The Voices of Joan of Ark is a great little number, billed as “an intimate performance told through voice and song” it certainly delivers. It’s the kind of raw, slightly unpolished work that within its limitations successfully creates an experience that is still memorable days later…
It’s a historical re-telling of one of history’s most iconic female figures, Joan of Arc who at the of 17 led France into victorious combat, then by 19 had been condemned a heretic, burnt at the stake. The performance focuses on her trial by the Catholic Church, the verse is beautiful and has a sense of choreographic persuasion that sets a constant rhythm, carried through, thankfully unbroken until it reaches the crescendo. All time, the performance is both underpinned and augmented by violin and song- it’s a stirring combination that resonates, though at time perhaps teetered too close to being a little too cinematic for such an intimate work.
In the lead role, Janie Gibson gives an impress performance, near channelling but still able to create a modern sense of reverence to this story, still there is room to go deeper into the dense text. Daniel Han, delivers his role in a stoic manner that counteracts, between the two there are some beautiful moments of choreography. Musically, the work of Xani Kolac, matches the narrative perfectly, creating a further sense of immersion into this supposed reality.
Presented within a small studio space at Northcote Town Hall, the performance here is set in the round, audiences flanking either side of the long narrow space. Performance arranged in this style can often present challenges both for the performers and audience, but here it’s utilised to full advantage, as audience become the jury to this trial, and performers take time to connect with every person in the room. The resulting effect is one that pulls you deeper in this work. Lighting adds a further dynamism to this already bursting performance, scenes where the space is bathed in light juxtaposed against others that are lit by candles, then only to plunged into almost complete darkness.
This is a dark piece, brooding and intense, it has at the core a simple, yet somehow grand vision, that is as well thought out as it is realised, the bones of great show are definitely here, both Janie Gibson and Daniel Han should relax a little and fully take to their characters, fleshing them out and working on developing a greater on stage co-dynamic. In turn, other elements of the performance could do with further investigation and development, some images created bordered on the cliché and the question remains as with many other performances, is nudity truly needed here, does it propel the narrative creating deeper reverence, or does it detract from a performance that is otherwise solid, worthy and full of merit?
The Voices of Joan of Arc is currently playing until Saturday May 14th at Northcote Town Hall as part of this years Next Wave Festival, get out there and amongst it. Tickets for this show can be purchased here
Yehudi Menuhin, one of the greatest musicians of the 20th century, was an American-born violinist and conductor, who spent most of his performing career in Britain, where he became a monarchist. He received a knighthood in 1985 and in 1993 Sir Yehudi was bestowed a life peerage by the Queen as The Right HonourableThe Lord Menuhin OM KBE. He was born 100 years ago on 22nd April 1916 and died on 12th March 1999.
In its 1975 summer edition The Monarchist – Journal of the Monarchist League published the following letter to the editor by Yehudi Menuhin:
Sir,
Thank you for sending me a copy of The Monarchist. Having read it, though, I would like to take this opportunity to point out a fundamental weakness in your proposition.
Constitutional monarchy is the genius of the British nation whose people understand what your philosophy has failed to realise, viz., that the very heart of the system is ineluctably welded to democracy. It is palpably obvious that the highest position in the land is utterly without power, and by this very token our responsibility for the weaker, courtesy for principle, and pride in the sharing of power between all citizens, from Palace to Pub, upheld.
I believe that constitutional monarchy is the best defence of democracy.
Here is a photo of King Faisal II, King of the Hashemite Kingdom of Iraq, in 1957 clergy of all spectrums of Iraq’s Christian, Muslim and Yazidi communities.
A year later King Faisal II and many members of Iraq’s Royal Family were hacked to death.
The loss of the Iraqi Monarchy cost millions of people their life. The murder of King Faisal was only the beginning. The Christian churches of the East are disappearing in what was Mesopotamia; the century old community of the Yazidi are on the brink of extinction and the muslim communities are bitterly fighting against each other.
It would be the start of a healing process to bring back the King of Iraq. He is living in neighbouring Jordan.
A very chatty afternoon was had with Mark (audio interview) upstairs at The National
Theatre on a very warm and stormy week in Victoria.
Up to seven metre waves down the West coast. Great for adventurous surfers.
Music can be a mystical journey for many artists.
Descriptions, creative dialogue depicting artists’ lives and experiences are
documented as the diary does – music does for the ear and heart in a personal and
public way.
Getting this combination right in front of peers and audience is one of the many
roads an artist travels. This forms the basis to create a successful career.
Mark Lang is one of those musicians whose original indie style music combined with
living life as ‘real life experiences’ has put him in front of audiences in the USA and
Australia.
On the back of a tour to Nashville to record his first solo album, Mark leaves his well
loved band ‘Skipping Girl Vinegar” to pursue a solo career – performing at The
National theatre in St.Kilda on June 3rd, 2016.
Mark had two homes growing up – one along Victoria’s beautiful Great Ocean road
and St.Kilda – hubs of entertainment and inspiration for the ‘Young Man from the
Sea’.
The making of music was introduced to Mark at a young age … from various circles –
predominantly his grandmother who helped him write down the boy’s songs on
manuscript.
He took up guitar taught to him by his mother – his gift of writing and performing –
what a lovely sentiment.
Mark spoke about the ‘messages in the music’ he composes and preforms –
especially during the years where his choreographer wife was diagnosed with
cervical cancer – listening to the healing and loving music of Mark’s personal
observations. Some may say his music inspired her healing – love does have the
power to heal.
A very easy relaxed natural style was the tone of the hour as we sat upstairs
amongst the rattle and hum of a few builders attending to the maintenance of the
very beautiful National Theatre.
It was where Mark saw ‘My Friend the Chocolate Cake’ as a young man …. David
Bridie is one of Mark Lang’s great idols in music – and Bridie being one of music’s
great influences in Australia and beyond.
Listening to his soundscapes and melodic tunes combined with a relaxed delivery –
Lang writes and performs to connect with his listening audience.
“We were the epitome of the hard-working. hard livin’ rock & roll band.“(Pat Simmons – Doobie Brothers) “The Doobie Brothers are a mainstream rock band with a few crucial limitations and a knack of making good records despite their flaws.“(Bud Scoppa, Rolling Stone, May 1973) “If you want the hits and only the hits, then this is the Doobie Brothers album for you.“(This review)
This is album review number One Hundred and Eighty Four in the series of retro-reviews of both vinyl and CD albums from my collection.
The series is called Cream of The Crate and each review represents an album that I believe represents significant musical value, either because of its rarity, because it represents the best of a style or styles of a music or because there is something unique about the music, the group or the particular production. The first fifty reviews were based on vinyl albums from my collection, with the following fifty on CD albums from my collection. Links to all these reviews can be found at the bottom of the page.
There are a number of early 1970’s group’s that fairly wear the titles of “classic”. The album pulled from my record shelf (sorry, Crate) and being retro-reviewed features a group that is definitely one of them!
That group is The Doobie Brothers and this is a vinyl album is titled – The Best of The Doobie Brothers. Released on the Warner Brothers label in the USA in 1976 it has the identifying code of BS 2978.It is an eleven track album.
Drummer John Hartman arrived in California in 1969 where he was introduced to singer, guitarist, and songwriter Tom Johnstonand the two proceeded to form the nucleus of what would become The Doobie Brothers. Johnston and Hartman called their fledgling group “Pud” and experimented with lineups and styles as they performed in and around San Jose.
John Hartman and Tom Johnson
In 1970, they teamed up with singer, guitarist, and songwriter Patrick Simmons and bass guitarist Dave Shogren and the Doobie Brothers were born
Patrick Simmons and Dave Shogren
One group that had impressed the boys was the Frisco band – Moby Grape. So without wanting to replicate that group, they did loosely model themselves on the successful three-guitar, three-part vocal harmony sound while blending of the folk-style finger-picking of Pat Simmons in with the rough-hewn rock licks of Tom Johnston.
An additional bonus for the fledgling group was that Johnston also had a vocal style that could best be described as “soulful”, certainly giving the band its initial distinctive sound and helping to define what would become known as the California sound of the 70s.
The band’s self-titled 1971 debut album, “The Doobie Brothers“, yielded no hit singles, and while garnering some interest was in the minds and ears of many listeners, a bit basic. However, the subsequent 1972 album – “Toulouse Street” had in it the fabulous Listen To The Music, which was a killer of a track, but also it had Jesus Is Just Alright, which showed that the group might just not be a one trick pony.
The group’s third album, “The Captain and Me” (1973) established the Doobies as concert headliners on the strength of the hits Long Train Runnin’ and China Grove.
Their fourth album, What Were Once Vices Are Now Habits, which was released one year later, had killer track, Black Water, which became the group’s first #1 track, eventually sold more than 2 million copies.
In 1975, with the release of the “Stampede” album, they included a remake of the Motown classic Take Me In Your Arms (Rock Me A Little While) and the addition of former Steely Dan guitarist Jeff “Skunk” Baxter, resulted in the Doobies becoming one of the most popular rock bands in the country.
Stampede
This album – Best Of The Doobie Brothers starts with their first album and finishes with their sixth album – Takin’ It To The Streets.
Of course not only did the Doobie Brothers continue on, to evolve, change membership and continue on with success, they are still playing today. That is some indication of the longevity due to their ability to find an audience and keep it.
Doobie Brothers membership – 1970 – 1977
1970 – 71
Tom Johnston – guitars, keyboards, harmonica, vocals Patrick Simmons – guitars, banjo, flute, vocals Dave Shogren – bass guitar, guitar, backing vocals John Hartman – drums, percussion, backing vocals
1971 – 72 Tom Johnston – guitars, keyboards, harmonica, vocals Patrick Simmons – guitars, banjo, flute, vocals Dave Shogren – bass guitar, guitar, backing vocals Michael Hossack – drums, percussion John Hartman – drums, percussion, backing vocals
1972 – 73 Tom Johnston – guitars, keyboards, harmonica, vocals Patrick Simmons – guitars, banjo, flute, vocals Tiran Porter – bass guitar, guitar, vocals Michael Hossack – drums, percussion John Hartman – drums, percussion, backing vocals 1973 – 74 Tom Johnston – guitars, keyboards, harmonica, vocals Patrick Simmons – guitars, banjo, flute, vocals Tiran Porter – bass guitar, guitar, vocals Keith Knudsen – drums, percussion, vocals John Hartman – drums, percussion, backing vocals 1974 -75 Tom Johnston – guitars, keyboards, harmonica, vocals Patrick Simmons – guitars, banjo, flute, vocals Jeff “Skunk” Baxter – guitars, backing vocals Tiran Porter – bass guitar, guitar, vocals Keith Knudsen – drums, percussion, vocals John Hartman – drums, percussion, backing vocals
1975 -77 Tom Johnston – guitars, keyboards, harmonica, vocals (missed most of 1975 tour and the fall 1976 tour) Patrick Simmons – guitars, banjo, flute, vocals Jeff “Skunk” Baxter – guitars, backing vocals Tiran Porter – bass guitar, guitar, vocals Michael McDonald – keyboards, synthesizers, vocals Keith Knudsen – drums, percussion, vocals John Hartman – drums, percussion, backing vocals
[Source: Wikipedia]
1971 Track Listing:
Side 1 1. China Grove
2. Long Train Runnin’
3. Takin’ It To The Streets
4. Listen To The Music
5. Black Water
6. Rockin’ Down The Highway
Side 2
1. Jesus Is Just Alright
2. It Keeps You Runnin’
3. South City Midnight Lady
4. Take Me In Your Arms
5. Without You
Sadly the tracks on this album are not laid out chronologically, which I think would have made a lot of sense and allowed the listener to have followed the progression of the group’s music development. The album kicks off with China Grove which was on the 1973 The Captain and Me album. Mind you, while the album claims to cover the first 6 albums, what it means is that it covers the period from the first album through to 1967. There are no tracks included from that first album, the self-titled The Doobie Brothers.
Despite it not being from the first Doobies album it’s not a bad track to kick off with. The track kicks off with dual guitars playing what can be described as “power chords”, a little unusual for the style of music the Doobies generally played up until then – but it certainly makes you sit up and listen and slips into a fine uptempo beat. Written and sung by Tom Johnston the production is nothing special, however, years later the tapes were examined and it was found that substantially the track was laid down in one take, that is, there is very little multi-tracking or overdubbing.
“China Grove” is a township near San Antonio, Texas. Johnston thought he had created a fictional town for the song and later learned it really exists. He explained that the band had been on tour passing through China Grove on the way to or from San Antonio, and he had seen a road sign with the name, but forgot about it.
The track reached number 15 on the Billboard Top 100, and number eight on the cashbox Top 100.
China Grove
The following track, Long Train Runnin’ was also taken from the same The captain and Me Album and reached number 8 on the Billboard Top 100 in the same year. It has a distinctive bass line and a very pretty guitar strum throughout.
Track 3 is Takin’ It To The Streets and came from the final album their 6th album, also titled – Takin’ It To The Streets. It was their first track that featured Michael McDonald on vocals. McDonald (ex-Steely Dan) was brought in because the touring toll had taken its toll on Johnston, and he was unable to perform. While many people think McDonald’s even more soulful style of singing took the Doobies into a far better realm, I can appreciate this change in direction, but still prefer the sound the group had with Johnston at the helm.
Track 4 is one that I find irresistible. Listen To The Music is an out and our killer track. As mentioned previously, the track was lifted from the group’s second album – Toulouse Street. It was really the first track that caught major attention on the radio, resulting in major airplay and giving the Doobie Brothers their first hit, albeit that it only peaked at number 11, it did announce the Doobie Brothers as a music force.
Kicking off with a very similar opening strum to that used on Long Train Runnin’, although more down tempo, it is a perfect track to groove to, and it has a magnificent hook that just begs to be sung along with. I love the middle eight where the subtle flanging gives the whole track a feel of gentleness and being spaced out on a warm summers afternoon. The playing is more than competent, it’s darn fine and the overall production is of a high quality.
Don’t you feel it growin’, day by day People gettin’ ready for the news Some are happy, some are sad Oh, we got to let the music play What the people need Is a way to make ’em smile It ain’t so hard to do if you know how Gotta get a message Get it on through Oh, now mama’s go’n’ to after ‘while
Oh, oh, listen to the music Oh, oh, listen to the music Oh, oh, listen to the music All the time
Well I know, you know better Everything I say Meet me in the country for a day We’ll be happy And we’ll dance Oh, we’re gonna dance our blues away And if I’m feelin’ good to you And you’re feelin’ good to me There ain’t nothin’ we can’t do or say Feelin’ good, feeling fine Oh, baby, let the music play
Oh, oh, listen to the music Oh, oh, listen to the music Oh, oh, listen to the music All the time
Like a lazy flowing river Surrounding castles in the sky And the crowd is growing bigger List’nin’ for the happy sounds And I got to let them fly
Oh, oh, listen to the music Oh, oh, listen to the music Oh, oh, listen to the music All the time
Listen To The Music The following track – track 5, is Black Water and it’s another track I just can’t pass by with only a few comments. Kicking off with gentle chime bells, a subtle viola and some gentle acoustic guitar, this is a fantastic uptempo ballad. Lifted from the 1974 (4th) album – What Were Once Vices Are Now Habits, it was the first of two number 1 hits for that year.
1974
Look there is so much to like about this track, from the beautiful harmonies , especially when it moves into a Capella form – almost a roundel style of singing , through to the superb instrumentation which really demonstrates that the group had thrown off the shackles of being a basic 3-chord outfit. What a terrific track!
Oh, and the viola playing is a striking performance by Ilene “Novi” Novog who is simply referred to as Novi!
Black Water
The final track on side 1 of the album is Rockin’ Down The Highway – and it is by name and by nature! Lifted from the second album Toulouse Street, while to my knowledge it wasn’t released as single and so it certainly didn’t chart. Yet it is one of those tracks where it is very difficult (impossible) not to move your feet in tempo with the track. A classic “Doobie sound”, both instrumentally and vocally – it is a party rocker that would have been played at many parties back in the 70’s.
Turn the album over and on side 2, track 1 is Jesus Is Just Alright By Me. What a fantastic track! Taken from the Doobies 1972Toulouse Street album, it is one of the few tracks on this album not written by anyone in the Doobie Brothers. Originally written as a gospel song by by Arthur Reid Reynolds and first recorded by Reynolds’ own group, The Art Reynolds Singers. It was picked up by a number of group’s mainly because the street slang in the US during the 1960’s used the term “all-right” as meaning “cool”, or it’s more blander interpretation – “very good”.
A good rework was done by the Byrds on their Easy Rider album (1969), and while “rocked up”, their version was still quite down-tempo compared to the version recorded by the Doobie Brothers,which reached number 35 on the Billboard Top 100. Now there is no point beating around the bush, the song has a strong religious message and it might seem a bit odd that theDoobies released it, rocked up or not. Were they in fact hiding their religion behind the drummer (so to speak)?
No!
According to Tom Johnston, “The funny thing about that, we weren’t anti-religious. We weren’t anything. We were just musicians out playing a gig. We didn’t think about that kind of stuff very often. We would be out playing that song when that came out as a single, and all these One Wayers, which was a big movement at that time, would be at the show, and they would run up to the stage with their fingers pointed straight up. At first we didn’t get it, and we finally said, ‘Oh, I know what’s going on.’ So when we would play that song, they would go nuts. They would throw scriptures on the stage, that sort of thing. Little did they know they were trying to enlist the support of the wrong guys.”
Look, I find myself singing along and there is no debate, the track really does rock and is bright, uplifting and the vocal harmonies are as good as on any of their tracks – but I never think of it as a religious piece, I think of it as a damn fine rockin’ piece of Doobie Brothers. Isn’t that enough? Doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo
Jesus is just alright with me Jesus is just alright, oh yeah Jesus is just alright with me Jesus is just alright
I don’t care what they may say I don’t care what they may do I don’t care what they may say Jesus is just alright, oh yeah Jesus is just alright
Jesus is just alright with me Jesus is just alright, oh yeah Jesus is just alright with me Jesus is just alright
I don’t care what they may know I don’t care where they may go I don’t care where they may go Jesus is just alright, oh yeah!
Jesus, he’s my friend I said Jesus, he’s my friend He took me by the hand He let me far from this land Jesus, he’s my friend!
Jesus is just alright with me Jesus is just alright, oh yeah Jesus is just alright with me Jesus is just alright
I don’t care what they may say I don’t care what they may do I don’t care what they may say Jesus is just alright, oh yeah
Jesus Is Just Alright
Track 2 is It Keeps You Runnin’, and more down tempo track lifted from the 1976 Taking It To The Streets album, it garnered a lot of fan support, but it isn’t one of my favourite Doobies tracks despite it being considered good enough to be in the movie Forest Gump.
It is followed by track 3 – South City Midnight Lady. Taken from their 3rd album, the 1973 The Captain and Me, this is a really nice gentle country ballad. South City Midnight Lady is about a drifter and a prostitute. It’s also a beautiful and powerful song with a theme of redemption. The song paints a picture of the drifter in the middle of another hopeless night at the end of another hopeless day.
Up all night, I could not sleep The whiskey that I drank was cheap With shaking hands I went and I lit up my last cigarette. Interestingly Jeff Baxter who at this time was still with Steely Dan played pedal steel guitar on the track. He would soon become a Doobie Brother in 1974. In what was cutting edge use of the new synthesiser technology in 1973, check out the great synthesised effect of a woman whispering at the end.
South City Midnight Lady
The last to final track is track 4 – Take Me In Your Arms. Delving into the sounds of Motown the Doobie Brothers recorded this Holland,Dozier,Holland track for the 1975 Stampede album. It seems as though the guys wanted to sit down and actually recreate the Motown sound which they considered (appropriately) as being very slick.
It seems as though early efforts brought forth some humour when Patrick Simmons is reported to have commented, “At first the band sounded like the Grateful Dead doing the Four Tops. But as the I Ching says, “Perseverance brings good fortune”! Take Me in Your Arms reached a U.S. Billboard Hot 100 peak of number 11 in June of 1975 and number 10 on Cash Box.
It has that hallmark Doobie Brothers uptempo sound with the addition of strings, but I think it is in the overall sound and song delivery that the influence of Motown veteranPaul Riser, who was enlisted to arrange the track, that pours forth and gives the track a fantastic edge.
If you don’t move to this track, you are either dead, or your feet are nailed to the floor – oh, and I love that guitar break!
The final track – Without You, was taken from the album, The Captain and Me. With it, we finish the album with a power chorded track filled with the multiple harmonies of the the Doobie Brothers. The track was actually the B-side of Long Train Running. Lacking a little in “space”, except the middle eight which somewhat saves the track for me, it’s still a fine piece of music and brings this Best Of album to a decent conclusion.
So where does that leave us? Well there are Doobie Brothers fans that like all their music, and there are those that believe it was around 1976 onward that the group really hit it’s peak, and, then there are the third group, of which I fall into, who fervently believe that while the production may have improved as the years went on, it was those formative years from 1971 to 1975/76 that were their halcyon days.
Apart from my belief there was an excitement and even a small degree of rawness that gave their music an vital edge, the other piece of evidence can be found in recent concerts, where it is a lot of the tracks found on this compilation that get requested. The Ultimate Classic Rock web site posted the top 10 Doobie Brothers tracks of all time. Guess what? Only two tracks were post 1976!
One outstanding musical crime is, that the Doobie Brothershave not yet been inducted into the Rock and Roll Hall of Fame, despite lesser acts having been bestowed that honor!
So, the field is wide open, and when you try to put the Doobies into a category you find . . . well they are pop, rock, country, soul and a few more styles as well – and maybe that along with great vocals and an easy going style, they became so popular.
In terms of buying Doobie Brothers albums I have to say my favourite single album is Toulouse Street, but that’s not to say other albums don’t have great music. So in some ways this Best Of The Doobie Brothers album might be the way to go, certainly If you want the hits and only the hits, then this is the Doobie Brothers album for you.
It’s pretty well available throughout ebay and Discogs, and it isn’t expensive.
VIDEOS – Youtube proves to have a wealth of live video clips of the Doobie Brothers, so i have chosen some of the performances of tracks on this album they weren’t discussed in length. https://www.youtube.com/watch?v=m4tJSn0QtME Long Train Running
‘Play Dead Theatre’ presents a fascinating psychological drama about love, hate, and honesty between old friends. We witness the memory of an event from the past as three friends relentlessly pursue their version of an event that has haunted them for different reasons.
The play is simple, uncluttered, and powerful; the writing is taut and clever. Held in an intimate room at the Court House Hotel, we do feel inside the set and breathe in tandem with the actors. In a small venue, the audience is riveted during the peeling back of convenient masks, a physical fight, and unanticipated plot turns that cause us to question what is true, and what purpose confessions serve. The audience sat on the edge of their seats for the entire performance, and enthusiastically chatted about the play afterwards at the hotel’s bar.
Michael Mack plays ‘Vince’, a twitchy vigilante drug user, to perfection. We hate to love him, but his endearing quips and demand for accountability from his mate, Jon, pull us in. Mack’s role embodiment and varied talents are impressive.
And here I must ‘fess up about a personal connection with one of the actors – I know ‘Jon’ played by Adam Hetherington, having directed him in ‘International Stud’ recently. Without dripping of nepotism or familiarity, can I say that I’m already a champion of his acting and he pleased me again in this performance? I am delighted to see him inhabit a menacing, slippery anger in this play, and value the director who stretched him.
We love to hate Hetherington, the glib film maker who renames his tendency for physical force as “excessive linguistic pressure” while he slithers out of the facts. Even his acknowledgement is tinged with daring belligerence.
The typical fight that ensues between the reminiscence of old friends fuelled by alcohol and drugs is a master stroke.
Director Jennifer Sarah Dean does a magnificent job throughout, and blocking a fight that is both scarey and amusing is a counter intuitive coup. Her smart direction gets the best from the script, cast and crew.
Hester Van Der Vyer plays ‘Amy’ with a blithe disdain that defies the audience to guess her cunning twists and turns.
Congratulations to the production |stage manger Ray Bradbury, set designer Aline Brugel, and Callum Robertson’s lighting. The look and feel of this set, a basic motel room, is real and profound.
Less is more, as the armless empty chair is a pivotal point of the triangle as they exchange positions and dance with our points of view.
In fact, the team did so well on the set that on Wednesday night an audience member popped into the bathroom and shut himself in the toilet before realizing. The rumpled bed was matched by a chaotic woman who played Goldilocks with the seats before clumping down the stairs looking for the real toilet during the performance. The free drink with the tickets obviously overrode manners, but it is a tribute to the actors that they managed to soldier on and retain audience attention.
Costumes were consistent with characterization; Van Der Vyver was suitably dressed in legal grey with a burgundy overcoat that suggested the stale blood of despair at men’s behavior. Hetherington was puffed with self importance in collar and tie, while Mack was a faded scruff.
The play’s program was one of the best I’ve seen. Actually, was that the publishing icon Bob Session’s group who were upset that the programs were sold out? Mack, as actor, and creator of Play Dead Theatre Company, is also the graphic designer responsible for this beautiful, efficient piece of origami.
Given the excellence of this play, I am groping for some constructive criticism. Perhaps this conceptually talented group could fix the small detail of a couple of typos by using an administrative support function, like manderey.com.au for text. I would encourage a further season of this play so that more people can enjoy it, but keep the intimate venue.
The Daily Telegraph reported the first meeting of HRH Camilla Duchess of Cornwall and Tom Hiddleston who won fame in the BBC’s great thriller success The Night Manager, which was on air in March in the UK, on Foxtel in Australia and is presently shown in the USA.
The Duchess didn’t mind Tom Hiddleston’s arm on her shoulder.
Obviously the Duchess watched the five-part mini series as this dialogue proves:
“After [BBC Radio 2 host Chris] Evans greeted her with a kiss on the cheek, he introduced the Duchess to Hiddleston, saying: ‘Your Royal Highness, The Night Manager.’
“The Duchess said: ‘Hello Night Manager, how are you? Sunday nights just aren’t the same without you.’
“‘Well I can only apologise unreservedly for that,’ said Hiddleston
“‘But you might come back again?’ the Duchess asked hopefully.
“‘Well you never know,’ he replied. ‘We will have to ask John Le Carré [the writer].’
“‘Well it was brilliant, the Duchess said. ‘Everyone sat gripped.'”
Once again Her Royal Highness showed her good taste.
The following has been received from the Community Broadcasting Association of Australia – who thanks to the 2016 federal budget, has been royally screwed again.
This Government can only get away with this if we, the community, keep quiet.
Please read carefully and assist in any way you can. Without Community Radio, we are stuffed!
CBAA launches campaign in response to cuts in Federal Budget – we need your help !
The Federal Budget has failed to maintain funding for metropolitan community digital radio services in Sydney, Melbourne, Brisbane, Perth and Adelaide. The CBAA has launched a campaign to show just how much support there is for our sector and how important it is to secure our digital future.
The Federal Budget contains cuts of $1.4 million p.a., funding that currently keeps community radio stations broadcasting on digital in 5 capital cities. Community radio’s standing alongside public and commercial broadcasters is at risk.
It’s not a lot of money in the scheme of things but this decision to exclude community broadcasters from digital radio puts our sector’s future at risk.
Because we’re about to go to an election, we think both the Government and Labor will be paying more attention than usual and we plan to be very loud in those key seats that both sides are battling hard for. These seats are won and lost by just a few hundred votes, so every voice counts.
Without this funding community radio will get kicked off digital but we refuse to be left in the last century.
Please, sign here and make sure your friends know about it so they can sign it too. In the midst of a very close election campaign I believe we can turn this funding shortfall around, but the only thing that will make a difference is you, and everyone who cares about the future of community radio.
All I know is this. Politicians, mostly, stand for one thing, and one thing only – being elected. Those who genuinely dare to make a difference and can’t be bought – are in danger of their lives. And will either be killed by a bullet or a smear campaign.
All I know is this. Jesus, whether he was the Messiah, the Son of God, a gifted rabbi, or just another madman in the wilderness, preached a message of love and forgiveness – regardless of the translations, the interpretations or the Chinese whispers – his message, and the price he paid for it, are worthy of my respect, and love.
All I know is this. Shakespeare has the perfect quote to describe any condition of human nature. So does Bob Dylan.
All I know is this. They no longer make films for mature audiences.
All I know is this. It is alright to love something – but you are damned if you love that thing too much.
All I know is this. Today we have at our fingertips on the internet more easily accessed information than any previous generation that inhabited this planet. And yet the ignorance level has never been higher. Who the hell is Paul McCartney? Go fuck yourself.
All I know is this. Lee Harvey Oswald didn’t shoot J.F.K and the men who did got away with it.
All I know is this. None of us have any real idea what’s happening in the world at the moment. We have been purposely misinformed for many years now because the only way to keep the public in line is to have them in a constant state of confusion and chaos. Oh, and hopefully, on drugs.
All I know is this. The War on Terrorism is as calculatingly and cynically futile and convenient as the War on Drugs.
All I know is this. Two of Hollywood’s greatest geniuses, or genii, Charles Chaplin and Orson Welles, were both run out of town. Does that tell you something?
All I know is this. Children’s theatre and pantomimes were the first introduction of many kids like me to the magical world of theatre. And once hooked on it we continued to go back in search of other magical nights. It built a whole future audience for stage shows. Sadly, what we knew as children’s theatre is now as dead as the Wicked Witch. Ding dong.
All I know is this. We owe more than we know to The Beatles. Yeah, yeah, yeah.
All I know is this. The more you see of Life, the less you think you know.
All I know is this. Humility is the open road to God.
All I know is this. More lives had been lost or damaged through manmade religions than all the wars since the beginning of time. God is great. But his organized fan clubs are run by the ignorant and the flawed.
All I know is this. You can’t judge somebody by the colour of their skin, their gender, the size of their wallet, or their religion. We can only truly be judged on the fabric of our spirit.
All I know is this. You can’t make somebody love you.
All I know is this. Success comes to those who persist. If you lean against a closed door long enough eventually it flies open.
All I know is this. Some of the old clichés have become clichés because they hold the truth. Everything in moderation. If you eat, drink, do, or take too much of anything it will harm you.
All I know is this. Anthony Newley was a genius that the world has largely forgotten now.
All I know is this. Everything you learn you learn in the first five years of your life. Then it may take a lifetime to overcome that.
All I know is this. Any battle is hard won.
All I know is this. Much more is achieved by a smile than a threat.
All I know is this. Every mistake we make is an opportunity to learn something. Those of us who don’t learn are destined to repeat it over and over again. Some, sadly, are stuck in Groundhog Day all their lives.
All I know is this. You never lose a friend. They live on in your heart forever.
All I know is this. We’re not here for long, so be kind to each other.
Adelaide born, Melbourne obsessed, cabaret songstress Anya Anastasia is set to premiere a new hour of devilishly unique Cabaret as part of the Melbourne Cabaret Festival. Rogue Romantic, is punchy and hilarious follow up from Anya’s latest award winning show Torte e Mort: Songs of Cake and Death that won awards, hearts and stars all over Australia.
The limited season of this new work will run from Thursday June 23 to Saturday June 25 at the beautiful Space Arts Centre, Prahran.
A once-charming cabaret chanteuse has gone rogue – armed with a biting wit, an appetite for romance and revenge, and a set of lungs you really have to hear to believe. A brand new work from this fearless darling of the Australian Cabaret Stage, Rogue Romantic sees Anastasia’s satirical wit turn personal experiences inside out to create a hilarious and unstoppably romantic Diva, who takes no prisoners.
