SERENADING ADELAA S t r e e t O p e r a

PROGRAM

TRADES HALL PREVIEW, MONDAY 11 DECEMBER 2017 6:00 PMARTISTIC DIRECTOR: Jeannie MarshADELA: Lisa‑Marie Parker ACCORDION: Dave EvansADELA’S MASS CHOIR, STREET BAND & AN UNRULY MOB: led by Miranda Hill & Emily Hayes

One hundred years ago, Australia was at war. As casualties mounted and the number of volunteers dropped, the Prime Minister Billy Hughes called for conscription to be introduced. Referendums were held on 28 October 1916 and again on 20 December 1917, but the Australian people voted NO each time. These referendums split the nation, with pro‑ and anti‑ campaigners making their case in speeches, songs, huge public meetings, articles, and rallies.One of the most prominent anti‑war and anti‑conscription activists was a young woman named Adela Pankhurst (1885 – 1961). Adela had been banished from England to Australia by her mother, the famous suffragette Emmeline Pankhurst. In Australia Adela joined the opposition to World War 1 and became a leader in the anti‑conscription movement – while her mother became an ardent supporter of Britain’s role in the war. In late 1917, Adela was arrested while making a speech at a women’s anti‑war march in Melbourne and sent to Pentridge Prison in Coburg. On the evening of 7 January 1918, her supporters gathered outside the women’s prison to serenade her over the walls. A newspaper report sets out the story.

SERENADING ADELAA Street Opera

SERENADING ADELA, A STREET OPERA has been written to commemorate this important event. This opera has been sponsored by the Brunswick Coburg Anti‑Conscription Commemoration Campaign (BCACCC), a group of local residents formed to record, remember and commemorate the successful anti‑conscription campaigns of World War 1, when Brunswick and Coburg voted overwhelmingly NO in both referendums.Further reading about Adela and the anti‑conscription campaign:Adela Pankhurst: The Wayward Suffragette 1885‑1961. Verna Coleman, Melbourne University Press 1996Geraldine Robertson’s compilations and writings, including Making Peace – Stopping All that Leads to War, and Women Working Together – Suffrage and Onwards. Available through www.womensweb.com.auThe Honest History Book. David Stephens and Alison Broinowski (Eds.) Newsouth Publishing 2017The Conscription Conflict and the Great War. Robin Archer, Joy Damousi, Murray Goot and Sean Scalmer (Eds.) Monash University Press 2016 Fighting Against War. Phillip Deery and Julie Kimber (Eds.) Leftbank Press 2015

CENTENARY PERFORMANCEAll Welcome. Free.Pentridge, Champ Street, Coburg Sunday 7 January 2018, 6pmReservations: trybookings.com

FROM THE ARTISTIC DIRECTOREarly in 2016 I learnt for the first time about Adela Pankhurst’s glorious serenading mob – and also about the 1916/1917 referendums. How could this tumultuous part of Australian history be so little known? How exciting it would be to work in a team creating a ‘street opera’, telling these stories! The project involved me wearing a number of creative hats (researcher, writer, composer, conductor, director), and I thank Nancy Atkin, Joanna Stanley, and BCACCC for their amazing trust and support throughout this hat‑swapping Adela Adventure! I am also indebted to Geraldine Robertson for her historical advice, and to Stephen Taberner for his beautiful Ghosts Don’t Lie (heard in musical echoes throughout our show). Dave Evans (invaluable musical collaborator and co‑creator!), Lisa‑Marie Parker, Emily Hayes, and Rebecca Feiner have been there from the start, generously bringing their professional arts skills to the project. Miranda Hill, Beth Patterson, and Holly Norman completed a wonderful team, and I heartily thank them, and our extraordinary cast of volunteer and professional performers, administrators and helpers. They have worked in the spirit of Adela and the tireless anti‑conscription campaigners who marched, sang, rallied, and campaigned on streets around Australia. Their shouting for peace and sanity in the midst of the horrors of World War 1, sends a message to us all to keep ‘talking peace’ today. Jeannie Marsh

FROM THE ORGANISERSThe Adela project was dreamt up around a kitchen table in early 2016. The Australian Government had allocated millions of dollars to commemorate the military side of World War 1. This funding was not available for commemoration of the peace‑makers and the many opponents of the war and of conscription. Inspired by the newspaper clipping above, we decided a re‑enactment of Adela’s ‘serenading’ must be held. Lynn Beaton declared we must write a new song, linking the campaigns of the past with those that confront us now. Moreland Council agreed to fund song workshops which enabled 80 people to share family stories on the effects of war across the generations, and then learn the new song based on selected stories, written by inspirational composer Stephen Taberner. Creative Victoria awarded a major grant enabling our Street Opera to be developed by talented artistic director Jeannie Marsh, with professional musicians to create and lead our event. A major factor bringing this project to reality, is the extraordinary response and the enthusiasm of everyone it’s reached. This includes over a hundred people who have answered our call for performers, the venues which all readily agreed to host and support our project when approached, and the sponsors and numerous donors who have generously added to our core funding. Nancy Atkinbrunswickcoburganticonscription.wordpress.com

Join us to recreate the 1918 ‘serenading’ of anti‑war protester Adela Pankhurst at Pentridge Gaol, by a musical mob.

Serenade AdelaJeannie Marsh

March of the WomenMusic: Ethel Smyth, arranged for Street Band by Miranda Hill and Dave Evans. Text: Cicely Hamilton ‘dedicated to the Women’s Social and Political Union, 1911’. This song became the anthem of the women’s suffrage movement in the UK.

Solidarity ForeverTo the traditional tune John Brown’s Body /Battle Hymn of the Republic. Text: Ralph Chaplin 1915 Choral arrangement: Liz Bligh. Sung at Pentridge on 7 January 1918.

I Didn’t Raise my Boy to be a Soldier Music: Al Piantadosi, arranged for Street Band by Miranda Hill and Dave Evans. Text: Alfred Bryan The chorus version is from the Women’s Anti‑Conscription Committee song sheet, Melbourne 1916.

Wreaths for the Maid of PeaceMusic: Jeannie Marsh Text: 1916 sonnet to Adela Pankhurst by R.H. Long, poet, carpenter and socialist.

The Red Flag Tune: O Tannenbaum Text: Jim Connell, 1889 Sung at Pentridge on 7 January 1918.

Banishment and ArrivalJeannie Marsh, drawing upon Te Deum by Hector Berlioz.

Telegram Song Music: Jeannie Marsh Text: a telegram sent by Emmeline Pankhurst to Australia’s PM Billy Hughes.

Campaign Office SongJeannie Marsh

Battle of the Campaign SongsSongs from both sides of the conscription debate, compiled and arranged by Jeannie Marsh and Dave Evans. Song texts 3, 5, and 6 are drawn from The Balls of Bob Menzies – Australian Political Songs 1900–1980, by Warren Fahey, published by Angus and Robertson Publishers, 1989.

1. Australia Will be There W. W. Francis, 1915; and the parody version Australian Hymn of Freedom (the the ‘anti’ parody) from Women’s Anti‑Conscription Committee song sheet, Melbourne 1916.

2. Shirkers and Slackers Music: Jeannie Marsh Text: anon. 1918.

3. Only a Land of ExploitersTo the popular tune Only a Leaf of a Rosebud Text: anon. from Labor Volunteer Army Songbook, 1918.

4. Should I Ever Be a SoldierTo the traditional tune Colleen Bawn. Text: Joe Hill, first published in the Industrial Workers of the World Little Red Song Book, 1913.

5. Kaiser Bill Music: Jeannie Marsh Text: R.S. Lang 1914.

6. Fighting the KaiserTo the tune of Waltzing Matilda, 1895 Text: anon.

7. Women’s Peace Army No Conscription SongMusic: Jeannie Marsh Text: R.H.L. (possibly R.H. Long).

Put Up the SwordMusic: Jeannie Marsh. Text: drawn from the book Put Up the Sword by Adela Pankhurst, published by The Women’s Peace Army, 1915, and the preface to this book, written by Cecilia John.

Ghosts Don’t LieStephen Taberner Created through Brunswick workshops in 2016.

Peace Talk Music: Jeannie Marsh. Text: poem by Doris Blackburn, published in Woman Voter, 1917.

Remember AdelaJeannie Marsh

Music and texts in Serenading Adela Our opera draws on songs, poems and texts from the era, arranged or set to music for soloist, choir and band by Artistic Director Jeannie Marsh, in musical collaboration with Dave Evans. Additional texts and compositions by Jeannie Marsh and Stephen Taberner.

SONGS IN ORDER OF APPEARANCE IN SERENADING ADELA, A STREET OPERA

PERFORMERSARTISTIC TEAMArtistic Director: Jeannie Marsh

Adela: Lisa‑Marie Parker

Accordionist and co‑arranger of music: Dave Evans

Choir Outreach and Assistant Choral Director: Emily Hayes

Street Band Leader: Miranda Hill

Assistant to Artistic Director (Dramaturgy, Production): Beth Patterson

Rehearsal Accompanists: Dave Evans, Simon Loveless, and Geoffrey Baird

Graphic Designer: Rebecca Feiner

PRODUCTION TEAMProject Manager/Stage manager: Holly Norman

Steering Committee: Nancy Atkin, Joanna Stanley, and Jeannie Marsh

SERENADING ADELAA Street Opera

Small ChoirAnnette BarkerArleen ReynoldsBeth PatersonBronwyn PlarreDeviani SegalEmily HayesHelen BirkettJo ThomsonLibby NottleMaryann PilkingtonMelanie MuirMichael Santhanam‑MartinNancy AtkinNeil ColeSarah BerrySimoin William ThomsonJeannette JohansonBig ChoirCath RouseCatherine HeywoodCheryl UnderwoodColin McLaranDinah van RuyvenDudleigh Morse

Elizabeth WalpoleEveline EitleGlenda LasslettGloria DelloraHelen GardnerJanine RizzettiJenn BatemanJennifer BurgessJoanna StanleyJohn FisherJudith SimpsonJulie BainKairen HarrisKarina McFarlaneLaurie NivenLeslie LukeLouise AthertonLucy SussexMargaret RileyMelek CetinerMeredith LawrenceMike PulestonMonica HartePaddy McCorryPhilippa CarthewSarah BrownSergio Rizzi

Sonja RutherfordSue KellySusanne ProvisSuzanne CoburnSuzy PinchenStreet BandBridget RobertsChris JamesonDaniel SullivanGary SullivanJan RoestMarcia LewisMarco BellemoMiranda Hill (leader)Nick ThiebergerRod GregoryWilliam ThomsonUnruly MobAndrea GowAngela GillAnne PaulBronwyn JonesChristine PinnigerClare RoczniokGail Cook

Geraldine RobertsonGill MortimerHelena DunnJackie MansourianJeffrey RutherfordJennifer TrethowanJeremy NadelKaren DacyKathy AndisonKay Cooper WardKelsey CottonMarlies BlatzMary StringerMeredith KeffordRadhika Santhanam‑MartinRed BinghamRobert LindseySandra BoydSaskia HunterSeda ErcanShirley KociubaSteve GilbertBetty KosanovicZoe Asher

SERENADING ADELAA Street Opera

THANK YOUVenuesPentridge, centenary performance, 7 January 2018: Thanks to Shayher Group and to Georgie Sleurink.Trades Hall, 11 December 2017: Thanks to the Victorian Trades Hall Council, the Trades Hall and Literary Institute, and Assistant Secretary David Cragg.Brunswick, outside the Town Hall, 20 December 2017: Thanks to Moreland City Council and to Brunswick Place Manager Will Coogan.

Auspice organisation: Auspicious Arts Projects, Megan Williams and colleagues.

Those who met on 13 February 1916 and decided that Adela must be serenaded: Angelo Delsante, Jeannie Marsh, Fran Newell, Michael Hamel‑Green, Paddy McCorry, Nic Maclellan, Nancy Atkin and remembering especially Lynn Beaton.

Choirs who have introduced their members to Adela: Broadmeadows Community Singing Group, Brunswick Rogues, Chocolate Lilies, Victorian Trade Union Choir, and Heart and Soul Community Choir.

Photographer: Andrew Wurster

Video: Sally Potter

Program editor: Paddy McCorry

Costume committee and seamstresses: Sarah Brown, Margaret Riley, Betty Kosanovic, Sue Kelly, Jo Stanley, and Nancy Atkin.

Prop‑making workshop volunteers

Front of house staff and marshalls

For special contributions: Bronwyn Jones, Councillors of the City of Moreland, Emily Pelakis (Brunswick Secondary College), Geraldine Robertson, Gloria Dellora, Irine Vela, Jane Garrett MP and staff, Jan Bartlett, Juliet Fox and 3CR, Michael Roper, Ros Eason, Seda Ercan, Suzy Pinchen, The Boite, Val Noone, 5th Brunswick Scout Hall, and those who made cake for rehearsals.

And our donors: Canto Coro, plus around 40 known donors, and many more un‑named.

Made possible by a major grant from

With support from our sponsors

THANKS TO TRADES HALL AND STAFF FOR THEIR GENEROUS SUPPORT TONIGHT

BIOGRAPHIESJeannie Marsh is a graduate of University of Melbourne Faculty of Music and the Victorian College of the Arts. Jeannie has sung as a soloist with companies including Victoria State Opera, Chamber Made Opera, ABC Radio, MTC; in the International Arts Festivals of Melbourne, Brisbane, Sydney, Adelaide; and in new operas in London. Jeannie has also worked extensively as a leader in large community music projects with Canto Coro choir (Canto General, Little City) and Dandenong Ranges Music Council. She has a passion for the development and performance of new Australian music and music‑theatre, working with secondary and tertiary music students, in recordings and operas, and in her own projects, including Love, Death, Music and Plants (Hindson/Lipson), the story of botanist Baron Ferdinand Von Mueller. In 2004 Jeannie received an Australian Music Centre award for her long‑term contribution to the advancement of Australian music. Jeannie conducts five Melbourne community choirs.Lisa‑Marie Parker, a graduate of the Victorian College of the Arts, is a three‑time Green Room Award Nominee for the roles of Linda in Blood Brothers, Jellylorum in Cats, and Jen in John and Jen which she self‑produced. Lisa‑Marie has extensive stage, screen and recording credits spanning over 20 years. She is a freelance vocal and audition teacher and mentor in Melbourne and is on the advisory board for the new AMEB Music Theatre Syllabus.

Dave Evans, accordion player, is best‑known as a member of the Band Who Knew Too Much. He is also a composer/writer and entertainer. Dave performs in a wide variety of styles and has toured extensively. He is interested in projects that involve beautiful melody, emotion, good harmony and interesting stories. He specialises in jazz, folk, French music, klezmer and tango.

Emily Hayes works as a music educator and community singing leader for children and adults. She is a singing teacher, choir leader and group singing facilitator. Currently she is leading three adult community choirs in Melbourne and three parent and child music groups. She has a Bachelor of Music and has been working as a performer and teacher since 1999. Emily has been labelled ‘one of Melbourne’s finest singers’ (Beat Magazine 2007).

Miranda Hill is a musician, educator, producer, and activist working in Melbourne, specialising in new classical, experimental, baroque, and community music. She performs on double bass, banjo, ukulele and mellophone. Miranda is dedicated to making music fun, and bringing experimental music to new audiences. She believes that music is a conduit for real social change, and directs the Riff Raff Radical Marching Band which can be seen and heard at demonstrations and commemorations.

Beth Patterson is a multi‑versed theatre maker with a fascination for opera, cabaret and musical theatre. She has just completed her time at Monash, and will be graduating with a Bachelor of Music and a Bachelor of Performing Arts early next year. Beth writes and performs her own work, is a budding classical vocalist, and works as a freelance stage manager. Serenading Adela has been an exciting and rewarding project wherein many of her creative interests have intersected.

Stephen Taberner and ‘Ghosts Don’t Lie’ Stephen is a singer, songwriter, double bass player, composer and choir leader, and musical director of the famous Spooky Men’s Chorale. He is a highly sought after choir and workshop leader, facilitating workshops throughout Australasia and Europe. As part of the Adela project, 80 people took part in song workshops led by Stephen on family stories of the effect of war. Four stories were chosen to be the core of the song ‘Ghosts Don’t Lie’. A large choir learned this new song in two workshops and it was premiered at the Boite Singers’ Festival at the Abbotsford Concert in January 2017.

Holly Norman is an arts manager and event producer. She’s also a percussionist, drummer, singer, songwriter and storyteller. Recent career achievements have included production logistics for Melbourne International Jazz Festival (2017) and Melbourne Festival (2017), and planning, executing and performing in an inaugural US tour by the Junkadelic Brass Band (2015).