The New Garrick Gazette Issue 573 March 2020
Garrick Theatre Club (Inc) www.garricktheatre.asn.au 16 Meadow Street, Guildford PO Box 122, Guildford WA 6935 Editor: Douglas Sutherland-Bruce In this issue:
Garrick Theatre Club (Inc) 16 Meadow Street, Guildford proudly presents
CLUB NIGHT
2020 Calendar
6
Bette & Joan Reviews
3
Editorial
2
The Committee
2
The Hound of the Baskervilles 11
Rehearsed Readings of three one act plays by local authors: The Local by Siobhan Wright Political Correction by James Forte Pulling Weeds by Yvette Wall Curtain up; 7:30pm, Doors and bar open 6:30pm
Tickets: $5 per head (Admission includes light supper) Booking: Elaine: 9378 1990 or bookings@garricktheatre.asn.au
21st March, 2020 Club Night 1.indd 1
17/2/20 1:53 pm
The New Garrick Gazette Published by: Printed by: ISSN (Print edition): ISSN (Online edition)
The Garrick Theatre Club (Inc) Docuprint 2652-4678 2652-4686 Copyright 2020 1
The actor has to develop his body. The actor has to work on his voice. But the most important thing the actor has to work on is his mind. - Stella Adler
EDITORIAL WELL, the new year’s season is well under way, and in the most dramatic way possible. Bette and Joan has opened our season to rave reviews from critics and audiences alike. Houses have been disappointing due, we think, to competition from Fringe and the fact that younger patrons are not familiar with the two stars featured in the play itself. The one thing we are absolutely sure of is the quality of the show has been among the very best we have produced - all the feedback received has confirmed that Siobhan Vincent and Sarah House have turned in amazing performances, backed by director Lynne Devenish and the backstage crew.
Douglas Sutherland-Bruce, Editor.
pppppppppppppppp The Executive Committee President
Dale James
0407 426 957
Dalejames911@iinet.net
Vice President
Rodney Palmer
0478 410 330
Rodpickels@gmail.com
TAG liaison
Rodney Palmer
0478 410 330
Rodpickels@gmail.com
Treasurer
Terry Brown
Secretary
Lynne Devenish
0488 906 076
Garrickarchives@hotmail.com
Production Manager Rodney Palmer
0478 410 330
Rodpickels@gmail.com
Siobhan Vincent
Douglas Sutherland-Bruce
Production Kerry Goode
Gail Lusted Ray Egan Jordan D’Arcy Archivist
Lynne Devenish
0488 906 076
Garrickarchives@hotmail.com
Bookings
Elaine Gilberthorpe 9378 1990
Minute Secretary
Barbara Brown
9275 5281
Bar Manager
Rodney Palmer
0478 410 330
Rodpickels@gmail.com
Wardrobe
Colleen Bradford
0414 579 752
Colleenbradford@iinet.net.au
Technical
Caileb Hombergen-Crute
Front of House
Yvonne Starr
Set Supervisor
James Nailen
Shed Supervisor
Alan Shaw
Publicity
Douglas Sutherland-Bruce 0418 934 850 GarrickEditor@gmail.com
Editor
Douglas Sutherland-Bruce 0418 934 850 GarrickEditor@gmail.com
Bookings@garricktheatre.asn.au
Social Convenor
2020 Adjudicators Dee Howells David Young Christopher Churchouse Yvette Wall 2
Bette & Joan Reviews
FEMININE FIREWORKS January/February each year is a tough time for community theatre. The play lovers out there can go and see the best there is at the Perth Festival. Or they can dive into the hundreds of dramas and comedies on at the Fringe festival. The latter vacuums up practically all the most energetic young actors and directors. Thus it is particularly pleasing to note that for the next two weekends (until 29th of February) one can see a first class comedy/drama in a suburban theatre at a reasonable price. The first play for 2020 at Garrick Theatre in Guildford is Bette and Joan. Not suitable for children (there is some mild but necessary coarse language), it will particularly appeal to those of us who love the Golden Age of Hollywood. In the 1940s, the two top actresses were Bette Davis and Joan Crawford. One was under contract at MGM, the other at Warner Brothers. Both were accustomed to topping the bill, both had won Oscars and both were past their prime, when in 1962 they made their first movie together – the now classic horror film Whatever Happened to Baby Jane? Surprisingly they worked together quite well, until the Hollywood publicity machine decided there would be more interest generated if they were at each other’s throats. Directed by the experienced Lynne Devenish, Siobhan Vincent (as Bette) and Sarah House (as Joan) seize these two fabulous character roles and have a ball. All three are multiple award winners and have worked together on such exceptional theatre as The Way of the World directed by Ray Omodei. The script by Anton Burge gives them an abundance of situations and great lines to explore. Counter-intuitively the play opens with the projection of a couple of scenes from the original 1962 film. It is as if we are seeing the rushes from the previous day’s filming and the idea works particularly well by introducing us to the real actresses. The screen then retracts into the ceiling and the live actors take over. The stage is divided by a mock wall down the middle - into the dressing rooms of the two stars. Almost symmetrical, the ladies occasionally visit each other through doors at the rear. A minor quibble: the set was far too clean and new and looked nothing like any dressing room that I have ever seen. A few more stains and old posters on the woodwork would have suited the ancient ‘b’ studio were the actual film was shot. But full marks for the design and construction of a set which drove the action. For the most part, the play progresses as a series of alternating monologues as the two separately describe the same incidents directly to the audience. Each probes the vulnerabilities of the other. The superb script also provides 3
Garrick Theatre Club (inc) 16 Meadow Street, Guildford
Proudly Presents
Managing Carmen by DAVID WILLIAMSON
Directed by Lynne Devenish
by arrangement with Origin Theatrical, on behalf of Samuel French Ltd
July
Thu 2 9 16
Fri 3 10 17
Sat Sun 4 5* 11¶ 12* 18
Curtain Up Evenings: 8:00pm Matinées: 2:00pm ¶ Matinée and Evening * Matinées only
Tickets: Adults - $25 Concession - $22 Members - $20 Children 12 & under - $15 Booking: Elaine: 9378 1990 or www.TryBooking.com bookings@garricktheatre.asn.au
2nd to 18th July, 2020
Garrick Theatre Club (Inc) proudly presents 16 Meadow Street, Guildford
Garrick Theatre Club (Inc) proudly presents
A evening of theatre
QUARTET four one-act plays
A comedy of mature misfits
OUR GANG
POLITICAL CORRECTION
BUSSELTON JETTY 1969
by David
by James Forte Directed by Jonathon Davies by arrangement with the author
by James Forte Directed by Douglas Sutherland-Bruce by arrangement with the author
Christner
Directed by Dale James
by special arrangement with the author
LOYALTIES
ASHES TO DUST
by James Forte Directed by Chris McRae by arrangement with the author
by Yvette Wall Directed by Michael Balmer by arrangement with the author
Tickets: Adults - $25 Concession - $22 Members - $20 Booking: Elaine: 9378 1990 or www.TryBooking.com bookings@garricktheatre.asn.au
Aug
6 to 15 August, 2020 th
th
Thu 6 13
Fri 7 14
Sat 8 15
Curtain Up : 8:00pm
Tickets: Adults - $25 Concession - $22 Members - $20 Booking: Elaine: 9378 1990 or www.TryBooking.com bookings@garricktheatre.asn.au
Thu Sept/ 24 Oct 1 8
Fri 25 2 9
Sat 26 3¶ 10
Sun 27* 4*
Curtain Up Evenings: 8:00pm Matinées: 2:00pm ¶ Matinée and Evening * Matinées only
24th September to 10th October, 2020
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parallels to some of the incidents in the film. The part where Joan is whispering on the telephone as Bette tries to eavesdrop is particularly powerful. In summary, this is a fine script pushed to the limit by first-class character acting. I hope that this will be a great year for community theatre – that there will be stunning performances in the months to come. But when it comes to dishing out the 2020 glittering awards, this production sets the standard to beat. Highly recommended. James Forte (Swan Magazine) A DAY IN THE LIFE OF DEAREST FRENEMIES ON A MOVIE SET Once upon a time, in a faraway imaginary land called Hollywood there lived two famous stars, one a great actress, the other a great star. Equally glorious at the time, they each tried to outdo each other and had a friendly rivalry that dipped, from time to time into real enmity. By the early 1960s both stars, Bette Davis and Joan Crawford, their scintillation waning, were short of cash, both having expensive tastes in husbands. 1960 saw the publication of a new kind of Gothic horror novel – Whatever Happened to Baby Jane? by Henry Farrell. Clearly perfect as a film, Joan and Bette wanted to make the film to revive their fortunes and careers. But working together might be… tricky. This is the basis of the latest production at Garrick Theatre Club – Bette and Joan, being one day on the set of the movie being shot. The play is a two-hander, for two exceptional actors who carry all the weight of the two-hour play. Directed collaboratively by Lynn Devenish it is a masterpiece of a play as presented starring Sarah House and Siobhan Vincent – two stalwarts of the Perth theatre scene. The play starts with a filmed brief run-down of the historical facts and a few clips of the finished movie showing key scenes. This brilliant idea was suggested, I am told by the director, by Siobhan and immaculately put together by Sarah and her techie husband Stuart Ridgeway. This trailer is necessary since, while no one over fifty needs to be told who they are a truly surprising number under that age do. Blank looks and ‘who?’ arise when discussing the play with infants of thirty or so. However, the actual personalities do not really matter – dropped references to ‘Papa Warner’ and ‘dearest Louella’ may mystify you, but who they are and their role in the story is perfectly clear from the context and there are very, very few ‘in jokes’ – except a crack about Joan’s adopted daughter Christine – ‘Mark my words we’ll be hearing from her in the future.’* When the curtain rises we see two back to back dressing rooms on a rather threadbare movie lot where ‘Baby Jane’ is being filmed. The two ladies duly appear and here I’m going to gush a bit. Both have made the decision not to be ‘impressions’ or mimic the actors – Sarah’s eyebrows are normal-sized, Siobhan’s voice is standard mid-Atlantic and she has eschewed the famous ‘Peter, Peter, Peter’ delivery and the play is the better for it. We are shown the people behind the facades and, by turns, shown their fears, vulnerabilities and weaknesses. This would be a very easy play to do badly and it was something of a gamble by Lynne to choose it. Any imbalance in the skills of the two actors would have been a disaster, any attempt to camp it up, to make it ‘authentic’ via make-up or tricks would have detracted from the essential story – two aging women, slowly dying in their chosen profession. There is a psychological term for this – it’s called ‘a dying tigress’, where a once 5
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commanding figure slowly loses their grip through age or infirmity, while fiercely trying to maintain it and both actresses portray it perfectly. All the conventional settings are here; set (James Nailen, Caileb HombergenCrute and Geoff Holf), neat but not gaudy, workmanlike and convincing; make-up (Colleen Bradford) and wigs (Lynda Stubbs), competent and convincing; wardrobe (Colleen Bradford) – particularly outstanding – those dresses were perfection. (I just adored Bettes’s large black hat at the final curtain. I originally had some doubts about the script which starts off slowly, establishing character and situation, at a gradual pace. For the whole of the first act, we get a onedimensional Bette – pure bitch, dragging desperately on an extremely convincing prop cigarette, while Joan has all the best lines. But persist, because act two is where the real fireworks begin. I am a great admirer of the two, perfectly cast, actors in this piece and as a personal friend I thought I knew them and their acting well. I always knew they were good, but I don’t think I appreciated just how damn good they are. (Sorry about the language, but if you’re going to see Bette and Joan, and I strongly recommend you do, you had better get used to it.) A massive task with many long monologues for each actor in which they need to be faultless in their lines, all in a perfect mid-Atlantic accent, while doing all kinds of stage businesses – Swedish exercises, applying stage make-up, dressing and undressing and making it all look perfectly easy and natural. This is an amazing play, perfectly performed by two actors at the absolute height of their game. Do not miss it is you’re a fan of either Bette, Joan, good acting or superb theatre. Very Highly Recommended Indeed. *Christine wrote a tell-all bitchy expose about her mother called Mommie Dearest many years later. Douglas Sutherland-Bruce (Weekend Notes) BETTE AND JOAN Bette and Joan is a construed biography brilliantly written by Anton Burge. Anton Burge is a universally respected playwright and theatrical actor whose plays, pseudo interviews, historical works (both accurate and interpreted) are based around notable women of the 19th and 20th centuries. Burge has a queue of famous older actors from Who’s Who, desperate to get a part in his plays for mature actresses. Bette and Joan opened in the West End of London in 2011 and starred Australia’s adoptee Greta Scacchi – who is 60 next week – as Bette Davis, and Anita Dobson as Joan Crawford, after escaping from almost three-hundred episodes as Angie in EastEnders. This production for adults, has been rewritten since the play’s Ppemiere. 7
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This 2-hour dramatisation is a two-hander biography and it can be seen at the Garrick Theatre, 16 Meadow Street, Guildford. It appears that many people in their twenties have never heard of these Oscar winners, so here are short biographies. EVEN IF YOU KNOW NOTHING ABOUT THIS COUPLE you will love this play. Texan Joan Crawford was known as suave, arrogant, aristocratic and elegant. She started as a dancer and by sleeping around was signed up by MGM for two decades. Married four times plus extras on the side; her last husband was President of Pepsi Cola. Bette Davis was unattractive, rough as they come, foul mouthed, shabbily dressed but got to the top purely by her acting skills. She worked for Warner Brothers for 18 years, winning three Oscars. Married four times. The film they are making is Whatever Happened to Baby Jane? and is about a former child star who torments her paraplegic sister living in their crumbling Hollywood mansion. Director, Lynne Devenish has produced a wonderful three-minute compilation of film clips and facts presented before the curtain rises. The scene: Early morning in 1962. Two adjacent dressing rooms in the rundown B block, the Hollywood set of Whatever Happened to Baby Jane? The set: Was designed and constructed by James Nailen, Caileb Hombergen-Crute and Geoff Holt. It showed two adjacent dressing rooms with a thin plasterboard wall separating them. Bette’s to the left, Joan’s to the right. The stud walls were mustard yellow. Each room had a couch, a dress rack and a makeup counter with the obligatory multi bulb array around the mirror. Joan’s room had her character’s wheelchair. The numerous 60s props were supplied by Marion West and Kerry Goode. The lighting and sound were designed and operated by Caileb Hombergen-Crute and Stuart Ridgway. The balance of the lighting in each room changed according to the dialogue. There were several clever and original flicker effects as the actor talked about their times in a movies. Stage managed by Wendy Goodwin. Bette Davis (Siobhan Vincent) and Joan Crawford (Sarah House) were once Grandes Dames of Hollywood, but by 1962 these adversaries were becoming cinema has-beens. When they were asked to appear together in a movie, one called ‘Baby Jane’. Each actress always wanted to be the one in charge, the one being noticed! Behind the conflict, bitching and the practical jokes, we see each woman’s insecurities and regrets. Very strong and meaningful direction by Lynne Devenish. Both actors had just the correct hint of American accent. The script was superbly constructed but must have been difficult for the actors. It contained dozens of two- or three-minute monologues not simply spoken but ACTED to the audience. Often a good test is to see an actor on the telephone; even with a thirty second piece, the one-sided conversation often becomes false. In this play both actors had a couple of minutes of shouting and arguing down the phone that left you in no doubt there was someone at the other end. Both Siobhán and Sarah showed incredible and rare acting skills. The 60s period costumes were carefully researched by costumière Colleen Bradford; they covered Joan’s finely presented outfits, from her immaculate gold silk chemise and cami knickers, to her gold lame coat and scarf. Then there was Bette’s well-worn unexciting underwear and her chocolate brown knitted dress with white spots. Lynda Stubbs has again come to the rescue again with two ideal wigs. This is one of these COMPLETE productions. An authentic ‘shabby’ set, smart period costumes, a short introductory film, clever lighting and sound, brilliant direction and two real-life stars as amazing as the actresses they are portraying. This play will win awards and is certainly a DO NOT MISS production. Gordon the Optom (WA Theatre Reviews and Data Base) 9
2020 CALENDAR FOR GARRICK THEATRE CLUB (INC): March 7th March 21st
TAG Workshop 11:00am to 2:00pm Play reading night.
April 4th April 30th
Auditions for Managing Carmen (To be confirmed) Opening of The Hound of the Baskervilles, is a comedy thriller inspired by Sir Arthur Conan Doyle, adapted by Kent R Brown. Directed by Rodney Stickells-Palmer and Gail Lusted. A joint TAG production.
May 23rd May 23rd
Garrick Birthday party. TAG Workshop 11:00am to 2:00pm
June 20th
TAG Workshop 11:00am to 2:00pm
July 2nd Opening Managing Carmen, a comedy of farcical proportions about a cross dressing AFL player, written by David Williamson, Directed by Lynne Devenish. th July 25 TAG Workshop 11:00am to 2:00pm th July 25 Winter Warmer Social Night - Pot Luck Dinner. Bring a dish and have a catch-up with other members. August 1st August 6th August 29th
Auditions for Our Gang Opening of the One Act Season ~ Quartet. TAG Workshop 11:00am to 2:00pm
September 12th September 12th September 24th
TAG Workshop 11:00am to 2:00pm Play Reading Night. Opening of Our Gang, a gentle comedy on ageing, written by David W. Christner, directed by Dale James.
October 24th October 31st November 13th November 14th November 26th December 19th
TAG Workshop 11:00am to 2:00pm Halloween Party. Annual General Meeting. TAG Workshop 11:00am to 2:00pm Opening of The Importance of Being Earnest, a trivial comedy for serious people, written by Oscar Wilde, directed by Douglas Sutherland-Bruce. The ‘Davids’ Awards Night celebrating 2020 and Christmas Party.
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OUR NEXT PRODUCTION THE HOUND OF THE BASKERVILLES IT WAS A DARK and stormy night, suddenly a blood-curdling scream rang out. It was a scream of laughter - yes, that’s right Teens at Garrick were rehearsing their next production, The Hound of the Baskervilles under the direction of Gail Lusted and Rodney Stickells-Palmer. The play is adapted, fairly loosely, on the classic novel by Sir Arthur Conan Doyle by Kent R Brown, who has taken the main thread and booted out Sherlock Holmes and his sidekick Dr John H Watson, replacing them with the two, more usual, protagonists’ close relations - Shirley Holmes, Sherlock’s neice (which makes her Mycroft Holmes’ daughter, I guess) and Jennie Watson, who are minding the shop at 221b Baker Street while they’re away. Shirley, studying logic, and Jennie, studying medicine, are busy A dramatic moment in rehearsal for the Hound preparing for upcoming exams when there’s a knock on the door. It’s Dr. Maxine Mortimer and Sir Henry Baskerville, who’ve come to seek the assistance of the famous Sherlock Holmes. There’s no time to recall Holmes and Watson from their trip. “We’re all you’ve got,” says Shirley. And indeed they are! In this fast-paced adaptation, full of wailing hounds, thundering hooves, and the slithering mists of the moor, Shirley and Jennie follow the trail of evidence and intrigue until, at last, they are confronted by the ravenous Hound itself! Shirley Holmes is played by Victoria Abbott and Jennie Watson by Olivia Fellows plus a large supporting cast of adults and teens. The Hound of the Baskervilles, as a comic thriller opens at Garrick Theatre Club Inc on the 30th April and runs at 8:00pm (and 2:00pm for matinees) at Garrick Theatre, 16 Meadow Street, Guildford until the 16th May. Tickets cost $25 for adults ($22 concession) and $15 for the twelve and under and may be booked by ringing Elaine on 9378 1990, emailing her on bookings@garricktheatre.asn.au or on Trybooking: www.trybooking.com/BHWCY.
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The New Garrick Gazette Garrick Theatre Club (Inc) P O Box 122, Guildford Western Australia 6935 Print Post Approved 100002309
POSTAGE PAID AUSTRALIA POST PRINT PP485
SEASON TWO 2020
THE HOUND OF THE BASKERVILLES A Comic Thriller starring Shirley Holmes and Jennie Watson, Adpted and dramatized by Kent R Brown, directed by Rodney Stickells-Palmer and Gail Lusted April 30th to 16th May 2020 Bookings: Phone Elaine on 9378 1990 or bookings@garricktheatre.asn.au or www.trybooking.com/BHWCY
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