THE UNIVERSITY THEATRE PRESENTS

fl"HE LEGEND OF KING O'MALLEY

by Michael Boddy and Robert Ellis

Directed by Dennis Carroll Assisted by Charles Enos Martin Lighting Design by Linda Bredin Technical Direction by Mark Boyd Costume Designs by Sandra Finney

HARD-CORE COMPANY (in alphabetical order)

Sister Hannah / Miss Federation/ Lady of Lost Virtue / Lady Denman . Roseann Concannon Brother Stephen/ Seagull / M.P ............................... .. .......... . Lynn Daic Brother David/Mining/ Master of Sideshow Ceremonies/ M.P ............. Dennis Dubin Sister Sophrosina / Agriculture / Woman of Easy Virtue .. . ...... . .. .. .. Leslie Freundschuh Brother Ebenezer I Duck / Andrew Fisher .. . .. . .... .. ..... . .... ... . ... .. ...... Bill Guy Sister Agatha / Dolly Daydream / M.P .............................. Barbara S. Hartman Angel ..................................... . ........................ Chuck Kates King O'Malley ................... . ................................. John McShane Brother Jeb / Drum Playing / M.P ................... .. ....... ...... ....... Gene Miller Brother Abner / Cod / M. P. / Cholmondeley Kakkakroon ...... ... . . . .. ...... . Ron Parrish Sister Anna / Transcontinental Railway j Givemeall Gertie from

Gyoola Gulch ............................. . ..................... Gypsy Poston Sister Susannah/ Woman of Easy Virtue .......................... . .... Brenda Renfroe Rosy Wilmot / Canberra / Octopus / Piano Playing/ M.P .................. Margaret Shade Brother Seth / Seagull / M.P ..... .... ... ....... . ........................ Terry Shiraishi

,. . Sister Jemima/ M.P . ... ..... ....... . ............... . .................. .. Linda Todt Sister Ruth / Dolly Daydream/ M.P ................. . .......... . ....... Desiree Velasco Sister Hepzibah/Seal/Chairman of the Labor Party ................. Carla von Wiegandt Brother Wilbur / Jimmy Catts / M.P . ........................................ Jan Wolfe Brother Jules / Transcontinental Railway / William Morris Hughes ....... ..... Nick Wyatt

SOFT-CORE COMPANY: Allen Cole, Tim Hayes, Alan King, Gail Morgan, H. F. O'Reilly, Joan Penaskovic, Barry Wright

MUSIC Choral direction by John Mount and Margaret Shade Piano Arrangements by Daniel Burlando and Margaret Shade Drum Solos devised by Gene Miller Band Arrangements by Kurt Kuniyasu

BAND: Volunteers from University High School Concert Band Director: Fred E. Graff Flute: Darnella Apao, Wendy Arima, Linda Char, Liane Marutani, Anne Nielsen, Jo

Whitman. Clarinet: Patti Kam, Carol Okimoto, Marianne Seifert, Judy Seo. Alto Clarinet: Lisa Amimoto . Alto Saxophone: Stanton Wong. Baritone Saxophone: Wayne Mendes. Trumpet : Kevin Carr, Kirk Hottendorf, Robert Mumford, Earl Nakachi. French Horn: Kekoa Kaapu, Mark Kobayashi, Alison Miyashiro. Trombone: Wendell Hino, David Trubitt, Karen Waygood. Baritone: Jon Fo. Tuba: Michael Jones , Russell Pryor. Percussion: Brian Ho, Richard Mundt, Barbara Norman, Matthew Varney.

The director wishes to thankfully acknowledge the advice and assistance of Allen Trubitt, Richard Lum and Ricardo Trimillos of the University Department of Music .

.. CHOREOGRAPHY

I Cayuse Indian Dance (Act I) by Emily Adams Buck and Wing (Acts I and II) by Shelley Bade Gilbert and Sullivan Chorus Dance (Part II) by Dennis·Dubin Grand Finale of Act II by Catherine Clemett Soft Shoe (Angel, Act I) and Dolly Daydream Dance (Sea Sequence, Act I) by Linda Jahnke Marching Girl Formation Dance in Federation Sequence Act II by Barbara Littenburg Coowonga and King's Inspiration and Mirror Dance Act I by Donna Pelle Rattlesnake Dance (Act I) by Gypsy Poston

O'MALLEY AND THE NEW AUSTRALIAN DRAMA

In 1965, many of us felt tha t a genuinely Australian theatre was a lost cause. Dominance by commercial theatre cartels profiting from imported "hits" seemed a long term reality, for Australian society at large was petrified in a political and cultural cringe to overseas super­powers. An emerging professional theatre consolidated its position by performing "classi­cal" museum pieces in British Repertory manner or "polished product" plays from Broadway or the West End, usually with imported "stars." In the 1950's, there had been an Australian dramatic movement of sorts in which realistic "well-made" plays had shown audiences something of their own experience on stage, notably Ray Lawler's SUMMER OF THE SEVENTEENTH DOLL (1955). But Lawler's successors mainly concentrated on producing eighteenth and nineteenth dolls and the movement petered out . The artistic success of some of the plays of Patrick White were a drop in the ocean of philistinism and indifference.

In many ways it was fortunate that the situation was so deadly, because an alternative theatre movement emerged as a reaction against it. In 1966 and 1967, alternative theatre spaces were established in several state capitals. In 1968, the first large scale governmental subsidy for the arts in Australia's history was partly channelled into "experimental" work. During the next few years, the alternative theatre produced several significant new theatre companies and playwrights; among the latter were Michael Boddy and Robert Ellis, David Williamson , Alex Buzo, Jack Hibberd and John Romeril.

Most of the plays give evidence of the characteristics of alternative theatre: a structure owing little to the linear prerequisites of the "well-made" play; an affront against bourgeois notions of propriety and "good taste"; jagged opportunities for "rough" acting; sudden and jolting juxtapositions in style; an aggressive use of Australian working class vernacular; a black-comic, cartoonish presentation (not representation) of character; a new interest in historical events and mythic heroes, and turn-of-the-century forms of popular entertain­ment; an attitude to the shibboleths, taboos and peculiarities of Australian society which is both celebratory and critical.

THE LEGEND OF KING O'MALLEY is one of the archetypal plays of the alternative theatre as well as one of its biggest artistic and box office successes. It was worked and re­worked in 1970 as part of a third year advanced course of young professional actors at the National Institute of Dramatic Art. The play toured up and down Australia for the next four years in a variety of stagings and physical spaces and garnered a number of awards.

O'Malley was real; his major achievements as recorded in the play are "true"; but "with this solid basis in fact as a jumping off point, we can fly anywhere," say the playwrights. They do just that. They use vaudeville, HIGH NOON, FAUST, Gilbert and Sullivan, high­quality melodrama and much qtore to stylistically present each episode in a manner that they feel is most appropriate to it. And interfusing the whole conception is the swarming prolifer­ation and excitement of the post-Brechtian and Artaudian theatre of the 1970's. The play set a vogue for similar historical plays presented in a similar style but none of its successors has the naive brio of O'MALLEY.

Of course, the play is not just all style. It embodies the eternal theme of the moral rela­tionship between ends and means, and also the theme of the expatriate in another land: caught between two countries, loving both, yet belonging to neither.

Dennis Carroll

ABORIGINALITIES (preferably to be read at home after the play)

ANZAC: a name based on the initials of the Australian and New Zealand Army Corps, es­pecially to designate a soldier who had served in World War I. In Australia, April 25 each year is "ANZAC day," a bibulous public holiday which commemorates the "glorious failure" of the landing on the Gallipoli Peninsula in which over 8,000 Australian soldiers died.

CANBERRA: Federal capital of Australia, a city of legendary dullness with a population of 183,000 people. Sixty per cent are government employees. The Federal Capital Territory was separated from NSW in 191 I, and Canberra officially named in 1913 by Lady Den­man, wife of the Governor General. A world wide competition for plans of the city was won by the architect Walter Burley Griffin of Chicago, with Eliel Saarinen of Finland second. O'Malley purportedly adjudicated the final result. To get the building of the city going, O'Malley arranged a fake stealing of the plans.

CHOW: Chinese.

DRONGO: A fool or a galah (q.v.)

FEDERATION: By the 1880's it was apparent that the separate colonial governments of ,. New South Wales, Queensland, Tasmania, Victoria, West Australia and South Australia

needed more than a series of intercolonial premiers' meetings to solve various problems of common import. These problems included intercolonial tariffs on trade, defense, transport, and expanding populations. Under the sponsorship of Sir Henry Parkes, NSW premier, an Australian Federal Convention was held in 1891 and a draft convention drawn up. A further convention in 1897-98 refined this document and it passed through Imperial Parliament in 1900. The commonwealth of Australia was declared to be in effect on and after January I, 190 I. The First Federal Parliament sat in Melbourne on March 9, 190 I, with Sir Edmund Barton the first Prime Minister.

FISHER, Andrew (1862-1929) Scots born miner, elected as Labor Representative to the First Federal Parliament, who briefly became Prime Minister in 1908 and again in 1910-15. As head of the government he gained credit for much social legislation initiated by others, including King O'Malley. He pledged full support to Australia's war effort, to the "last man and the last shilling." Due to pressure and ill health he resigned the Prime Ministership to Billy Hughes in 19 I 5.

GALAH: A name of aboriginal origin applied to the rosebreasted cockatoo. Colloquially, it means a fool or a drongo (q.v.).

HUGHES, William Morris (1864- 1952) Welsh born. Migrated to Australia in 1884. Elected to First Federal Parliament after years of hardships and diverse work experiences including Trades Union leadership. Rose through the ranks of the Labor Party, became known as a mesmeric orator and an advocate of compulsory military training and protectionism. Became Prime Minister in 1915. His conscription policy was twice defeated in a referendum to the nation, in 1916 and 1917, and the policy divided his party and the nation at large. Hughes continued in power until 1922 as head of the Nationalist Party-a compromise wartime coa­lition government of his supporters. Labor never took him back into their ranks; in 1945 he joined Sir Robert Menzies' Liberal Party and remained influential in politics until his death.

O'MALLEY, King (1854-1953) Worked in banking and real estate in the U.S. Founded the "Waterlily Rockbound Church" as part of his Real Estate business. A man called Angel assisted him for a time, got drunk in Denver, and was never heard from again. O'Malley married Rosy Wilmot, a member of his church, in Texas. She died of consumption after three years of marriage. Told he was dying of consumption as well, he came to Queensland , and was found in a cave by Coowonga, an aboriginal, who restored him to health. He sold in­surance in Sydney and South Australia; he was elected to the South Australian Parliament from 18-96- 99. Member of Federal Parliament 1901 - 1917, serv.ed as Minister for Home Af­fairs. Lost his seat (Darwin, Tasmania) over the conscription issue. He pushed for the foun-

' dation ·of the Commonwealth Bank and Canberra. He. passed the Bank through Parliament by seeing to the forgery of a vote by one drunken M~ P. He conceived and initiated much Labor reform and social legislation.

LABOR PARTY: The oldest Australian political party, it emerged in 1891 from the newly formed trade unions and the ideological idea of the "mateship" of working men. It gained a reputation in its early years for radical social legislatiori, a xenophobic Australian nation­alism, and the ideals of a "White Australia," and equality of opportunity for the wage earn­ing population. The split in 1916 over the conscription issue weakened the party for decades and was partly brought about by the hostility of Irish-Australian Labor supporters to the British Commonwealth Government. The Labor Party can roughly be compared to the American Democrat Party.

LIBERAL PARTY: This party was officially formed in 1944 to supplant the United Australia Party, a coalition with broad rural support. The party has been in power for the last twenty­five years , except for a brief period in 1972- 1975. The Liberal Party stresses "individual initiative and private enterprise" in the country's development (Australia Handbook, 1975). It can roughly be compared to the U.S. Republican Party.

PACK RAPE: The most typically "Australian" serious crime, partly engendered by the fact that in Australia men outnumber women to a significant degree.

POMMY, POM: Person of British-especially upper-class British-extraction.

PRIME MINISTER: Leader of the Federally elected party, roughly similar to the American President. But he is- in theory and fact - responsible to the Queen and her representative in Australia , the Governor-General.

SHANGHAI : Slingshot.

SURF LIFE SAVING CLUBS: A Sydney bastion of male privilege, sexism and quasi-author­itarianism as well as a valuable institution for saving lives on Sydney's many surfing beaches.

SYDNEY VS. MELBOURNE: Australia's two largest cities, the state capitals of New South Wales and Victoria, have long been rivals. Melbourne is purportedly the more staid, dull and "British" of the two cities, Sydney more non-linear, jumping and "American", with its climate promoting more outdoor activities. Both cities claim to be the business, art , and intellectual capitals of Australia . Melbourne is more pretentious. (The director and the Aus­tralians in the cast are Sydneyites.)

WOG: Italian or person of southern European extraction.

Dennis Carroll

KENNEDY THEATRE'S NEXT PRODUCTIONS

THE PLAYER QUEEN THE PLAYER QUEEN written by William Butler Yeats will be directed by Dale

Ream as his MFA thesis production. Yeats says of this play, "It is the only play of mine which has not its scene laid in Ireland ... both the tragedy I had first planned, and the farce I wrote is to be played in front of screens (Craig's). My dramatis per-· sona have no nationality because Mr. Craig's screens, where every line must suggest some mathematical proportion, where all is phantastic, incredible, and luminous, have not nationality."

THE PLAYER QUEEN will be performed April 14, 15, 16, and 17, in the Ken­nedy Lab Theatre.

AN EVENING OF BALLET AN EVENING OF BALLET will consist of excerpts from the classics and the

Stravinsky piece, THE FIREBIRD. The choreography is by Yasuki Sasa. AN EVENING OF BALLET will be the final mainstage event of the University Theatre seas.on. It opens April 29 with performances April 30th and. May 5th through 8th.

PRODUCTION STAfF

State Manager: Edward Charette. D. Q. Hall. Lighting Crew:

Board Operators: Leigh Bergh, Rae Blake. Follow Spots: Gary Chun. Pat Clements. Jim Mack. Theresa Wong.

Stage Crew: Stephen Campbell, Richard Singbeil. Properties: Bev Farrington. Doris Ray. Costume Construction: Ada Akaji. Ellen Boggs, Casey Cameron, Colleen Cosgrove, Gayla

Gould. Amy Hongo. Miki Kim, Eden Tomboulian. Costume Crew: Casey Cameron. Eden Tomboulian, Miki Kim, Colleen Cosgrove, Ellen Bosly. Make-up Crew: Chas. E. Martin, crew chief; Gail Morgan, Barbara S. Hartman, Linda Todt,

Theresa Wong, Gerald Kawaoka. Photography: Francis Haar. Poster Design: Suzanne Bowen (Graphic Media Design). Program: Gay Burk, University Public Relations; Sunny Bratt, Publicity. Publicity: Sunny Bratt, Gail Stegmaier. House Manager: Randy Hoover. Box Office: Michele Du Barry, David Furumoto, Theresa Neilson, Catherine Stuart. Ushers: Moanalua H.S .. Damien H.S. (NHS), Damien H.S. Speech Class, Aiea H.S., St.

Louis H.S. Drama Club, University H.S., Sacred Hearts Academy (NHS). Additional Members of Soft-core Company: Nathan Harris, Martin Jones. LATE ACKNOWLEDGEMENTS: The following names were inadvertantly omitted from

THE ROAD TO KYOTO program: Paula Rodgers, assistant stage manager; Margaret Angell. Casey Cameron, Colleen Cosgrove, costume construction.

DEPARTMENT OF DRAMA AND THEATRE FACULTY: Edward Langhans, Chairman; Glenn Cannon, Director of the Theatre; Carl Wolz,

Director of Dance; Mark Boyd, James Brandon, Dennis Carroll, Bernard Dukore (on leave). Sandra Finney, John Hu. Tamara Hunt, Betty Jones. Terence Knapp (on sabbati­cal), Roger Long, Richard G. Mason (on sabbatical), Yasuki Sasa.

LECTURERS: John Elzey, Pat Herman, James Hutchison, Jacqueline Kellett, Fritz Ludin. STAFF: Art Caldeira, Takeo Miji, Nancy Takei. GRADUATE ASSISTANTS: Emily Adams, Catherine Bratt, Linda Bredin, Howard Brewer,

Joseph Dodd, Patricia Harter, Kitty Heacox, Linda Jahnke, Mary Lewis, Gail Stewart.