Sunday, 27 December 2015

EULOGY FOR EDNA SMITH


I had the privilege of being the host and the principal eulogist at the memorial gathering for my aunt, Edna Smith, on 30 July, 2004.  This is a slightly edited version of the words I spoke.  I’m posting it as a Piece of family history.

Welcome

Welcome everybody.  I am Gary Andrews, Edna’s nephew.  We are here today to pay our respects to Edna Smith, and to remember her as she was, and for what she was.  There are relatively few of us.  This is not because Edna was short of friends, but there was a loosening of the ties when she moved to Bendigo some years ago having lived in Williamstown for 34 years; and the reality is that, at 88, she had outlived many of her friends and acquaintances.  And Edna had outlived all the family of her generation, so her death is a poignant moment in family history.

Eulogy

Edna grew up as Edna Frances Joyce.  She was born at Waitchie in the Victorian Mallee country, to Agnes and Edward Joyce of Chinkapook, a little further up the line.  My grandfather, Edna’s father, was known universally as Teddy; but granny Joyce (although her grandchildren referred to her as Aggie – not to her face of course!) outside the family was always Mrs. Joyce.  Indeed I remember my grandmothers - when women in their late seventies who had known each other for forty or more years and whose children had married - addressing each other as Mrs. Andrews and Mrs. Joyce……such were the formalities of their times.  I mention this because it is a clue to Granny Joyce’s dour nature.  Pop Joyce was from Irish stock and, at least as I remember him when an old man, was a jolly joker, poking kids in the ribs with his walking stick, that sort of thing; never seeming to have a care, and generally quite irascible.  With his beard, and the twinkle in his eye, he rather resembled George Bernard Shaw. 

Granny Joyce, of Cornish ancestry, was a study in contrast.  Life for her was a serious matter.  I never saw her smile, not even for the camera, and I’m sure a joke – any joke – would have passed her by without recognition.  No discernable sense of humour.  However, she accepted life, and I doubt that she was a complainer – other than to complain that Teddy (at 85 mind you) was a lazy old goat, and why didn’t he go out and chop some wood for the fire.  But life could never have been easy for her, living with the hardships of life in the Mallee, becoming the postmistress in Chinkapook and taking in boarders when Teddy couldn’t make a living as a farmer, losing one child when a few weeks old, and bearing and raising nine others.

Edna was the last child but one, and she inherited, I think, more of her mother’s nature than her father’s.  Edna was not dour - she certainly knew how to laugh, and she had the sense of humour that her mother didn’t – but underneath she was a serious soul.  At stages of her life, particularly in Numurkah and in Sea Lake and later in Williamstown, she was a regular churchgoer, although she gave up attending the church in Williamstown after her husband Sid’s death, because of unhappy associations.  She would no doubt have entered “Christian” on the census forms, both from conviction and from a sense of propriety. She had the moral precepts of her generation, but with a sharp edge.  When my wife Anne and I were newly engaged, and we embarked on a country tour to show Anne off to “the aunts”, we arrived at Sea Lake to meet Edna and Sid and to stay the night with them.  Edna without any provocation announced that we had beds in separate rooms, and there would be none of  “that hanky-panky” under her roof! 

So the bright and bubbly ways of the Edna we all knew were possibly something of a veneer that she had developed – doubtless sub-consciously - to cover a more serious nature.  Edna and Sid were married while Edna was quite young, and perhaps she longed for the extra years of “freedom” that others had.  I say freedom in quotes, because Edna was constrained only by circumstances.  After marriage she was never in employment, so maybe she had an unfulfilled dream.  Who knows?  But she did express regret at never having earned a wage. 

Perhaps there was some resentment over economic circumstances.  In the early years Sid was bringing home a junior bank officer’s pay – not the stuff of dinners at the Windsor, but certainly nowhere near the bottom of the economic ladder.  Yet Edna was always so careful with money, so concerned to make do and to save, and I suspect that this was a reflection of her underlying seriousness. The carefulness with money stayed with her long after money should have been of no concern.

After marriage Sid and Edna lived in Chinkapook, Ballarat, Caulfield, Heidelberg, Numurkah, Sea Lake and Williamstown; and then Edna’s final shift to Bendigo.  The moves were triggered by Sid’s career. Wherever she moved Edna accumulated and cultivated a new group of friends, and she had a number of enduring friendships.  She was ever the loving and proud wife of Sid “the Bank Manager”, and mother of Fay “the Hairdresser”, and Sue “the Nurse”.  Sid didn’t live to a great age – retired at 65, dead at 71 - but during his happy years of retirement he and Edna travelled a lot around Australia, and they spent winter breaks in Queensland and northern New South Wales - a good time for them both.

Edna was a caring and community-minded person – and always busy.  Over the years she did work for many charities – the Red Cross, the Blind Auxiliary, Williamstown Hospital Op Shop, the Church coffee shop.  And she belonged to the Country Women’s Association, the Church Guild, the Williamstown Writers’ Group, and the ABC Poets’ Corner.  It is these latter interests that reveal a special feature of Edna’s middle to later years.  She had artistic talent, and it blossomed in Williamstown. She wrote poems and stories, many of which were published by the Williamstown Writers’ Group.  She completed HSC Art as a mature age student, and then attended art classes in Melbourne.  She became known for her pencil drawings, typified in her hand-made greeting cards.  She was proud of her talents, and rightly so, but was also self-deprecating – “not good enough”.  And in addition to these more formal artistic pursuits, no-one will be surprised that she filled her life with sewing, knitting, crocheting, pottery and gardening.

But, above all, Edna was focussed on family – husband Sid, her two daughters Fay and Sue and their families:  the grandchildren and great-grandchildren.  And her sisters and brother, and nieces and nephews.  As one of those nephews I saw quite a bit of Edna over the years, especially while growing up.  My family lived in Richmond, and the Smiths lived in Heidelberg.  I can remember numerous Saturday afternoons when Gloria, my mother, would take my sister Margaret and me on a visit…….tram along Bridge Road, walk to West Richmond station, train to Heidelberg, then the long walk along Burgundy Street and then Cape Street to number 162.  The afternoon spent playing with Fay and Sue, our mothers chatting; Sid invariably toiling in his large vegetable garden.  And then the time I stayed for some weeks at Cape Street recovering from an illness, Edna always solicitous – although not so sympathetic that she didn’t hassle me to eat my greens.  I won.

From more recent years there are some special memories, in particular a couple of occasions when I was able to take Edna (with other family members) on a sentimental journey back to Chinkapook.  Edna’s brother who had died as a baby is buried in a bush grave in a public reserve not far from the Chinkapook township – a lonely spot, with a broken-down netting fence, known to few.  So we decided to place a commemorative plaque to identify the grave.  Edna, who had never known this brother, felt deeply about the appropriateness of the marker, and was so pleased to see it in place.  The knowledge of the dead baby brother had been with her all her life, and the plaque was for her, I think, the symbol of closure.
 
Some other Edna memories:  in addition to family and friends she loved blue glass, babies, birds, books, lollies and colourful scarves!  She really disliked smells, especially the odour of tom cats – so to deter them she placed mothballs around her front door…..but she had to give that idea up, because the grandchildren thought they were koolmints!

The great tragedy of Edna’s late life was the death last year of her daughter, Fay.  It is not in the natural order of things that parents should outlive their children, and the death of a child – of whatever age – must be the ultimate heartbreak.  Fay had been in serious ill-health for some years, and her death was not unexpected – and may, in a sense, have been a relief for Edna.  But who can judge how deep the pain?

Speaking of pain, I should like to read you an essay that Edna wrote some eight years ago when she was 79 or 80.  It is evidence of what a skilful and evocative writer she had become – notable for someone with so little formal education.  But more than this.  The piece is biographical, and harks back to Edna’s earliest recollections; and in hearing it you will, I think, learn of an early shadow, something which Edna became reconciled to, but which was nevertheless one of the threads of her life.  It is titled “A Special Bond”:
           
“On hot oppressive nights the brilliant moonlight poured through the open bedroom window, lighting the room almost as daylight.  I shared a huge iron and brass bed with my two sisters – we the youngest of a family of ten.  I was the middle one – the others three years each side of me, but somehow I was, or always seemed to be, the odd one out.  I hugged my side of the bed along the wall in my aloneness, for the others slept in the comfort of each other’s nearness – the older arm protectively encircling the younger body.  That is how it always was, and I suppose I was envious, maybe jealous, for I always had a protective love for my younger sister too.  The older one and I, well, we did battle often and never did see eye to eye.  But growing up gave us a better perspective and we became friends.
We all eventually married, became mothers and grandmothers.  In earlier days, though miles apart and living different life-styles, through our loving parents we always remained in close contact.  In later years the other two lived in adjacent suburbs, so their closer bond continued.
But sadly with the years came a reversal of roles.  For it is the younger that (now) keeps a protective arm over the older, who resides in a home for Altzheimer’s patients.  It is the younger who watches over with weekly visits and continues the loving bond, taking happiness and laughter to “the one that can’t remember”.
As I live on the opposite side of town and do not use public transport any more, I feel as though perhaps I am still on “the other side of the bed”!  But with the wisdom age brings I no longer feel the aloneness, for I know that, as the last of the family of ten, we three share a special something.  And I shall always be grateful and give thanks for the other two – as they were – on their “side of the bed”.
  
How fateful that the three sisters have died within 13 months of each other.

Several years ago, after much persuasion from Sue, Edna agreed to leave Williamstown and to move to Bendigo Retirement Village.  She loved the surroundings, especially the native trees and the bird life - the blue wrens and the wattlebirds who splashed in her birdbath.  She felt she was “at home”, or at least nearer to her original home, her much-loved Mallee.

More recently, with increasing short-term memory loss, and the need for care, Edna moved to Holdsworth Manor – not such a welcome shift.  But she was settling in…….when she had to go to hospital for three weeks; and then seven weeks’ rehabilitation to deal with leg and hip pain.  Unfortunately this experience caused a further decline in her condition, both physical and mental; but, thankfully, she was able to return to the very caring and supportive surrounds of her home at Holdsworth Manor.

Towards the end Edna still occasionally showed her sense of humour, her strength of will, her feisty spirit.  And her gratitude - to staff, to friends at Holdsworth Manor, and to friends and family who visited - also showed through.

Edna loved dancing, and once told Sue that she would have loved to be in a chorus line.  To farewell her we are going to hear some of the little swan music from Swan Lake, the ultimate dancing ambition; and Glen Miller’s “In the Mood”, music that perhaps long ago Edna danced to in the Chinkapook Hall.

Rest in peace, little Eddy.

Gary Andrews

Thursday, 10 December 2015

THE KINDNESS OF STRANGERS


This is not a brag, simply a bit of end-of-year sentimentality.

In today’s hand-out real estate paper there’s a poignant piece by one of the regular columnists.  She recounts seeing a lad sitting on the footpath – first impression: fly-away carefree blond hair, Leif Garrett in the ‘70s.  But a closer look:  miserable eyes, bloodied knuckles, shivering.   Conversation and concern eventually elicited some reticent response, and a faint smile.  After some direct questioning the lad rated his life at about 50:50; so not so bad rejoined the writer, you’re still breathing.  A slightly bigger smile.    

The lad is persuaded to return to his school, but not before saying:  “Why are you being so nice when you don’t even know me?”

The columnist writes of the kindness of strangers, and wonders whether it existed only in earlier times, when neighbours looked out for each other.  Perhaps those sunny days didn’t really exist either.  Perhaps random acts of kindness have always been remarkable.  “Is kindness in this boy’s life so foreign that when it comes from an unfamiliar face it seems simply bizarre?”

The kindness of strangers is not a difficult concept, and has existed throughout the ages.  [As if to provide legitimacy, The Reader’s Digest has a web page with 24 anecdotes submitted by readers, examples of such kindnesses that have occurred in their lives.]  It was Tennessee Williams, though, who immortalised the words themselves - in 1947, in A Streetcar Named Desire.  Blanche DuBois - wily, contriving, “helpless”, a faded beauty, and “a woman of loose morals” – twice uses the words “I have always depended on the kindness of strangers”; first when encouraging a potential suiter, then later to the attendant escorting her to a mental institution.

And latterly, the concept of the kindness of strangers has gained some formal recognition through the spread of “paying forward”.  While not new, the idea of paying a debt forward gained traction through the 2000 film Pay it Forward.   That idea:  instead of re-paying a debt or a favour or a kindness, extend the same generosity to some other person.  The concept was not unknown to me, but not well understood either………….

Until earlier this year.  Annie and I were having an evening meal with our daughter and son-in-law.  Pavement cafe.  A young couple sat at an adjacent table, but after checking the menu decided to move on.  In the course of some banter they indicated that the pricing was too rich for their budget.  About 20 minutes later the couple returned, and sat down again – they hadn’t been able to find a cheaper eating place.  We instinctively, as a group, thought to help them out, and I moved to their table thinking to contribute ten dollars to their meal; but Annie called out to give them fifty dollars, enough to cover the full cost.  As I did so, in expressing thanks the young man said : “I’ll pay it forward.”

The thought of that fifty dollars ricochetting  around is a very warm thought indeed.

Gary Andrews

Wednesday, 2 December 2015

THEATRE-GOING WHEN YOUNG - PART 2 of 8







     6.     The Rivals

While not so brilliant, perhaps, as The School for Scandal, Sheridan’s other comic masterpiece, The Rivals was certainly well-enough respected for another revival – this time under the joint sponsorship of Williamsons and The Australian Elizabethan Theatre Trust; a season at the Comedy Theatre from 25 June 1956.  Respect for the play goes back a long way.  It was Sheridan’s first opus, a “comedy of manners”, premiering in London in 1775 when the playwright was aged 24.  We have from it the delightful Mrs. Malaprop and the origin of the malapropism, the inadvertent use of a similar-sounding word for the one intended:  the suppository of all wisdom, a member of Alcoholics Unanimous, upset the appletart.  And as Mrs. Malaprop herself suggested: illiterate him quite from your memory.  

Richard Brinsley Sheridan lived from1751 to 1816.  Born in Dublin, not only was he a successful playwright but he was also a successful politician – a member of the British House of Commons for 32 years.  He was long-time owner of the Theatre Royal, Drury Lane.

Although I have made no note of the performers we can be sure it was an all-star cast of the time.  I have, however, noted the programme’s advertisement for the Victorian Railways, picturing two blazered sportsman….”We go by train…..because  it’s so much cheaper for a team – Melbourne to Sydney and back, first class with sleepers, for pds 10/10/4 [$21.03]”.  One player is holding a cigarette; the other has a pipe in his mouth.

7         7.    Salome

As a kid I was a regular movie-goer, living a short distance and a penny tram ride from the city.   I knew well all the then city picture theatres: in Bourke Street the Regent, the Plaza, the St. James, the Esquire, the Lyceum, and the Liberty; in Collins Street the Metro, the Athenaeum and the Australia; in Flinders Street the State and the Majestic; in Russell Street the Kings and the Savoy; in Swanston Street the Capitol; in Little Collins Street the Grosvenor.  They were all of significant size, nearly all with balcony seating.  Some had at one time been “live” theatres.  There were no multi-screens or intimate spaces.  The Regent and the State were huge – purpose-built movie palaces, presented in the “Hollywood modern” style, grand or kitch depending on your aesthetic.  The Regent opened in March 1929, with 3250 seats.  It burned down in 1945, but was restored with its full pre-1945 bling, and is still functioning today, although now with a mere 2162 seats.  The State, of similar vintage, was a little larger, with 3371 seats – subsequently bastardised by being split into two theatres, upper the Forum and lower the Rapallo, although much of the décor remains. 

All of this is by way of lead-up to the Palais Theatre, located not in the Melbourne city centre, but on the foreshore of Port Phillip at St. Kilda, some six kilometres from the city.  The Palais was built as a movie venue in 1927, and opened a bit over a year before the Regent.  It had and has just under 3000 seats, and is the largest in Australia.  The theatre’s imposing size is enhanced by its free-standing location on an island site, and by its art deco façade.  Through far-sighted planning the Palais was built with a wide proscenium stage, an orchestral pit, and full backstage facilities; in other words, from the outset it was capable of presenting theatre as well as movies.

And so, in April of 1960, the Palais welcomed Joan Hammond back to Australia for a two-production opera season of Madame Butterfly and Salome; singing the name roles, obviously.  I say obviously a little with tongue in cheek: Hammond was 48 at the time, whereas Butterfly as written was 15, and the original Biblical Salome was “a girl”. Nobody would expect Salome to be sung by a teenager: the role requires a voice honed by years of operatic training and experience.  It is simply a given that the soprano must be a mature person.  Disbelief has to be suspended.  Not so readily, however, when it comes to the Dance of the Seven Veils, the sexually charged highpoint where Salome seduces Herod into rewarding her with John the Baptist’s head on a plate.  Some sopranos have used a double for the nine minutes of dancing and unveiling but, as Hammond points out in her autobiography, A Voice, A Life, this is far from ideal – because the changeover, however well executed, invariably jars:  aside from the physical dissimilarities there is no space in the music for the dancer to leave the stage unobtrusively.  Hammond, a woman quite ample, bravely did her own thing.

Hammond, was more than the expatriate returning - she was an exceptional soprano.  She trained in Sydney and in Vienna, the latter courtesy of a scholarship provided by the wife of the New South Wales Governor (partly in recognition of Hammond’s success as the State junior champion golfer).   Known best in Australia for her operatic recordings, she had an extensive European career, and a wide repertoire.  She sang at the Royal Opera House, at the Bolshoi, at La Scala and at the Vienna Opera House.   And here she was at the Palais!
 
What had originated as a few lines in the Bible had expanded into the 1892 play by Oscar Wilde, then the 1905 Richard Strauss opera.   The opera had never before been staged in Australia, and the Elizabethan Theatre Trust Opera Company toured it through the State capitals from March through July 1960.  At the Palais in April, the Victorian Symphony Orchestra was in the pit.   It was quite an occasion, and I was grateful that a university friend had been alert enough to make the arrangements.

In addition to the operatic credits the programme invited us to The Graham, Melbourne’s newest hotel, at 67 Swanston Street, where “a meal becomes an occasion”; and tantalisingly asked us why women everywhere prefer Prestige hosiery and lingerie.  The answer was supposed to be self-evident.  And a Pelaco “Fractional Fitt” shirt was extolled as “the natural choice for Office or Opera”, accompanied by the then Pelaco slogan: “It is indeed a lovely shirt sir!”

p.s.  On reflection, I may have let my disquiet at Joan Hammond’s appearance as a dancer overshadow my respect for her as a singer and operatic artist.  I have been a lifelong admirer, and the playing of Hammond discs – which happens around here more than occasionally – reinforces my view that her voice was one for the ages.  Not only was Hammond comfortable in the standard Puccini and Verdi soprano repertoire, but in Salome she tackled a role as demanding as Wagner’s Brunhilde and Isolde, a role requiring artistry, stamina and volume: the power of a dramatic soprano wrapped in the sound of a young woman.  Given these accomplishments, the dance sequence is not all that important.

        8.     Stars of the Paris Opera Ballet Company

In August 1967 I was a fledgling accountant and taxation adviser, and one of my more interesting assignments was to prepare the Australian income tax returns for the cast members of the visiting Paris Opera Ballet Company.  The then law required all persons about to leave Australia to obtain a certificate from the taxation authorities to the effect that they had settled any taxes owing and that there was no objection to their departure.  It was an offence for any “charterer” to transport a person from Australia without such certificate.  A certificate would not be issued if the authorities believed that income tax was owing and would not be paid.  With 2015 hindsight, imagine the inconvenience of such a system:  business executives on flying visits, lining up at the Taxation Department, then the dash to the airport.

There were, in fact, tax exemptions for many visiting business people and other short-term visitors, but not for entertainers and sportspeople.  So Taxation  Department officials circled the Australian Open, test cricket matches, and theatreland like sharks.  I do exaggerate.  In reality the onus was placed on theatre management and entrepreneurs to ensure that theatrical visitors and artists physically lodged taxation returns before leaving the country, and to guarantee payment of the tax that had to be deducted under the employer tax withholding system.  Such was the case with the dancers of the Paris Opera Ballet Company and entrepreneur James Laurie.

Laurie was an expatriate Australian, and had previously imported other touring companies.  I fancy that his passion exceeded his common sense, and that – to date - his had not been a financially successful career. But he believed that the Paris Opera Ballet Company tour was to change all that.  Through some contact that Laurie had with my office, we were engaged to handle the tax affairs of the dancers (but not Laurie, nor his management company), and I was the pointy end of the contact.  I ascertained the particulars for each dancer, including their remuneration for the season, calculated the tax to be withheld by the entrepreneur, and prepared the individual tax returns. 

The concept of a ballet company being part of an opera theatre has no echo in Australia, but the ballet company attached to the Paris Opera has a long history of direct involvement with opera.  Dating from its foundation by Louis XIV in 1661, after many incarnations the ballet company in 1875 physically moved in with the opera…….……..at the new Palais Garnier (the Paris Opera), where they cohabit to this day. 

And here I was, at the Palais Theatre again, oblivious to all this history, roving through the dressing rooms before the performance gathering signatures on tax returns.  It was a somewhat frenetic business, me with no French and the dancers mostly without English, and them having little interest in what I was about.  I didn’t have time to be star-struck; and my one impression was how small the dancers were.  The ballet programme comprised a portfolio of short works, not one of which has remained in my memory.

        9.    A Midsummer Night’s Dream

This was the second play in the 4-play 1959 Shakespearean season mounted by the J. C. Williamson Shakespeare Company at the Comedy Theatre.   I didn’t see the third and fourth plays, The Merchant of Venice and Measure for Measure.  As to the first play: see my earlier blog Theatre-Going When Young – Part 1, programme 4, for my thoughts on King Lear.   As with Lear, A Midsummer Night’s Dream had the local cast headed by Peter O’Shaughnessy and John Alden.  The leads alternated as Bottom.   That 26-member all-star cast included a number of actors whose names were well-known to me.  At the time it would have been impossible to make a living from theatre engagements alone; actors invariably worked as radio actors, with the occasional stage appearance.  Additionally, there had been the arrival of television broadcasting a couple of years earlier, and something of a commitment to locally-produced drama.  So – I’m guessing - 1959 may have been a financially rewarding time in the acting profession in Australia, relatively speaking anyway.  The company included John Unicomb, Terry McDermott, John Frawley, Jessica Noad and Leonard Bullen.

       10.     1958 Inter-Varsity Drama Festival

I think it’s quite extraordinary that if you Google “Inter-Varsity Drama Festival” (with no reference to the year), the second entry that appears on the screen is the link to the 1958 Festival that I attended!  Perhaps such festivals are uncommon in other parts of the globe, perhaps 1958 in Melbourne was a stand-out year, or perhaps the swansong.  No further research is warranted………...by me, at least – I prefer to remain mystified. 

The University of Melbourne’s contribution, on 14 August 1958, was Theresa by Gordon Kirby “remotely based upon” Zola’s Therese Raquin.  The cast included Monica Maughan , Richard Pratt and David Niven.  Remember that in 1958 there was one university only in Melbourne (and Victoria), indeed there were few around the nation.  The other participants in the 13-days-long Festival were:
  University of Adelaide  Ladies in Retirement  by Edward Percy and Reginald Denham
  Canberra University College  I am a Camera  by John van Druten
  NSW University of Technology  Kate Kennedy  by Gordon Bottomly
  University of Queensland  September Tide  by Daphne du Maurier
  University of Sydney  The Infernal Machine  by Jean Cocteau
  University of Tasmania  They Walk Alone  by Max Catto
  University of Western Australia  Yes, My Darling Daughter  by Mark Reed

Most memorable (meaning I have some faint recollection) were I am a Camera, based on Christopher Isherwood’s Goodbye to Berlin, and The Infernal Machine, a re-telling of the Oedipus legend. 

Doubtless, a good time was had by all……..with the possible exception of Oedipus.

          11.   Phillip Street Revue

The Phillip Street Theatre was influential in the Sydney theatre scene from 1954 to 1971.  Founded by William Orr (director and theatre administrator ex London) it occupied the Workers’ Education Hall, and the sensibilities of Sydney, with a series of reviews and other programmes.  The best-known Australian performers of that era were invariably Phillip Street alumni.  The review that was toured at the Comedy Theatre, Melbourne, from 21 May, 1960 starred Jill Perryman and Max Oldaker.  The programme comprised 25 skits.

Perryman, still with us at 82, had a prominent career in Australian musical theatre, including leading roles in Funny Girl, A Little Night Music, Annie and No, No, Nanette.

Oldaker, of an earlier generation, ranged further afield.  His career was notable, although one commentator suggests that he was a diffident soul whose report card would likely have read “could do even better”.  He sought experience in England in 1930, where “good looks, elegance, natural charm, and a fine lyric voice” secured work from vaudeville to opera.  He later studied at the Royal Academy of Music, and graduated with the prize for the best pianist-singer.  An operatic career was predicted by John Barbirolli, but Oldaker gravitated instead to musicals.  Back in Australia just after the outbreak of the Second World War, he became a fixture of musical theatre for the next 20 years, including a period with the Phillip Street Theatre.  He died in 1972, aged 65.

12.   Double Image

Over the entrance to Hell, according to Dante’s Inferno (as rendered in English), are the words “Abandon hope all ye who enter here”; and, likewise, over the doors to theatres we might expect to see the words “Suspend disbelief all ye who enter here”.  Theatre is theatre, not real life, and it is great theatre indeed if it conjures up believability.   Double Image was not great theatre, its plot having set a credibility hurdle that brought it undone at the first jump.  The plot, the point of the plot, is revealed by the title, Double Image: a man inveigles himself into the shoes and the life of his twin brother……..including the arms of his sister-in-law.  Go figure that she didn’t figure; and suspend disbelief, or leave at interval.

The playwrights were Roger Macdougall and Ted Allan, the former a successful writer with a number of film credits, the latter with no discernable trace 50 years on.  British actor Emrys Jones headlined for Williamsons at the Comedy Theatre.   Jones was not an established star, despite the programme bio recounting a number of stage and film appearances.  References to Jones’ subsequent roles are hard to find.  He died a decade later, aged 56.

      13.    La Boheme

There are symphony orchestral musicians who never get to play operas, and there are opera theatre musicians who never get to play the (non-operatic) orchestral repertoire.  The members of Australia’s State-based symphony orchestras are in the former category.  As to the latter:  prior to 1967, operatic performances in Australia were typically underpinned by “pick-up” orchestras, and those musicians were likely to have had diverse careers.  The Opera Australia Orchestra was inaugurated in 1967 by the Australian Elizabethan Theatre Trust (Opera Australia’s foundation identity), and then devolved into Sydney- and Melbourne-based orchestras in 1969.  Their players can expect careers effectively subjugated to the demands of the human voice.

Fortunate indeed was the 1957 Grand Opera Season, the Melbourne productions of which were accompanied by the Victorian Symphony Orchestra (later re-named the Melbourne Symphony Orchestra).   Fortunate, too, were the orchestral players of the VSO who thereby had their day in the operatic sun. The Season was staged by the Elizabethan Theatre Trust in conjunction with the Garnet Carroll organisation.

 I was at the Princess’s Theatre on the night of 22 October, 1957 to hear Elsie Morison as Mimi, Max Worthley as Rodolfo, Joy Mammon as Musetta, John Shaw as Marcel, Alan Light as Schaunard and Neil Warren-Smith as Colline.   

All the principals were Australian and, with the exception of Elsie Morrison, all Australian-based.  Morison had studied at the Melbourne Conservatorium of Music from 1943 to 1945, then at the Royal College of Music.  She was with the Sadler’s Wells Opera from 1948 to 1954; and her Covent Garden debut in 1953 was as Mimi.  She retired from the stage in 1963 after marrying Czech conductor Rafael Kubelik.  Prior to that she returned to perform in Australia the once only, for the 1957 Grand Opera Season.    

Commenting on the production of La Boheme and the other operas comprising the Season, John Cargher asserts:  “The Trust may well have gained from the previous training and experience of young singers……….but its producers were still dealing with raw material which had instinctive artistry rather than any degree of professionalism.  They carried off their performances with tremendous panache, but also with enough improvisation to give a professional producer heart attacks……..Any success the company had in 1957……… came from the sheer joie de vivre of the enlarged company…..the works….gave opportunities for belting out their best notes for the most effect and there was ample space for high jinks…….Boheme …….was largely carried by Elsie Morison and her playful colleagues…….a suitably undisciplined lot of Bohemians among whom Morison’s Mimi shone in delightful contrast.  Her death produced rather more than the usual flood of tears.”  I remember.

Part 3 is somewhere in the pipeline.


Gary Andrews