Category Archives: Theatre History

APG Collective Programming meeting – Nov 1976 – Committee’s evaluation report

Featured in this post is a copy of a report by the Australian Performing Group’s Programming Committee. It was presented to members at the Collective Programming Meeting held 4/11/1976. As can be seen, the report raises a state of affairs that was bothering the Committee. The report is layed out as follows:

  • The Critique
    • Loss of vigor, energy, enthusiasm and “Australianess”
    • Losing touch with the reality of “out there”
    • Loss of identity
    • Ad hoc and isolationist work methods
    • Lack of hard analysis before, during and after productions
    • Confused choice of material
    • Lack of direction
    • Disintegration of design
    • Absurd use of personnel
    • Short rehearsal periods
  • The New Methodology
    • General workshops for whole collective
    • Deeper engagement with material before final choice
    • More preparation prior to beginning rehearsal
    • More extensive use of open rehearsal
    • In- & post- production analysis
  • Criteria for choice of material
    • Community relevance and benefit
    • Innovation
    • Critical stance towards existing social structures
    • Exploit the uniqurness of the group
    • Recognize the limitations of the group
  • A new role for the Programming Committee

Note: The handwritten notes on the report are mine and were made during or before the meeting. The first lot of notes show the time the discussion took place. The notes at the end could be suggestions I had.

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An assessment of the Australian Performing Group by Louis Nowra

In February 2008 a book by Gabrielle Wolf titled “Make it Australian: The Australian Performing Group, the Pram Factory and New Wave Theatre” was published. (Currency Press – ISBN10 0868198161). The Australian writer, playwright, screenwriter and librettist Mark Doyle, better known by the name Louis Nowra, wrote the following review of the book, outlining why he thinks it doesn’t tell the full story.


“Inside the collective”

By A NEW BOOK ABOUT A NOTORIOUS MELBOURNE THEATRE TROUPE DOESN’T TELL THE FULL STORY WRITES PLAYWRIGHT LOUIS NOWRA

THE AUSTRALIAN, MAY 24, 2008

“YEARS after the incident, a still astonished Sydney director described his visit to Melbourne in the early 1970s for a meeting with members of the Australian Performing Group, the vanguard of the new wave theatre movement. He attended a gathering of the collective in the morning, where there was a serious discussion about Bertolt Brecht. Afterwards he was invited to an Australian football match. The transformation was incredible. These rational theatre people turned into banshees, screaming abuse at the umpires and opposition supporters. With a resigned tone, similar to the end of Chinatown, where a baffled Jack Nicholson is told, “Forget it, Jake, it’s Chinatown,” I said to the director, “That’s Melbourne for you.”

I should know. I lived in Melbourne during most of the APG era of the late ’60s and ’70s before I hightailed it to Sydney. While I was at university I was aware of exciting things happening at La Mama in Carlton, the theatre that gave birth to the APG. Founded about 40 years ago by the under-appreciated Betty Burstall, La Mama was formerly an old shirt factory.

The space was so intimate that the audience could smell an actor’s bad breath. The location was also serendipitously perfect. Inner-Melbourne Carlton was filled with university students, bohemians, nascent writers, young academics and, most importantly, cheap rents. Within a couple of years a motley group of actors and playwrights left La Mama and relocated nearby to a much larger space, the Pram Factory, where, in January 1970, they formally inaugurated the Australian Performing Group.

Louis Nowra by John Webber
Mark Doyle aka Louis Nowra
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“Soapbox Circus” 1977 interview, National U newspaper

In June 1977 “National U”, the newspaper of the National Union of Australian University Students, published an interview with Ponch Hawkes and Mick (Microphone) Conway of Soapbox Circus (later to become Circus Oz). Much of the interview was about the record album that had just been released, “Matchbox and the APG – The Great Stumble Forward”.  L 36245,  Festival Records.


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“The Hills Family Show” programme booklet – front theatre, October 1975

Cast: Sue Ingelton (“Adelaide Hills”), Evelyn Krape (“Fanny ‘Granny’ Hills”), Fay Mokotow (“Antigone Hills”), Max Gillies (“Fitzroy Hills”), Bill Garner (“Sandringham Hills”), Robert Meldrum (“Clifton Hills”), Tony Taylor (“Winston Hills”) and Buz Leeson (“David Hills”).  Photos: Larry Meltzer. Choreography: Lorry Clark and Bob Thorneycroft.


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“The Hills Family Show” – programme booklet – front theatre, May/June 1977

Cast: Evelyn Krape (“Fanny Hills”), Bill Garner (“Sandringham Hills”) , Max Gillies (“Fitzroy Hills”), Fay Mokotow (“Antigone Hills”), Tony Taylor (“Winston Hills”), Jack Weiner (“Bluey Hills”) and Laurel Frank (“Mona Vale”). Photographs: Brendan Hennessy.

In FRONT THEATRE from 5/5/77-12/6/77


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“Radio Active Horror Show” – preview – The Age, 5/7/1977

The Radio Active Horror Show has been described as “An Australian anti-nuclear musical by John Romeril and the A.P.G. (Australian Performing Group). “Things are crook, just take a look, we’re in more pooh than Winnie”.” (Source: AusStage.) It played at the Pram Factory from 7 July to 21 August 1977. The APG members involved were Kerry Dwyer, Ursula Harrison, Wilfred Last, Richard Murphet, Margot Nash, Hellen Sky, Carol Porter, Greig Pickhaver and John Romeril (writer).

(The play was also performed in Sydney, at the New Theatre, Newtown, opening on 29/4/78. The Sydney cast and crew were not from the APG.)

Below is a copy of a PREVIEW by John Stevens of the APG production. The full title of the preview is “See this and freak out”.


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“A Mad World, My Masters” – programme notes and reviews 1978

APG advertisement


Review by Leonard Radic


Review by Barry Oakley

Part 1 of 2
Part 2 of 2

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“Phar Lap – It’s Cingalese for Lightning Y’know”, review March 1977 by Leonard Radic

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“A Stretch of the Imagination” – rave reviews, 1976

“A Stretch of the Imagination”, a one character play by Jack Hibberd, has been staged many times in many places with different actors in the lead. It has become an Australian classic.

In 1976, when staged in the back theatre of the Pram Factory, the character of Monk O’Neill was played by Max Gillies (directed by Paul Hampton); and the play and performance received rave reviews. Copies of three of those reviews appear below. (The play, with the same actor and director, was staged again at the Pram Factory – this time in the front theatre – in Aug/Sept 1977.)

Neil Jillet described the play as “probably the most beautiful Australian play ever written”; Bob Crimeen said “Hibberd’s masterpiece of hallucinations and shattered dreams gives Gillies the chance to prove his mettle in tragic-comedy”; and a writer for the Sunday Press said “This study of a singular man is Australian writer Jack Hibberd at his best …. Max Gillies as Monk O’Neil, is brilliant and gives Melbourne … the performance of the year”.

(“A Stretch of the Imagination” was first performed at the Pram Factory in 1972, with Peter Cummins as Monk O’Neill, directed by Jack Hibberd.)

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“Phar Lap …” brochure (Turf Notes) – 1977

The Australian Performing Group staged “Phar Lap – it’s Cingalese for lightning, y’know”, written by Steve Mastare) (aka Stephen Mastare, Stephanie Mastare and Ess Mastare), at the Pram Factory theatre in March and April 1977.

Director: Paul Hampton. Cast: Susy Potter, Claire Dobbin, Phil Motherwell, Alison Richards, Wilfred Last, Greig Pickhaver. Design: Micky Allen, Carol Porter. Lighting: Ian McKenzie. Original Music: Andrew Bell. Poster: Bob Daly. Props :Ursula Harrison. Costume: Freda Rowed. Sound Operator: Margot Nash.

Below is a copy of “Turf Notes”, a publicity brochure for the programme.

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