a solo cello piece written in 1979). Other important works include \IEarth Cry, Kakadu\i and \IMemento mori.\i Sculthorpe was appointed to the Order of Australia (AO) in 1990.
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"Seekers, The",517,0,g,0
\IPop and folk group of the 1960s with international appeal\i
The Seekers members were Judith Durham (vocals), Bruce Woodley (vocals, guitar, banjo), Keith Potger (vocals, guitar, banjo) and Athol Guy (vocals, bass). They first performed together in 1962 in Melbourne and made their television debut in 1963. However, they were not very well known when they went to England in 1964. A promoter there, attracted by their clean cut image, took over their management and arranged for them to record with Columbia.
The single 'I'll Never Find Another You' was released in late 1964 and became No. 1 in Britain and Australia and No. 4 in the United States. This was followed by other successes such as 'World of Our Own', 'The Carnival is Over', 'Morningtown Ride' and 'Georgy Girl'. Their last hit was 'Emerald City' in 1968. During these years they were based in Britain and undertook several tours to Australia and the United States. From 1967 they had their own BBC television show. In 1968 the group split up. In 1968 The Seekers were named Australians of the Year.
Judith Durham took up a career as a soloist in Australia and later returned to England where she turned to jazz vocals. Bruce Woodley returned to Australia and became a writer of songs and advertising jingles. Athol Guy became a Liberal member of the Victorian parliament in 1973. Keith Potger remained in London and in 1974 formed the New Seekers, with the original line up back together except for Judith Durham, who was too involved in her solo career and was replaced by Louisa Wisselling. They had some successful releases, such as 'Sparrow Song', but by 1978 Keith was the only original member left in the group.
The original members of The Seekers reformed in the early 1990s and made a successful comeback tour. The live recording of this tour sold over 3.5 million albums. In April 1997 The Seekers announced that they were going to re-form again.
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"Selby, Kathryn",518,0,g,0
\IPianist specialising in chamber music\i
Sydney-born Selby studied at Philadelphia's Curtis Institute of Music in the United States, graduating with the school's gold medal and the sought-after Rachmaninoff Prize. She later received her master's degree from New York's Juilliard School. Selby has performed throughout the United States, in Europe and Australia, and has been soloist with many of the world's finest orchestras. She had an enthusiastic reception when she made her London debut at the Wigmore Hall. Back in Australia, Selby presented a series of concerts called Selby and Friends, sponsored by IBM, from 1989 to 1992. She spent two years as Musician-in-Residence at Macquarie University and is on the staff of the Sydney Conservatorium of Music. In her role as an exponent of chamber music featuring piano, she was a founding member of the Macquarie Trio, which had its debut at Macquarie University in 1993. Selby has released a number of compact discs.
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"Sentimental Bloke, The (musical)",519,0,g,0
\IMusical\i
The all-Australian musical, \IThe Sentimental Bloke,\i was first staged in 1961 at Canberra's Albert Hall. Based on the poems of C.J. Dennis, the libretto was written by Lloyd Thomson and Nancy Brown and the music was composed by \JAlbert Arlen\j. Edwin Ride, Patsy Hemingway and \JGloria Dawn\j sang the roles of The Bloke, Doreen and Rose of Spadger's Lane. J.C. Williamson's staged the show at Melbourne's Comedy Theatre and it went on to play Adelaide, Brisbane and Sydney by 1962.
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"Shanks, Donald",520,0,g,0
\I1940-\i
\IBass opera singer\i
Brisbane-born Donald Shanks first sang with the Australian Opera (before 1970 known as the Elizabethan Trust Opera Company) in 1964. Since then he has performed more than 65 principal bass roles for the company, including both Pimen and the title role in \IBoris Godunov\i; Timur \I(Turandot)\i; Colline \I(La BohΦme); Rocco \I(Fidelio)\i; Banquo \I(Macbeth)\i; Ramphis \I(Aida)\i; Pistol \I(Falstaff)\i; the title roles in \IDon Pasquale\i and \IThe Mikado\i; Basilio \I(The Barber of Seville)\i; Kekal \I(The Bartered Bride)\i; Baron Ochs \I(Der Rosenkavalier)\i; Bartolo \I(The Marriage of Figaro)\i; Heinrich \I(Lohengrin)\i and Nourabad \I(The Pearl Fishers).\i He has appeared at the Royal Opera House, Covent Garden, and has sung with the Paris OpΘra (1976-77), the Canadian Opera (1983-86), the Victoria State Opera and the Lyric Opera of Queensland.
Donald Shanks was made an OBE in 1976, and was made an AO (Officer of the Order of Australia) in 1987.
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"Shaw, John",521,0,g,0
\I1924-\i
\IBaritone opera singer\i
John Shaw was born in Newcastle, New South Wales. He began his opera career in 1945; in 1953 he sang the lead in the National Theatre Opera Company's production of \IThe Consul\i and in 1955 sang Scarpia \I(Tosca)\i with the J. C. Williamson theatrical organisation's Italian Opera Company. In 1956 he joined the newly formed Elizabethan Trust Opera Company (forerunner of the Australian Opera), singing the title role in \IDon Giovanni\i and Macheath in \IThe Beggar's Opera.\i In 1958 he made his debut with the Royal Opera Company, Covent Garden, in the title role in \IRigoletto\i; he sang with the company for eight seasons. He then appeared with companies in Berlin, Munich, Vienna and Geneva; with the Scottish Opera Company; and also performed in the United States. In 1973, during the opening season at the Sydney Opera House, he sang the title role in \INabucco.\i In 1974 he returned to Australia as a permanent member of the Australian Opera. His roles for the company include an acclaimed portrayal of Scarpia, Iago \I(Otello),\i Pizarro \I(Fidelio)\i and the title roles in \IMacbeth, Rigoletto\i and \IFalstaff.\i He retired in 1989, giving his farewell performance as Jack Rance in \IThe Girl of the Golden West.\i
John Shaw was made an OBE in 1977, and in 1986 was appointed AO (Officer of the Order of Australia), both for his services to music.
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"Sherbet",522,0,g,0
\IPop and rock group\i
The group Sherbet was formed in Sydney in 1969 with the line-up Bruce Worrall (bass), Sammy See (organ), Danny Taylor (drums), Dennis Laughlin (vocals) and Clive Shakespeare (guitar); by 1972 it had changed to \JDaryl Braithwaite\j (lead vocals), Garth Porter (keyboards), Alan Sandow (drums), Tony Mitchell (bass guitar) and Clive Shakespeare (guitar), and it was this combination that dominated the Australian pop scene in the mid-1970s; in 1976 Harvey James replaced Shakespeare on drums. From 1971 to 1978 the group had a total of nineteen hit singles including the international success 'Howzat', which reached No. 1 in both Australia and the United Kingdom. At the 1976 \ITV Week\i King of Pop Awards Sherbet was voted Most Popular Australian Group and the album \IHowzat\i and the single 'Howzat' each won its category.
The group's other hits include the singles 'Cassandra' (1973), 'Slipstream' (1974), 'Summer Love' (1975), 'Life' (1975), 'Only One You'/Matter Of Time' (1975), 'Child's Play' (1976), 'Rock Me Gently'/'You've Got The Gun' (1976), 'Magazine Madonna' (1977) and 'Another Night On The Road' (1978); hit albums include \ISlipstream\i (1974), \ISherbet's Greatest Hits\i (1975), \IPhotoplay\i (1977) and \ISherbet\i (1978). Sherbet's 1979 attempt to break into the US market with a changed name (Highway) and heavier sound was unsuccessful, and in October 1979 the group dissolved. Most members still work within the music industry as producers or musicians; Daryl Braithwaite has a solo career, Garth Porter is a producer of country music.
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"Shorrock, Glen",523,0,g,0
\I1944-\i
Glen Shorrock, Australian singer formerly with the Little River Band, was born at Rochester, near Kent, in England on 30th June 1944. He emigrated to Western Australia with his parents in 1956. He originally played with the Twilights and Axiom, formed the Little River Band in 1975, and had many hits such as 'Curiosity Killed the Cat', 'Help is on the Way', 'Witchery', 'Lonesome Loser' and 'The Other Guy'. When he retired from the group in 1982, he was replaced by John Farnham who also left the group to follow a solo career in 1986.
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"Shuster, Lazar",524,0,g,0
\IViolinist\i
Russian-born Shuster studied with Professor Yankelevich at the Moscow Conservatory and in 1975 immigrated to Israel. There he studied at the Runin Academy of Music, Tel Aviv University, where he won first prize at the Academy's Competition for Artists. Since 1982 he has been a member of the renowned Tel Aviv Quartet, with which he has toured the world. He has taught chamber music in Germany and Finland and has appeared as soloist with the major Israeli orchestras. Shuster was concertmaster with the Israel Philharmonic Orchestra from 1987 and was appointed concertmaster with the Melbourne Symphony Orchestra in 1996, replacing \JCarl Pini\j.
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"Sidaway's Theatre, Sydney",525,0,g,0
\IThe first theatre in Australia\i
Australia's first theatre was built by convicts and opened on 16 January 1796 with the plays \IThe Revenge,\i a tragedy by Edward Young, and \IThe Hotel,\i a farce by T. Vaugh. The proprietor was Robert Sidaway, a former convict, and the actors were male and female convicts. The theatre accommodated about 120 patrons and its site is believed to have been near the present-day Bligh Street. The first opera to be performed in Australia--the ballad opera \IThe Poor Soldier\i--was staged there in June 1796. In 1798 Sidaway's Theatre was closed by order of Governor John Hunter; although performances were resumed for a period, the theatre does not seem to have operated after 1800.
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"Sidney Myer Performing Arts Award",526,0,g,0
\IAustralia's richest performing arts award\i
The Sidney Myer Performing Arts Awards were created in 1984 in memory of businessman Sidney Myer. Made annually, the awards aim to enhance the status of the performing arts in Australia. The two awards-one for an individual and one for a group-are made on a national basis. They are intended to acknowledge the work of a company or a mid-career artist that in the past year made a particular impact in the performing arts. Past group winners include Circus Oz and Sydney Dance Company (joint winners, 1984), DanceWorks (1985), Salamanca Theatre Company (1988), Bran Nue Dae Productions (1990), Synergy and Chamber Made Opera (joint winners, 1991), Chrissie Parrott Dance Company (1992), Doppio Teatro and Bangarra Dance Theatre (joint winners, 1993) and the Tasmanian Symphony Orchestra (1995); individual winners include \jNeil Armfield\j (1988), Sue Ingleton (1989), Meryl Tankard (1992) and \JGeoffrey Rush\j (1993). The awards are made by the Melbourne-based Sidney Myer Fund.
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"Sigrid",527,0,g,0
\IBallet\i
The choreographer \JLaurel Martyn\j created \ISigrid\i for a competition in London in 1935. It is the oldest existing ballet by an Australian choreographer and had its premiere performance in Toowoomba, Queensland, in 1940 with Martyn herself and Dorothy Stevenson taking the leading roles.
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"Simmons, Robert",528,0,g,0
\IBaritone opera singer\i
Robert Simmons was born in Melbourne and as a boy sang in church choirs. After leaving the army at the end of World War II he sang with the Shell Show Orchestra (which among its ranks included \JBobby Limb\j, then a tenor saxophonist), and in 1947 made his operatic debut in the role of Valentine in \IFaust\i for the National Theatre Opera Company; his other roles during his six years as a principal baritone with the company include the title role in \IRigoletto\i and John Sorrel \I(The Consul).\i In 1953 he left for the United Kingdom, where he appeared with the Sadler's Wells Opera Company (forerunner of the English National Opera) and the Carl Rosa Opera Company.
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"Simpson, Lois",529,0,g,0
\ICellist and teacher\i
Born in New Zealand, Simpson began cello lessons in Christchurch at the age of six, studying with Harold Beck. She moved to Sydney in 1938 and obtained a scholarship to the New South Wales State Conservatorium of Music studying under Professor Gladstone Bell. At the age of 13, Simpson joined the Sydney Symphony Orchestra as its youngest player. During her teenage years she gave many live solo radio broadcasts for ABC's Young Performer project and at 17 appeared as guest principal cellist with the Western Australian Symphony Orchestra under the baton of Sir Malcolm Sargent.
In 1946 Simpson was approached by \JRichard Goldner\j to join Sydney Musica Viva, later Musica Viva Australia, enabling her to perform both chamber and solo repertoires. In 1966 she was appointed principal cellist with the Sydney Symphony Orchestra and appeared as concerto soloist in the ABC Celebrity Series with a host of famous conductors. She also formed the Sydney Piano Trio with violinist \JDonald Hazelwood\j and pianist Romola Constantino at this time. When Simpson resigned from her principal's position in the SSO in 1970, it was in order to perform more chamber music and to teach at the New South Wales Conservatorium as lecturer in cello. She toured South-East Asia in this year with the \JRobert Pikler Chamber Orchestra\j and later began a ten-year association with the Australian Chamber Orchestra.
Simpson was a founding member of the Mittagong Trio with \JJohn Harding\j and John Winther, a former director of the Canberra School of Music, and recorded for the ABC Australian Artists Series with \JGeoffrey Parsons\j and Rachel Valler. A few years after leaving the SSO, she became guest co-principal cellist of the Elizabethan Trust Orchestra, the forerunner of the Australian Opera and Ballet Orchestra. She accepted John Winther's invitation in 1984 to join the teaching staff of the Canberra School of Music and taught there until she retired in 1995.
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"Sirocco",530,0,g,0
\IContemporary Australian folk group\i
The contemporary group Sirocco consists of four musicians who use a blend of traditional instruments such as the didgeridoo, bouzouki, whistle, Celtic harp, hand drums and bagpipes with electronic keyboards and guitars to perform a mixture of traditional and original pieces. The group was formed in 1980 and takes its name from a hot dusty wind that blows across southern Europe from northern Africa.
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"Sitsky, Larry",531,0,g,0
\I1934-\i
\IComposer and pianist\i
Sitsky was born in Tianjin (Tientsin), in northern China, and arrived in Australia at the age of seventeen. He studied piano and composition at the New South Wales State Conservatorium of Music, graduating in 1955. From 1958 he continued his studies in San Francisco, returning in 1961 to take up a teaching position at the Queensland Conservatorium of Music. On receiving a Myer Foundation Grant in 1965, Sitsky spent some time researching the music of Ferruccio Benvenuto Busoni, whose compositions include the opera \ITurandot\i (1917).
itsky was made Head of Keyboard Studies at the Canberra School of Music in 1966, later becoming Head of Composition and Electronic Music as well as Head of Musicology. Best known for operas such as \ILenz\i (1970), produced by the Australian Opera, Sitsky's works include \J\IFall of the House of Usher\j\i (1965), an opera for three solo singers and ensemble; the orchestral work \IApparitions\i (1966); \IConcerto for Two Solo Pianos; Atman, A Song of Serenity\i (1975); \IMusic in Mirabell Garden\i (1977) for soprano and instruments; \IThe Golem\i (1980), an opera for soloists, choir and orchestra; \IDe Profundis\i (1982), an opera for baritone, percussion, and two string quartets; and \IChromatic Fantasy and Fugue\i (1987) for wind quintet.
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"Six O'Clock Rock",532,0,g,0
\ITelevision rock and pop show, broadcast 1959-62\i
\ISix O'Clock Rock\i was similar in basic format to \J\IBandstand\j\i and followed that program on to the air. However, with its more radical and commercial approach and its concentration on more genuine rock, it was the first to really take off and establish a large teenage audience. Its popularity led to radio DJs beginning to play Australian records with some regularity and was thus a great impetus to the development of the local rock and pop industry. Shown on the ABC each Saturday evening, it was compered by Johnny O'Keefe and also featured him as a performer.
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"Skyhooks",533,0,g,0
\IFlamboyant rock group known for their provocative performances and aggressively Australian lyrics\i
The rock group Skyhooks grew out of a band called Frame and was formed in Melbourne in 1973 with the original line-up of Fred Strauks (drums), Greg Macainish (bass guitar and also responsible for much of the group's material), Steve Hills (vocals), Bob 'Bongo' Starkie (guitar) and Peter Inglis (guitar). However it was the 1974 line-up of Strauks, Macainish, Graeme ('Shirley') Strachan (lead vocals) and Redmond Symonds (guitar) that honed Skyhooks' outrageous glam-rock image and made it, in the mid- and late-1970s, one of the most successful Australian bands ever, giving confidence and impetus to both local songwriting and the local record industry.
Their first album, \ILiving In The 70s\i (1974), caused a sensation--many of the tracks were banned by radio stations because of their sexually explicit lyrics (one such, 'You Just Like Me 'Cause I'm Good In Bed', was the first song broadcast by radio station Double J--now Triple J). Nevertheless the album went to the top of the national charts, where it remained for 40 weeks, a record for a debut album that was unbroken for many years. Skyhooks was one of the first groups to appear on \J\ICountdown\j\i and the film clip released with the single 'Horror Movie' (1974), shown on the first colour edition of the show, was a ground-breaking forerunner of the music video. Later albums include \IEgo Is Not A Dirty Word\i (1975), \IStraight In A Gay Gay World\i (1976), \IGuilty Until Proven Insane\i (1978) and \IThe Best of Skyhooks\i (1980); singles include 'All My Friends Are Getting Married' (1975), 'Million Dollar Riff' (1975) and 'Women in Uniform' (1978).
Their awards include \ITV Week\i King of Pop 1975 Most Popular Australian Album \I(Ego Is Not A Dirty Word),\i Australian Record of the Year ('Horror Movie') and Best Australian Songwriter (Greg Macainish). Skyhooks concerts often featured props such as a huge hand and a giant penis. The group disbanded in 1986, but in 1990 released the single 'Jukebox in Siberia' and in 1994 re-formed for a series of comeback concerts and the release of a new album.
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"Smeaton, Bruce",534,0,g,0
\I1938-\i
\IComposer of film music\i
Smeaton is a self-taught composer of television, commercial and film music. An Australian leader in this field, he has won many prizes and is responsible for more than 2500 items of commercial music. Smeaton has written the scores for many well-known Australian films, including \IA Town Like Alice,\i \IBarbarosa,\i \IBen Hall,\i \IThe Devil's Playground,\i \IEliza Fraser,\i \IThe Cars That Ate Paris,\i \IThe Chant of Jimmy Blacksmith,\i \IDeparture,\i \IEvil Angels\i and \IWendy Cracked a Walnut.\i Besides his impressive film scores, this versatile composer has written music for brass, a cello concerto and chamber music. He was director of the board of APRA (Australian Performing Right Association) from 1978 to 1990.
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"Smiles, Julian",535,0,g,0
\ICellist\i
Sydney-based Julian Smiles studied cello with Nelson Cooke at the Canberra School of Music. He won the open section of the National Violoncello Society of Australia Competition when he was fifteen and graduated in 1989 with a Bachelor of Music, awarded after only two years of study. In the same year he became a core member and principal cellist with the Australian Chamber Orchestra and won a number of awards which allowed him to study with cellist Janos Starker at Indiana University in the United States. Smiles returned to Australia in 1991 to become resident cellist with the \JAustralia Ensemble\j. He is a member of the \JGoldner String Quartet\j formed in 1995 and named after Richard Goldner, the founder of Musica Viva.
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"Smith, Alan",536,0,g,0
\IViolinist and concertmaster\i
Born in Brisbane, Smith began violin lessons at the age of six with Elizabeth Morgan and later studied with John Curro. He was awarded a scholarship with Vincent Edwards at the Canberra School of Music and in 1977 began studying with \JBeryl Kimber\j at the Elder Conservatorium in Adelaide. He was awarded a German Government Scholarship in 1982 to undertake postgraduate studies with Gottfried Schneider at the Robert Schumann Institute in Dⁿsseldorf. While in Germany he toured as a member of the Chamber Orchestra of the Young German Philharmonic. From 1983 to 1985 he was concertmaster of the Rhineland Chamber Orchestra, Cologne.
In 1985 he returned to Australia and joined the Adelaide Symphony Orchestra, becoming associate concertmaster in 1987. For five years he was the guest concertmaster of the Adelaide Chamber Orchestra, and in 1991 he succeeded William Hennessy as concertmaster. Between 1986 and 1989 he performed with the Arioso Quartet and has been a guest teacher at the Elder Conservatorium. In 1995 he took up the position of concertmaster of the Queensland Symphony Orchestra. The violin he plays is a Spanish instrument made by JosΘ Contreras in 1770.
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"Smith, Donald",537,0,g,0
\ITenor opera singer\i
Donald Smith was born in Bundaberg, Queensland, where he began his career as a regular singer on local radio. He sang the tenor lead in \IMerrie England\i in Brisbane in 1941. He resumed his career after war service, singing on radio and in 1947 touring Queensland. He made his debut in grand opera in 1948 with the Brisbane Opera Society, for which he sang leads in many operas, including \ICarmen,\i \IFaust,\i \IRigoletto,\i \IRomeo and Juliet\i and \IPagliacci.\i In 1951 the visiting Italian Grand Opera company invited him to sing with them on their Australian tour and in 1952 he began two years study at the London Opera School and in Italy. In 1955 he again sang in Australia with a visiting Italian opera company. In 1958 he sang Almaviva \I(The Barber of Seville)\i and Tamino \I(The Magic Flute)\i for the Australian Opera (at the time known as the Elizabethan Trust Opera Company). In 1960 he sang Pinkerton to Joan Hammond's Madame Butterfly. In 1962 he made his debut at Sadler's Wells, London (forerunner of the English National Opera) and also sang at the Royal Opera, Covent Garden. Following his return to Australia in 1968, his roles for the Australian Opera included Canio \I(Pagliacci),\i Boles \I(Peter Grimes),\i Manrico \I(Il Trovatore),\i the Duke of Mantua \I(Rigoletto),\i Dick Johnson \I(The Girl of the Golden West),\i Cavaradossi \I(Tosca),\i Radames \I(Aida)\i and the King \I(A Masked Ball).\i
Donald Smith was the first resident artist of the Australian Opera to be appointed an OBE for services to music. In 1981 ill-health caused him to retire from the stage. He has recorded several albums.
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"Some Rooms",538,0,g,0
\IDance piece\i
\ISome Rooms,\i choreographed by \JGraeme Murphy\j, is one of the most popular works in the \JSydney Dance Company\j's repertoire. The four rooms (the bedroom--Act 1; the bathroom--Act 2; the changing room--Act 3; and the reading room--Act 4) reflect different aspects of the human outlook. Murphy explained before the premiere season in 1983 that the 'rooms are a metaphor for thoughts and the inner spaces of the mind; places that people have created for their own purposes, whatever those purposes might be. Each of the rooms has a different set of characters.' The central character of the voyager passes through the rooms and becomes part of other people's lives or, at other times, just observes what is going on.
The music includes \IHymns and Spheres 1st and 7th Movements\i by Keith Jarrett and 'Bailero' from \ISongs of the Auvergne\i by Joseph Canteloube (Act 1); \IConcerto for Organ\i by Francis Poulenc (Act 2); \ISea Interludes: Moonlight/Dawn/Storm\i by Benjamin Britten (Act 3); and \IAdagio for Strings\i by Samuel Barber (Act 4).
\IFirst performed\i Sydney Opera House, 1983
\IOther performances\i Three later Opera House seasons, including 1989 and 1992; New York's City Centre Theater; the Teatro Nuovo at Italy's Spoleto Festival.
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"Sonata for Seven",539,0,g,0
\IBallet\i
The New Zealand-born dancer and choreographer Timothy Gordon was commissioned to create \ISonata for Seven\i from a choreographic workshop he held at the Australian Ballet School in 1986. The work was inspired by Prokofiev's \IPiano Sonata No 7.\i Gordon worked backwards from the third movement to the first movement, creating a piece that looks at human relationships through a range of moods and dynamics. Performed by the Australian Ballet, the work premiered at the Sydney Opera House in 1987. It also featured as part of the company's 1988 Brisbane season at the Lyric Theatre, Performing Arts Complex, Brisbane.
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"Song Company, The",540,0,g,0
\ISmall vocal ensemble\i
The Song Company was established in 1984 by Charles Colman and has a wide repertoire covering music from twelfth-century Europe to contemporary Australia. Since 1990, under the leadership of artistic director Ronald Peelman, the ensemble has performed widely on the Australian scene, presenting semi-staged performances of Purcell's \IDido and Aeneas,\i \IThe Fairy Queen\i and \IKing Arthur\i (accompanied by original instruments), and an Early Music repertoire featuring works by Josquin, Palestrina, Lassus, Gesuldo and Monteverdi. The Company is committed to commissioning, presenting and recording music by Australian composers and its repertoire includes works by Michael Whiticker, \JAnne Boyd\j, \JAndrew Ford\j, \JMalcolm Williamson\j, Tony Bremner, \JAndrew Schultz\j, \JBreton Broadstock\j, \JStephen Cronin\j, Gillian Whitehead, Michael Smetanin and Colin Bright.
It collaborated with the Sydney Metropolitan Opera in \IQuito\i by Martin Wesley-Smith in 1994, and in 1995 premiered three commissioned works: Vincent Plush's \IFuneral Rites,\i Raffaele Marcellino's \IFish Tale\i and David Chesworth's \IGrand Theft.\i The Song Company has released a number of compact discs including \IThe Laughter of Mermaids,\i \IMozart Unexpurgated\i and \IThe Green CD\i (a selection of music by Australian composers friendly to the environment). The Company includes Roland Peelman (artistic director), Helen and Nicole Thomson (sopranos), Jo Burton (mezzo-soprano), David Hamilton and David McKenzie (tenors) and Clive Birch (bass-baritone).
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"Split Enz",541,0,g,0
\INew Zealand rock group in Australia\i
Split Enz (originally spelled Split Ends) was formed in New Zealand in 1973 by university friends \JTim Finn\j (vocals and piano) and Phil Judd (guitar, mandolin and vocals) with additional members Jonathan Chunn (bass guitar), Myles Golding and Mike Howard (reeds); later members include Wally Wilkinson (guitar), Noel Crombie (variety of instruments), Edward Raynor (keyboards), Emlyn Crowther (drums) and \JNeil Finn\j (guitar and vocals). The band moved to Australia in 1975, where they recorded their debut album, \IMental Notes.\i The band was known for its theatrical performances and through regular Australian and overseas tours built up a cult following both in Australasia and the United Kingdom. In 1977 in London, and with Neil Finn now part of the line-up, they recorded their third album, \IDizrhythmia.\i
Their 1980 album, \ITrue Colours,\i was a huge hit in Australia. The following albums, \ICorroboree\i (1981) and \ITime And Tide\i (1982) also reached No. 1. Their single 'Six Months In A Leaky Boat' (1982), released at the time of the Falklands War, received no airplay in the United Kingdom as it was considered to be critical of the British position. Their other singles include 'I Got You' (1980), 'One Step Ahead' (1980), 'History Never Repeats' (1981) and 'Dirty Creature' (1982). Split Enz disbanded in 1984, with Neil Finn going on to form \JCrowded House\j.
At the 1982 \ICountdown\i Awards, Split Enz was voted Most Popular Group, \ITime And Tide\i Best Album and Tim Finn Most Popular Songwriter.
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"Springfield, Rick",542,0,g,0
\I1949-\i
\IPop singer and songwriter,\i \Imusician and television actor\i
Born Richard Springthorpe in Sydney, Springfield learnt guitar as a teenager. In 1969 he became a member of the successful pop group Zoot. His first solo single, 'Speak To The Sky' (1971), his own composition, became a national hit and in 1972 he represented Australia with this song at the Tokyo Song Festival. In the same year he moved to the United States, where he has since been based. His singles include 'Hookey Joe' (1972), 'Jessie's Girl' (1981), 'Don't Talk To Strangers' (1982), 'Love Somebody' (1984), 'Don't Walk Away' (1984) and 'Rock of Life'; his albums include \IWorking Class Dog\i (1981), \ISuccess Hasn't Spoilt Me Yet\i (1982) and \ILiving In The Land Of Oz\i (1983).
He won the \ITV Week\i Best Lead Guitarist award in 1971 and in the following year was voted \ITV Week\i Most Popular Australian Musician.
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"St. John, Jeff",543,0,g,0
\I1946-\i
Jeff St. John, Australian pop singer, was born in Sydney on 22nd April 1946. He was stricken with spina bifida and is confined to a wheelchair; he is known in Sydney for his motorbike and sidecar. Despite his disability, he had a number of hits on the Spin label with his backing groups, the ID and Copperwine. His best known single was 'Big Time Operator', and 'Teach Me How To Fly'. He now works with accident victims at Sydney's Royal North Shore Hospital, helping them adjust to wheelchair life. He appeared in \IA Country Practice\i in 1986.
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"St. Peters, John",544,0,g,0
\I1956-\i
John St. Peters, Australian singer, was born Johnny Piccolo in Milan, Italy on 3rd October 1956, and migrated to Melbourne with his family at aged eight. He appeared in talent quests as Johnny Lo Piccolo playing the piano accordion. He had his own television show in Jakarta. His hits include 'You Know That You're Sexy' (1976), 'Deep Inside Of Me' (1978), 'High Class Woman' (1978) and 'So Many Ways' (1979). He wrote the theme to \ISimon Townsend's Wonderworld\i.
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"Stanhope, David",545,0,g,0
\IHorn player,\i \Iconcert pianist and conductor\i
English-born David Stanhope is a multi-faceted musician. He won the International Horn Society Composer Competition in 1979 and in the following year toured Australia as a pianist with the ABC. He was a member of the Adelaide Symphony Orchestra and played bass trombone with the Sydney and Melbourne Symphony Orchestras in 1985 and 1986. He made his debut as a conductor in 1986, conducting the Australian Opera's National Opera Workshops in 1986, 1987 and 1990 (when he conducted part of his own three-act opera, \IDracula).\i Other operas Stanhope has conducted for the AO include \IAlbert Herring,\i \IPeter Grimes,\i \IThe Turn of the Screw,\i \IHansel and Gretel,\i \ISalome,\i \ILulu\i and \IThe Makropoulos Secret\i (1996). Since 1987, he has conducted regularly for the Seymour Group as well and for the Sydney and Melbourne Symphony Orchestras. Stanhope has recorded as a solo pianist for EMI.
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"Star Maker Talent Quest",546,0,g,0
\ICountry music talent quest\i
The Star Maker Talent Quest aims to encourage emerging professional talent in the country music field by providing the winner with a year of career development support and a big-budget single record release. It was introduced in 1979, and from 1986 has been restricted to solo artists only. Finalists perform live before judges at the annual \JAustralasian Country Music Awards and Festival\j in Tamworth, New South Wales.
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"Starr, Lucky",547,0,g,0
\I1940-\i
\IPop and country singer\i
Born Les Morrison in Sydney, Starr won several talent quests in the late 1950s. By the early 1960s he had adopted both the stage name Lucky Starr and his distinctive star-shaped guitar. His big break came in 1961 with the release of 'I've Been Everywhere' (written by Geoff Mack). In 1963 he left for the United States, where for a year he worked the nightclub circuit. In 1975 he received the Australian Radio Record Award for Best Country and Western Album for \IBig Wheels.\i
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"State Opera of South Australia",548,0,g,0
\IState opera company founded in 1973\i
The origins of the State Opera of South Australia are to be found in the Intimate Opera, founded in 1956 by John Worthley (brother of Australian tenor \JMax Worthley\j) and William Harrison and modelled on the English intimate opera tradition. This group did not have a regular program and was mainly associated with performances at the Adelaide Festival. Grand opera was not performed, but rather works that were easy to stage and which could be sung by local singers. However, such was the success of the group that in 1973 it was reformed as the New Opera South Australia, with financial backing from the South Australian Government under Premier Don Dunstan. Its first production was an unusual work by Janßcek, \IThe Excursions of Mr Broucek.\i In 1976 the company was renamed the State Opera of South Australia.
Until 1977 the company used almost solely local singers but from that year on followed the example of other state companies in importing singers as well as using local ones. \IThe Coronation of Poppea,\i starring Eilene Hannan and Gregory Dempsey, and \IHMS Pinafore,\i starring the English actor Edward Woodward, started this trend. The State Opera has gone on to become a stable and highly respected company with a wide repertoire of international classics and also a commitment to the performance of Australian works and lesser known international works. In 1986, for example, two works by Peggy Glanville-Hicks were performed--\IGlittering Gates\i and \ITransposed Heads.\i More recent highlights include the 1991 production of \IElektra,\i directed by film director Bruce Beresford, and the 1994 production of \IHansel and Gretel,\i which was taken on a successful tour for school children.
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"Stewart, Eleanor ('Nellie')",549,0,g,0
\I1858-1931\i
\IStage actor and singer\i
Nellie Stewart was born in Sydney. Her mother was the operatic contralto, Theodosia Yates Stirling, and her father was the actor Richard Stewart. The pair ran a touring family company which presented a variety of material, from operatic arias to comedy skits, and although Nellie first appeared on the stage at the age of five in Kotzebue's play \IThe Stranger,\i she does not seem to have taken much part in the family activities until the age of sixteen. By 1877 she was singing and dancing in \IRainbow Revels,\i a medley of entertainment written especially for the Stewart family which they took on tour around Australia and to New Zealand. In 1878 she appeared as Josephine in her first operetta, \IHMS Pinafore,\i and toured India with another family show called \IIf.\i In 1880 the troupe again toured India, and also performed in London; they were about to try New York when Nellie was summoned back to Australia to play the principal boy in the Coppin-produced pantomime \ISinbad the Sailor\i in Melbourne. This made her an overnight star and was followed by \ILa Fille du Tambour-Major\i at the Opera House, Melbourne. Over the next six years she went on to perform in more than twenty comic operas and toured Australia and New Zealand.
She was the first Australian Yum-Yum in \IThe Mikado\i in 1886 and sang in many of the Gilbert and Sullivan successes, including \IPrincess Ida\i and \IThe Pirates of Penzance\i with their exacting soprano roles. She also sang in numbers of French operettas, such as \ILes Cloches de Corneville,\i \ILa Mascotte\i and the rather more operatic \ILa Fille du Tambour-Major.\i In 1888 she was well reviewed for both her acting and dancing, as well as her singing, in \IDorothy,\i a lavish production conducted by its English composer Cellier, and in the same year sang MarguΘrite in Gounod's \IFaust.\i In 1889 she starred in Planquette's \IPaul Jones\i and in 1892, in London, in \IBlue-Eyed Susan.\i In 1893-95 she headed a comic opera company touring Australia and New Zealand, and from 1895-1900 starred in pantomime at London's Drury Lane. Stewart sang at the opening of the first Australian Federal Parliament in 1901. She was especially identified with the role of Nell Gwynne in \ISweet Nell of Old Drury,\i which she first performed at Melbourne's Princess Theatre in 1902 and which she subsequently played on and off until 1929. In 1905 a successful San Francisco earthquake. She starred in an Australian-made film version of \ISweet Nell of Old Drury\i in 1911. She gave her final performance in the role of Nell at the age of 70 in 1931, and in the same year made recordings of \ISweet Nell.\i
In as much as her career takes off before \JNellie Melba\j's, Nellie Stewart has claim to being Australia's first national and international stage star. She recorded only a snatch from \ISweet Nell of Old Drury\i and some spoken extracts.
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"Stock, Gailene",550,0,g,0
\IBallet dancer and teacher\i
Gailene Stock was born in Ballarat, Victoria, and trained with Paul Hammond. In 1962 she became the youngest foundation member of the Australian Ballet. In the following year she won a Royal Academy of Dancing Scholarship to London's Royal Ballet School, continuing her studies in France and Denmark before joining the Grande Ballet Classique de France and, later, Il Teatro del Balletto di Roma. She rejoined the Australian Ballet in 1965 as soloist and was named principal artist in 1971. Her repertoire included Second Ballerina in \IBallet Imperial,\i Courtesan in John Butler's \ISebastian,\i the Female in \JRobert Helpmann\j's \IThe Display,\i Valencienne in \IThe Merry Widow\i and title roles in \IGiselle\i and \ICinderella.\i She had a major role in Rudolf Nureyev's film \IDon Quixote\i and has appeared in many television performances, both in Australia and overseas.
From 1974-76 she was principal artist of the National Ballet of Canada, and in 1976 of the Royal Winnipeg Ballet. With her dancer husband \JGary Norman\j she rejoined the Australian Ballet for the 1977 season, after which she retired from the stage to teach. Since then she has worked extensively as teacher-coach-administrator for a number of major dance organisations. In 1990 she was appointed director of the Australian Ballet School.
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"Stokes, Sian",551,0,g,0
\IDancer\i
Born in Worcester in the United Kingdom, Sian Stokes was raised in Western Australia where she studied ballet with Terri Charlesworth. In 1982 she won a scholarship to study with Marika Besobrasova at the Princess Grace Academy in Monaco before joining the Australian Ballet in 1983. She was promoted to coryphee in 1985 and soloist in 1986. Stokes was a silver medallist at the 1986 International Ballet Competition in Jackson in the United States, and that same year was the overall winner of the West Australian Young Achievers' Awards. She has toured extensively with the Australian and West Australian Ballet companies and in 1989 danced in the musical \IDancin' Man\i. After a year with the West Australian Ballet in 1990, Stokes rejoined the Australian Ballet in 1991 as senior artist. She was promoted to principal artist in 1993 and resigned from the Australian Ballet in 1995.
#
"Stone, Judy",552,0,g,0
\I1942-\i
\IPop and country singer\i
Judy Stone was born in Sydney on 1st January 1942. In the early 1960s she became a regular performer on the television pop music show \J\IBandstand,\j\i often singing duets with \JCol Joye,\j and also toured Australia and Japan with Col and the \JJoy Boys.\j Her singles include 'I'll Step Down' (1962), '4,003,221 Tears From Now' (1964), 'Born A Woman' (1966, with Sandy Posey), 'Would You Lay With Me In A Field Of Stone?' (1974) and 'Silver Wings And Golden Rings' (1976). She has worked consistently in the club and cabaret circuit and has won eight Mo Awards.
On 28th January 1992, she was diagnosed as having a rare malignant tumour under her jaw and underwent an operation and a course of cobalt treatment.
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"Strachan, Graeme ('Shirley')",553,0,g,0
\IPop singer, television host and radio disc jockey\i
Graeme Strachan was born in Malvern, Victoria, and grew up in Melbourne. He was lead singer in the band \JSkyhooks\j from 1974-78. His solo releases include 'Every Little Bit Hurts' (1976), 'Tracks of My Tears' (1977), 'Nothing But The Best' (1979) and the album \IIt's All Rock 'n' Roll To Me\i (1980). In late 1983 he temporarily replaced \JJames Reyne\j as lead singer with the Party Boys. He is currently one of the hosts on the Nine Network's TV program \IOur House.\i
#
"Stralia, Elsa",554,0,g,0
\I1881-1953\i
\IDramatic soprano\i
Elsa Stralia was born in Adelaide as Elsa Fischer (her father was the baritone Hugo Fischer), and studied singing at the \JAlbert Street Conservatorium\j in Melbourne. She sang in the J. C. Williamson theatrical organisation's chorus and then as a soloist with the Sydney Philharmonic Society. She left for Europe in 1910 and studied first in Italy, then later in Paris with Mathilde Marchesi, \JNellie Melba\j's teacher. She adopted the stage name 'Elsa Stralia' in 1912 for her debut at the Royal Opera House, Covent Garden, as Donna Elvira in \IDon Giovanni.\i Her great vocal range and power brought her leads in such operas as \ILohengrin,\i \ITannhΣuser,\i \IAida\i and \IA Masked Ball\i in the 1913 season. She sang under conductor Sir Thomas Beecham in the 1916 and 1919 seasons, sometimes while still appearing at Covent Garden, and also sang in the early seasons of the British National Opera Company. She appeared at La Scala in Milan, and made many appearances in concert and oratorio. She sang as guest artist in New York and Paris and toured the United States and South Africa before returning to Australia in 1925 for a concert tour with \JAmy Castles\j and \JDorothy Helmrich\j.
Her career continued abroad until she remarried during a second antipodean tour, in 1935, and retired with her husband to Auckland, New Zealand. She spent the last ten years of her life in Melbourne. She made many recordings.
#
"Stretton, Ross",555,0,g,0
\IBallet dancer and administrator\i
Ross Stretton was born in Canberra where he trained with \JJanet Karin\j and \JBryan Lawrence\j; he is a graduate of the Australian Ballet School. He joined the Australian Ballet in 1972, progressing through the ranks, and in 1978 was named principal artist. With the company he created the roles of Julia Cotton's \ISuperman\i (1974), Gillian Lynne's \IThe Fool on the Hill\i (1975-76) and \JGraeme Murphy\j's \ITekton\i (1978); his repertoire included White Solo in Louis Falco's \ICaravan,\i Jerome Robbin's \IAfternoon of a Faun,\i Ray Powell's \IOne in Five\i and Frederick Ashton's \IMonotone,\i in addition to leading male roles in \IThe Merry Widow,\i \IThe Sleeping Beauty\i and John Cranko's \IRomeo and Juliet.\i In 1979 he went to Europe with his dancer wife Valmai Roberts to study in Monte Carlo with Marika Besobrasova. He was guest artist with the United Kingdom's Northern Ballet Theatre and created the role of the Prince in Robert de Warren's premiere of the Johann Strauss-scored \ICinderella\i (1979) for that company. He went to New York later in 1979, where he joined the Joffrey Ballet for two seasons. During the 1980-81 season he danced as guest artist with the American Theatre Ballet; he joined the American Theatre Ballet in the 1981-82 season and was promoted to principal artist in 1983. His roles with that company include Solor in \ILa Bayadere,\i the Prince in Mikhail Baryshnikov's \ICinderella,\i the Nutcracker Prince in \IThe Nutcracker,\i Romeo in \IRomeo and Juliet,\i Prince Desire in Kenneth MacMillan's \IThe Sleeping Beauty\i and Prince Siegfried in \ISwan Lake.\i
After retiring as a dancer, Stretton was appointed assistant to the directors of the American Theatre Ballet in 1990, regisseur in 1991 and in 1993 became assistant director. In 1996 he was appointed artistic director of the Australian Ballet, taking up the position at the end of the year.
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"Strike, Lois",556,0,g,0
\I1948-\i
\IBallet dancer\i
Sydney-born Lois Strike trained at the Scully-Borovansky School where she won a Royal Academy of Dancing Scholarship enabling her to study at the Royal Ballet School, London. She joined the Royal Ballet, where she remained for five years before transferring to the touring company (now known as the Birmingham Royal Ballet). She was promoted to soloist in 1972 and to principal artist in 1973. She joined the Australian Ballet in 1980, making her debut with the company in the title role of Rudolf Nureyev's \IRaymonda.\i Her repertoire included title roles in Frederick Ashton's \ICinderella,\i AndrΘ Prokovsky's \IAnna Karenina,\i John Cranko's \IPineapple Poll\i and Sylph in \IGraduation Ball.\i In 1981 Lois Strike was appointed principal dancer and ballet mistress of the Australian Opera. She currently teaches in Sydney.
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"Summer of the Seventeenth Doll (opera)",557,0,g,0
\IChamber Opera\i
\JRay Lawler\j's Australian classic drama \ISummer of the Seventeenth Doll\i was turned into a chamber opera forty years after its first staging. Commissioned by the Victorian State Opera (an inaugural recipient of a Victorian Government funded Victoria Commission), the composer \JRichard Mills\j and librettist Peter Goldsworthy were responsible for the adaptation set to premiere at the 1996 Melbourne Festival. \JRichard Wherrett\j, who directed a 1973 production of the play, will direct the opera version.
Dr Goldsworthy, known as an author and poet, received help from Ray Lawler in his task of adapting this classic of the vernacular to the operatic stage, while Richard Mills made reference to music of the time in his musical score.
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"Summers, Jonathan",558,0,g,0
\IBaritone opera singer\i
Jonathan Summers was born in Melbourne and studied there at the National Theatre Opera School before going to London in 1975 to continue his vocal training. In the same year he made his operatic debut in a production of \IRigoletto\i for the Kent Opera. From 1976 to 1986 he sang with the Royal Opera House, Covent Garden, and is still a regular guest artist with that company. He has sung with the English National Opera in productions of \IMacbeth, A Masked Ball, Peter Grimes\i and \IThe Force of Destiny\i. He has appeared with major European opera houses and with the Metropolitan Opera in New York and the Lyric Opera of Chicago. He made his debut with the Australian Opera in 1981 in the role of Germont in \ILa Traviata\i; his later roles for the company include Di Luna (\IIl Trovatore\i), Iago (\IOtello\i), Anckarstroem (\IA Masked Ball\i) and the four villain roles in \IThe Tales of Hoffmann\i. His recordings include Balstrode in \IPeter Grimes\i, which received a Grammy Award for best opera recording in 1979, and Vaughan Williams' \ISea Symphony\i, which received a Gramophone Award in 1990.
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"Sun and Moon",559,0,g,0
\IBallet work\i
Adelaide dancer Elizabeth Dalman choreographed her work \ISun and Moon\i in 1968 for the Scapino Ballet of Holland. It is set to the music of \JPeter Sculthorpe\j and was introduced to Australian audiences, along with several other new ballets, in 1970 when the Australian Dance Theatre appeared at the Adelaide Festival of the Arts. Dalman was artistic director of the company, which she and English dancer Leslie White founded in 1965 to train dancers in modern dance. Dalman was able to fund the production of \ISun and Moon\i with the help of a grant the federal government gave the company in 1969.
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"Sun Music",560,0,g,0
\IBallet work\i
In 1968 the \JAustralian Ballet\j performed the world premiere of Sir \JRobert Helpmann\j's ballet \ISun Music.\i The music was composed by \JPeter Sculthorpe\j and the original sets and costumes were designed by \JKenneth Rowell.\j The leading dancers were Josephine Jason and \JKelvin Coe.\j The work depicts the effects of the sun in five unconnected movements: Soil, Mirage, Growth, Energy and Destruction. Helpmann dedicated his ballet to Dame Zara Holt, whose husband Harold Holt had done so much to promote Australian ballet when he was alive.
\ISun Music\i was received with great enthusiasm and was perceived as a work of total theatre, with the music, choreography and sets blending into an integrated whole. The work enjoyed a Melbourne season in 1970 and was part of the program presented on the Australian Ballet's sixth international tour in 1973. The ballet broke box-office records for the company in Sydney in 1968, with more than 25 000 people going to see it.
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"Super Man",561,0,g,0
\IBallet work\i
Julia Cotton created her work \ISuper Man\i under a sponsorship scheme put together by the \JAustralian Ballet\j with the \ICanberra Times\i to encourage young choreographers. The ballet was one of four judged at 'Ballet 74', the event held to present the works to a panel of critics. \ISuper Man\i was set to music provided by the jazz band \JGalapagos Duck\j, who appeared on stage, while John Lanchbery conducted the opera orchestra in the pit. Although Cotton's piece did not win, it premiered at the Australian Ballet's opening season in 1974 at Melbourne's Princess Theatre.
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"Sutherland, Dame Joan",562,3_0067.jpg,c,0
\I1926-\i
\IInternationally famous soprano opera singer of extraordinary vocal resources\i
Joan Sutherland was born in Sydney. In 1946 she won a two-year singing scholarship; in 1947 she sang opposite \JRonald Dowd\j in a concert performance of Purcell's opera \IDido and Aeneas\i; in 1949 she won the \ISun\i Aria competition; and in 1950 she won the Mobil Quest. She left to study at the Royal College of Music in London in the following year, after giving a farewell performance in the Sydney Town Hall. In 1954 she married \JRichard Bonynge,\j her coach and regular accompanist, whom she had met several years earlier. He began to extend her brilliant top register and develop her interest in the \Ibel canto\i operas of composers such as Bellini and Donizetti, where her greatest successes were to lie.
She made her Royal Opera Company debut at Covent Garden in 1952, as the First Lady in \IThe Magic Flute.\i This was followed by twenty years as a leading soprano in the United Kingdom. Her first performance in the title role of \ILucia di Lammermoor,\i at Covent Garden in 1959, marked the beginning of her international stardom; the opera's producer, Italian film director Franco Zeffirelli, tutored her in acting for this role. Her European and US performances in \ILucia\i were also acclaimed, with some rating her 1961 appearance in the role at La Scala, in Milan, Italy, as the highlight of her career.
In 1965 she returned to Australia with the Sutherland-Williamson International Grand Opera Company-Bonynge was artistic director and principal conductor. She visited again in 1974, this time making her debut with the Australian Opera in \IThe Tales of Hoffmann.\i Two years later she returned as a member of the company. Her appearances with the Australian Opera include \IDie Fledermaus,\i \IThe Merry Widow,\i \IAlcina,\i \ILucrezia Borgia,\i \INorma,\i \IOtello,\i \ILa Traviata\i and her trademark, \ILucia di Lammermoor.\i She retired in 1990 after a farewell performance at the Sydney Opera House as Margaret de Valois in \ILes Huguenots.\i
Joan Sutherland was created a Dame of the British Empire in 1979. Throughout much of her career she was known as 'La Stupenda', a nickname coined by an English journalist and based on the description \IE stupenda\i ('she is wonderful') following her Italian debut in Venice. She has been one of the most prolific recording artists of all time, with both recitals and complete recordings, as well as videos of her operatic performances.
\BDescription:\b Dame Joan Sutherland \I(DFAT)\i
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"Sutherland, Margaret",563,0,g,0
\I1897-1984\i
\IComposer of the first Australian opera to be recorded in Australia\i
Sutherland was born in Adelaide. At the age of seventeen she won a scholarship to the \JAlbert Street Conservatorium\j of Music in Melbourne to study piano and composition. In 1923 she travelled to Europe to continue her studies in London and Vienna, returning to Australia in 1925. She used her musical gifts to good advantage during World War II, taking an active part in Red Cross concerts. After the war she joined a number of high-powered committees and institutions such as the Australian Music Fund and she also helped promote the proposals for the Victorian Arts Centre.
Sutherland's numerous compositions, some ninety in all, include an important body of chamber music, works for opera and ballet, vocal, choral and piano music and orchestral compositions. She composed her only opera, \IThe Young Kabbarli,\i in 1964. Based on an event in the life of Daisy Bates, it had its debut performance in 1965 and was the first Australian opera to be recorded. In appreciation of her enormous contribution to music, she received an honorary doctorate of music from the University of Melbourne in 1969 and was appointed an OBE in 1970.
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"Sydney Conservatorium of Music",564,0,g,0
\ITertiary music training institution in Sydney\i
The Sydney Conservatorium of Music (until 1990 called the New South Wales State Conservatorium of Music) offers a wide range of courses including performance--both instrumental (brass, keyboard, percussion, piano, strings and woodwind) and vocal--coaching, conducting, music history, musicology, general theatre studies and music teaching. The Conservatorium was officially opened in 1915 and its first director was \JHenri Verbrugghen.\j It is housed within the fortress-like walls of the 1820s building designed by Francis Greenway as the stables and servants quarters for Governor Macquarie's future government house.
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"Sydney Dance Company",565,0,g,0
\ISydney-based innovative contemporary dance company known nationally and internationally\i
Founded in 1969 as The Dance Company (NSW), the Sydney Dance Company, which changed its name in 1979, has built up a national and international reputation, largely because of the large volume of original works in its repertoire. Many of these were created by dancer and choreographer \JGraeme Murphy\j, who was appointed artistic director in 1976; at the same time \JJanet Vernon\j became associate artistic director. Under Murphy's direction the company became a catalyst for collaborations between Australian Choreographers, composers, musicians, designers and film-makers--a fine example of this is Murphy's \J\INearly Beloved\j\i (1986).
Other works Murphy has created for the company include narrative full length works such as \J\IPoppy\j\i (1978), \IAfter Venice\i (1984) and \IBeauty and the Beast\i (1993); \IBoxes,\i with music by Iva Davis (of \JIcehouse\j) and Bob Kretschmer; and plotless works such as \IKraanerg\i (1988), set to the score by Iannis Xenakis, and \ISynergy With Synergy\i (1993), a collaboration with the percussion group \JSynergy\j. The company has performed in Europe, the United States and South America.
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"Sydney Festival",566,0,g,0
\IA summer festival of entertainment, cultural and sporting events\i
The Sydney Festival began in 1976 as a revamping of the city's Waratah Festival (which had been held each spring until discontinued in 1974). The Festival runs for the whole of January. Its program is calculated to be of the broadest appeal and the highest standard, and includes overseas as well as local acts. Activities range from classical theatre to the huge, free, open-air Domain Concert series, including Opera in the Park, Midsummer Jazz and Symphony Under the Stars (the last, by popular demand, always ends with Tchaikovsky's \I1812 Overture).\i It aims to present the best theatre, music and dance from around the world, as well as showcasing local talent such as the Sydney Philharmonia Choir, the Flying Fruit Fly Circus, the Meryl Tankard Australian Dance Theatre and the Australian Chamber Orchestra. Associated events include a ferry race on Sydney Harbour and spectacular firework displays on New Year's Eve and Australia Day.
From 1976 to 1994 arts administrator \JStephen Hall\j was general manager of the festival. In 1994 his position was split into two--artistic director and general manager--with Anthony Steele, a former director of the Adelaide Arts Festival, becoming artistic director from 1995 to 1997. In 1996 Leo Schofield was awarded a three-year contract to direct the Festival from 1998 to 2000.
From 1993 to 1995 the Festival was merged with the multicultural Carnivale festival and was known as the Sydney Festival & Carnivale.
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"Sydney Festival Ballet",567,0,g,0
\ISydney-based ballet company of the early 1970s\i
The Sydney Festival Ballet was an unsubsidised ballet company formed in 1971 by former \JBorovansky Ballet\j dancer William Gill. It included \JBarbara Chambers\j and \JKarl Welander\j and for its inaugural season featured guest artists expatriate Sydney dancer \JMarilyn Burr\j and her Hungarian-born husband Ivan Nagy. The company opened at the Cremorne Orpheum Theatre, on Sydney's lower North Shore, with a program including \IThe Nutcracker\i (Act II), and enthusiastic reviews for its guest artists. Dancers Warren de Maria and \JDanilo Radojovic\j joined the company for its second season in 1972, along with a number of international guest artists. A wider repertoire was danced, and although the program was again critically well received, this was its last season.
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"Sydney Philharmonia",568,0,g,0
\IChoral organisation consisting of a symphonic and a motet choir\i
Sydney Philharmonia developed from the Hurlstone Choral Society, formed in Sydney in 1920. It is now Sydney's leading choral ensemble, with the Sydney Philharmonic Symphonic Choir consisting of 200 voices and the Sydney Philharmonic Motet Choir consisting of 40 voices. It presents an annual concert series as well as joint concerts with the Sydney Symphony Orchestra, for which it also acts as chorus. The choirs also perform at public events and have contributed to film soundtracks. In 1994 Sydney Philharmonia toured Australia with Luciano Pavarotti and the World Festival Choir; also in 1994, the Motet Choir represented Australia and the Pacific at the World Choral Festival in South Korea. Since 1993 the Philharmonia's musical director and conductor has been Antony Walker.
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"Sydney String Quartet",569,0,g,0
\IChamber music group\i
The first Sydney String Quartet was founded in 1931 and comprised violinists Robert Miller and George White, violist William Krasnik and cellist Frederick Ashton. The group toured New South Wales and Victoria throughout the next decade and performed the piano quintets of Brahms and Dvorßk with Arthur Schnabel during his Australian tour in 1939. The four members were all busy teachers and orchestral players as well and no recordings of this original group survive.
Shortly after \JRobert Pikler\j was appointed to the staff of the New South Wales State Conservatorium of Music in 1965 he accepted responsibility for the newly formed Sydney String Quartet. This group was established in 1966, with Pikler as artistic director, Harry Curby (and then \JCarl Pini\j), Robert Ingram and \JJohn Painter\j on cello. The group was employed on a full-time basis as a performing ensemble for the Conservatorium. In 1969, the Quartet shared with the University of Adelaide Wind Quintet the honour of being the first chamber ensembles to formally represent Australian performance and composition overseas, with their tour to Asia, the Soviet Union, London and South Africa being of particular importance. The Quartet disbanded shortly after Robert Pikler's retirement from the group with a damaged retina in 1970.
In 1973, a third version of the Sydney String Quartet was established at the New South Wales State Conservatorium of Music to replace the disbanded groups of the same name. This group comprised violinists \JJohn Harding\j and Laszlo Kiss, violist Alexandru Todicescu and cellist \JNathan Waks\j. The group toured for Musica Viva on many occasions over the years including a major tour to Japan and the People's Republic of China in 1984.
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"Sydney Symphony Orchestra (SSO)",570,0,g,0
\ILargest orchestra in Australia\i
The Sydney Symphony Orchestra is the largest and busiest orchestra in Australia. Each year it presents eleven different subscription concert series, ranging from the Mozart Master Series through to twentieth-century orchestral pieces, with a special emphasis on premieres and first Australian performances. It regularly performs masterworks of the choral repertoire with the Sydney Philharmonic Choir and its chamber ensemble, the Philharmonia Motet Choir, and each year presents a free Symphony Under the Stars concert for the Festival of Sydney.
The Sydney Symphony Orchestra was established in 1932 by the Australian Broadcasting Commission (now the Australian Broadcasting Corporation) as the National Broadcasting Symphony Orchestra. It took the name Sydney Symphony Orchestra in 1946 (after buying the title from the original owner, an orchestra formed in 1908) and in the same year, under the baton of \JEugene Goossens\j, gave the first performance of a suite from \JJohn Antill\j's \ICorroboree\i; Goossens was appointed resident conductor in 1947, a position he held for ten years. He was succeeded by Nicolai Malko, from 1957 to 1961, Dean Dixon from 1964 to 1967, Moshe Atzmon from 1969 to 1971, Willem van Otterloo from 1972 until his death in a car accident in 1978, and Louis FrΘmaux from 1979 to 1981. Sir \JCharles Mackerras\j became first Australian chief conductor in 1982; \JStuart Challender\j held the position from 1987 until his death in 1991; Edo de Waart became artistic director and chief conductor of the SSO in 1992. Under the federal government's 'Creative Nation' policy, released in 1994, the SSO is to leave the control of the ABC and come under the administration of the Major Organisations Board of the Australia Council. This will allow it to operate under its own local control; in addition, the number of players will be increased. The changes are aimed at making the SSO Australia's flagship orchestra.
\IMembers of Sydney Symphony Orchestra\i
\IChief conductor:\i Edo de Waart
\IPrincipal players:\i
\IConcertmasters:\i \JDonald Hazelwood\j and \JJohn Harding\j
\ISecond Violin:\i Gary Andrews
\IViola:\i Esther van Straten
\ICello:\i Catherine Hewgill
\IDouble Bass:\i Kees Boersma
\IFlute:\i Janet Webb
\IPiccolo:\i Rosamund Plummer
\IOboe:\i Guy Henderson
\ICor Anglais:\i Karel Lang
\IClarinet:\i Lawrence Dobell
\IBass Clarinet:\i Craig Wernicke
\IBassoon:\i John Cran
\IContra Bassoon:\i Martin Foster
\IFrench Horn:\i Robert Johnston
\ITrumpet:\i Daniel Mendelow
\ITrombone:\i Ronald Prussing
\IBass Trombone:\i Chrisopher Harris
\ITuba:\i Steve RossΘ
\ITimpani:\i Richard Miller
\IPercussion:\i Ian Cleworth
\IHarp:\i Louise Johnson
\IOrgan:\i David Rumsey
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"Synergy",571,0,g,0
\IPercussion ensemble, noted for contemporary Australian music\i
This ensemble originated in 1974 as Sydney Percussion and was incorporated in 1987 as Synergy Percussion Ltd, by which time it had achieved wide popularity. It has four core musicians--Michael Askill (who is also artistic director), Ian Cleworth, Rebecca Lagos and Colin Piper--as well as several associate percussionists and a wider group of guest artists. The group presents an annual subscription series in Sydney, tours Australia with Musica Viva and regularly collaborates with other music or performing groups. While the core of its performance is contemporary Australian music, it also performs traditional and contemporary percussion music from around the world.
The 1995 subscription season, for example, included works by modern European and American composers such as John Cage, premieres of new works by five Australian composers, a performance with Japanese koto virtuoso Kazue Sawai as guest soloist, and a collaboration with the Sydney Symphony Orchestra in the world premiere performance of \JCarl Vine\j's \IPercussion Symphony.\i A noted collaboration was that with the \JSydney Dance Company\j in 1992, when the group was invited to perform \JGraeme Murphy\j's \ISynergy With Synergy.\i This acclaimed production later toured to Brisbane, Taiwan and Tokyo. Synergy has performed at several international festivals, such as the 1994 Hong Kong Arts Festival, and has released several albums. It received the 1991 Sidney Myer Performing Arts award for contribution to the performing arts in Australia.
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"Tang, Muhai",572,0,g,0
\I1949-\i
\IConductor\i
Born in Shanghai, Tang studied composition and conducting at the Shanghai Music Academy and at the Munich Hochschule fur Musik. After Herbert von Karajan invited him to conduct the Berlin Philharmonic in 1982, his career developed rapidly and he has since conducted orchestras all over Europe. Tang made his American debut with the San Francisco Orchestra in 1988. Since the 1988-89 season he has been a regular guest conductor of the ABC orchestras in Australia and assumed the position of chief conductor of the Queensland Symphony Orchestra in 1991. He is also the chief conductor of the Gulbenkian Orchestra in Lisbon and during the 1991/92 season became principal conductor of the Royal Philharmonic Orchestra of Flanders in Antwerp, Belgium. Tang regularly appears with the Central Philharmonic of Beijing in Hong Kong, Taipei and Seoul.
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"Tankard, Meryl",573,0,g,0
\IChoreographer and artistic director of Australian Dance Theatre\i
Darwin-born and Adelaide-based Meryl Tankard was trained at the Australian Ballet School and was a member of the Australian Ballet before joining Lindsay Kemp's company in the United Kingdom. She was principal soloist with Pina Bausch's Wuppertaler Tanzthea in Germany from 1978 to 1984 and was a guest artist with the company for four years after that. Tankard returned to Australia to become artistic director of the Meryl Tankard Company in Canberra in 1989 and in four years choreographed and produced works such as \IVX 18504,\i \IBanshee,\i \IEcho Point,\i \ICourt of Flora,\i
\INuti,\i \IKikimora,\i Chants de Mariage I & II\i and \ISongs with Mara.\i
At the beginning of 1993 dancer-choreographer Tankard was appointed artistic director of the \JAustralian Dance Theatre\j, founded in Adelaide in 1965 and now renamed Meryl Tankard's Australian Dance Theatre. With her associate artist Regis Lansac she set about creating \IFurioso\i (1993), a new work for the company as well as reworking her ballets \INuti\i and \IKikimora\i for ten dancers instead of the five she had available before. She also choreographed \IAurora\i and \IO Let Me Weep.\i
The Australian Dance Theatre, under Tankard's direction, played a major role in the Australian Opera's 1993 and 1996 productions of Gluck's \IOrphΘe et Eurydice,\i which she choreographed. Her solo work \ITwo Feet\i (1988) has enjoyed much success in Australia and overseas and had its Sydney debut in 1994.
Tankard was made Canberran of the Year in 1992. In 1993 she received the Sidney Myer Performing arts award for individual achievement and the Victorian Green Room award for a female dancer in a leading role for her 1992 performance of \ITwo Feet\i at the Melbourne International Arts Festival. Tankard was the subject of an ABC documentary \IBlack Swan\i which screened in 1995. The following year Tankard received Green Room awards for the direction, design and management of \INuti\i and \IKikimora.\i She won the 1994 Betty Pounder award for the original choreography of \INuti.\i
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"Tapu",574,0,g,0
\IOpera\i
Composed by \JAlfred Hill\j, this work was first produced in 1904. It was one of his most successful operas and after its premiere one newspaper printed a lengthy review occupying more than sixty centimetres of space. For J.C. Williamson's lavish production sixteen Maori dancers were brought to Australia to dance the haka on stage. Unfortunately, due to the smallness of the stage, they could not perform the dance properly, and were sent home and replaced with Australians.
#
"Tasdance",575,0,g,0
\IInnovative dance company with repertoire of contemporary Australian works\i
Based in Launceston, Tasdance was established in 1981 as Australia's first dance-in-education company; through its Schools Residency program, developed under the artistic direction of Jenny Kinder, it became well known for its innovation in both dance education and artistic development. In its second decade the company broadened its role to include more theatre-based performances and dancer development. Tasdance has commissioned works from a number of Australian choreographers. The company has appeared at festivals throughout Australia and in New Zealand; in 1992 it presented \IIlluminations\i (in association with the Launceston City Council), a large-scale community performance in Launceston's scenic Cataract Gorge. Richard James Allen and Karen Pearlman were appointed artistic directors of Tasdance in 1995.
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"Tasmanian Symphony Chamber Players",576,0,g,0
\IString orchestra with reputation for world-class performances\i
Founded in 1981, the Tasmanian Symphony Chamber Players is an independent, incorporated association which draws its members from the Tasmanian Symphony Orchestra. Since 1986 the group has been directed by Barbara Jane Gilby, who is also concertmaster of the orchestra. It tours regionally and nationally. Its debut album of Vivaldi's \IThe Four Seasons\i won the 1989 ARIA Award for best Australian classical recording.
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"Tasmanian Symphony Orchestra (TSO)",577,0,g,0
\IYoungest and smallest of the ABC symphony orchestras\i
The Tasmanian Symphony Orchestra maintains a permanent strength of 46 players. It is led by concertmaster Barbara Jane Gilby and performs under the baton of many internationally famous guest conductors. The orchestra entrepreneurs its own subscription series of concerts in Hobart and Launceston, tours Tasmanian regional centres, plays for visiting companies and performs free outdoor concerts. In 1992 it toured to Sydney, Canberra and Melbourne as part of the ABC's sixtieth birthday celebrations; in the following year it performed in Darwin, Alice Springs, Geraldton, at the Festival of Perth and in Melbourne; and in 1994 toured to Indonesia and performed at the National Festival of Theatre in Canberra, playing a newly commissioned score by Graeme Koehne to accompany \IThe Kid Stakes\i (1927), one of Australia's few surviving silent films.
The orchestra was formed in 1948 by the Australian Broadcasting Commission (now the Australian Broadcasting Corporation) as a full-time ensemble of 24 players augmented for subscription concerts by another twenty musicians. Conductor from 1942 to 1952 was Kenneth Murison Bourne, an Englishman who came to Australia as an eisteddfod judge. The Tasmanian Symphony Orchestra was winner of the 1995 Sidney Myer Performing Arts Group Awards.
\IMembers of the Tasmanian Symphony Orchestra\i
\IPrincipal Conductor and Artistic Adviser:\i David Porcelijn
\IPrincipal Players:\i
\IConcertmaster:\i Barbara Jane Gilby
\IDeputy Concertmaster:\i Peter Edwards
\IFirst Violin:\i Cherelle Gadge
\IViola:\i Janet Rutherford
\ICello:\i Sue-Ellen Paulsen
\IDouble Bass:\i Stephen Martin
\IFlute:\i Douglas Mackie
\IOboe:\i Joseph Ortuso
\IClarinet:\i Duncan Abercromby
\IBassoon:\i Lisa Storcheim
\IFrench Horn:\i Frits Harmsen
\ITrumpet:\i Bruce Lamont
\ITrombone:\i Don Bate
\IBass Trombone:\i Robert Clark
\IPercussion:\i Gary Wain
\ITimpani:\i Duncan Catanach
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"Tetley, Glen",578,0,g,0
\I1926-\i
\IAmerican choreographer in Australia\i
Tetley created two commissioned works for the \JAustralian Ballet\j. These were \IGemini\i (1973), music by Hans Werner Henze and designs by Nadine Baylis, and \IOrpheus\i (1987), music by Igor Stravinsky and designs by Baylis.
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"Thomas, Patrick",579,0,g,0
\I1932-\i
\IOrchestral and opera conductor\i
Brisbane-born Thomas studied flute, piano, organ and voice-training before receiving a number of appointments as organist and choirmaster and playing in the \JQueensland Symphony Orchestra\j for five years. He was appointed coach and conductor with the Australian Elizabethan Theatre Trust in 1963. Following a string of conducting successes such as the premiere performance of \JColin Brumby\j's \IStabat Mater Speciosa,\i Thomas was appointed assistant conductor with the ABC in Adelaide and was the youngest of the Commission's staff conductors in 1968. He was the conductor of the South Australian Symphony Orchestra (1965-72); chief conductor of the Queensland Symphony Orchestra (1973-77), having been a flautist with the orchestra (1951-55); ABC conductor-in-residence (1978-87); musical director of the ABC Sinfonia 1986; and artistic director of the Wellington City Opera, New Zealand (1988-91). Thomas was awarded an MBE (Member of the British Empire) in 1978, the Sir Bernard Heinze Award in 1990, and an Australian Artists Creative Fellowship (1990-93). He lives in Sydney.
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"Thomas, Wilfred",580,0,g,0
\I1904-91\i
Wilfred Thomas, legendary Australian and English broadcaster and singer, was born in London on 2nd May 1904, the son of a builder, migrating with his Cornish Welsh parents to Australia the same year. He attended school at Summer Hill in Sydney and later Petersham High School and the New South Wales Conservatorium of Music. He became a shipping clerk and later worked for United Artists and Shell before appearing on stage in the \IMessiah\i at Sydney Town Hall in 1922.
In 1923, he joined the Farmer and Company radio station 2FC as a writer, producer, actor, newsreader, and occasional piano player and singer when needed. Thomas would open the station at 8.15 a.m. and work through until 3 p.m., for wages of $4 a day. In 1930 during a tour of the Westminster Glee singers, Thomas was chosen to replace a baritone player who had fallen ill, and this ultimately took him around the world.
In 1932, he made his debut as a singer at Albert Hall and The London Palladium, the same year he met and married his first wife, actress Margot. He later hosted \IThe Wilfred Thomas\i radio show for 39 years from 13th March 1941 until 28th December 1980. He married his second wife Betty in 1956, who was with him when he died at St. Charles Hospital in north west London on 16th August 1991, aged 87.
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"Thorpe, Billy",581,0,g,0
\I1946-\i
\IRock singer and songwriter of the 1960s and early 1970s\i
Billy Thorpe was born in Manchester, England, and arrived in Australia with his family at the age of nine. By the time he was eleven he was a regular performer on Brisbane television and by the age of eighteen had moved to Sydney and become the lead singer with the up and coming band the Aztecs. With Thorpe as front man their hits included 'Blue Day' (1964), 'Poison Ivy' (1964, a national No. 1), 'Mashed Potato'/'Don't You Know' (1964), 'Sick And Tired' (1964), 'I Told The Brook' (1965), 'Twilight Time' (1965), 'Love Letters' (1965, solo), 'Most People I Know' (1965) and 'Over The Rainbow' (1974). Billy Thorpe and the Aztecs were voted \ITV Week\i Most Popular Group in 1972 and Billy Thorpe the 1972 Best Songwriter. In late 1974 the group disbanded and in the following year Thorpe moved to the United States to write and record the solo album \IMillion Dollar Bill\i; this was followed by the successful \IChildren of the Sun\i (1979). He is now based in Los Angeles where he scores US films and television series and produces records.
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"Tibbits, George",582,0,g,0
\I1933-\i
\IComposer\i
George Tibbits was born in Boulder, Western Australia. He is a self-taught composer who originally trained as an architect and town planner. His musical life has been particularly influenced by the works of American composers Milton Babbit and John Cage and of the Austrian-born Arnold Schoenberg (originator of the twelve-tone technique). Tibbits' works include \IString Quartet,\i \INeuronis Nephronicus and His Lowly Queen,\i and \II Thought You Were All Glittering With the Noblest of Carriage.\i
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"Tintookies, The",583,0,g,0
\IMarionette musical\i
\IThe Tintookies,\i an extravagant, large-scale marionette musical, opened at Sydney's Elizabethan Theatre in 1956. Peter Scriven, with his puppetmaster Igor Hychka, and at least six puppeteers, presented an array of about 300 characters in a bush setting. They did not use their own voices but relied on tape-recordings of actors and an orchestra playing a score composed by Kurt Herweg. The show was very popular and toured all over Australia. (See also \JMarionette Theatre of Australia\j.)
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"Tognetti, Richard",584,0,g,0
\IViolinist and orchestra director\i
Canberra-born Tognetti studied at the New South Wales State Conservatorium of Music and later at the Berne Conservatory. He was appointed director of the Australian Chamber Orchestra (ACO) in 1989 and has led the group on eight international tours, covering seventeen countries. He has also directed the ACO on four recordings for Sony Music. With wine-maker Bob Roberts, Tognetti is the artistic director of the annual Huntington Festival held in the Huntington Winery near the country town of Mudgee, in the central west of New South Wales. Tognetti often appears as a soloist with the ACO. He plays a 1724 Gagliano violin.
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"Tonkin, Fiona",585,0,g,0
\IBallet dancer\i
Fiona Tonkin was born in Singapore and moved to New Zealand as a child. She joined the Australian Ballet in 1980 and was promoted to senior artist in 1987. Her roles include the title role of \IGiselle,\i Odette/Odile in \ISwan Lake,\i Katherina in \IThe Taming of the Shrew,\i Juliet in \IRomeo and Juliet,\i Aurora in \IThe Sleeping Beauty,\i Kitri in \IDon Quixote,\i Constance in \IThe Three Musketeers,\i Lise in \ILa Fille mal gardΘe,\i Tatiana in \IOnegin\i and Swanilda in \ICoppΘlia.\i In 1992 she danced \IGiselle\i in the Australian Ballet's London production. In 1988 Fiona Tonkin received a grant which enabled her to study with the Stuttgart Ballet. In 1990 she danced with \JSteven Heathcote\j in the Kirov (now Maryinsky) Ballet's \ISwan Lake,\i and in the following year, with \JDavid McAllister\j, was a guest artist on Rudolf Nureyev's Farewell Tour of Australia.
Fiona Tonkin retired from dancing in 1993 and returned to New Zealand to pursue university studies.
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"Toohey, Elizabeth",586,0,g,0
\IBallet dancer\i
Newcastle-born Elizabeth Toohey trained with Tessa Maunder and is a graduate of the Australian Ballet School. She joined the Australian Ballet in 1980 and was promoted to senior artist in 1987. She created the role of Rose in \JRobert Ray\j's \IThe Sentimental Bloke\i and appeared in the first production of Timothy Gordon's \J\IMy Name is Edward Kelly\j\i (1990); she has danced the pas de deux in Petal Miller-Ashmole's \ILa Favourita\i (1986) and roles in Glen Tetley's \IOrpheus\i (1987) and \JGraeme Murphy\j's \IGallery\i (1987). Her repertoire of leading roles includes Kate in \IThe Taming of the Shrew,\i Lise in \ILa Fille mal gardΘe,\i Nikia in \ILa Bayadere,\i Kitri in \IDon Quixote,\i Grahn in \IPas de Quatre,\i Constance in \IThe Three Musketeers,\i Olga in \IOnegin,\i Russian Ballerina in \IGala Performance\i and Swanilda and Dawn in \ICoppΘlia.\i
She received a Special Award for Artistic Merit at the Fifth International Ballet Competition in Moscow in 1985; she has danced as guest artist with the Bolshoi Ballet, the Leningrad Kirov (now Maryinsky) Ballet, the Georgian State Ballet and the Estonian State Ballet. In 1991 she was guest artist with the Den Norske Opera (the Norwegian National Ballet) in \IDon Quixote,\i \ICoppΘlia,\i \IEtudes\i and \IThe Firebird.\i She left the Australian Ballet in 1991 and joined the English National Ballet as a principal artist. After her retirement from the stage in late 1992 she was appointed assistant to the English National Ballet's artistic director, Derek Deane.
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"Tozer, Geoffrey",587,0,g,0
\I?1955-\i
\IPianist\i
Melbourne-based Tozer spent his early years at a hill-station in the Himalayas, where his British father was a colonel in the Indian Army. The family moved to Melbourne when Tozer was four. Auditioning for the ABC at the age of eight, he played his first concerto with the \JMelbourne Symphony Orchestra\j and by the time he was twelve had performed Beethoven's five piano concertos with the group. In 1987 the then Prime Minister, Paul Keating, became one of Tozer's mentors when the pianist joined the staff of St Edmund's College in Canberra. While at the school he made a record for Ross Gengos, owner of the Canberra music store, Abels. In 1991 Tozer signed up with Chandos Records in Britain and by 1994 had recorded a total of eleven compact discs and established an international reputation.
Tozer won his first Australian Artists Creative Fellowship in 1988, worth $50,000 a year for four years. He was awarded a second fellowship in 1993, worth $65,000 a year for five years and is the only artist to have received this fellowship twice. The pianist was invited by Leo Schofield, director of the 1994 Melbourne International Festival of Arts, to play all 32 of Beethoven's piano sonatas at the event.
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"Transposed Heads, The",588,0,g,0
\IOpera\i
Peggy Glanville-Hicks wrote this work in 1954 to a libretto adapted from the novella by Thomas Mann. It was the first opera commissioned by the Louisville Opera Society (United States) and it received a successful staging at the Phoenix Theatre, New York, in 1958. The opera had its Australian premiere in 1970 when \JRoger Covell\j produced it for the University of New South Wales Opera. This coincided with the composer's presence in Australia for the first time in almost thirty years.
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"Trask, Diana",589,0,g,0
\IAmerican-based country singer\i
Diana Trask grew up in Warburton, Victoria. Early in her career she appeared on television variety shows such as \IIn Melbourne Tonight\i and by the late 1950s was a regular support act for overseas touring artists. She left for the United States in 1959, returning to Australia in the following year to tour with US singer Pat Boone. Throughout the 1970s and 1980s she appeared on national US television shows and recorded several albums. Her successful singles include 'A Guy Is A Guy' (1960), 'Our Language Of Love' (1961) and 'Oh Boy' (1975).
#
"Trunoff, Vassilie",590,0,g,0
\IBallet dancer and choreographer\i
Vassilie Trunoff, born in Melbourne of Russian parents, trained with Xenia and \JEdouard Borovansky\j. He joined the \JBorovansky Ballet\j in 1944 where he created the role of the Aborigine in Borovansky's \ITerra Australis\i (1946); he was named principal artist in 1947. Trunoff joined the British company Ballet Rambert for their 1948-49 tour of Australia and New Zealand, dancing under the name Basil Truro. In 1949-50 he was guest artist with the \JVictorian Ballet Guild\j and choreographed \IConflict\i for that organisation. From 1950-53 he danced with the London Festival Ballet. He rejoined the Borovansky Ballet in 1954, remaining a member until 1958; he created a principal role in Kiril Vassilkovsky's \ICandide\i (1954); his repertoire also included the Golden Slave in \ISchΘhΘrazade,\i the Chief Warrior in \IPrince Igor,\i Prince Siegfreid in \ISwan Lake,\i the Prince in \IThe Nutcracker,\i Hussar in \ILe Beau Danube\i and Captain Belaye in \IPineapple Poll.\i In 1959 he returned to the London Festival Ballet where he was principal artist and ballet master until 1980. In 1980 he staged David Lichine's \IGraduation Ball\i and Michel Fokine's \ISchΘhΘrazade\i for the Australian Ballet.
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"Tuckwell, Barry",591,0,g,0
\I1931-\i
\IFrench horn player and conductor\i
Born in Melbourne, Tuckwell studied in Sydney, at the age of thirteen choosing the French horn over the piano and violin. He won a scholarship to the New South Wales State Conservatorium of Music and by the age of fifteen was a horn 'extra' with the \JSydney Symphony Orchestra.\j After a period with the \JMelbourne Symphony Orchestra\j and then as lead horn with the Sydney Symphony Orchestra, he went overseas and from 1955 was principal horn with the London Symphony Orchestra (LSO). From 1963 to 1968 he was chairman of directors of the LSO; also in 1963 he was appointed professor of horn at the Royal Academy of Music. In his years with the LSO he became known internationally as a distinguished horn soloist and recording artist, sometimes referred to as the 'man with the golden horn'. Since 1968 he has only played as soloist or with small chamber groups such as the Barry Tuckwell Wind Quintet, which he founded in 1969. Based in the US, he now plays in over 100 concerts throughout the world each year, being noted for his ability to communicate his ardour and musical energy to the audience.
Barry Tuckwell began conducting in 1977 when he was invited by AndrΘ Previn to make his debut at London's South Bank. He was conductor of the Tasmanian Symphony Orchestra 1980-83 and has been conductor of the Maryland Symphony Orchestra since 1982. In 1990 the Queensland Conservatorium of Music held the Diakyu Barry Tuckwell Festival in his honour. He was appointed Companion of the Order of Australia in 1992.
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"Tweedie, Valrene",592,0,g,0
\IBallet dancer, teacher and choreographer\i
Valrene Tweedie was born in Sydney where she studied with Misha Burlakov and \JLeon Kellaway\j, making her stage debut in the late 1930s with the First Australian Ballet. She joined de Basil's Original Ballet Russe for its 1939-40 Australian tour and appeared in a number of works, including the world premiere season of David Lichine's \IGraduation Ball\i (1940). She travelled with the company to the United States and later joined the Ballet Russe de Monte Carlo, becoming the first Australian to perform ballerina roles in an American-based company; her repertoire included leading roles in \IRaymonda\i and \ICoppΘlia\i and Zoebeide in \ISchΘhΘrazade.\i She later studied, taught and danced (as principal artist) in Cuba with Alicia Alonso's company (later to become the Ballet Naτional de Cuba).
After returning to Australia she was appointed artistic director and ballerina of the National Theatre Ballet, 1953-55 (see National Theatre Movement), during which time she choreographed \ICaprice\i (1953) and \IFrancesca da Rimini\i (1955), and staged the first three-act production of \ICoppΘlia seen in Australia, in addition to Michel Fokine's \ICarnaval\i and his revised three-act staging of \ILe Coq d'Or.\i She was principal dancer in the Australian production of Cole Porter's \ICan Can\i (1956). In 1956 she opened a ballet school in Sydney where she taught for the following thirty years. In the early 1970s in Sydney she founded Ballet Australia, a choreographic workshop for which she choreographed a number of works, and has been a guest teacher with the Australian Ballet and the Sydney Dance Company. In 1992 she was guest artist of the Australian Ballet in the premiere season of \JGraeme Murphy\j's \INutcracker.\i
In 1991 Valrene Tweedie was awarded the OAM (Medal of the Order of Australia) for her services to ballet.
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"Two Feet",593,0,g,0
\IModern dance work\i
\JMeryl Tankard\j has enjoyed much success with her solo work \ITwo Feet,\i which premiered at Brisbane's World Expo on Stage in 1988. The work received rave reviews and Tankard performed it in Tokyo and Canberra as well. The dancer-choreographer won the Sidney Myer Performing Arts Award for Individual Achievement and a Victorian Green Room Award for her solo performance in the work at the 1992 Melbourne International Festival. She was also invited to perform the piece as part of the Sydney Opera House's Twentieth Anniversary Celebrations in 1993. The work did not come to Sydney at that time and eager audiences viewed the ballet for the first time in early 1994 at Her Majesty's Theatre.
Adelaide-based Tankard choreographed \ITwo Feet\i as a tribute to the great Russian dancer Olga Spessivtseva. The technically demanding piece portrays the strenuous life of a classical ballerina, with all its hardships and successes. The 1994 production featured the memorable projections of Regis Lansac.
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"Tycho, Tommy",594,0,g,0
\I1928-\i
\IPianist, conductor and composer\i
Tommy Tycho was born in Budapest. His mother, an opera singer, had him taking piano lessons before his feet could touch the pedals. When he was ten he played Gershwin's \IRhapsody in Blue\i with the Hungarian Philharmonic and by the time he was fourteen, he had written his first concerto. After World War II Tycho immersed himself in American jazz, particularly the big band works of Glenn Miller, Tommy Dorsey and Harry James. He soon formed his own band and headed for Iran where his group had a contract with The Park, a five-star hotel in the capital, Teheran. In 1951, after having married, Tycho was accepted as an immigrant to Australia. His first job was as a storeman in David Jones. In 1958 he was made musical director of Channel Seven in Sydney, a job he held for fifteen years. He also served as musical director for the Sydney Chevron Hotel and for a number of command performances. In later years, Tycho has worked as a conductor with State symphony orchestras, and has written and arranged for film and television. The two Yahoo Serious movies, \IYoung Einstein\i and \IReckless Kelly,\i feature his scores.
Tycho has been appointed an MBE (Member of the British Empire) and an AO (Officer of the Order of Australia. His biography, \IThe Tommy Tycho Story--Music, Maestro Please,\i was published in 1995.
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"Urlich, Margaret",595,0,g,0
\I1965-\i
\IPop singer\i
Margaret Urlich was born in Auckland, New Zealand, and came to Sydney in 1989 to pursue her singing career. Her first album, \ISafety in Numbers\i (1990), was highly successful, as was the follow-up \IChameleon Dreams\i (1992). In 1993 she was part of Export Music Australia (EMA) and Austrade's second Wizards of Oz promotion, and toured Japan with fellow singer Rick Price and the group \JYothu Yindi\j.
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"Van Praagh, Dame Peggy",596,0,g,0
\I1910-90\i
\IBallet dancer and teacher and past artistic director of the Australian Ballet\i
Peggy van Praagh was born in London, where her distinguished career included dancing with the Ballet Rambert, the London Ballet and Sadler's Wells (now the Royal) Ballet. In 1946 she became ballet mistress of the newly-formed Sadler's Wells Theatre (now Birmingham Royal) Ballet and from 1952 to 1955 was assistant artistic director of the company. In 1960 she was appointed artistic director of the \JBorovansky Ballet\j following the death of its founder, \JEdouard Borovansky\j. Her first program for the company included \IJourney to the Moon,\i choreographed by \JPaul Grinwis\j in memory of Borovansky. She remained with the company until it was disbanded in 1961. In 1962 she became the founding artistic director of the Australian Ballet. In 1965, on its first international tour, the company was awarded the Grand Prix de Paris at the Third International Festival of Dance with van Praagh's new production of \IGiselle\i; in 1973 \JGarth Welch\j made his farewell performance in her new production of \IThe Sleeping Beauty.\i She retired as artistic director in 1974, but in 1978 returned to the position for one season. Her final production for the company was a new staging of \ICoppΘlia\i which premiered in Melbourne in 1979.
She was made an OBE in 1963 and in 1970 was appointed a Dame of the British Empire for her services to ballet.
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"VAST",597,0,g,0
\IBallet\i
In 1988 \JGraeme Murphy\j was commissioned by the Australian Bicentennial Authority to conceive and choreograph its national dance event, \IVAST.\i This important work combined all four state dance companies: Sydney Dance Company, Australian Dance Theatre, Queensland Ballet and West Australian Ballet and toured all capital cities in the bicentennial year. The work has three acts: Coast, Centre and Cities, and celebrates the enormity of Australia. The music was composed by \JBarry Conyngham\j.
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"Venetian Twins, The",598,0,g,0
\IMusical\i
Sydney's Nimrod Theatre had great success with this whacky musical, \IThe Venetian Twins,\i in 1979. In 1981, a return season was staged at the Drama Theatre of the Sydney Opera house, followed by a national tour. \JNick Enright\j wrote the book and the lyrics for the musical while Terence Clarke wrote the music. The piece has its inspiration in Goldoni's classic comedy \II Due Gemelli Veneziani,\i a tale of brothers separated while young and henceforth mistaken for each other. In the Nimrod production Drew Forsythe played the twins, one a self-confident show-off and the other a complete dunderhead, with great comic flare. Writer and composer borrowed shamelessly from an eclectic mix of literary and musical sources to create a hilarious and masterful Australian pastiche musical.
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"Verbrugghen, Henri",599,0,g,0
\I1873-1934\i
\IViolinist and conductor\i
Belgian-born Henri Verbrugghen was based in the United Kingdom during the early years of his career. He founded the Verbrugghen String Quartet in 1900, became leader of the Scottish Orchestra in 1903, gave the first British performance of Sibelius' \IViolin Concerto\i in 1907, and was appointed leader of the Glasgow Choral Union in 1911. When he came to Sydney in 1915 to be the first director of the New South Wales State Conservatorium he brought the other members of his string quartet with him. These three, all from the Athenaeum School of Music, came to Sydney to be the first teachers in the new conservatorium.
The Verbrugghen Quartet played all the Beethoven String Quartets during 1916 and then performed works by Haydn, Mozart, Schubert and Saint-Saδns. Verbrugghen formed the Conservatorium Orchestra in the same year with himself as conductor, \JAlfred Hill\j as deputy conductor and his quartet members as principals. By 1919 it was a full-time professional orchestra known as the New South Wales State Orchestra or, more popularly, as the Verbrugghen Orchestra. In the same year he took the orchestra and a 75-person choir to Adelaide, Ballarat and Melbourne for performances of Beethoven's \IMissa Solemnis.\i By 1929 Verbrugghen was claiming that he should be paid for all the public concerts he conducted, which were well beyond his commitment as director of the conservatorium. After a long dispute with the New South Wales Government, he resigned in late 1921 and went to the United States to conduct the Detroit and then the Minneapolis Symphony Orchestras with great success. While on a visit to Australia in 1925 he refused the Ormond chair of music at Melbourne University as there was no orchestra for him to conduct. He died in Minnesota.
#
"Vernon, Janet",600,0,g,0
\IContemporary dancer and associate artistic director of the Sydney Dance Company\i
Janet Vernon was born in Adelaide. A graduate of the Australian Ballet School, she joined the Australian Ballet in 1967 and was promoted to soloist in 1970. Her roles for the company at this time included Desdemona in \IOthello,\i the Experienced in \IThreshold\i and major roles in \ISebastian\i and \IDon Quixote.\i In 1973 she went to Europe to join the French contemporary dance company Ballets Felix Blaska. She rejoined the Australian Ballet for its 1973 Eastern European tour and after her return to Australia with the company was promoted to senior soloist; her roles at this time included Michel Fokine's \ILes Sylphides\i and American choreographer \JGlen Tetley\j's \IGemini.\i In late 1976 she joined \JGraeme Murphy\j as associate artistic director of the Dance Company of NSW, later to become the \JSydney Dance Company,\j a position she has combined with her performing career. As principal of the company she created major roles in many of Murphy's most important works, including \J\IPoppy\j,\i \IRumours,\i \IFire Air Earth Water,\i \IHomelands,\i \IBoxes,\i Blanche in \IA Streetcar Named Desire,\i Queen Roxana in \IKing Roger,\i the Rose in \IBeauty and the Beast\i and in the Sydney and Melbourne seasons of \IThe Protecting Veil.\i She also danced the female lead in Murphy's \ISensing,\i a dance film created for ABC-TV.
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"Victoria State Opera",601,0,g,0
\IState opera company with government funding from 1976\i
The birth of the Victoria State Opera as the major company it is today came in 1976 when the then Premier Dick Hamer gave the ailing Victorian Opera Company substantial state government funding and at the same time changed its name. However, its history stretches back to 1943 when the Mont Albert Choral Society staged Gilbert and Sullivan's \IThe Pirates of Penzance\i with a cast that included \JMarie Collier\j in a minor role. The Choral Society metamorphosed into the Youth Operatic Society, the Hawthorn Operatic Society, the Victorian Light Opera Company and finally the Victorian Opera Company. Until the early 1960s, however, a steady diet of Gilbert and Sullivan was produced. Then, under the direction of Leonard Spira, then \JStuart Challender\j and later \JRichard Divall\j, more serious works were produced. Notable examples included Challender's production of Britten's \IAlbert Herring\i in 1968. By the 1970s, however, severe financial difficulties had arisen, leading to the action by the Victorian Government.
Artistic consultant \JRobin Lovejoy\j played a large part in setting the new company on a successful path. The first production was \IOrpheus and Eurydice\i at the National Theatre at St Kilda in Melbourne. Soon, however, full-scale productions were being mounted at the Princess Theatre, Melbourne's only real opera theatre at that time. In keeping with the company's aim of combining modern and experimental works with classical opera, Australian works have been regularly performed. A noted early example was the 1978 Australian triple bill of \JPeter Sculthorpe\j's \IEliza Fraser Sings,\i \JBarry Conyngham\j's \IThe Apology of Bony Anderson\i and Martin Friedl's and Jack Hibberd's \ISin.\i A highlight of the 1979 season was \IThe Pearl Fishers,\i widely rated as a world-class production, and the company has had consistent successes since then, several as co-productions with the Australian Opera (in spite of continuing rivalry with the national company which also has a annual season in Melbourne) and other companies such as the English National Opera.
In 1984 the Victoria State Opera moved into its permanent home at the State Theatre in the new Victorian Arts Theatre, opening there with a season of Verdi's \IDon Carlos,\i Gounod's \IFaust\i and Conyngham's \IFly.\i Highlights of more recent years have included \IWest Side Story\i (1993), the commissioned work \ISummer of the Seventeenth Doll,\i based on Ray Lawler's play with music by Richard Mills and libretto by Peter Goldsworthy (1994) and \IDon Quixote\i (1995). The company fosters Australian singing talent by sponsoring and training five young artists each year.
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"Victorian Ballet Guild",602,0,g,0
\IBallet company which concentrated on using local talent\i
The Victorian Ballet Guild was formed in Melbourne in 1947 by dancer and choreographer \JLaurel Martyn\j. The company was noted for the major works it created using Australian composers, choreographers and dancers. These include \IThe Sentimental Bloke,\i \IMathinna\i (the story of an Aboriginal girl adopted by Sir John and Lady Franklin in the early days of the settlement of Hobart) and \IVoyageur.\i In 1963 the performing section of the Victorian Ballet Guild became the Victorian Ballet Company, and in 1967 it was renamed \JBallet Victoria\j.
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"Vine, Carl",603,0,g,0
\I1955-\i
\IComposer of Australia's first full-length work for dance\i
Carl Vine was born in Perth. He learnt trumpet and piano at school, and became interested in composition and electronic music. In 1971 he won a prize for young composers and in 1972 began studying music and science at the University of Western Australia. His composition studies flourished under the guidance of John Exton and \JBarry Conyngham\j and by 1976 he was chosen to represent Australia at the Gulbenkian International Choreographic Summer School in England. In 1980 Vine was put in charge of the electronic studio at the Queensland Conservatorium of Music and in 1982 was commissioned to write the score of a full-scale dance work, \J\IDaisy Bates,\j\i for the \JSydney Dance Company\j. The work was choreographed by Barry Moreland, with distinguished Australian artist Charles Blackman doing designs. In 1983 Vine left the Queensland Conservatorium in order to compose full time. He was a director of Flederman, a contemporary group for which he composed before the group disbanded in 1988. Carl Vine has received much acclaim for his partnership with the Sydney Dance Company and is responsible for Australia's first full-length dance piece, \J\IPoppy\j\i (1978).
Other works by Vine include \IElergy\i (1985) for Flederman; \ICafΘ Concertino\i (1984) for the Australia Ensemble; \ILegend\i (1988) for the West Australian Ballet Company; and \IPiano Sonata\i (1992) for the Sydney Dance Company. Vine's first three symphonies have been performed by the Sydney Symphony Orchestra, his Fourth Symphony was performed in 1993 by the Sydney Youth Orchestra and his Fifth Symphony, \IPercussion,\i was presented by the percussion ensemble \J\ISynergy\j\i with the Sydney Symphony Orchestra. Vine has written two film scores, \IYou Can't Push the River\i (1993) and \IBedevil\i (1993), and has released a compact disc of his chamber music featuring \IPiano Sonata\i performed by Michael Harvey. His new full-length ballets are \IThe Tempest\i and \IBeauty and the Beast.\i
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"Vivian, Alan",604,0,g,0
\IClarinettist\i
Clarinettist Alan Vivian was principal clarinet with the \JSydney Symphony Orchestra\j from 1978 to 1985. His overseas appointments include a stint as guest principal with the BBC Symphony Orchestra and a period working with the Vienna State Opera. He has toured Australia both as a soloist and as a chamber musician. Vivian is currently playing with the Australian Chamber Orchestra, is a member of the Canberra Wind Soloists and is senior lecturer in clarinet at the Canberra Institute of the Arts. He has recorded for the RCA and Polygram record labels.
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"Voss",605,0,g,0
\IOpera\i
This work by \JRichard Meale\j was commissioned by the Australian Opera (AO). It was the first Australian piece written in narrative form to be performed by the company and to receive its full backing. The Act 1 Garden Scene was staged at the 1982 Adelaide Festival, with the complete work produced for the 1986 Festival. Based on the Patrick White novel, with libretto by \JDavid Malouf,\j the opera tells of the journey of the German explorer Voss (based on Ludwig Leichhardt). \JJim Sharman\j directed the 1986 production and \JStuart Challender\j conducted the premiere. \IVoss\i was included in the Australian Opera's 1986 and 1987 seasons in Sydney and Melbourne and was recorded by the AO as well.
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"Waks, Nathan",606,nwaks.jpg,c,0
\ICellist and music director\i
Nathan Waks is a musician of world eminence. He was the originator of the world-renowned Sydney String Quartet and is sought-after as a director of Music Festivals around the globe, including the highly influential Musica Viva. He has also acted as a consultant to the Australian Chamber Orchestra and Melbourne Festivals amongst others.
Nathan Waks studied initially at Sydney Conservatorium and studied in Moscow with Rostopovich and Paris with Paul Tortelier. He joined Sydney Symphony Orchestra as an associate principal, subsequently leader of the cello section, and continued a parallel career as a solo cellist with the ABC and as a recording musician organising string sections for artists as diverse as Frank Sinatra and Rod Stewart.
He has been involved in many film and television projects and these include his role as Musical Director and Composer for many international films including the Australian icon, 'My Brilliant Career'.
Nathan Waks was, in 1993, appointed as Director of Music for the ABC and is in charge of all state Symphony Orchestras.
\IThis information and photograph supplied courtesy of Harry M. Miller & Co. Management.\i
\BDescription:\b Nathan Waks \I(Harry M. Miller & Co. Management)\i
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"Walker, Antony",607,0,g,0
\I1967-\i
\IConductor\i
Sydney-born Walker graduated from Sydney University in 1990. In 1992 he was appointed the youngest-ever musical director of the Sydney Philharmonia after a year as conductor-in-residence. In addition to his continuing commitments to the group, he has conducted the Sydney, Melbourne, Adelaide and West Australian Symphony Orchestras, the Australian Chamber Orchestra and contemporary groups such as Symeron and the Alpha Centauri Trio. Walker's awards include a Channel Ten Medibank Private Arts Award, the Eugene Goossens Conducting Fellowship and the New South Wales Young Achiever of the Year Award in 1994.
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"Walker, Kim",608,0,g,0
\IChoreographer and dancer\i
Sydney-born Walker trained for three years with the Aboriginal Islander Dance Theatre before joining the \JSydney Dance Company\j in 1980. He soon emerged as one of the Company's most exciting and popular performers, with his first major role being the skate-boarding cupid in \JGraeme Murphy\j's production of \IDaphnis and Chloe\i at its 1980 premiere at the Sydney Opera House. Murphy created a number of leading roles for the young dancer including \IHomelands\i (with \JJanet Vernon\j and \JKelvin Coe\j); Jashu in \IAfter Venice\i; \J\IVAST\j\i; \IKraanberg\i; \IDeadly Sins\i and \IBoxes.\i In 1984 Walker danced the role of Bull Washington in Louis Falco's \IBlack and Blue\i (which later toured to Europe and the United States), from 1988 to 1989 he danced the lead in Ohad Naharin's \IArbos\i and \ITabula Rasa,\i performed in \JPaul Mercurio\j's \IWaiting\i and took the role of Othello in \JKai Tai Chan\j's \JOne Extra Dance Company\j production at Sydney's Belvoir Street Theatre.
Awarded a performing arts scholarship in 1985, Walker spent three months studying at the Alvin Ailey American Dance Theatre School in New York; he rejoined the Sydney Dance Company in 1987. With Paul Mercurio, Walker made his choreographic debut with \ICafΘ\i at the Wharf Studio Theatre in 1989. After this success, \JRichard Wherrett\j asked him to choreograph his hit production of Shakespeare's \IA Midsummer Night's Dream.\i Walker then staged a production number for the 1990 Gay and Lesbian Mardi Gras. In the same year he left the Sydney Dance Company to work as a freelance choreographer. His choreographic works since then include \IOnce in a Lifetime\i for the Sydney Theatre Company, \ITurandot\i for the Australian Opera (he was assistant to Graeme Murphy), \IFour of One\i and \IBrave New Works II\i in 1990; \IThe Shakespeare Dances\i for the Sydney Dance Company; \IHarold\i at the Wharf Studio and \IDancing Rooms\i for the One Extra Dance Company in 1991; \IMonkey See\i and \ISynergy with Synergy\i for the Sydney Dance Company; and \IDreaming\i for the National Aboriginal Islander Dance Theatre in 1992; the \JHarry M. Miller\j production of \IM Butterfly\i for the Melbourne Theatre Company, \IPericole\i and \ISalome\i (assistant to Graeme Murphy) for the Australian Opera and \IFive Guys Named Mo\i in 1993; and Harry M. Miller's production of \IJesus Christ Superstar\i in 1994.
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"Walsh, Christine",609,0,g,0
\IBallet dancer and teacher\i
Christine Walsh was born in Sydney. She joined the Australian Ballet in 1972 after graduating from the Australian Ballet School in the previous year. In 1976 she left Australia to study in Monte Carlo, and later joined Roland Petit's Ballet de Marseille and with that company danced in Paris and in New York. She rejoined the Australian Ballet in 1978, and was promoted to principal artist rank in the following year, dancing leading roles in \ICoppΘlia,\i \IAnna Karenina,\i \IThe Concert,\i \ISpartacus\i and \IDon Quixote.\i In 1980 she returned for a time to Europe to dance and study. She again rejoined the Australian Ballet in 1984, and danced the title role in \JMaina Gielgud\j's \IGiselle\i (1986); her other roles for the company included Nikiya in \ILa Bayadere,\i the title role in \ILa Sylphide\i and Juliet in \IRomeo and Juliet.\i Since retiring from the Australian Ballet in 1989 she has been guest artist of the Leningrad Kirov (now Maryinsky) Ballet and Ballet Philippines (both in 1989) and guest artist with the Australian Ballet. She now directs the Christine Walsh Dance Centre in outer Melbourne, and a theatre management organisation, Onstage Artists.
In 1991 Christine Walsh was made an AM (Member of the Order of Australia) for her services to ballet.
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"Walter, Dennis",610,0,g,0
\I1955-\i
Dennis Walter, contemporary Australian singer, was born in Geelong, Victoria on 3rd January 1955. A respected club singer, he started out on the television show \IYoung Talent Time.\i In 1988 he worked as a disc jockey with radio 3GL Geelong and in 1990 joined 3MP Melbourne and hosted the weekly Keno draw on television. In 1993, he quit his radio job to become news anchor with the Ballarat TV station, and hosted a national daily radio show on Mark Day's ACE radio network, emanating from Bay-FM in Geelong. In 1995 he joined Melbourne's Radio Magic where he hosted the 9.00am shift.
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"Wangaratta Festival of Jazz",611,0,g,0
\IJazz festival\i
Held in the small Victorian town of Wangaratta since the late 1980s, this festival has grown into one of the major jazz events in Australia. It follows an innovative artistic policy, presenting a broad range of music with a weighting towards the contemporary and adventurous. Both local and international artists are featured. They have included the American pianist Horace Tapscott, the European-based group Clusone 3, the Melbourne ensemble Musiikki Oy and the Australian Art Orchestra, led by \JPaul Grabowsky\j. The National Jazz Saxophone Award, a competition open to musicians 35 years and under, is decided at the festival.
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"Warlow, Anthony",612,0,g,0
\I1961-\i
\IBaritone singer of musical stage productions\i
Sydney-based Anthony Warlow made his debut with the Australian Opera in 1980 as guest artist in Benjamin Britten's \IA Midsummer Night's Dream\i; in the following six years his repertoire grew to include \ILa BohΦme,\i \ITosca,\i \IOtello,\i \IDie Fledermaus,\i \IThe Tales of Hoffmann,\i \IDon Giovanni\i and \IThe Magic Flute.\i In 1985 he left the Australian Opera to play the romantic lead in the Adelaide Festival Theatre Trust production of \IGuys and Dolls,\i which toured nationally. He then gave the Australian premiere of the one-man show \IA Song to Sing-o.\i He returned to the Australian Opera in 1987 for \ICountess Maritza\i and again in 1995 for the Gilbert and Sullivan comic operetta \IPatience.\i In 1987, in the role of the student leader Enjolras, he appeared in the Australian production of \ILes MisΘrables.\i He is perhaps best known for his role of the Phantom in \IThe Phantom of the Opera,\i which he performed in Melbourne in 1991-92; his performance in this role won him four Mo awards.
In May 1992 Warlow was diagnosed with lymphoma and had to withdraw from the cast of \IJesus Christ Superstar\i to concentrate on his treatment. Following his recovery he played the role of Professor Higgins in the Victorian State Opera production of \IMy Fair Lady\i and in 1995 played the role of Archibald Craven in the musical \IThe Secret Garden.\i His albums include \ICentre Stage,\i \IOn the Boards,\i \IBack in the Swing\i and \IMidnight Dreaming.\i
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"Warren-Smith, Neil",613,0,g,0
\IBass baritone opera singer\i
Neil Warren-Smith joined the Australian Opera in 1956, the year of its foundation (when it was known as the Elizabethan Trust Opera Company). His roles for the company include Gianni Schicchi (the Puccini \ITrittico)\i; Rocco \I(Fidelio)\i; Baron Ochs \I(Der Rosenkavalier)\i; Superintendent Budd \I(Albert Herring)\i; Kutuzov in \IWar and Peace,\i the opening opera at the Sydney Opera House; Bartolo \I(The Marriage of Figaro)\i; the title roles in \IBoris Godunov\i and \IDon Giovanni\i; Sarastro \I(The Magic Flute)\i; and Bottom \I(A Midsummer Night's Dream).\i In 1964, as part of the Gala Performance to mark the tenth anniversary of the Australian Elizabethan Theatre Trust, he conducted and sang, with the Sydney Symphony Orchestra, the one-man opera \IMaestro di Capella.\i Ill health caused his retirement in 1981. He was one of the longest serving members of the Australian Opera and is remembered for the power of his characterisations and the even beauty of his voice.
Sydney-based Watkins spent the first decade of his career in theatre (1973-83), acting in, writing and directing a variety of plays. In 1985 he became a board member of Company B (the governing body of Sydney's Belvoir Street Theatre). He was associate director at the Sydney Theatre Company, 1989-90; commissioning editor for live theatre, ABC Radio National, 1990-91; and director of Mardi Gras, 1995-96.
After a close association with musicals and revues, such as writing the book and lyrics for \IStalin--\IThe Musical\i (1979) and \IBurger Brain\i (1988), and a long personal relationship with the Sydney Opera House (he spent ten years as a guide, leading 2500 tours), Watkins began writing a libretto for his opera about the famous building, \IEighth Wonder,\i in 1989. This well-received and exciting work premiered at the Opera House in 1995.
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"Watson, Graeme",615,0,g,0
\I1948-\i
\IDancer and choreographer\i
Educated in Christian Brothers schools, Watson undertook much of his early dance training at the Bodenweiser studio in Sydney. He danced with an eclectic group of companies including the Dance Company of NSW, and its later form the \JSydney Dance Company,\j Netherlands Dance Theatre II, Australian Dance Theatre and Dance North. Watson has worked with an equally eclectic group of artistic directors and dancers including Jaap Flier, \JGraeme Murphy,\j \JKai Tai Chan,\j Leigh Warren and the Balinese dancer Mario. His major works include \ILM514,\i \IHa,\i \IHa,\i \ILuna Surprise,\i \IThe Taming of the Shrew,\i \IBodyline,\i \IRitual and Seduction,\i \IThe Sex Life of Objects,\i \IWorld CafΘ\i and \ISea of Dreams.\i In 1991 Watson became the co-artistic director of One Extra Company with Julie-Ann Long, and in 1996 was appointed director of \JDance North\j in Townsville for a minimum of five years from January 1997.
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"Welander, Karl",616,0,g,0
\I1943-\i
\IBallet dancer\i
Karl Welander was born in Belgium and began his ballet training with the Ballet School of the Antwerp Opera, later studying with the Royal Ballet School, London. From 1960 to 1962 he danced in Europe as a member of the Grand Ballet du Marquis de Cuevas and when that company disbanded came to Australia to become a founding member (soloist) of the Australian Ballet. He was promoted to the rank of principal artist in 1964. He created roles in \JRex Reid\j's \IJust for Fun\i (1962), \JBetty Pounder\j's \IJazz Spectrum\i (1964) and \JRobert Helpmann\j's \ISun Music\i (1968). His other roles included Franz in \ICoppΘlia,\i Harlequin in \ILe Carnaval,\i Albrecht in \IGiselle\i and Monsieur Alexis in \IKonservatoriet.\i He appeared with the Dance Company of NSW in 1971 and later in the same year joined Ballet Victoria, where he remained until his retirement from the stage in 1975. For that company he created roles in \JGarth Welch\j's \IImages\i (1974), Walter Gore's \IRiptide\i (1974) and Jonathan Taylor's \IStar's End\i (1975).
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"Welch, Garth",617,0,g,0
\I1936-\i
\IBallet dancer,\i \Iteacher and choreographer\i
Garth Welch was born in Brisbane. In 1955, when dancing in the musical \ICall Me Madam!,\i he was accepted without audition by \JEdouard Borovansky\j for his ballet company, and appeared on stage within a week as one of the sailors in the \JBorovansky Ballet\j production of \IPineapple Poll.\i He was promoted to soloist in 1957 and in the following year to principal artist rank. In 1959, in \IThe Sleeping Princess,\i he partnered \JMarilyn Jones\j (later to become his wife) in her first leading role. His other performances for the company include \IThe Eternal Lovers,\i \ILes Rendezvous\i and \IThe Nutcracker.\i After a period dancing with the Grand Ballet du Marquis de Cuevas in Paris, Welch returned to Australia in 1962 to become a founding member (principal dancer) with the Australian Ballet. In the following thirteen years he danced the range of classic roles, including the lead in \ISwan Lake,\i \IThe Nutcracker,\i \ICoppΘlia,\i \IRaymonda,\i \IThe Sleeping Beauty,\i \IDon Quixote\i and \IGiselle,\i which he danced with the company in Paris in 1965 in a production that won the Grand Prix de Paris at the Third International Festival of Dance. Welch also danced in many modern works, sometimes in roles created especially for him. His choreographic credits include \IVariations on a Theme,\i set to Arensky's \IVariations on a Theme of Tchaikovsky\i; \INamouna Pas de Deux\i; \IIllyria,\i which had its first performance at the 1966 Adelaide Festival of the Arts; and \IOthello.\i
Welch retired from the Australian Ballet in 1973, giving his last performance for the company as Prince Florimund in \IThe Sleeping Beauty\i dancing opposite \JLucette Aldous.\j From 1979 to 1982 he was artistic director of the West Australian Ballet and from 1982 to 1987 conducted a ballet school with Marilyn Jones. Since then he has continued to choreograph, creating ballets such as \IShadows\i for the West Australian Ballet, and to hold positions such as dean of the Victorian College of the Arts School of Dance. He returned to the stage in 1984 for the \JSydney Dance Company\j in \IAfter Venice,\i created for him by \JGraeme Murphy\j--he danced this both in Australia and on tour with the company in New York. In 1995 he was a guest artist with the Australian Ballet.
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"Welch, Stanton",618,0,g,0
\I1970-\i
\IDancer and choreographer\i
Melbourne-born Welch was brought up in a household of dancers. His parents, \JMarilyn Jones\j and \JGarth Welch\j, are two of Australia's dancing legends and his brother Damien Welch is a member of the Australian Ballet. Welch had decided on an acting career but the call of the ballet world was too strong and he joined the Australian Ballet in 1989, after studying in San Francisco for a year. Among his first commissioned choreographic works were \IA Time to Dance,\i created for The Dancers Company in 1990, and \IThe Three Of Us,\i created in the same year and performed by the Australian Ballet, in its gala Sydney program. In 1992, Welch won a New South Wales Young Achiever Award, a Churchill Fellowship, and was voted best new choreographer for the year in London by the readers of \IDance & Dancers.\i In 1993, aged 23, he was a coryphee with the Australian Ballet, and his first major work commissioned by the company, \J\IOf Blessed Memory\j,\i was performed in Australia as well as in Italy and London. Welch took up his Churchill Fellowship in 1993 and spent three months travelling in London, New York and Europe to study choreographic trends. Highlights of this tour were the times spent in the European studios of Jirφ Kylißn and Maurice BΘjart, two great contemporary choreographers.
Welch's ballet \IDivergence\i had its world premiere by the Australian Ballet in September 1994 and his two-act ballet, \IMadame Butterfly,\i had its Australian Ballet premiere in February 1995.
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"Werder, Felix",619,0,g,0
\I1922-\i
\IComposer and writer\i
Werder was born in Berlin in 1922 and came to Australia as a refugee in 1940. By the early 1960s he had established a reputation for himself as a leader of the Australian avant-garde and was made music critic for the \IAge\i in Melbourne; his meaty reviews became part of the staple musical diet of Melbournites. His impressive portfolio of compositions includes chamber music, operas and works for orchestra. Because of his interest in and knowledge of contemporary and electronic music he lectured for many years on these subjects. He was responsible for forming the group Australia Felix in 1972. The ensemble of up to eleven players was dedicated to the performance of contemporary experimental music.
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"Wesley-Smith, Martin",620,0,g,0
\I1945-\i
\IComposer\i
Born in Adelaide, Wesley-Smith studied composition at the University of Adelaide where his teachers included Peter Tahourdin, Sandor Veress, Jindrich Feld, Peter Maxwell Davies and \JRichard Meale.\j He was appointed lecturer at the New South Wales State Conservatorium of Music in 1974, and later a senior lecturer. Wesley-Smith was made head of the electronic music studio at the same institution and took the opportunity of forming his own experimental group, Watt, based at the Conservatorium. Watt was conceived as a media group, making use of live electronics, tape, film and video. Being an expert on the Fairlight Computer Musical Instrument, Wesley-Smith was asked to deliver one to the Central Conservatory of Music in Beijing, People's Republic of China, in 1986, on behalf of the Australian Government. While he was there he helped to establish China's first computer music studio. He received the Australia Council's Don Banks Composer Fellowship in 1987.
His published music includes \ITo Noddy-Man\i (1969) for high voice and piano duet; \IDoublets 2(b)\i (1975) for counter-tenor, tape and delay; \IMachine\i (1972), a children's theatre piece; \IMedia Music\i 2 (1973) for five tape recorders; \ITango\i (1984) for Fairlight CMI with violin; \ISnark-Hunting 2\i (from \IBoojum!)\i (1986) for tape and transparencies; and \ISmudge\i \I(Malin 2)\i for midi keyboard and Apple Macintosh computer.
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"West Australian Ballet Company",621,0,g,0
\IPerth-based ballet company\i
West Australian Ballet offers an extensive program of works, ranging from full-length classical ballets to innovative new works. It aims to provide a showcase for Australian talent through its policy of commissioning works from the country's leading creative artists in design, music and choreography. It tours regionally and interstate and in the 1990s embarked upon an international touring program focused primarily on Asia.
The company was founded in 1952 by Madame Kira Bousloff, who settled in Australia in 1938 after touring as a member of Colonel de Basil's Monte Carlo Russian Ballet. Its first season, presented in 1953 (with the backing of Perth theatre director Eric Edgley), was a sell-out. In the following year the company began presenting international guest artists. It became a full-time professional operation in 1968. \JRex Reid\j, appointed artistic director in 1969, was followed in that position in 1973 by regular guest artist Luis Moreno, who produced the highly successful \ICoppΘlia\i during his years with the company; Robin Haig became artistic director in 1977. \JGarth Welch\j took over the position in 1979, following the success of his \IKal,\i presented in that year as part of Western Australia's 150th anniversary celebrations-his time with the company saw the creation of a number of full-length works, including \INutcracker.\i Barry Moreland was appointed artistic director in 1983.
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"West Australian Opera",622,0,g,0
\IState opera company founded in 1967\i
The West Australian Opera is the oldest of the state government-funded opera companies operating in Australia. Named the Western Australian Opera Company at its foundation in 1967, the company changed its name in 1991, when \JJoan Sutherland\j became founding patron. The new company opened in 1968 with a production of \ICarmen\i with a cast which included \JGlenys Fowles\j. Since 1980 the company has had a permanent home venue at His Majesty's Theatre in Perth, newly refurbished and reopened in that year. This proved a landmark in its development and allowed it to expand its program and to plan a schedule designed to develop new stars and build a following for them. Examples of talents fostered in this way include \JDeborah Riedel\j. Recent highlight productions have included \IThe Magic Flute\i (1994), directed by \JLindy Hume\j who became artistic director in 1992. The concert version of \IRigoletto,\i also in 1994, boasted an all West Australian cast including \JBruce Martin\j, Gregory Tomlinson and Gregory Yurisch. Annual 'Opera in the Park' productions have been very successful and have included \IMadama Butterfly\i in 1992 and \ILa Traviata\i in 1993.
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"West Australian Symphony Orchestra (WASO)",623,0,g,0
\ISymphony orchestra based in Perth\i
The West Australian Symphony Orchestra is funded primarily by the Australian Broadcasting Corporation and the West Australian state government. Its wide repertoire includes the major symphonic repertoire and a range of twentieth-century works. As well as presenting its annual series of subscription concerts, the West Australian Symphony Orchestra is the support orchestra in Western Australia for the Australian and West Australian opera and ballet companies, a major broadcaster on ABC radio networks, maintains a busy recording schedule and, with corporate and community support, regularly tours regional centres throughout Western Australia. In 1988 its permanent strength of 65 players was increased to 86 players. It is the state's only professional full-time orchestra.
The first permanent orchestra in Western Australia was assembled to play for a mayoral ball to celebrate Queen Victoria's Jubilee in 1887. The West Australian Symphony Orchestra can be traced back to the seventeen-member Perth Symphony Orchestra formed in 1928 by Harold Newton (better known by his radio name, John Nugent Haywood) and his brother Percy-under the baton of Harold Newton the orchestra gave fortnightly concerts, chiefly in the Capitol Theatre, the Perth Town Hall, His Majesty's Theatre, the University of Western Australia and in the studios of radio station Westfarmers 6WF. Following the formation of the Australian Broadcasting Commission in 1932, the federal government purchased 6WF and maintained the orchestra as a studio ensemble to present a limited number of live radio performances and public concerts. By 1945 it had a permanent strength of 25. In 1950, with funding from the state government, Perth City Council and other municipal authorities, the strength of the orchestra was increased to 40 permanent players and the name West Australian Symphony Orchestra adopted; its first conductor was Rudolph Pakarek.
Chief conductors have included John Farnsworth Hall (1955-65), Thomas Mayer (1965-71), Tibor Paul (1971-73), David Measham (1980-81), Albert Rosen (1982-85), Jorge Mester (1990-93) and Vernon Handley (appointed 1994). Perth Concert Hall became the orchestra's permanent home in 1973.
\IMembers of the West Australian Symphony Orchestra\i
\IChief Conductor:\i Vernon Handley
\IPrincipal Players:\i
\IConcertmaster:\i Ashley Arbuckle
\IAss. Concertmaster:\i Graham Wood
\IFirst Violin:\i Ken Peeler
\ISecond Violin:\i John Ford
\IViola:\i Lawrence Jacks
\ICello:\i [No permanent cellist in 1996]
\IDouble Bass:\i Boguslaw Szczepaniak
\IFlute:\i Neil Fisenden
\IPiccolo:\i Michael Wayne
\IOboe:\i Joel Marangella
\ICor Anglais:\i Jay Harrison
\IClarinet:\i Allan Meyer
\IBass Carinet:\i Jon Craven
\IBassoon:\i Anne Henderson
\IContra Bassoon:\i Lynda Norman
\IFrench Horn:\i Heidi Kepper
\ITrumpet:\i Kevin Johnston
\ITrombone:\i James Mann
\IBass Trombone:\i Philip Holdsworth
\ITuba:\i Cameron Brook
\ITimpani:\i Alex Timcke
\IPercussion:\i Tim White
\IHarp:\i Jane Geeson
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"Westlake, Nigel",624,0,g,0
\I1958-\I
\IComposer and clarinettist\i
Born in Sydney, Nigel Westlake studied with his father, the renowned clarinettist Donald Westlake, from 1970-78, while attending the New South Wales Conservatorium High School. In 1982 he was selected for a Film Music Course held by the Australian Film and Television School in partnership with the New South Wales State Conservatorium of Music. In 1983 Westlake received funding from the New South Wales Division of Cultural Activities to form a contemporary music ensemble, The Magic Puddin Band, an innovative eight-piece ensemble which brought together musicians from a variety of backgrounds. He has received commissions to compose for the ABC, Film Australia, The Magic Puddin Band, The Flying Fruit Fly Circus and the percussion group Synergy.
His works include \IFabian Theory\i (1987) for percussion soloist playing marimbas and tomtoms; \IBlue on Gold\i (1990); \IEntomology\i (1990) for mixed ensemble of six instruments and prerecorded tape; \IMoving Air\i (1990) for percussion quartet with tape; \IMalachite Glass\i (1991) for bass clarinet and percussion quartet; and the music for the Bell Shakespeare Company's \IRichard III,\i directed by John Bell. His musical score was extremely successful in highlighting the ongoing sinister implications of the plot. Westlake played with Australia Ensemble from 1987-92. He resigned in order to have more time to devote to his career as a composer. Westlake wrote the music for the motion picture \IBabe\i (1995).
#
"Wheatley, Glen",625,0,g,0
\I1949-\i
Glen Wheatley, Australian musician and entrepreneur, was born in Melbourne on 23rd January 1949. One-time bass player with Masters Apprentices, and MD of his own artist management company Two Australia which handled people like Little River Band, John Farnham and Donnie Sutherland. He brought radio station 2BE Bega in March 1986 for two and a quarter million dollars, which was later sold as 2EC. On 21st November 1986, Wheatley purchased radio 2MMM and 3EON FM from Rod Muir at a reported $85M, and changed EON to 3MMM.
As head of Hoyts Media, his company controlled many media outlets as well as the Hoyts theatre chain around Australia. However, he sold out his interests in 1989 and borrowed $7 million from Victoria's ill-fated Farrow Corporation (Pyramid Building Society) to set up the Ivy Night Club in Melbourne. After the club failed, he and wife Gaynor sold their plush Melbourne home for $6 million in an attempt to repay an $8.3 million debt.
#
"Whitsunday",626,0,g,0
\IOpera\i
The Australian Opera's bicentenary commission, \IWhitsunday,\i opened at the Sydney Opera House Drama Theatre in 1988. The opera, set on a tropical Queensland island, was composed by Brian Howard with the libretto by \JLouis Nowra\j.
#
"Wilde, Wilbur",627,0,g,0
\I1955-\i
Wilbur Wilde, Australian saxophone player and former member of the group 'Ol 55, was born on 5th October 1955. He performed as the sax player and band leader through the 1980s and 1990s on \IHey Hey it's Saturday\i on the Nine Network. In December 1993, he married Sophie Zimmerman.
#
"Williams, Harold",628,0,g,0
\I1893-1976\i
\IBaritone opera and concert singer\i
Harold Williams was born in Sydney. Following service with the Australian armed forces in Europe during World War I, he elected to take his discharge in Britain where he studied singing at night. He hired London's Wigmore Hall out of his own pocket to introduce himself in a series of three concerts. Engagements for ballad concerts, oratorio and opera followed. For the British National Opera he sang leads in \ITannhΣuser\i and \IOtello.\i He appeared as a guest artist at Covent Garden in the roles of Boris Godunov and Mephistopheles, but he gradually came to be regarded as one of Britain's leading concert singers, associated especially with oratorio. He was acknowledged as the leading exponent of \IElijah,\i which he twice recorded in its entirety. He sang at many prestigious musical occasions, including the coronation of George VI. He toured Australia with expatriate pianist William Murdoch in 1929, and spent the years of World War II in Australia, touring and broadcasting for the ABC and taking part in the 1944 opera season in Sydney.
In 1946, after a farewell performance at the Sydney Town Hall, Williams left for London to resume his international career. He returned to Australia in 1952 to take up the position of Professor of Singing at the New South Wales State Conservatorium of Music in Sydney.
#
"Williams, John",629,0,g,0
\I1941-\i
\IClassical guitarist\i
Born in Melbourne, Williams first studied the guitar with his father, a noted British guitarist who had emigrated to Australia. The family returned to England in 1952; Williams studied at the Royal College of Music and with Spanish classical guitarist Andres Segovia (1894-1987), who invited him to the Accademia Chigiana in Siena, Italy, where he spent three seasons (1957-60). His official debut was at London's Wigmore Hall in 1958 where his economical technique and clean quality of tone were immediately noticed. Tours and television and radio performances have since followed and numerous recordings, both as solo guitarist and with leading orchestras. Williams'style draws on folk, jazz, pop and non-Western idioms and he has been seen as a model by many younger classical guitarists. He was professor of guitar at the Royal College of Music 1960-73 and has founded several ensembles, including John Williams & Friends and the group Sky (1979-84). He was artistic director of the South Bank Summer Musical Festival in London 1984-85 and of the Melbourne Arts Festival in 1987.
#
"Williamson, Malcolm Benjamin Graham Christopher",630,0,g,0
\I1931-\i
\IComposer and Master of the Queen's Musick\i
Williamson was born in Sydney. He studied composition with Sir \JEugene Goossens\j at the New South Wales State Conservatorium of Music. Later, he travelled to Paris and then to England to study with Erwin Stein and Elizabeth Lutyens. He established himself in England by 1952, taking an appointment as a church organist. His large-scale work for organ, \IFons Amoris,\i was performed by him at the Royal Festival Hall in 1956. In 1962 the Australian Elizabethan Theatre Trust commissioned a ballet in one act from Williamson. This ballet, \IThe Display,\i was choreographed by \JRobert Helpmann\j and designed by Sidney Nolan. Williamson's opera \IEnglish Eccentrics\i was premiered at the Aldeburgh Festival in 1964. He wrote a number of popular operas after this, some especially for children. Williamson was appointed Master of the Queen's Musick in 1975; he returned to Australia on a Creative Arts Fellowship at the Australian University, Canberra, in the same year. A frequent visitor to Australia as a pianist and organist, this versatile musician retains a particular interest in music therapy for handicapped children.
#
"Wilson, Ian (Pee Wee)",631,0,g,0
\I1940-\i
Ian Pee Wee Wilson, lead bass singer with the Australian pop group, the Delltones, was born Ian Wilson in Sydney on 25th February 1940. He formed the Delltones with Noel Widerberg in the late 1950s. All the members of the group were members of the Bronte Surf Club, and were keen surfers. Discovered by promoter Lee Gordon, they were used on the big shows as Diamonds sound-alikes. The Delltones hits include 'You're the Limit', 'Wonder', 'Get a Little Dirt on Your Hands', 'Come a Little Bit Closer', and 'Hangin' Five'. The group split in 1971, but reformed under Pee Wee in 1984 for club appearances.
#
"Wilson, Ross",632,0,g,0
\I1947-\i
Ross Wilson, Australian musician, was born in Melbourne on 18th November 1947. His first group, called the Pink Finks was formed while he was still at school. He formed Daddy Cool in 1970 and had monster hits in 1971 with 'Eagle Rock', 'Bom Bom', 'Hi Honey Ho', 'Come Back Again' and 'I'll Never Smile Again'. In 1976 he formed Mondo Rock and had hits with 'State of the Heart', and 'Come Said the Boy'.
He played harmonica and guitar and wrote and produced his ex-wife Pat Wilson's hit record 'Bop Girl' in 1982. In the late 1980s, 'Eagle Rock' became a number one hit in New Zealand quite unexpectedly.
#
"Wilson, Strella",633,0,g,0
\I1894-1989\i
\ISoprano singer of opera and operetta\i
Strella Wilson was born in Broken Hill, New South Wales, but spent most of her early life in Melbourne. She was a member of the opera company formed in 1919 by Frank Rigo around six members of the Italian Gonsalez Opera Company who remained in Australia at the end of their tour in 1917. When she made her first professional appearances with the company in the roles of Leonora in \IIl Trovatore\i and Micaela in \ICarmen\i she impressed critics, including \JNellie Melba\j, with both her singing voice and her dramatic acting ability. She subsequently became a pupil of Melba. In the early 1920s she married tenor Ralph Errolle and toured Canada singing the roles of Tosca and Santuzza.
In general, however, her career was in lighter music. From 1929 to 1934 she worked in England. There she sang Princess Mirabelle in \ICavalcade\i (a role written especially for her by Noel Coward), toured as Teresa in \IThe Maid of the Mountains,\i and in 1934 appeared at Covent Garden. After her return to Australia in 1934 she starred in a J. C. Williamson Ltd production of the operetta \IWhite Horse Inn,\i a role she repeated for the company in 1941. She was made an OBE for her work entertaining troops in Papua New Guinea during World War II.
#
"Woodward, Roger",634,shz95081.jpg,c,0
\I1943-\i
\IConcert pianist\i
Born in Sydney, Woodward studied at the New South Wales State Conservatorium of Music, then in Poland, London and New York. A winner of many international awards, he has performed with the world's major orchestras and worked with leading world composers. Woodward has played Beethoven's 32 piano sonatas around the world, and the complete works of Chopin. He is also noted for his renditions of Shostakovich and contemporary Australian composers. Founder and artistic director of \ILondon Music Digest,\i in 1973 he founded Music Rostrum of Australia. With Sir \JBernard Heinze\j he co-founded the International Sydney Piano Competition in 1969 and in 1976 became its musical patron. In the same year he was awarded the International Frederic Chopin Institute's medal of honour. Woodward lives mainly in London.
\BDescription:\b Roger Woodward \I(Fairfax Photo Library)\i
#
"Woolliams, Anne",635,0,g,0
\I1926-\i
\IBallet dancer and teacher and past artistic director of the Australian Ballet\i
Anne Woolliams was born in England. With John Cranko she was co-founder of the Stuttgart Ballet School. In 1974, while in Australia as assistant artistic director with the touring Stuttgart Ballet, she began working with the Australian Ballet on the staging of Cranko's \IRomeo and Juliet.\i In 1976 she succeeded Sir \JRobert Helpmann\j as artistic director of the Australian Ballet. Her first major production was Cranko's \IOnegin\i; she also produced \ISwan Lake\i (four acts). Woolliams resigned as artistic director in July 1977; she is currently teaching in London.
#
"Worthley, Max",636,0,g,0
\ITenor opera singer\i
Max Worthley was born in Adelaide and studied music there at the Elder Conservatorium. In the 1930s he sang orchestral concerts and made a number of broadcasts for the ABC, some of them with \JPercy Grainger\j, who toured Australia in 1934. He undertook advanced study in London from 1947 to 1953 and during that period performed in Britain and Europe. In 1954 he appeared in \IAlbert Herring\i for the National Theatre Opera Company in Melbourne, and two years later was a principal tenor with the newly formed Elizabethan Trust Opera Company (forerunner of the Australian Opera) in its Mozart series. In 1958 he went to Germany to pursue an interest in lieder singing. In 1961, in England, he joined the Deller Consort, a group specialising in the singing of medieval, renaissance and baroque music. A 1964 tour of Australia and New Zealand with the Consort included a performance at the Adelaide Festival of Arts. His roles for the Australian Opera include Tamino \I(The Magic Flute)\i and Jenik \I(The Bartered Bride),\i with \JAlzao Morison\j. In 1967 he was appointed Professor of Voice and Opera at the University of Arkansas, in the United States.
#
"Wright, Stevie",637,0,g,0
\I1948-\i
Stevie Wright, Australian musician of \JEasybeats\j fame, was born in Leeds, England on 20th December 1948 and came to Australia at aged 16. He met his fellow band members in a Sydney migrant hostel. Their hits include 'She's So Fine', 'Wedding Ring', 'Women', 'Friday on My Mind'. He suffered a breakdown in the 70s and was one of the unfortunate people treated at Sydney's notorious Chelmsford Hospital.
#
"Wylie, Ross D.",638,0,g,0
\I1944-\i
Ross D. Wylie, Australian pop singer of the 60s, was born in Brisbane on 21st November 1944. A polio victim, he was handicapped with a severe limp, which he overcame to host the television show \IUptight\i in 1967. His hit records include \IFunny Man\i and \IThe Star\i, written by Johnny Young.
#
"Yothu Yindi",639,0,g,0
\IDance, pop and rock group which combines electronic music with traditional Aboriginal culture\i
The Arnhem Land band Yothu Yindi came to the attention of a wider audience when it played as support band to \JMidnight Oil\j on its 1985 Northern Territory tour. Yothu Yindi's indigenous members come from the coastal communities of Arnhem Land's Gove Peninsula and include Mandawuy Yunupingu (vocals), his brother Galarrwuy (vocals and guitar), Witiyana Marika (vocals), Milkaynu Munungurr (didjeridu), Bakaman Yunupinju (vocals and guitar), Stuart Kellaway (bass) and Cal Williams (guitar). The traditional music performed by the group is from the Gumatj and Rirratjingu clans and many of their lyrics are in the local Yolngu language. The album \ITribal Voice\i (1991) was successful in Australia and the United Kingdom, with a single from it, 'Treaty', reaching No. 1 on the Australian charts and winning Best Australian Single and Australian Song of the Year at the 1991 ARIAs. Yothu lead singer Mandawuy was 1992 Australian of the Year and in 1993 the group toured Japan with singers \JMargaret Urlich\j and Rick Price and was featured at the launch of the United Nation's Year of Indigenous People in New York.
#
"Young, Florence",640,0,g,0
\I1871-1920\i
\IStage actor and singer\i
Florence Young made her stage debut in 1890 at Melbourne's Prince of Wales Opera House in the operetta \IBoccaccio.\i With her strong soprano voice she was hailed as the successor to \JNellie Stewart\j, and went on to appear in many productions for the J. C. Williamson theatrical organisation including \IThe Toreador\i and \IA Country Girl,\i which she sang to great acclaim in 1903 at Her Majesty's Theatre in Sydney, \IThe Orchid\i in 1904 in Melbourne, \IThe Little Michus\i in 1906 in Sydney, the pantomime \IMother Goose\i (1907), \IThe Spring Chicken\i (1907) and \IThe Dairymaids\i (1907).
#
"Young, George",641,0,g,0
\I1947-\i
George Young, Australian songwriter and singer, was born on 6th November 1947. He was a member of the Easybeats. An English migrant, he met his songwriting collaborator Harry Vanda at a migrant hostel in Sydney. They wrote songs for the Easybeats, John Paul Young and themselves, when they performed as Flash and the Pan. Their hits include 'Hey St Peter', and 'Down Among The Dead Men'.
#
"Young, John Paul",642,0,g,0
\I1950-\i
\IPop singer\i
John Paul Young was born in Glasgow, Scotland, and arrived in Australia with his family as a teenager. In the early 1970s he spent two years in the role of Annas in the Australian production of the rock musical \IJesus Christ Superstar.\i His hit singles include 'Pasadena' (1972) and the No. 1 hit 'Yesterday's Hero' (1975), both under the name John Young, and 'Love Is In The Air' (1978), successful both in Australia and overseas and which was, more than a decade later, in the charts again as the theme music for the film \IStrictly Ballroom.\i At the final \ITV Week Awards,\i in 1978, he won the last King Of Pop award and the single 'Love Is In The Air' was voted Most Popular Single Record.
#
"Young, Johnny",643,0,g,0
\I1945-\i
\ISinger and television variety show host\i
Born John De Jong in Amsterdam, Johnny Young grew up in Kalamunda, Western Australia. After leaving school he worked as a trainee disc jockey while singing with bands in the Perth area. In 1965 he became the host of \IClub 17,\i a local television show, and through this work met George Young and Stevie Wright of the \JEasybeats.\j A song they wrote for him, 'Step Back', became his first hit, reaching No. 1 on the national charts. His other singles include 'Let It Be Me' (1966) and 'When Will I Be Loved'/'Kiss Me Now' (1967); his albums include \IThe Young Man And His Music\i (1971), \IMother's Favourites\i (1976) and \IStep Back\i (1988). For eighteen years Young was host of the successful television show \IYoung Talent Time\i (1971-88). Songs he has written have been recorded by several other artists, including Russell Morris's 1969 hit 'The Real Thing', 'I Thank You' recorded by the former boxing champion Lionel Rose, and Ronnie Burn's 'Smiley' (1969), an anti-war song based on fellow pop singer \JNormie Rowe,\j who was a conscript in Vietnam. Young operates a school of music in Melbourne and continues to write songs.
#
"Young, Simone",644,0,g,0
\IConductor specialising in opera\i
Simone Young was young Australian of the Year in 1987 and was engaged by the State Opera, Cologne, in the same year, first as repetiteur, then as resident conductor. After assisting Daniel Barenboim with the Wagner \IRing Cycle\i at Bayreuth and at the ChΓtelet, Paris, with \IWozzeck,\i she was engaged by him as resident conductor at the German State Opera, Berlin. Young continued to ascend the operatic heights and became the first woman to conduct at the Vienna Staatsoper, the Bavarian Staatsoper (Munich) and the Bastille, Paris. Young's first engagement with the Australian Opera was \IThe Little Mermaid\i (1985). Other operas she has conducted for the company include \IThe Mikado,\i \IThe Bamboo Flute\i and, most recently, \IAida\i (1995). Having already conducted in most of the world's most famous opera houses, she has her Metropolitan debut in 1996 with \ILa BohΘme,\i followed by further engagements in Houston and New York. Other future engagements include \ITosca\i (Royal Opera Covent Garden), \IMeistersinger\i and \ISiegfried\i (Berlin), \IHollΣnder\i and \IFidelio\i (Vienna) and \ISalome\i (Munich).
#
"Young Kabbarli, The",645,0,g,0
\IChamber opera\i
\JMargaret Sutherland\j composed this chamber opera in 1964 to a libretto by Maie Casey. It was first performed in 1965 at the Theatre Royal in Hobart. The Intimate Opera Group produced it in 1971 and the State Opera of South Australia performed it in 1972. Based on an incident in the life of Daisy Bates, it was the first opera ever recorded for commercial release in Australia.
#
"Young Performers Awards",646,0,g,0
\IABC award program for young musicians\i
The ABC inaugurated these annual awards in 1943. Performers can apply in one of four categories\s-\vocal, keyboard, strings and instrumental. After audition, performances are judged over a series of recitals and concerts. Winners in the various categories receive a financial prize while the overall winner, nominated as the ABC Young Performer of the Year, also receives recital and recording opportunities.
#
"Yugen",647,0,g,0
\IBallet\i
Sir \JRobert Helpmann\j's ballet \IYugen\i was given its world premiere by the \JAustralian Ballet\j in 1966. Helpmann adapted his work from a Japanese Noh play, \IHageromo.\i In the story Tsukiyomi, the Moon Goddess, visits Earth nightly to bathe in a lagoon. One night a fisherman steals her wings, thinking that they are precious shells. Without her wings, Tsukiyomi cannot return to her home in the sky. She wanders among the celebrating villagers trying to warn them that the moon will not shine that night. The fisherman, who loves her, gives her the thing he holds dearest. With the return of her wings the Moon Goddess can return to the heavens and the moon can shine.
\IYugen\i's score was written by the Japanese composer Yuzo Toyama. The leading roles at the first performances were danced by \JKathleen Gorham\j and \JGarth Welch.\j The work has had a number of revivals, including one in 1966 when Gorham made her final stage appearance in Australia dancing the part of the Moon Goddess, and others in 1969 and 1973.
#
"Yunupingu, Mandawuy",648,0,g,0
(1956- )
Mandawuy Yunupingu, band leader of the Aboriginal pop group \JYothu Yindi\j and 1992 Australian of the Year, was born Bakamana Yunupingu on 17th September 1956; he changed his name after a relative named Mandawuy died. Mandawuy became only the second Aborigine to be honoured with the Australian of the Year award, in what was known as the Year of Indigenous people. His brother Galarrwuy was named Australian of the Year in 1978 for his work as an Aboriginal leader. The former Northern Territory school headmaster is married to Yalmay and is the father of six children. He completed his BA at Deakin University, and in 1992 released the hit album \ITribal Voice\i with the hit track 'Treaty.'
#
!,!,!,!,!
3#
11,0
"About the AFI Awards",1,"0","g","0"
The annual Australian Film Institute Awards are the major Australian awards for film and television production. The AFI Awards are recognised internationally as the Australian equivalent to the Canadian Genies, the American Oscars, the French Cesars and the British BAFTA Awards.
The AFI Awards recognise achievement and excellence in film and television production. The judging process itself encourages valuable discussion and critical evaluation within the production industry and contributes to maintaining an informed and interested audience for Australian film and television.
The AFI's goal is to increase knowledge, appreciation and enjoyment of the art of film amongst Australian filmmakers and audiences. Membership is open to anyone with an interest in film.
Australian Film Institute: 49 Eastern Road, South Melbourne, VIC 3205. Ph: (03) 9696 1844 Fax: (03) 9696 7972.
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"Australia's Top Five Domestic Films 1996",2,spread307.spr.jpg,e,0
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"AFI Awards - 1995 Winners",3,spread390.spr,e,0
#
"AFI Awards - 1996 Winners",4,spread135.spr,e,0
#
"Best Foreign Film Award",5,spread029.spr,e,0
#
"Young Actors Award",6,spread030.spr,e,0
#
"Byron Kennedy Award",7,spread031.spr,c,0
The Byron Kennedy Award was established in 1984 in memory of Byron Kennedy, regarded as one of the outstanding producers of his time.
#
"Raymond Longford Award",8,spread032.spr,c,0
The \JRaymond Longford\j Award was first presented in 1968, and is named in honour of one of Australia's great filmmaking pioneers.
The recipients of this award have made a significant contribution to Australian filmmaking.
#
"AFI Television Awards",9,spread033.spr.jpg,e,0
#
"Documentary and Short Films",10,spread034.spr,e,0
The annual cash prize was increased from $20,000 to $25,000 in 1992 and is currently at $27,000. Awarded each year for a published novel or play portraying Australian life in any of its phases.
\B1991 Winner:\b \JDavid Malouf\j - \IThe Great World\i (Random Century)
\B1992 Winner:\b Tim Winton - \ICloudstreet\i (McPhee Gribble)
\B1993 Winner:\b Alex Miller - \IThe Ancestor Game\i (Penguin)
\B1994 Winner:\b Rodney Hall - \IThe Yandilli Trilogy\i
\B1995 Winner:\b Helen Demidenko - \IThe Hand That Signed the Paper\i (Allen & Unwin)
\B1996 Winner:\b Christopher Koch - \IHighways to a War\i
\B1997 Winner:\b David Foster - \IThe Glade Within the Grove\i
\BBANJO AWARDS\b
(National Book Council Banjo Awards for Australian Literature)
Prize money for fiction and non-fiction $20,000 awarded annually for books of strong literary merit which make an outstanding contribution to Australian literature. Poetry award $7,500.
\BPoetry:\b Les Murray - \IDog Fox Field\i (Collins/A&R)
\B1992 Winners\b
\BFiction:\b Alan Gould - \ITo The Burning City\i (Heinemann)
\BNon-fiction:\b David Marr - \I\JPatrick White\j: A Life\i (Random Century); Roger Millis - \IWaterloo Creek: Australia Day Massacre of 1838 and George Gipps and the British Conquest of NSW\i (McPhee Gribble)
\BNon-fiction:\b Peter Singer - \IRethinking Life & Death\i
\BPoetry:\b (Joint winners for this award) Peter Boyle - \IComing Home From the World\i and Dorothy Porter - \IMonkeys Mask\i
\B1996 Winners\b
\BFiction:\b Rod Jones - \IBilly Sunday\i
\BNon-fiction:\b Henry Reynolds - \IFate of a Free People\i
\BPoetry:\b Philip Hodgins - \IThings Happen\i
\B1997 Winners\b
\BFiction:\b Brian Castro - \IStepper\i
\BNon-fiction:\b Professor Alan Atkinson - \IThe Europeans in Australia, Vol 1.\i
\BPoetry:\b Peter Boyle - \IA Blue Cloud Crying\i
\BTHE AUSTRALIAN/VOGEL NATIONAL LITERARY AWARD\b
Awarded annually to a writer under 35 for an original unpublished manuscript of fiction or Australian history. The winning book is published by Allen & Unwin.
\B1993 Winner:\b Helen Demidenko - \IThe Hand That Signed The Paper\i
\B1994 Winner:\b Darren Williams - \ISwimming in Silk\i
\B1995 Winner:\b Richard King - \IKindling Does For Firewood\i
\B1996 Winner:\b Bernard Cohen - \IThe Blind Man's Hat\i
\B1997 Winner:\b Eva Sallis - \IHiam\i
\BACT LITERARY/ACT CREATIVE ARTS FELLOWSHIP AWARD\b
Inaugural $15,000 award 1991; to assist writers contributing to the Canberra literary community. From 1996 onwards the award was renamed to ACT Creative Arts Fellowship (literature).
\B1991 Winner:\b Dorothy Johnston
\B1992 Winner:\b Marian Eldridge
\B1993 Winner:\b Mark O'Connor
\B1994 Winner:\b Mark Henshaw
\B1995 Winner:\b Dr Satendra Nandan
\B1996 Winner:\b William J. Lines
\B1997 Winner:\b Sara Dowse
#
"Victorian Awards",2,spread397.spr,c,0
\BVICTORIAN PREMIER'S LITERARY AWARDS\b
\BWebsite address:\b
http://www.slv.vic.gov.au/pla/
\BThe Vance Palmer Prize for Fiction\b
\B1992 Winner:\b Brian Castro - \IDouble Wolf\i (Allen & Unwin)
\B1993 Winner:\b Brian Castro - \IAfter China\i (Allen & Unwin)
\B1994 Winner:\b John A. Scott - \IWhat I Have Written\i (McPhee Gribble)
\B1995 Winner:\b Kate Grenville - \IDark Places\i (Pan Macmillan Australia)
\B1994 Winner:\b Joint winners: Patrick Buckridge - \IThe Scandalous Penton\i (Uni of QLD Press); and David McKnight - \IAustralia's Spies and Their Secrets\i (Allen & Unwin)
These awards recognise books of outstanding literary merit, with consideration given to plot, theme, style, child appeal, design, production and quality of illustrations.
\IThe Book of the Year - Older Readers Award\i is given to books which generally require mature reading skills and the ability to appreciate the topics. themes and scope of emotional involvement.
\IThe Book of the Year - Younger Readers Award\i is given to books aimed at readers who have developed independent reading skills but are still developing literary awareness.
\IThe Picture Book of the Year Award\i has no age restriction, as it is acknowledged that picture books can be appreciated at all levels. However, in judging picture books, artistic and literary unity, layout, design, style, media and techniques are all considered.
\I\BChildren's Book of the Year - Older Readers\b\i
\B1995 Honour Books:\b James Moloney - \IGracey\i (Uni of QLD Press); and Nadia Wheatley - \IThe Night Tolkien Died\i (Random House Australia).
\B1996 Honour Books:\b Ursula Dubosarsky - \IThe First Book of Samuel\i (Penguin); and Sonya Hartnett - \ISleeping Dogs\i (Penguin)
\B1997 Winner:\b James Moloney - \IA Bridge to Wiseman's Cove\i (University of QLD Press)
\B1997 Honour Books:\b David Metzenthen - \IJohnny Hart's Heroes\i (Penguin Books); and Wendy Orr - \IPeeling the Onion\i (Little Ark/Allen & Unwin).
\I\BChildren's Book of the Year - Younger Readers\b\i
\B1995 Winner: \bWendy Orr (illus. by Kerry Millard) - \IArk in the Park\i (Angus & Robertson)
\B1996 Winner:\b James Moloney - \ISwashbuckler\i (University of QLD Press)
\B1995 Honour Books:\b Jackie French - \ISomewhere Around the Corner\i (Angus & Robertson); and Anthony Hill (illus. by Mark Sofilas) - \IThe Burnt Stick\i (Penguin Australia/Viking)
\B1996 Honour Books:\b Peter Carey - \IThe Big Bazoohley\i (University of QLD Press); and Elizabeth Honey - \I45 & 47 Stella St and Everything that Happened\i (Allen & Unwin)
\B1997 Honour Books:\b Elizabeth Honey - \IDon't Pat the Wombat\i (Little Ark/Allen & Unwin); and Emily Rodda - \IRowan and the Keeper of the Crystal\i (Omnibus Books)
\I\BPicture Book of the Year\b\i
\B1995 Winner:\b Steven Woolman (text by Gary Crew) - \IThe Watertower\i (Era Publications)
\B1996 Winner:\b Narelle Oliver - \IThe Hunt\i (Lothian)
\B1995 Honour Books:\b David Legge - \IBamboozled\i (Scholastic Australia); and Elizabeth Stanley - \IThe Deliverance of Dancing Bears\i (Uni of WA Press)
\B1996 Honour Books:\b Jeannie Baker - \IThe Story of Rosy Dock\i (Random House); and Anne Supdvilas and Christobel Mattingley - \IThe Race\i (Scholastic)
\B1997 Winner:\b Elizabeth Honey - \INot a Nibble\i (Little Ark/Allen & Unwin)
\B1997 Honour Books:\b Ann James - \IThe Midnight Gang\i (Omnibus Books); and Julie Vivas - \ILet's Eat!\I (Omnibus Books)
\I\BEve Pownall Award for Information Books\b\i
\B1995 Winner:\b Robin E. Stewart - \INew Faces: the Complete Book of Alternative Pets\i (Agmedia)
\B1996 Winner:\b John Nicholson - \IThe First Fleet: A New Beginning in an Old Land\i (Allen & Unwin)
\B1995 Honour Books:\b Cameron Miller and Dominique Falla - \IWoodlore\i (Omnibus Books); and Alan Tucker - \IToo Many \JCaptain Cook\js\i (Omnibus Books).
\B1996 Honour Books:\b Gerald and Guundie Kuchling - \IYakkinn the Swamp Tortoise: The Most Dangerous Year\i (Chelonia); and Douglas Little - \ITen Little Known Facts About Hippopotamuses and More Little Known Facts and a Few Fibs About Other Animals\i (Scholastic).
\B1997 Winner:\b Gordon Cheers and Julie Silk - \IKiller Plants\i (Penguin Books Australia)
\B1997 Honour Books:\b Brian Janeen - \IPilawuk - When I Was Young\i ((Era Publications); and Weldon Owen Team - \IReptiles\i (Little Ark/Allen & Unwin)
#
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5#
2,0
"1994, 1995 and 1996 Winners",1,f\5\archt1.jpg,c,0
\BSir \JZelman Cowen\j Award\b
\B1994 Winner:\b Bowali Visitor Centre and Headquarters, Kakadu National Park (NT) - Glenn Murcutt & Associates Pty Ltd and Troppo Architects Pty Ltd - Architects in Association
\B1995 Winner:\b Swallowcliffe Schools - Patricia Les, Department for Building Management Consultancy Services
\B1996 Winner:\b Melbourne Exhibition Centre - Denton Corker Marshall
\B1996 Winner:\b Storey Hall - Ashton Raggatt McDougall
\BCommercial Architecture Award\b
\B1994 Winners:\b \JGovernor Phillip\j Tower (NSW) - Denton Corker Marshall Pty Ltd and Kingfisher Bay Resort and Village (Qld) - Guymer Bailey Architects Pty Ltd
\B1995 Winner:\b Ski n Skurf - Clare Design Pty Ltd
\B1996 Winner:\b Penfolds Magill Estate Restaurant - Allen Jack Cottier in association with Danvers
\BWalter Burley Griffin Award for Urban Design\b
\B1994 Winners:\b The Rocks Square Development (NSW) - Tonkin Zulaikha Harford Architects and Tyne Street Redevelopment (Vic.) - Williams & Boag Pty Ltd Architects
\B1995 Winner:\b RMIT Building 8 - Edmond and Corrigan Pty Ltd (Design Architects) in Association the Demaine Partnership Pty Ltd
\B1994 Winner:\b Kuching Waterfront Development (Malaysia) - Conybeare Morrison & Partners (Australia) and United Consultants (Malaysia)
\BAccess Citation\b
\B1994 Winner:\b SA Aquatic Sciences Centre (SA) - SACON Pty Ltd
\B1995 Winner:\b The Design Faculty Building, University of Newcastle - Stutchbury Pape/EJE Architecture
\B1996 Winner:\b Casula Powerhouse Regional Arts Centre - Tonkin Zulaikha
\BEnvironment Citation\b
\B1994 Winner:\b Advanced Technology Centre (NSW) - Jackson Teece Chesterman Willis
\B1995 Winner:\b The Design Faculty Building, University of Newcastle - Stutchbury Pape/EJE Architecture
\B1996 Winner:\b Cotton Tree Pilot Housing Project - Clare Design
\BDescription:\b \I(Siteworks (02) 9692-8225)\i
#
"Some Notable Australian Architects",2,f\5\6_0067.jpg,c,0
\BJohn Andrews International\b - King George Tower, Sydney: CN Tower Toronto; Miami Passenger Terminal, Florida.
\B\JHarry Seidler\j & Associates\b - Grosvenor Place, Sydney; Australian Embassy, Paris; Australia Square Sydney; Hong Kong Club.
\BPhillip Cox\b - Sydney Football Stadium; Yulara Resort, \JAyers Rock\j; National Tennis Centre, Melbourne; National Maritime Museum, Sydney.
\BEdwards Madigan Torzillo Briggs\b - High Court of Australia, \JCanberra\j; Australian \JNational Gallery\j, \JCanberra\j.
\BLawrence Nield and Partners\b - Overseas Passenger Terminal, Sydney; Science and Technology Centre, \JCanberra\j.
\BDaryl Jackson\b - Bond University, Gold Coast; Hyatt Hotel, \JCanberra\j; Melbourne Cricket Ground; Australian Chancery Complex, Riyadh.
\BRobin Gibson\b - Qld Performing Arts Complex, Brisbane; Qld Art Gallery, Brisbane.
\BMitchell/Giurgola & Thorp\b - New Parliament House, \JCanberra\j; Military Academy, Singapore; Walsh Bay Redevelopment, Sydney.
\BBligh Voller Architects\b - Hyatt Resort, Coolum; Brisbane Domestic Air Terminal; World Expo '88; Lake Crackenback Village, Thredbo.
\BAncher Mortlock & Woolley\b - ABC Radio and Concert Music HQ, Sydney; Hyatt Hotel, Sydney; Australian Embassy, Bangkok.
\BDescription:\b New Parliament House \I(DFAT)\i
#
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6#
25,0
"Best Australian Album",1,"spread143.spr","c","0"
This chapter covers the Australian Record Industry Award (ARIA) winners up until the last awards which were held on September 22, 1997 in Sydney.
#
"Best Australian Single",2,spread144.spr,e,0
#
"Best Australian Group",3,spread145.spr,e,0
#
"Best Australian Male Artist",4,spread146.spr,e,0
#
"Highest Selling Single",5,spread147.spr,e,0
#
"Highest Selling Album",6,spread148.spr,e,0
#
"Best Australian Video",7,spread151.spr,e,0
#
"Hall of Fame Inductees",8,spread152.spr,e,0
#
"Best Australian Female Artist",9,spread153.spr,e,0
#
"Australian Song of the Year",10,spread154.spr,e,0
#
"Best Australian New Talent",11,spread155.spr,e,0
#
"Best Australian Debut Album",12,spread156.spr,e,0
#
"Best Australian Debut Single",13,spread157.spr,e,0
#
"Best Australian Classical Release",14,spread158.spr,e,0
#
"Best Australian Jazz Release",15,spread159.spr,e,0
#
"Best Australian Children's Release",16,spread160.spr,e,0
#
"Best Australian Comedy Release",17,spread161.spr,e,0
#
"Best Australian Original Soundtrack",18,spread162.spr,e,0
#
"Best Australian Adult Contemporary Release",19,spread163.spr,e,0
#
"Best Australian Country Release",20,spread164.spr,e,0
#
"Best Indigenous Release",21,spread165.spr,e,0
#
"Best Australian Cover Artwork",22,spread166.spr,e,0
#
"Best Australian Independent Release",23,spread167.spr,e,0
#
"Australian Producer of the Year",24,spread168.spr,e,0
#
"Australian Engineer of the Year",25,spread169.spr,e,0
#
!,!,!,!,!
7#
5,0
"The Archibald Prize",1,"spread172.spr","c","0"
In accordance with the terms of the bequest of J.F. Archibald, who died in 1919, the $35,000 Archibald Prize is awarded annually for the best portrait 'preferentially of some man or woman distinguished in Arts, Letters Science or Politics'. The portrait, judged by the Trustees of the Art Gallery of New South Wales, must be painted by any artist resident in Australasia during the 12 months preceding the date fixed by the trustees for sending in pictures. It was first awarded in 1921 to W.B. McInnes.
#
"Wynne Prize",2,spread174.spr,c,0
The $10,000 Wynne Prize is awarded annually in accordance with the terms of the bequest of Richard Wynne, who died in 1895. It is awarded by the Trustees of the Art Gallery of New South Wales to the best landscape painting of Australian scenery in oils or watercolours or for the best example of figure sculpture, by an Australian artist. Walter Withers' \IThe Storm\i was the first winner in 1897. Since 1961, if the Wynne Prize winner is an oil painting or a sculpture, the Trustees of the Art Gallery of New South Wales have awarded a $2000 prize to the best watercolour.
#
"Sir John Sulman Prize",3,spread175.spr,c,0
The $5000 Sir John Sulman Prize is awarded annually by the trustees of the Art Gallery of New South Wales in accordance with the terms of the gift of the family of Sir John Sulman, an Art Gallery trustee from 1899 until 1934. The prize is given to the best subject painting or genre painting or mural/mural project done by an artist resident in Australia during the five years preceding the date fixed by the Trustees for submitting entries. The work has to be executed during the two years preceding the date so fixed.
#
"Pring Prize",4,spread176.spr,c,0
The John & Elizabeth Newnham Pring Memorial Prize is bestowed upon the 'best landscape executed in watercolours by a woman artist'. The value of this prize is $250.
#
"Other Significant Art Awards",5,f\5\art.jpg,c,0
\I\BDoug Moran National Portrait Prize\b\i
Awarded biannually, the National Portrait Prize offers a first prize of $100,000, with each of the other 30 finalists receiving $2,000. First awarded in 1988 to Penny Dowie.
Valued at more than $50,000 the fellowship provides full financial assistance for 12 months in France. A studio in the grounds of Dom Perignon's abbey at Hautevillers is provided for the artist and family. First awarded in 1987 to Susan Norrie.
\B1993 winner:\b Tim Maguire
\B1994 winner:\b Bronwyn Oliver
\B1995 winner:\b Judy Watson
\B1996 winner:\b Judith Anne Kentish
\B1997 winner:\b Helga Groves
\I \BDobell Prize for Drawing\b\i
This inaugural prize has been initiated to encourage excellence in drawing and draughtmanship. The prize money of $10,000 makes it the most generous drawing prize in Australia.
\B1993 winner:\b Kevin Connor - \IPyrmont and City\i
\B1994 winner:\b Thomas Spence
\B1995 winner:\b Jan Senbergs - \IKitchen at Smacka's\i
\I\BMost Popular Exhibition at the Australian \JNational Gallery\j\b\i
"Esso Presents Rubens and the Italian Renaissance" was the most popular exhibition ever held at the \JNational Gallery\j in \JCanberra.\j Between 28 March and 8 June 1992, 242,701 people saw the exhibition in \JCanberra.\j It then moved to the \JNational Gallery\j of Victoria from 20 June to 30 August where a further 194,105 people viewed it. Based on a scholarly theme, it traced the artistic development of the artist Peter Paul Rubens during his eight-year sojourn in Italy and it required the cooperation of a number of museums, private collectors, governments and diplomats.
\BDescription:\b \I(Webster Publishing)\i.
#
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8#
1,0
"Black and White Artists' Awards",1,"f\5\cartoon.jpg","c","0"
The \IBulletin\i/Black and White Artists Awards or "Stanleys", are presented annually to the best Australian cartoons and illustrations.
\BArtist of the Year
1991:\b Bill Leak (Fairfax Press)
\B1992:\b Bill Leak (Australian Financial Review)
\B1993:\b Eric L÷bbecke
\B1994:\b Bill Leak
\B1995:\b Bill Leak
\B1996:\b Bill Leak
\BGraphic
1991:\b Remi Bianchi (Fairfax Press)
\B1992:\b Stephen Short (News Ltd)
\B1993:\b Tony Bela
\B1994:\b Steve Short
\B1995:\b Donna Short
\B1996:\b Tony Bela
\BSymbolic Illustration
1991:\b Michael Fitzjames (Fairfax Press)
\B1992:\b Ed Aragon (Sydney Morning Herald)
\B1993:\b Edd Aragon
\B1994:\b Eric L÷bbecke
\B1995:\b Sturt Krygsman
\B1996:\b Peter Wilkinson
\BRealist Illustration
1991:\b Earl Budden (Fairfax Press)
\B1992:\b Tony Champ (Courier - Mail)
\B1993:\b Tony Champ
\B1994:\b Tony Champ
\B1995:\b Steven O'Brien
\B1996:\b Steven O'Brien
\BHumorous Illustration
1991:\b Bill Leak (Fairfax Press)
\B1992:\b Tony Champ (Courier - Mail)
\B1993:\b Sturt Krygsman
\B1994:\b Bill Leak
\B1995:\b Sturt Krygsman
\B1996:\b Eric Lobbecke
\BComic Strip
1991:\b Brian Kogler (Fairfax Press)
\B1992:\b Brian Kogler (freelance)
\B1993:\b Brian Kogler
\B1994:\b Gary Clark
\B1995:\b Gary Clark
\B1996:\b Gary Clark
\BAdventure Strip
1991:\b Michael Dutkiewicz
\B1992:\b John Dixon (freelance)
\B1993:\b Peter Foster
\B1994:\b Chris Wahl
\B1995:\b Michal Dutkiewicz
\B1996:\b G. Lumsden and D. De Vries
\BCaricature
1991:\b Bill Leak (Fairfax Press)
\B1992:\b John Shakespeare (Sydney Morning Herald)
\B1993:\b Eric Lobbecke
\B1994:\b Bill Leak
\B1995:\b Bill Leak
\B1996:\b Eric Lobbecke
\BSingle Gag
1991:\b Brian Kogler (Fairfax Press)
\B1992:\b Brian Kogler (freelance)
\B1993:\b Mark Knight
\B1994:\b Cathy Wilcox
\B1995:\b Kerry Millard
\B1996:\b Glen Le Lievre
\BEditorial/politician
1991:\b Alan Moir (Fairfax Press)
\B1992:\b Bill Mitchell (The Australian)
\B1993:\b Geoff Pryor
\B1994:\b Cathy Wilcox
\B1995:\b Mark Knight
\B1996:\b Bill Leak
\BBill Mitchell Artist Award
1991:\b Andrew Joyner
\B1992:\b Patrick Campbell (student)
\B1993:\b Kim Murray
\B1994:\b Carson Ellis
\BInter-continental Tourism Cartoon Award
1991:\b Vince O'Farrell
\B1992:\b Mark David (freelance)
\B1993:\b Will Goodwin
\B1994:\b Will Goodwin
\BContribution to Black and White Art
1991:\b Dan Russell
\B1992:\b Lindsay Foyle (Australian Business Monthly)
\B1993:\b John Champion/Coffs Harbour City Rotary Club
\B1994:\b Les Dixon
\B1996:\b Tony Rafty
\BDescription:\b \I(Webster Publishing)\i
#
!,!,!,!,!
9#
1,0
"Australian Poetry",1,"f\5\waltzmat.jpg","c","0"
If it's poetry you are interested in - you'll love Webster's \IWaltzing Matilda - Australia's Favourite Song\i CD-ROM. Find out the entire history of the song, along with some history of the nation. Hear renditions from famous Australian musicians, try the Karaoke, or enjoy the fascinating Waltzing Matilda animation. This CD-ROM is available for $29.95 through most CD-ROM outlets.
In \IEncyclopedia of Australia 1996\i, we have provided the words for a range of Australian poetry. To view the words for any of these poems, click on the appropriate poem name, below:
\JThe Man From Snowy River\j
\JClancy of the Overflow\j
\JThe Travelling Post Office\j
\JThe Man From Ironbark\j
\JA Bush Christening\j
\JA Mountain Station\j
\JThe Geebung Polo Club\j
\JMulga Bill's Bicycle\j
\JThe Road to Gundagai\j
\JWaltzing Matilda\j
\JOne Hundred and Three\j
\JThe Blue Mountains\j
\JThe Roaring Days\j
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10#
12,0
"The Man From Snowy River",1,"f\5\2_0019.jpg","c","0"
by \IA. B. 'Banjo' Paterson\i
\BDescription:\b \I(DFAT)\i
#
"The Man From Snowy River (2)",2,f\5\horsy.jpg,c,0
There was movement at the station, for the word had passed around
That the colt from old Regret had got away,
And had joined the wild bush horses - he was worth a thousand pound,
So all the cracks had gathered to the fray.
All the tried and noted riders from the stations near and far
Had mustered at the homestead overnight,
For the bushmen love hard riding where the wild bush horses are,
And the stock horse snuffs the battle with delight.
