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Education Resource Kit

Courtesy of Black Swan State Theatre Company

18 - 22 May 2010

Illawarra Performing Arts Centre

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Director Wesley Enoch Set Design Richard Roberts Costume Design Tim Chappel Choreography Tony Bartuccio Lighting Design Trent Suidgeest Musical Director & Sound Design Peter Farnan Assistant Musical Director Simon Burke Assistant Director Kyle Morrison Cast Aljin Abella, Hollie Andrew, Christine Anu, Jimi Bani, Casey Donovan, Kylie Farmer, Kenneth Ransom & Oliver Wenn. Musicians Simon Burke (Lead Musician), Ben Collins (Sax), Daniele Di Paola (Drums), Andrew Weir (Guitar). Meet the McCrae sisters – four gorgeous singers from country New South Wales whose biggest dream is to become as famous as their Motown idols. It is 1969, and their Supremes cover band is performing in St Kilda’s Tiki Club when the sisters are spotted by a talent scout. Soon they are dreaming of fame, fortune and glamorous international careers. Instead, these Koori divas find themselves in the war zone of Vietnam, entertaining the troops. Based on the true story of his mother’s and aunts’ showbiz careers, Tony Briggs has created a steamy and swinging medley of the highs and lows of family, love, war and the hottest soul music in the jungle of ‘Nam! This new co-production by Black Swan Theatre Company and Company B Belvoir of the hit musical The Sapphires will be bigger and better than ever, and features a stellar cast led by Christine Anu and Casey Donovan. Wesley Enoch directs this feel-good production full of the Motown classics that defined a generation, and our leading ladies are sure to raise the roof of the Playhouse Theatre as they perform such hits as Stop in the Name of Love, Chain of Fools, Sex Machine, Knock on Wood and Respect. “Wesley Enoch is a shining star of the Australian theatre and we are delighted that he is at the helm of this play, with music that spans two continents and several cultures, with a light touch but also a certain sense of pathos.” - Kate Cherry “… a gem of a play … heartfelt and joyous.” - The Sydney Morning Herald Duration: approx 2 hrs 20 minutes (incl interval)

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CONTENT

•Voice and Movement

• Drama Processes

• Drama Forms and Styles

• Drama Conventions

• Cultural Values and Drama Practice

• Historical and Social Knowledge

• Spaces of Performance

• Design and Technologies

• Management Skills and Processes

ASSESSMENT TYPES

• Production

• Response

CURRICULUM CONNECTIONS

• Themes and Ideas

Vietnam War Family Fame Adventure Discrimination Australia’s White Australia Policy Women and war

• Performance and Dramatic Elements

Musical Theatre Presentational Theatre Contemporary Australian Theatre Juke Box Musical

ARTS OUTCOMES Arts Ideas Students generate art works that communicate ideas. Arts Skills and Processes Students use the skills, techniques, processes, conventions and technologies of the arts. Arts Responses Students use their aesthetic understanding to respond to, reflect on and evaluate the arts. Arts in Society Students understand the role of the arts in society. ENGLISH OUTCOMES Reading Students read a wide range of texts with purpose,understanding and critical awareness Writing Students write for a range of purposes and in a range of forms using conventions appropriate to audience, purpose and context. Viewing Students view a wide range of visual texts with purpose, understanding and critical awareness. SOCIETY AND ENVIRONMENT Place and Space Students understand that the interaction people have with places in which they live is shaped by the location, patterns and processes associated with natural and built features.

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WESLEY ENOCH Director

PETER FARNAN Musical Director

As Director: Black Swan: The Sapphires marks Wesley’s debut with the Company. Other Theatre: Kooemba Jdarra: Changing Time, The 7 Stages of Grieving, Murri Love, Life of Grace and Piety. Company B Belvoir: Conversations with the Dead, Capricornia, The Dreamers, Yibiyung, Paul, Parramatta Girls. Ilbijerri Theatre: Headhunter, Shrunken Iris, Rainbows End. Melbourne Workers Theatre: Up the Ladder, 1975. Alphaville: Maralinga. ERTH: The Nargun and the Stars. Sydney Theatre Company: The Cherry Pickers. Bell Shakespeare: Romeo and Juliet. Queensland Theatre Company: Radiance. Malthouse Theatre: One Night The Moon. Company B Belvoir/Malthouse: Black Medea. Playbox/Malthouse: Stolen. Company B Belvoir/Melbourne Theatre Company: The Sapphires. Queensland Theatre Company/Sydney Theatre Company: The Sunshine Club. Legs On The Wall: Eora Crossing. Windmill: Riverland. Wesley also directed the opening ceremony of the 2002 Adelaide Festival. As Playwright: The Story of the Miracles at Cookie’s Table, The Sunshine Club, Life of Grace and Piety, The 7 Stages of Grieving (co-written with Deborah Mailman), Black Medea. Awards: 2005 Patrick White Playwright’s Award for The Story of the Miracles at Cookie’s Table. 2004 Helpmann Award for Best Children’s Work for Riverland. 2005 Helpmann Awards for Best Production and Best New Australian Work for The Sapphires. Positions and Memberships: Wesley has been Artistic Director of Kooemba Jdarra Indigenous Performing Arts and Ilbijerri Aboriginal and Torres Strait Islander Theatre, an associate artist with the Queensland Theatre Company, resident Director at the Sydney Theatre Company, director of the Indigenous section of the opening Ceremony of the 2006 Commonwealth, a member of the Hothouse Artistic Directorate, associate artistic director at Company B Belvoir, a trustee of the Sydney Opera House, a member of the NSW Government Arts Advisory Council and numerous other committees. As Musical Director/Sound Designer: Black Swan: The Sapphires marks Peter’s debut with the Company. Other Theatre: Company B Belvoir/Melbourne Theatre Company: The Sapphires. Malthouse Theatre: Woyzeck, Tartuffe, Sleeping Beauty. Melbourne Festival: DiVino. Melbourne Theatre Company: Rockabye, Moonlight and Magnolias, All My Sons, The Clean House, Ray's Tempest, Take Me Out, Boy Gets Girl, Hitchcock Blonde. Peter has also worked with many other companies, including OzOpera, Hit Productions, Theatreworks, Melbourne Workers Theatre and Back To Back/Theatre Of Speed. Music: Peter previously was a songwriter and guitarist for bands Boom Crash Opera and Serious Young Insects. Peter is about to release a CD of original songs called Maybe This Is Normal. Co-Writer/Producer for companies including: d. rogers, The Sharp, Rachael Kane, Crying in Public Places. Positions: Peter teaches at Box Hill Institute, and was a member of the board of the Arts Industry Council, the Phonographic Performance Company of Australia and co-convener of the Recording Artists’ Coalition.

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TTRICHARD ROBERTS Set Design

TIM CHAPPEL Costume Design

TRENT SUIDGEEST Lighting Design

THHHEEE CCCRRREEEAAATTTIIIVVVEEE TTTEEEAAAMMM Black Swan: Blackrock. Other Theatre: Perth Theatre Company: Dead Funny. Melbourne Theatre Company: Frost/Nixon, Macbeth, Dreams in an Empty City, As You Like It, Hedda Gabler. Sydney Theatre Company: Riflemind. As a freelance and resident designer Richard has also worked with State Theatre Company of South Australia, Company B Belvoir, Playbox Theatre and Nimrod Theatre. Opera: West Australian Opera: The Magic Flute. Opera Australia: My Fair Lady, Die Fledermaus. Victorian Opera: The Coronation of Poppea. TV: The Battlers, Lockie Leonard. Other: Richard established the design stream for WAAPA in 1992. Postions: In 2000 he was appointed Head of the School of Production at the Victorian College of the Arts, which he stepped down from in 2008 to teach postgraduate design part-time.

As Costume Designer: Black Swan: The Sapphires marks Tim’s debut with the Company. Other Theatre: Priscilla Queen of the Desert: the Musical. Sydney Theatre Company: Uncle Vanya, Miss Julie. TV: V.I.P., High Society, Kathy and Mo. Film: The Adventures of Priscilla Queen of the Desert, Today You Die, Lovewrecked, Into the Sun, Red Riding Hood, Boat Trip, Miss Congeniality, The Simian Line, The Velocity of Gary, Brave New World, Mighty Morphin Power Rangers. Tim spent many years designing for feature films, TV, and music videos for artists including Missy Elliott, Cher and Matchbox 20. Awards: Tim won an Academy Award, a British Academy of Film and Television Arts (BAFTA) Award and an Australian Film Institute Award for his costume design for The Adventures of Priscilla Queen of the Desert.

As Lighting Designer: Black Swan: The HotBed Ensemble: pool (no water), The Dark Room. Perth Theatre Company: An Oak Tree. Barking Gecko: Fatty Wombat. Buzz Dance Theatre: Genie(us). Steps Youth Dance: moonwebs & scorched thongs. Riverina Theatre Company: Les Miserables, Summer Rain, GASP – A Gilbert and Sullivan Parody. As Production/Stage Manager: deckchair theatre: Checklist for an Armed Robber, The Lonely Hearts Club. Peach Productions: Irene in Concert. Buzz Dance Theatre: Walk the Fence, Genie(us), Cinderella Dressed in Yella (Korean Tour), The Pretenders (Grand Hyatt Seoul). Lighting Secondments: Billy Elliot (Broadway), High School Musical (Australian Tour). Production Secondments: Wicked (Australia). Workshops: A conversation about Light with Rick Fisher. Positions: WA Department of Culture and the Arts Young People and the Arts Funding Panellist 2009, YCulture Metro Funding Panellist 2009, WAAPA Board 2007–2008. Training: Trent graduated from WAAPA in 2008.

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TTTHHHEEE CCCRRREEEAAATTTIIIVVVEEE TTTEEEAAAMMM TONY BARTUCCIO Choreography

TOM BRICKHILL Sound Designer

KYLE MORRISON Assistant Director

Black Swan: The Sapphires marks Tony’s debut with the Company. Other Theatre: Tony has worked for Malthouse Theatre, Griffin Theatre, Company B Belvoir, Sydney Theatre Company, Melbourne Theatre Company. Commercial Producers: JC Williamsons, Conrad Jupiters, ICA and Crown Palladium. Awards: Theatre: Tony’s work has received Sydney Drama Critics, Mo and Helpmann Awards. TV: Tony’s work has received Helpmann, Logie and Penguin Awards. Positions: Tony is Resident Choreographer and Creative Director Variety and Events for Nine Network. As Sound Designer: Black Swan: The Sapphires marks Tom’s debut with the Company. As Production Manager: Version 1.0: This Kind of Ruckus. As Touring Technician/Sound Operator: Sydney Theatre Company: The Wharf Review: Pennies from Kevin. As Radio Mic Technician: Kookaburra: Little Women. Jacobsen Entertainment: High School Musical. As Lighting Designer: Tamarama Rock Surfers: DNA. Training: Tom graduated from NIDA in 2008.

As Director/Assistant Director: Black Swan: The Female of the Species. Other Theatre: Yirra Yaakin: In The Nyitting Time, Muttacar Sorry Business. deckchair theatre: Memmie Le Blanc. Sydney Theatre Company: Romeo and Juliet. Company B Belvoir: Yibiyung. As Actor: Black Swan: Waiting for Godot. As Performer: deckchair theatre, Barking Gecko Theatre Company, Yirra Yaakin Aboriginal Theatre Company, Sydney Theatre Company. Other: Kyle received a Skills and Arts Development grant from the Australia Council in 2008. Positions: He is currently the Artistic Director for Yirra Yaakin Aboriginal Theatre Company.

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TTSIMON BURKE Assistant Musical Director / Lead Musician

BEN COLLINS Band – Saxophone

ANDREW WEIR Band – Guitar

DANIELE DI PAOLA Band - Drums

THHHEEE MMMUUUSSSIIICCCIIIAAANNNSSS Black Swan: The Sapphires marks Simon’s debut with the Company. Other Theatre: Malthouse Theatre: Sleeping Beauty, Woyzeck. Company B Belvoir/Melbourne Theatre Company: The Sapphires. Music: Simon is a singer/songwriter, engineer, producer and mutli-instrumentalist. As a session musician, Simon has worked with many bands and artists including Something for Kate, Bomba, Paul Kelly, Stovetop, True Live, The Ross Hannaford Trio, The Drifters, Paul Williamson’s Hammond Combo, Benny and the Fly By Nighters, The Swinging Sidewalks, The Shuffle Club and many more. As Sound Designer: Black Swan: The HotBed Ensemble: pool (no water), The Dark Room. Other Theatre: Onward Production: Seven Deadly Sins, Four Deadly Sinners. As Writer and Composer: The Hayman Theatre: Attempts on her Life. Ben has also composed for the West Australian Youth Jazz Orchestra, Mace Francis Orchestra and St Hilda’s Concert Orchestra. Film: Eternus, DOX, Miss Coolbaroo, Time Enough, The Adjuster. Positions: Saxophone Specialist at St Hilda’s Anglican Girls College and Lake Joondalup Baptist College. Other: Mixed Media Dance Project: Reality In a Box. Buzz Dance: Behind The Veneer. Awards: 2008 WA Screen Award for Best Original Score for Dox, 2004 WA Youth Jazz Orchestra Award for Scholarship for Contribution, 2004 Jaxter Artist Award in the Jazz Category for Big Mama Nelson. Training: Ben graduated from WAAPA in 2003. Black Swan: The Sapphires marks Andrew’s debut with the Company. Music: Andrew has played with groups such as Fdel, Natalie Gillespie, Slim Jim and The Fats, The Fix and Annexia Ensemble, as well as recording and touring with his own original project Turn and regularly playing his solo guitar looping shows. He has also worked writing and recording for film and has recently been commissioned to write a piece for contemporary dance company Visible Dance.

Black Swan: The Sapphires marks Daniele’s debut with the Company. Music: Dan has been involved in music of all styles ranging from radical Jewish folk to hip-hop. Currently Dan plays with Perth mainstay jazz group The Fix, and other bands including Fdel, Turn, and Shofar. Dan has also played with Ernest Ranglin, The Dap King Horns, The Little Organ Trio, Futurist, Torqmada, Seahorse Radio, Saritah, Bianca Jade, King Wasabi, Delicatessen, and Pugsley Buzzard.

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TTALJIN ABELLA Joe

HOLLIE ANDREW Julie

CHRISTINE ANU Gail

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Black Swan: The Sapphires marks Aljin’s debut with the Company. Other Theatre: Company B Belvoir/Melbourne Theatre Company: The Sapphires. Little Death Productions: Strangers in Between. TV: Neighbours, Guinevere Jones, Bootleg, Legacy of the Silver Shadow, Blue Heelers, Power Rangers Jungle Fury, City Homicide, Horace & Tina, High Flyers, Noah & Saskia. Film: I Love You Too, Just Punishment. Training: Aljin graduated from NIDA in 2006.

Black Swan: The Sapphires marks Hollie’s debut with the Company. Other Theatre/Music Theatre: Ensemble Theatre: The Ruby Sunrise, Wrong Turn at Lungfish. Arts Asia Pacific: Metro Street. Company B Belvoir: The Adventures of Snuggelpot and Cuddlepie. Echelon Productions: The Last Five Years. Naked Theatre Company: Jumping the Q. Production Company: Hair! TV: Double Take, Supernova Series 1 & 2, Double the Fist, All Saints, Home & Away, CNNNN, Life Support. Film: Somersault, Love and Contempt, Final Draft, Anniversary. Other: Music by Moonlight Concert Series at Sydney Olympic Park. Awards: Hollie was nominated for a 2004 AFI Award for Best Supporting Actress in Somersault, and received a Glug Award for Best Supporting Actress for The Ruby Sunrise. Training: Hollie graduated from WAAPA in 2002 with a Bachelor of Arts (Music Theatre) after completing a Honours degree in Drama at Flinders University in 1999. Black Swan: The Sapphires marks Christine’s debut with the Company. Other Theatre: Riverside Theatre: Rainbow’s End. Christine’s other theatre credits include Bad Boy Johnny and the Prophets of Doom, Little Shop of Horrors, Kissing Frogs, Rent, and Intimate and Deadly. Dance: Bangarra Dance Theatre. TV: Wildside, The Alice, East West 101, Playschool. Christine also was a judge on Channel 7’s Popstars. Film: Baz Luhrmann’s Moulin Rouge, The Matrix Reloaded, Dating The Enemy. Music: Christine has released six solo albums, including the platinum albums, Stylin’ Up and Come My Way. Awards: Green Room Award for Best Actress in a Musical for Rent. Christine is a multi-ARIA Award nominee and recipient, including 1995 ARIA Song of the Year for My Island Home, 1996 ARIA Best Female Artist for Stylin’ Up, 1998 ARIA Best Video for Bazmark’s Now Until the Break of Day with David Hobson. Christine is also an eight time Deadly Award recipient. Special Performances: Christine is one of Australia’s most celebrated entertainers with a long list of special event performances, including the FINA World Swimming Championships, 2000 Sydney Olympic Games, Commonwealth Games, APEC Cultural Performance, APEC Women In Business, Christmas In The House, Olivia Newton-John Charity Gala and G’Day Australia celebrations in New York and Los Angeles. Other: Christine is the co-creator of the children’s brand Chrissy’s Island Family and the successful touring concept shows Ladies of Jazz, Women of Soul and Mura Wakay. Position: Christine Anu is the Director of Stylin Up Entertainment. Training: Christine trained in dance at the National Aboriginal Islander Skills Development Association (NAISDA).

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TTJIMI BANI Jimmy

CASEY DONOVAN Cynthia

KYLIE FARMER Kay

THHHEEE CCCAAASSSTTT Black Swan: Jandamarra. Other Theatre: Sydney Theatre Company: Romeo and Juliet. Company B Belvoir/Malthouse Theatre: Yibiyung. deckchair theatre: Krakouer!. TV: R.A.N. (Remote Area Nurse). Training: Jimi graduated from WAAPA in 2007. Black Swan: The Sapphires marks Casey’s debut with the Company. Other Theatre: Brisbane Festival: Miracle In Brisbane and Women of Soul. TV: Australian Idol Season 2, Message Stick, NITV, Deadlys and regular appearances on Mornings With Kerri-Anne, GMA, The Morning Show and 20 to1. Music: Casey has released one solo album For You, debuting at No. 2 on the ARIA Album Charts. Casey also released the critically acclaimed EP Eye 2 Eye. Radio: ABC Radio: Deadly Sounds and Koori Radio. Festivals: Casey has performed at numerous festivals across Australia, including Dreaming Festival and as part of the Vibe Alive tours. Special Performances: City of Sydney Lord Mayor New Year’s Eve Celebrations, Message Stick’s Ten Year Anniversary, 2006 Melbourne Commonwealth Games, Jobs Australia Gala Dinner and Australian Tourism Business Awards. Awards: Winner of Australian Idol Season 2. Casey is a multi-Deadly Award nominee and recipient including the 2004 Deadly Award for Most Promising New Talent, 2005 Deadly Awards for Artist of the Year and Single of the Year for Listen With Your Heart. Casey received two ARIA nominations for Best Album and Best Single and was awarded an ARIA No.1 award for Listen With Your Heart. Training: Casey studied music at the Australian Institute of Music. As Actor: Black Swan: The Sapphires marks Kylie’s debut with the Company. Other Theatre: Shakespeare WA: A Midsummer Night’s Dream. The Australian Shakespeare Company: Romeo and Juliet. Yirra Yaakin and Sydney Theatre Company: One Day in ’67. Kylie has also performed in Booyi Koora Koora and King Hit. Performances: Yirra Yaakin and the Perth International Arts Festival: Welcome to Country ceremony (2006). TV: Rosalie’s Story, Sa Black Thing, Main Actors. Film: Stone Bros, Roll. As Assistant Director/Co-Artistic Director: Film: Amy Goes to Wadjemup. As Presenter: Marngrook Footy Show, Waabing Time (2010). As Scriptwriter: Main Actors.

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TT KENNETH RANSOM Robbie

OLIVER WENN Dave

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Black Swan: Much Ado About Nothing. Other Theatre: Ensemble Theatre: McReele. Company B Belvoir: Stuff Happens. Queensland Theatre Company: The Female of the Species. Melbourne Theatre Company: Boy Gets Girl, Take Me Out, Metamorphoses, Twelfth Night, Measure for Measure, The Duchess of Malfi, Macbeth, Hamlet Explorations. Shakespeare & Co: As You Like It, The Tempest, Julius Caesar, A Midsummer Night’s Dream, The Comedy of Errors. Mark Taper Forum: Julius Caesar, Life Without Men. Opera and Musical Theatre: Opera Australia: The Abduction from the Seraglio. Theatreworks: Rigoletto. TV: Nightmares & Dreamscapes, Scooter Secret Agent, Code 1114, Attack on the Queen, The Secret Life of Us, Border Patrol, Crash Zone, Backberner, China Beach, Hotel, Fame. Film: Voodoo Lagoon, Crocodile Hunter – Collision Course, Crocodile Dundee in LA, Dead End, There Goes My Baby. Kenneth has been a proud member of Equity since 1996.

As Actor: Black Swan: The Sapphires marks Oliver’s debut with the Company. Other Theatre: Midnight Youth Theatre Company: Oliver, Hello Dolly, The Wiz and Fiddler on the Roof. Oliver’s other theatre credits include Dreams in and Empty City, The Coming of Stork, Thark!, A Winter’s Tale, The Seagull, Three Sisters, Too Young For Ghosts, Laughter on the 23rd Floor, Much Ado About Nothing, The Merchant of Venice, Eat My Monologue, Maj Monologues. TV: Shark Net, 3 Acts of Murder. Film: Victim. As Producer: 504 Producers: Risky Lunar Love, Nobody Cares But You. Training: Oliver graduated from NIDA in 2005 and studied at both Edith Cowan and Curtin Universities, and also completed a course in acting technique at WAAPA.

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It’s 1969, and the McCrae sisters are living together in Melbourne. Gail, the oldest sister, is a believer in tough love and stern protectiveness. Kay is the level-headed second oldest sister who loves her family but who always seems a little lonely. Confident Cynthia loves life and is always up for a laugh, an adventure, or a good time. The youngest sister Julie is timid and naïve, but determined to make her way in the world with her passion for singing, despite the secret she’s hiding. Their talent as a Supremes cover band attracts the attention of an ambitious talent scout with a soft side who immediately sees their potential. He convinces the sisters that they could make it big, and the first step is entertaining the troops in Vietnam. The next thing they know, the girls are in Vietnam. Surrounded by men, mainly soldiers both black and white, Australian and American, Gail, Kay, Cynthia, and Julie risk their lives as they travel the country to spread the Motown sound to the troops. What starts as a way to follow their dreams becomes the adventure of a lifetime as the McCrae sisters sing their way through risky situations, broken hearts, new loves, painful secrets, and life decisions, all with the backdrop of the Vietnam War. Through it the sisters grow closer, old lovers turn up, new friends are made, and the girls survive as best they can, holding on to each other.

AAA NNNOOOTTTEEE FFFRRROOOMMM TTTHHHEEE WWWRRRIIITTTEEERRR It is an honour to present a Yorta Yorta story for the Noongar nation. It’s been eight years since Melbourne Theatre Company included The Sapphires in its Hard Lines play readings program. This opportunity would never have happened if it were not for the efforts of Black Swan’s Artistic Director Kate Cherry who, at the time, was working with Melbourne Theatre Company.

Laurel Robinson, Beverly Briggs, Naomi Mayers and Lois Peeler are the four women who are the inspiration behind this work. The actual group The Sapphires was made up of three cousins, Laurel, Naomi and Beverly. Dramatic licence enabled me to combine the Vietnam experience of sisters Laurel and Lois with the experience Laurel and her cousins shared as The Sapphires. The most accessible link to this story for me was obviously my mother Laurel.

The story of The Sapphires came to life, not just because of Kate Cherry’s involvement but because of the inspiration of many courageous people who have shown the way for me. Uncles and aunties such as Hyllus Maris, Margaret Tucker, Oodgeroo Noonuccal, Bob Maza, Bruce McGuinness, Charlie Perkins and of course my grandmother Geraldine Briggs. It is to the memory of these great

warriors, and many others that I wish to dedicate my first play.

TONY BRIGGS Writer

My intention was to create a show that was fun, theatrically entertaining and something that people of all ages and cultural persuasions could sing, laugh and shake their mooms to. My intention was never to attempt an in your face political piece. For me, four powerful indigenous women on stage together say it all.

As a youngster I remember listening to the music of artists whose message would insist I express myself, hold my head up high and be proud.

Four women who, in the 1960’s felt powerful enough not to let circumstances hold them back is, I think, a lesson for contemporary Aboriginal society: the more we focus on what we don’t have, the less we will achieve; the more we focus on empowering ourselves regardless of whether people give us permission to or not - then I think we will keep on achieving great things.

So, clap your hands, stomp your feet and shake your shimmy to the beat! Have a laugh and have a dance, it’ll make you feel great. Tony Briggs.

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The Sapphires has it all. I find myself remembering the first time I ever heard some of these iconic songs – what I was doing, who I was with and what it meant to me at the time to hear a black woman sing about R-E-S-P-E-C-T. The Sapphires is based on a true story but the story of these four women is as iconic as the music they sang. It tells about four sisters taking on the world and rising above anything that tries to limit them – politics, racism, war, the law or personal pain. We have to be reminded that 40 years ago these women were only recently granted full citizenship in Australia. Getting a passport and travelling overseas was a huge undertaking. Earning equal pay to non-Indigenous people was almost unheard of. History can so easily be forgotten or rewritten but The Sapphires tells of a time when Aboriginal Australians said we can be equal in the world and based on merit rose to be seen as successes. The Arts can show us so much of what we hope to be... Theatre has the chance to create a vocabulary for the future. By telling these stories we find a way forward that we may not have considered. Creativity is as much about telling stories as it is about problem solving - celebration and education. The joy of the rehearsal room has infected this show and infects the audience with every dance step and every song. Indigenous women inspire me with their dedication, enthusiasm and their uncanny knack to achieve. I know I will be in the audience as many times as I can. I find it energising and so enjoyable....even after seeing it a hundred times. Enjoy. Love, Wesley.

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Our show very loosely tracks the evolution of female singing groups and soul music in the 1960s. We start with the innocence of The Chifons and end up in the early ‘70s, after the death of Doctor King and the disillusionment with the Vietnam War with a grittier funk that acknowledged far grimmer realities than those reflected in the girl groups of the early 1960s.

We make some expected stops along the way (Aretha, Motown) but we also touch upon little known gems (for example People Can Make The World A Better Place off an album called ‘James Brown’s Funky People’) and we pay tribute to the legacy of African American singer and Civil Rights activist Paul Robeson, with the folk tune, Congo Lullaby. Most notably we sing Bura Fera, which is a traditional song sung in Yorta Yorta language.

We have attempted to retain a rough and loose feel for our band in keeping with the soul ‘vibe.’ Rather than use modern synthesisers and samplers, we have used instrumentation that you would’ve seen and heard on the back of a truck in Vietnam in 1968.

Peter Farnan, Musical Director

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IIINNNTTTEEERRRVVVIIIEEEWWW ––– LLLIIIGGGHHHTTTIIINNNGGG DDDEEESSSIIIGGGNNNEEERRR You were the Lighting Designer for Black Swan’s HotBed Ensemble in 2009; tell us about what you valued about the experience. The HotBed Ensemble was a wonderful program to be involved with. The camaraderie we established by working on two productions and various workshops throughout the year was different from any other project I’ve worked on. The texts were dynamic, fresh and arty. The collaboration was invigorating because we could give the designs an edge. I think the HotBed Ensemble is a brilliant stepping-stone into the mainstage for Black Swan. I felt a secure freedom to create designs that would be witnessed by our local industry and kick start my career after WAAPA.

The Sapphires is your mainstage debut for Black Swan. Is it a big mental change for you to go from designing for a small venue like PICA to a larger venue like The Playhouse Theatre? The change in venue didn’t involve much of a mental shift, as I have designed at The Playhouse in the past. The adjustment came when balancing bigger budgets, a larger scale production and higher expectations. I am also collaborating with Australia’s top creative artists, which I love! Most importantly, I’m not only thinking about the initial season for this one. I have to remember the show will tour nationally and transfer into a wide variety of theatre configurations. Designing a show, keeping in mind the adjustments that will need to take place in the future has been the biggest learning curve.

When designing for a tour, do you need to make sacrifices? Describe what changes are made between the Perth season and the tour? For The Sapphires I have hired a bunch of intelligent lights, effects and a lighting console, which will all tour with the show. They form the backbone of the design and will be a constant element as we transfer the show. Obviously each venue will have subtle differences, except Sydney, which will have dramatic changes. For most of the tour we play in proscenium arch venues, but Sydney is a large thrust configuration…! As we begin to discuss what happen with the Sydney set design, I am attempting to adapt my design to ensure the original intentions are kept. I know that many adjustments will need to be made along the way, but the original integrity of the design is always my main priority. What would be your dream production to design for and why? I’m not too sure what my ‘dream production’ might be at this point. I am very interested in the idea of large scale musicals and opera, although every project brings interesting challenges and new ideas along with it. The epic scale and design requirements of opera and musical theatre are appealing. The ultimate goal is to win a Tony Award for lighting design on Broadway; see what happens along the way I suppose.

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Music, War and The Sapphires The Sapphires is set against the context of the Vietnam War (called in

Vietnam, the American War).

Middle to Upper Secondary Level Activities Arts Arts in Society English Course Reading Drama Course World War I songs and music were popularized by Oh What a Lovely War. Drama in Society The musical theatre production, Oh What A Lovely War'was first performed at

the Theatre Royal, London, in 1963. The scheme for a chronicle of the First World War, told through the songs and

documents of the period, was given flesh and blood in Joan Littlewood's Theatre Workshop.

Further information can be found about World War One Music & Songs at: http://www.ww1photos.com/WW1MusicIndex.html

Vietnam era anti war music: http://www.jwsrockgarden.com/jw02vvaw.htm

Influence Of Protest Music

Protest music has been with civilization, probably from when time began. I would assume that once a stringed instrument was conceptualized there had to be a troubadour somewhere singing a song with a message. There have been likes Woody Guthrie, Pete Seeger, and Big Bill Bronsy singing songs to encourage union organizers. During the civil rights movement, there were the likes of Harry Belafonte, the Weavers, Peter Yarrow, Josh White and Bob Dylan inspiring AfricaAmericans who wanted nothing more than to exercise their constitutional rights. The antiwar music of the Vietnam era took the children of the 60’s to a different level. Musicians of this generation took theguitar strumming troubadour from the coffee houses, plugged them in, and sent the music and the message into the collegdorm rooms and the homes of the youth of America. This generation was not going to sit idly by while the government lied to the people about what was going on in Vietnam. Moreover, this was the first generation where combat veterans were returning prior to the end of the war and exposing the lies and pretzel logic that put us in Vietnam to begin with. This social climate, plus musicians who became the collective conscience of this generation through their lyrics and music became the foundation of ending a barbaric and unjust war, which the government tried to sweep under the rug by to calling it a 'conflict' or a 'police action'.

Top 10 Pop Songs About War http://top40.about.com/od/top10list s/tp/warsongs.htm

Activity: Reflect on the connection between popular songs and war. The American Civil War, The two World Wars in the 20th Century and the Vietnam War have a musical tradition that tells of the dominant themes of each of these conflicts. In a similar fashion, there is a soundtrack to the Iraq and Afghanistan wars. Research the music of these wars and investigate what the music tells about the times and the major concerns of each.

What is the role of the music in the play? How does the music comment on the dramatic action? Is this play an anti-war or protest play?

“19” By Paul Hardcastle - 1985

It took a British jazz musician/producer to educate much of the American public, particularly young people, about the full horror of the aftermath of the Vietnam War. Much of the film footage comes from American news broadcasts in an era in which the government still allowed true freedom of reporting from war zones. Contrast this with news coverage of the Iraq War.

"In 1965 Vietnam seemed like just another foreign war But it wasn't

It was different in many ways, as so were those that did the fighting In World War II the average age of the combat soldier was 26

In Vietnam he was 19"

http://www.elefanttraks.com/chooser.cfm?view=forum&forumSection=5&forumThread=694&threadStartRow=121


15


Lyrics: “I was only 19” By Red Gum


The Australian group Red Gum recorded an Australian song that searingly captured the war experience from an Australian perspective.

Mum and Dad and Denny saw the passing-out parade at Puckapunyal

It was a long march from cadets. The sixth battalion was the next to tour

And it was me who drew the card. We did Canungra, Shoalwater before we left.

And Townsville lined the footpaths as we marched down to the quay This clipping from the paper shows us young and strong and clean.

And there's me in my slouch hat with my SLR and greens. God help me, I was only nineteen.

From Vung Tau, riding Chinooks, to the dust at Nui Dat

I'd been in and out of choppers now for months. But we made our tents a home, VB and pinups on the lockers

And an Asian orange sunset through the scrub.

And can you tell me, doctor, why I still can't get to sleep? And nighttime's just a jungle dark and a barking M16?

And what's this rash that comes and goes Can you tell me what it means?

God help me, I was only nineteen

A four-week operation When each step could mean your last one on two legs

It was a war within yourself But you wouldn't let your mates down till they had you dusted off

So you closed your eyes and thought about something else.

Then someone yelled out "Contact!"; and the bloke behind me swore We hooked in there for hours, then a God almighty roar

And Frankie kicked a mine the day that mankind kicked the moon, God help me, he was going home in June.

I can still see Frankie, drinking tinnies in the Grand Hotel

On a thirty-six hour rec leave in Vung Tau And I can still hear Frankie, lying screaming in the jungle

Till the morphine came and killed the bloody row

And the Anzac legends didn't mention mud and blood and tears And the stories that my father told me never seemed quite real.

I caught some pieces in my back that I didn't even feel God help me, I was only nineteen

And can you tell me, doctor, why I still can't get to sleep?

And why the Channel Seven chopper chills me to my feet? And what's this rash that comes and goes

can you tell me what it means? God help me, I was only nineteen

More information: http://en.wikipedia.org/wiki/I_Was_Only_Nineteen






http://en.wikipedia.org/wiki/I_Was_Only_Nineteen


16


Background History: Context

The 1960s in context

The 1960s were a decade of political and social upheaval in Australia. Young people challenged the traditional values of their parent's generation and actively opposed the decisions of the government. Women demanded equal rights and others called for racial equality and a new consideration for the

environment. Many more demonstrated against the Vietnam War, conscription and the nuclear industry.

Middle to Upper Secondary Level Activities Arts Arts in Society English Course Reading Drama Course Drama in Society

Many of these protests were part of wider social movements taking place in other Western countries. Advances in communications technology meant that revolutionary ideas and voices of dissent could rapidly be transmitted and received around the world.

Australia's population increased throughout the decade, as European and British migrants continued to arrive. The late 1960s also saw changes to the White Australia Policy, which permitted a small number of skilled Asian migrants to settle in Australia.

Women's rights and the Pill in the 1960s

In the late 1960s, many Australian women began to question the restrictive roles that society had assigned to them. Many women felt that there was more to life than raising children and taking care of the home. Others were dissatisfied at being confined to traditionally 'female' occupations like teaching, administration and secretarial work.

Women marched, protested and pressured governments in a bid to gain equal rights in all spheres of life including the workplace, education, politics and sport.

The contraceptive or birth control pill was introduced in Australia in the 1960s. It had a significant impact on society, granting women greater sexual freedom and allowing them to control when and if they had children. The Pill also sparked much moral debate during the 1960s about pre-marital sex and promiscuity.

Indigenous rights in the 1960s

In a 1967 referendum, Australians voted overwhelmingly to recognise Indigenous peoples as citizens and allow them to be counted as part of the Australian population. This result followed a long campaign by both Indigenous and non-Indigenous Australians, who demanded better rights for Indigenous people and highlighted the poor conditions in which many lived.

The 60s hippie revolution

Throughout the 1960s, many young people became disillusioned by what they perceived to be the shallowness and materialism of contemporary society. Towards the end of the decade, many adopted an alternative 'hippie' lifestyle. Among other elements, the hippie movement included a rebellious style of dress, a reverence for nature, Eastern spiritual philosophy and experimentation with drugs like marijuana and LSD.

These radical changes in society were reflected in the new fashions, hairstyles and styles of music that emerged throughout the decade. While rock 'n' roll retained its popularity, the rise of hippie culture permeated mainstream fashion and music.

17


Background History: Context cont…

The Vietnam War

War broke out between communist North Vietnam and democratic South Vietnam in 1959. America and her allies, including Australia, sent thousands of troops to Vietnam in an effort to stop the spread of Communism. In total, around 50 000 Australians served in the conflict between 1965 and 1972. Many of them were conscripted, which means their military service was compulsory.

Australians became divided over the issue of conscription and whether or not Australia should be involved in the war. Towards the end of the decade, thousands of people demonstrated against the government and some protests became violent. (More detail in the next article)

Politics in the 1960s

Robert Menzies served as Australia's Prime Minister throughout the 1960s, until his retirement in January 1966. He was replaced by Harold Holt, who faced the challenge of defending Australia's involvement in the Vietnam War.

On 17 December 1967, Holt went swimming at Cheviot Beach in Victoria. He was never seen again and two days later was officially presumed dead. His remains have never been found.

After Holt's disappearance, John Gorton was elected as the new Prime Minister. In 1968, in the face of mounting opposition to the war, Gorton announced that no more Australian troops would be sent to Vietnam.

Source: http://www.skwirk.com.au/p-c_s-14_u-189_t-507_c-1876/nsw/history/australia-s-social-and-cultural-history-in-the-post-war-period/social-and-cultural-features-of-the-1960s/1960s-decade-in-context

http://www.skwirk.com.au/p-c_s-14_u-189_t-507_c-1876/nsw/history/australia-s-social-and-cultural-history-in-the-post-war-period/social-and-cultural-features-of-the-1960s/1960s-decade-in-context



18


Background History: The Vietnam War

The Vietnam War was the longest major conflict in which Australians have been involved; it lasted ten years, from 1962 to 1972, and involved some 60,000 personnel. A limited initial commitment of just 30 military advisers grew to include a battalion in 1965 and finally, in 1966, a task force. Each of the three services was involved, but the dominant role was played by the Army.

In the early years Australia’s participation in the war was not widely opposed. But as the commitment grew, as conscripts began to make up a large percentage of those being deployed and killed, and as the public increasingly came to believe that the war was being lost, opposition grew until, in the early 1970s, more than 200,000 people marched in the streets of Australia’s major cities in protest.

By this time the United States Government had embarked on a policy of ‘Vietnamisation’ - withdrawing its own troops from the country while passing responsibility for the prosecution and conduct of the war to South Vietnamese forces. Australia too was winding down its commitment and the last combat troops came home in March 1972. Involvement in the war cost more than 500 Australian servicemen their lives, while some 3,000 were wounded, otherwise injured or were victims of illness.

Above: One of the most famous images of the Vietnam War was captured by Michael Coleridge on 26 August 1967. The image which has been etched on the rear wall of the Australian Vietnam Forces National Memorial on Anzac Parade in Canberra, shows members of 5 Platoon, B Company, 7RAR waiting to be airlifted by US Army helicopters from an area just north of Phuoc Hai.

The South Vietnamese fought on for just over two years before the capital, Saigon, fell to North Vietnamese forces in April 1975, bringing an end to the war which by then had spilled over into neighbouring Cambodia and Laos. Millions lost their lives, millions more were made refugees and the disaster that befell the region continues to reverberate today. For Australia the Vietnam War was the cause of the greatest social and political dissent since the conscription referenda of the First World War.

http://vietnam-war.commemoration.gov.au/vietnam-war/index.php

Find out more with these Useful Links An excellent source of classroom materials http://www.anzacday.org.au/education/activities/activities01.html An overview of key events http://www.anzacday.org.au/history/vietnam/overview.html


19


Background History: Lord, we got a revival

Printed in The Age, September 18, 2009. By Patrick Donovan. Soul is back and it's bringing a modern audience with it. Last week Jimmy Barnes became the most successful Australian solo artist on the ARIA album charts when he landed his ninth No. 1. And he did it not with new rock songs but with covers of old soul, blues and R&B numbers going back to the 1940s. … In February, Barnes will be joined by some of the biggest soul acts on the Motown label, including the Temptations, the Four Tops and the Supremes, at Rod Laver Arena to celebrate the label's 50th anniversary. …Fans aged from 18 to 60 can be seen grooving away to the music at monthly soul nights such as Soul a Go Go and Bama-Lama, while Fitzroy soul-specialist record store Northside is recording its highest-ever sales. … So why is it, when music fans have more new music to choose from than ever before, that soul is on such a roll? It seems that as youth culture splits into more and more urban tribes, people like to cling to sounds and styles underpinned by authenticity. And it helps that soul music transcends age by aiming squarely at the hips. ''This music was always made for dancing and it enthuses each generation who comes across it with its raw energy and vibrancy,'' a professor of organisation studies at the University of Melbourne and avid soul record collector, Graham Sewell, says. ''Pop music is no longer associated with youth. If you are 18 today your parents grew up listening to Duran Duran, the Specials or Madonna. Your mum is just as likely to be standing next to you at a Pink concert.'' Sewell adds that the revival is closely associated with a revival in Mod culture. ''Just look at the thin ties, Fred Perry or Ben Sherman shirts and 'Continental cut' suits on sale in central Melbourne,'' he says. Four Tops founder Abdul ''Duke'' Fakir, who sang on classics Reach Out, I'll Be There and It's the Same Old Song, isn't surprised there is still demand for the classic Motown hits. ''Two years ago when we toured England, we found that half the crowd were 30 and under and they knew every song,'' he says. ''I felt like it was 1966. I call them 'crib babies', because the parents were pumping that music to them in the cribs. [Motown founder] Berry Gordy drove home to the writers: 'You've got to write universal songs that everyone in this world can understand and feel.' And it worked.''

Source: http://www.theage.com.au/news/entertainment/music/lord-we-got-arevival/2009/09/17/1252780396097.html?page=fullpage#contentSwap3

http://www.theage.com.au/news/entertainment/music/lord-we-got-arevival/2009/09/17/1252780396097.html?page=fullpage#contentSwap3

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PPPRRREEE---PPPEEERRRFFFOOORRRMMMAAANNNCCCEEE AAACCCTTTIIIVVVIIITTTIIIEEESSS Background History: Entertaining the troops

Danger and anti-war stance keep celebrities away. Shows now depend on Christian hip-hop groups.

The Guardian, Saturday 24 December 2005

During world war two American troops away from home for Christmas were entertained by Marlene Dietrich, Bing Crosby and the Marx Brothers. Even in Vietnam Bob Hope was guaranteed to put in an appearance. But soldiers in Iraq are more likely to get a show from a Christian hip-hop group, a country singer you have probably never heard of and two cheerleaders for the Dallas Cowboys.

Just as the seemingly intractable nature of the war has led to a growing recruitment crisis, so the United Services Organisation, which has been putting on shows for the troops since the second world war, is struggling to get celebrities to sign up for even a short tour of duty.

It is a far cry from the days following the September 11 2001 attacks, when some of the biggest names in show business, from Jennifer Lopez to Brad Pitt, rallied to the cause. "After 9/11 we couldn't have had enough airplanes for the people who were volunteering to go," Wayne Newton, the Las Vegas crooner who succeeded Bob Hope as head of USO's talent recruiting effort, told USA Today. "Now with 9/11 being as far removed as it is, the war being up one day and down the next, it becomes increasingly difficult to get people to go."

Newton said many celebrities have been wary of going because they think it might be seen that they are endorsing the war. "And I say it's not. I tell them these men and women are over there because our country sent them, and we have the absolute necessity to try to bring them as much happiness as we can."

Fear is also a factor. "They're scared," country singer Craig Morgan, who is in Iraq on the USO's Hope and Freedom Tour 2005, told USA Today. "It's understandable. It's not a safe and fun place and a lot of people don't want to take the chance."

The USO was founded in 1941 as a way of boosting morale for the military. For most of that time Bob Hope, who made his first appearance in 1942 and his last in 1990, was its most recognisable face, famed for putting on Christmas extravaganzas on aircraft carriers and American bases during the Vietnam War. Thousands of performers signed up to play the "foxhole circuit" during the Second World War, but the USO has a much smaller list.

Some of the entertainers still willing to travel are die-hard true believers - rock musician Ted Nugent carried a Glock handgun to shows in Iraq last year and said in a radio interview that he manned a machine gun on a Humvee. But many of the USO's regular performers are fierce critics of the war, among them the comic and star of Good Morning Vietnam, Robin Williams, who told USA Today he would like to return to the Middle East in the spring for what would be his fourth tour since 2002. "I'm there for the [troops], not for W," he said in a reference to the president. "Go, man. You won't forget it. You'll meet amazing people," is his message to stars that ask him about the tours. But the comedian said he mostly tries to keep politics out of the show after he did a few jokes about Bush's brainpower at a base in 2003 and got a chilly reception.

Other critics of the war who regularly perform include the left wing comedian Al Franken (who is headlining the current tour along with Christian hip-hop group Souljahz) and the punk legend and actor Henry Rollins, one of the Bush administrations most vocal critics.

The tradition of beautiful women thrilling the troops has continued - although while Marilyn Monroe and Jane Russell showed up in Korea and Vietnam could boast Raquel Welch, in Iraq they have had to make do with sometime pop singer and reality TV star Jessica Simpson.

http://www.guardian.co.uk/theguardian

21


Background History: Wartime entertainers

Source: http://www.guardian.co.uk/world/2005/dec/24/usa.iraq

Find out more with these Useful Links Idol off to Iraq http://www.smh.com.au/news/music/idol-off-to-iraq/2006/07/03/1151778843289.html Beccy Cole is family kind of girl http://www.abc.net.au/wa/stories/s1620476.htm http://www.artistnetwork.com.au/beccy_cole.html BB Housemate big in Bagdhad http://www.mediaspy.org/report/?s=stint Entertaining the troops http://www.girl.com.au/tom-gleeson-tom-on-comedy.htm http://www.defence.gov.au/media/DepartmentalTpl.cfm?CurrentId=3901 http://www.forcesentertainment.org.au/

Vietnam War 1961 - 1975

Bob Hope John Wayne

Raquel Welch

Gulf War 1990 – 1991

Bob Hope

Steve Martin

Second World War 1941 – 1945

Bob Hope

Duke Ellington the Marx Brothers

Judy Garland

Iraq War 2003 – Present

Dallas Cowboys cheerleaders

Arnold Schwarzenegger Robin Williams

50 Cent Australian Idol Stars

Beccy Cole

http://www.guardian.co.uk/world/2005/dec/24/usa.iraq

http://www.smh.com.au/news/music/idol-off-to-iraq/2006/07/03/1151778843289.html

http://www.abc.net.au/wa/stories/s1620476.htm

http://www.artistnetwork.com.au/beccy_cole.html

http://www.mediaspy.org/report/?s=stint

http://www.girl.com.au/tom-gleeson-tom-on-comedy.htm

http://www.defence.gov.au/media/DepartmentalTpl.cfm?CurrentId=3901

http://www.forcesentertainment.org.au/

22


Background History: Women entertain the troops During the Second World War a number of entertainers travelled to the various battle regions to entertain the troops. One such entertainer was Connie Hobbs, an Australian actress who was working in London when war broke out. Along with her husband, Jack Murray, Connie joined the Entertainment National Service Association and spent the next three years moving from one war zone to the next. Connie recalls: "We went off in a convoy of 22 ships to entertain the troops which included lots of Australians," Connie recalls. "We travelled 47,841 miles through many countries and danger areas, leaving France one week before Dunkirk." Singers and dancers entertaining the troops in Vietnam is a prominent and lasting image from the War. Many Australian entertainers were among those who travelled to the war zone during the conflict. One of the most popular Australian entertainers was cabaret singer Lorrae Desmond (later to became a star of the television show A Country Practice), who performed four ‘tours of duty’ to Vietnam during the 60s and 70s. Another Australian female entertainer to travel to Vietnam during the war was Patricia Amphlett, better known as Little Pattie. During the conflict Australian Government agencies were involved in organising official groups of entertainers to tour Vietnam. “[Some entertainers] went as volunteers with the government-sponsored Forces Advisory Committee on Entertainment, or the Australian Forces Overseas Fund, an initiative of the Returned Services League. Although American volunteer entertainers got $150 a week plus expenses, the Australians received no fee, just a token daily allowance, along with transport, accommodation and a security guarantee.” Security was a key issue for the entertainers as the situation in Vietnam meant that just being there was dangerous. While the best efforts were made to keep civilians safe one Australian entertainer, by the name of Cathy Warnes, was killed during the conflict.

Find out more with these Useful Links

Cathy Warnes http://adbonline.anu.edu.au/biogs/A160588b.htm Australian Women in War http://www.womenaustralia.info/exhib/war/war.html Australian Defence Force: Chronology of Women in the Australian Military www.defence.gov.au/equity/publications/chronology.pdf Australian War Memorial http://www.awm.gov.au

http://adbonline.anu.edu.au/biogs/A160588b.htm

http://www.womenaustralia.info/exhib/war/war.html

http://www.defence.gov.au/equity/publications/chronology.pdf

http://www.awm.gov.au/

23


Background History: Aboriginal Life in the 1960’s

1960 The Western Australian Department of Native Affairs ceases forcefully taking Aboriginal children and

sending them to missions. Aboriginal people become eligible for social service benefits. 1961 At the Native Welfare Conference, ministers agree to strategies to assist assimilation of Aboriginal

people, like removing discriminatory legislation and teaching about Aboriginal culture. 1962 Aboriginal people in QLD, WA and the NT are given the right to vote in federal elections. In NSW the

prohibition on Aboriginal access to alcohol is removed. 1963 Aborigines in QLD are forcibly removed from a reserve to allow for mining; in the NT Aboriginals

petition against mining on the Gove Peninsula; the mining company BHP agrees to provide payments and royalties for use of land in the NT.

1964 In the NT steps are made toward equality, but an ordinance remains that leaves Aboriginal people on

Christian missions and government settlements, about two-thirds of the NT Aborigines, unequal in employment, wages, vocational training and housing.

1965 A QLD act is passed which allows Aboriginal voting, but also allows the Director of Aboriginal Affairs to

detain “assisted Aborigines” for reasons like behaving offensively or attempting to leave the reserve. Charles Perkins becomes one of the first Aboriginal university graduates and leads a freedom ride through NSW in support of Aboriginal rights.

1966 Landmark acts are passed in SA that ban discrimination on grounds of race, colour or country of origin,

and provide land ownership and compensation to dispossessed Aborigines. Aboriginal stockmen led by Vincent Lingiari walk off a station in WA in protest of low wages and poor working conditions.

1967 The landmark 1967 referendum called by Prime Minister Harold Holt allowed the Commonwealth to

legislate with respect to Aboriginal people, and for Aboriginal people to be included in the census. All states except QLD abandon laws and policies that discriminate against Aboriginal people.

1968 Lionel Rose becomes the first Aboriginal to win a world championship in any sport, when he wins the

title of world boxing champion. SA passes a law to end the forcible removal of Aboriginal children to institutions.

1969 All states have repealed legislation allowing the removal of Aboriginal children under the policy of

“protection”. The first Aboriginal delegation goes to New York and presents a statement on Australian Aborigines to the office of the UN Secretary-General.

24


Background History: The Referendum What was the 1967 Referendum in Australia? In a referendum voters are asked to vote YES or NO to a proposed change or amendment to the law or the constitution of a country. The 1967 Referendum in Australia was a national vote to ask people whether two references in the Australian Constitution should be removed. These references discriminated against Aboriginal people as they allowed for them not be counted as people in a national census and not to have the same rights as other citizens under Commonwealth Law. The relevant sections of the Constitution read: ‘51. The Parliament shall, subject to this Constitution have power to make laws for the peace, order and good government of the Commonwealth with respect to:- (xxvi) The people of any race, other than the aboriginal people in any State, for whom it is necessary to make special laws. and 127. In reckoning the numbers of the people of the Commonwealth, or of a State or other part of the Commonwealth, aboriginal natives should not be counted.’ The referendum asked whether the following references should be removed: • The words ‘…other than the aboriginal people in any State…’ in section 51 • The whole of section 127 What was the result of the referendum? 90.77% of people voted YES. It was the highest ever YES vote ever recorded in a national referendum. Under the Constitution, Aborigines were now counted in a census and had the same citizen rights as other Australians. The Commonwealth could now legislate for Aboriginal people, whereas before 1967 each State made its own laws for Aboriginal people. However, many Aboriginal people found little change in the discriminations they faced in daily life.

Find out more with these Useful Links Some classroom activities around the 1967 referendum http://www.curriculum.edu.au/democracy/classroom/new2003/ad_topic4.htm A conversation with Faith Bandler about the 1967 referendum http://www.abc.net.au/gnt/history/Transcripts/s1147114.htm

Source: Company B Belvoir: The Sapphires Education Resource 2005.

http://www.curriculum.edu.au/democracy/classroom/new2003/ad_topic4.htm

http://www.abc.net.au/gnt/history/Transcripts/s1147114.htm

25


Background History: Interview with Tony Briggs

Sparkle, in any colour November 15, 2004

Entertainment not politics was on Aboriginal playwright Tony Briggs' mind in revisiting 1968, writes Robin Usher.

Politics are not Tony Briggs' main concern. They come a distant second to entertainment. The Aboriginal actor and now playwright, perhaps best known for his role in the Stolen Generations play, Stolen, stresses several times that his first play, The Sapphires, is not about the racist persecution of the 1960s.

"It's a celebration," he says of the play, which tells of a four-woman Aboriginal group on a tour of war-torn Vietnam.

"I will never forget the achievements of the '60s and the advances that were made, but this play is not about the racism of those times," he says. "It's for everybody, no matter what their colour."

Briggs makes this declaration during a conversation about the Charles Perkins-led freedom rides of the early '60s and the 1967 referendum that resulted in the vote for Aborigines.

He makes it clear that he knows the Melbourne Theatre Company selected the play by an unknown author to present to Victoria's biggest theatrical audience because of its entertainment values, rather than its politics.

The Sapphires is set in 1968 and its main concerns are the upbeat songs of the period and the women's adventures, which are played live on stage by a four piece (male) band led by ex-Boom Crash Opera musician Peter Farnan. As the song from a later era put it, girls just want to have fun.

Briggs was inspired by his mother, Laurel Robinson, and aunt, Lois Peeler, who toured Vietnam as back-up singers. “Every Aboriginal family I've

ever been involved with knows how to find the humour in any situation because of the sorts of difficulties they have had to overcome.” Tony Briggs

"Racist attitudes were alive and well in Australia," Peeler acknowledges. "There were limited work opportunities and that was one of things that drove us to be entertainers."

But Briggs says the driving force for his writing came from his extended family and he wants to pay homage to their ability always to find humour in life.

"Some of the stories I heard about Vietnam were hair-raising, but they were always told with lots of laughter," he says. "Every Aboriginal family I've ever been involved with knows how to find the humour in any situation because of the sorts of difficulties they have had to overcome."

His aunt agrees, saying that Aboriginal people had "to find the gumption to go out there and be different".

Briggs says the humour in the story-telling was so natural to him that he was surprised that people were laughing when a draft of the play was read at the MTC in 2002.

"It never crossed my mind that non-indigenous people would find it amusing," he says. Even more important than the humour are the songs that drive the plot - classics by The Supremes, The Temptations, Marvin Gaye and Aretha Franklin.

26


Background History: “Sparkle, in any colour” cont…

The play kick-starts with a performance of the high energy Heatwave, the classic by Martha Reeves and the Vandellas. "Every time I hear it, I want to dance and that is perfect for what we are trying to do," he says. Peeler says that, looking back, the decision to go to Vietnam now seems a crazy thing to do. "We weren't prepared for it and the reality of a war raging around you hit home pretty quickly," she says.

Pl i ht T B i

They travelled with American soldiers in helicopters and Jeeps and could see the fighting going on. "We would be travelling through villages at night and suddenly see tracer bullets," she says. "We would turn the lights off and keep driving at ridiculous speeds through a war zone."

The contrast with Australia was the comparative lack of racist attitudes, although some still persisted.

"I don't think the men had seen women for a while so I don't think they cared what colour we were," she laughs. "They were very accepting of us as entertainers and they appreciated what we were doing."

Peeler says she continued travelling after the tour and thinks it opened the door for her to a different appreciation of what was possible to do, although she didn't make any money from the trip.

"But that was the end of the singing. I moved on to other things."

Briggs has been writing the play for the past two years with advice from Patricia Cornelius from the Melbourne Workers Theatre. But now he says that he finds it exhilarating to watch rehearsals of the cast, lead by Deborah Mailman from the television series, The Secret Life of Us.

"They are having so much fun despite the hard work that it can be overwhelming for me sometimes," he says.

The play is directed by Wesley Enoch, who also directed Stolen, but Briggs stresses that it is dominated by the four women characters.

"They dominate every scene and in some ways the guys are there to make up the numbers," he laughs.

Although only two women made the tour in real life, he says he found it liberating as a writer to expand the number of characters. There were four women in the group originally, but only two were available to go to Vietnam.

"The dynamics of the play are much richer with the original number," he says.

His mother and the other two members of the group now live in Sydney, but Briggs says they are keen to be in the audience on opening night.

He is committed to other writing projects next year, including writing a children's television show.

"This has all happened so fast and has been so consuming that I'm looking forward to bringing other projects forward away from the back-burner where I've had to park them," he says.

Source: http://www.theage.com.au/articles/2004/11/12/1100227566726.html?from=storyrhs

http://www.theage.com.au/articles/2004/11/12/1100227566726.html?from=storyrhs

27

PPPRRREEE---PPPEEERRRFFFOOORRRMMMAAANNNCCCEEE AAACCCTTTIIIVVVIIITTTIIIEEESSS Background History cont… Interview with writer Tony Briggs

The following is an extract from an interview with writer Tony Briggs. Interview by Tanya Cawthorne. Q: Tell me about The Sapphires. How did the idea for the play come about? Is it true that it is based on a family story? A: The Sapphires came about from growing up listening to the stories my mother and aunties told. I have a large extended family. My grandmother, who is still alive and in her mid-90’s had a number of children and my mother was the youngest female. The story of The Sapphires actually is a blend of two separate stories I heard when I was growing up. In the late 1960’s my mother and her sister, Lois had both been selected to sing as back-up singers for a band that was playing in the Far East during the Vietnam War. They both travelled to Vietnam, Thailand and the Philippines to entertain the troops. A couple of years before that, my mother and her two first cousins were singing in a successful soul music cover band, called The Sapphires in Melbourne, a band which was headed up by a Maori musician called Pinky Tepaa – and he was really the driving force that led to my mother and Lois going to Vietnam. It’s really funny, because since I started working on the play, I have had people of my mother’s age tell me that they remember The Sapphires and when they used to play at The Tiki Village in Melbourne. Basically, what I did was combine a number of stories together to create what ultimately became the script for The Sapphires. The stories I heard were so inspirational, and I wanted to be able to pay homage to all of them, but it made so much sense to put them together. Q: So what sort of stories did your mother and aunt tell you? A: Mum was actually really blasé about her story. I think the way they see it is that they just loved doing what they did for the fun of it. I don’t think they ever saw their goal as becoming world class performers. The Sapphires, as a band sort of just naturally fizzled out after a few years because the band members started to settle down, get married and have children. Mum did say though, that the trip with her sister to Vietnam was so quick it almost seemed a blur. She did recall a few hair-raising moments though – like the time they were in a military helicopter flying from a gig and they were being shot at constantly.

Q: Tell me about your writing process. How did you go about capturing the amazing stories of your family within the framework of the play?

A: I’ve always been fascinated with history. When I discovered that my own mother was part of such an amazing part if it, I was just so drawn in and felt utterly compelled to write it all down. Being a first time playwright, I was amazed at how incredibly quickly it all happened, but I felt really driven, it was just something I had to do. As daunting as it seemed, I just had to be brave about it and believe in myself. When it came to actually gathering material for the play, I spoke to my mum, my aunties and other relatives as well as doing some research on the period. I already had some writing experience, having written some film scripts and I’ve been working on a documentary project which has required me to write some dialogue for some re-enactment scenes. So, by the time I came to write The Sapphires, I had managed to gain a little bit of experience. Also, being an actor, I have a very good instinct for how dialogue needs to sound, so that also helped me. Q: How long did the project take all together? A: About one and a half to two years. But that wasn’t working on it full time. I’ve had to juggle my acting in between that.

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PPPRRREEE---PPPEEERRRFFFOOORRRMMMAAANNNCCCEEE AAACCCTTTIIIVVVIIITTTIIIEEESSS Background History cont… Interview with writer Tony Briggs

Q: Were you ever worried about how your mum and aunt would react to your portrayal of them in your play? A: No, not really. People need to know that the stories my mother and aunt told me really only served as the catalyst for the inspiration of the play. There’s definitely a lot of artistic license in The Sapphires! It’s more that I have used the essence of their personalities and their stories to create my play, rather than take their stories and directly transfer them into the script. I don’t think they have anything to worry about! Q: Indigenous performers seem to be finally making significant strides in having their stories heard within mainstream Australian culture. How do you feel about this, and is this something you relate to? A: At times, I still feel like I am put in a box a little. It’s one thing to be known as a writer – it’s another thing to be known as an “indigenous writer”. I think there is a danger of creating an elitist sub-culture, but saying that, I feel it is also important to be part of something that enables work like mine to be seen by a mainstream audience. The Sapphires was never intended to be a political piece. I just felt it was a really strong story, with really amazing characters – and that is the important thing, not the fact that they are aboriginal. I think the reason people are finally embracing indigenous art though is because we are finally getting a voice. Whatever is happening though, I’d like to feel that it is a positive thing. Q: What projects are you working on now? A: I am continuing my work on a documentary concept called “Wala Baby”, which means “Water Baby” in English. The idea behind it is to show the diversity of the aboriginal community itself – something that’s generally not understood by the broader community. The documentary will travel around the coastline of Australia and I’m really excited about it and look I’m forward to embarking on the journey ahead.


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Background History cont…

Questions for Laurel Robinson

January 16, 2005 The Sun-Herald

When hair was big and eyelashes lush, three black girls answered phones by day and sang Motown covers at night. Danielle Teutsch meets one of the original Sapphires.

Your all-girl group the Sapphires is depicted in Tony Briggs's play now showing at the Belvoir St Theatre. How did you get your break as a singer?

Photo: Lee Besford

It was the early 1960s, and I'd moved to Melbourne with my cousins Naomi Mayers and Beverly Briggs to work as telephonists. We were all living in a flat in St Kilda and would walk past this club, the Tiki Village, which played Motown music. One day, a man from the club asked us if we sang. We said yes, and he invited us in to try out. He liked our harmonies and _gave us a little spot on the floorshow. Our first uniform was red pleated skirts with white lacy tops. I was only 16 then - we never told our parents. We called ourselves the Sapphires because Naomi had just gotten engaged and had a beautiful sapphire ring.

Had you grown up with music?

Oh yes, we were always singing. My parents and aunties would stage concerts around Shepparton for the local farmers. I was one of eight girls in the family, and we all had a little part to play. They called it the Cummeragunja Choir, after the mission my parents grew up on. My aunt and mother hand-sewed beautiful costumes of sequins and tulle, and my father tapped pennies onto our heels and toes so we could tap dance. It was a very happy childhood. My mum and dad didn't drink, didn't smoke. There was no cursing in our family, and we went to the church every Sunday.

Is it true that Michael Jackson came to visit your family?

My sisters were part of a church youth group in Melbourne (run by Aboriginal pastor Sir Doug Nicholls), and they used to write to all the black stars inviting them to visit. We had singer Harry Belafonte, and tennis player Arthur Ashe and, yes, we had the Jackson Five at my sister's place for a barbecue one afternoon.

So how was the barbie with the Jackson Five?

They were very quiet, very polite. They were just amazed to meet black people in Australia because, of course, they had heard about the White Australia Policy. We gave them hamburgers on rolls. They were happy to have that - I suppose they were sick of hotel food.

How did you end up in Vietnam, performing for American troops?

We'd been performing at the Tiki Village club for a while, and the band invited us to go to Vietnam to perform. Naomi couldn't go because she was getting married, and Beverly was a bit scared. So my sister, Lois Peeler, and I went. I was only 20. I was shy and timid, but we were confident we could do it. I got off the plane in Saigon. It was hot and dirty, and there were military everywhere. We travelled around to give shows at the bases. I did hula, a bit of go-go dancing and some back-up singing. One night we got fired at. I didn't realise what was happening. I thought they were letting off firecrackers. We had to lay down in a gunship and drive out in the dark. I was praying the whole time.

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Background History cont… “Questions for Laurel Robinson” cont…

When did you have your son, Tony Briggs (the writer of The Sapphires)?

I had Tony about a year before I went to Vietnam. I was 19, and got pregnant to a man from Barbados. After Tony was born this really sour matron tried to get me to sign adoption papers because I was too young, and I was Aboriginal. My sister arrived at the hospital and kicked up the biggest fuss. When I was in Vietnam for three months I missed him so much. I carried a blown-up photo of him everywhere. After I returned it was always the two of us, until I met my husband Jerry Robinson, who treated Tony like his own son. We had a daughter together, Felicia.

Did Tony have show business in his blood from the beginning?

When he was aged two, he would get up at 5am and sit in front of our black-and-white TV, with a tennis racket, waiting until The Monkees came on so he could play and sing along. When Tony was in boarding school my husband and I lived overseas because of his job in the air force. Those were the years I missed out on being with Tony.

Do you regret being away from him so much?

Yes I do. To this day.

What inspired Tony to write a play based on your life?

We were sitting on the porch one day and he asked me to tell him about those early days. He said "Mum, that would make a good story." When it came to the opening night of the show, me, Lois and Beverly were all together. We pulled out our hankies and started crying as soon as the music started up. I was so proud of Tony.

Do you still keep in regular contact with the other Sapphires, Beverly and Naomi?

We've stuck together our whole lives. The three of us work together at the Aboriginal Medical Service in Redfern now. We still sing a bit, at funerals and parties. There's a bit of song left in us.

Source: http://www.smh.com.au/news/Entertainment/Questions-for-LaurelRobinson/2005/01/16/1105810756950.html

http://www.smh.com.au/news/Entertainment/Questions-for-LaurelRobinson/2005/01/16/1105810756950.html


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PPPRRREEE---PPPEEERRRFFFOOORRRMMMAAANNNCCCEEE AAACCCTTTIIIVVVIIITTTIIIEEESSS Background History cont…

The Sapphires by Tony Briggs

Company B Belvoir St Theatre, January 9 By Bryce Hallett January 11, 2005 Page Tools

So much is known about the political and cultural ferment of the '60s, be it the anti-war

protests, sexual liberation or the stealth of the Menzies government.

But amid the headline-making issues and reportage of the day there are myriad personal stories that might easily disappear were it not for our writers and artists. The late '60s was a time of intense lobbying for Aborigines to be given the same rights and freedoms of all Australians. Discrimination was rife and legislative change was in the wind.

The Aboriginal actor and writer Tony Briggs has hit on a gem of a play, The Sapphires, as he taps into the true story of the MacCrae sisters and how they came to perform in an all-girl group for the troops in Vietnam in 1969. Briggs mixes fact and fiction to lay bare and flesh out his celebratory tale which, though political in patches, is focused on the personal.

Star line-up ... The Sapphires realise their dreams.

Set against the Vietnam War and a year or so after the referendum giving citizenship rights to Aborigines, The Sapphires is steadfast, upbeat and proud. As newly discovered stars cast in the mould of a Motown cover group, the girls - played with fun-loving flair by Deborah Mailman, Rachael Maza, Ursula Yovich and Lisa Flanagan - shake off their struggles and cares. And why wouldn't they, given the pulse of the music and Dale Ferguson's sparkling costumes?

There's no doubting the difficult and painful circumstances from which the characters have come but, by and large, Wesley Enoch's assured staging, Peter Farnan's tight music direction and Tony Bartuccio's snappy choreography affirms life and the realisation of dreams.

The production is powered by four truly engaging performers. Mailman is appealingly fiery and daring while Yovich is ever eager, sensitive and ready for a challenge. As the upright, protective sister Gail, Maza is terrifically flinty and covertly tender. Flanagan has just the right blend of loyalty and spark. They all seek attention - and affection - and though they speak of inequality and struggle, apprehensions and fears vanish when they front the band and cut loose in song. The effect is one of resolve and abandonment; passion and release.

Certainly racial issues prejudice and pleas for acceptance are part of the package but the play keeps politics and danger mostly at the edges. It also eschews the crusading zeal that characterised such equally irrepressible musical works as Bran Nue Day and Corrugation Road.

The play's deadpan humour and grit is established in the first scene in St Kilda's Tiki Club when a typically overripe agent-cum-manager Dave (Christopher Pitman) promises to make the Koori sisters a famous Supremes cover band. It doesn't bother him that he can't pronounce Cummeragunga - the place they are from. Accompanied by a four-piece band they do wonders to get into the rhythm and heart of songs by Aretha Franklin, Diana Ross and the Supremes, Marvin Gaye and James Brown. They deliver rousing versions of Stop in the Name of Love, I Want You Back and Respect. Most moving is their rendition of the song Ngarra Burra Ferra, which reinforces their identity and ties beneath the sequins, feathers and wigs.

The supporting male cast, including Wayne Blair as the hapless Jimmy and Pitman as try-hard Dave, are superb, as is Aljin Abella as the rogue Joe whose story at the last is resonant and touching. But it's Mailman, Maza and company who seize attention and make you swear they are the hottest of hot soul divas. The Sapphires is heartfelt and joyous.

Source: http://www.smh.com.au/articles/2005/01/09/1105205980903.html

http://www.smh.com.au/articles/2005/01/09/1105205980903.html

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The Sapphires honoured as Best New Australian Work for 2005

9 August 2005

Acclaimed play The Sapphires by actor and playwright Tony Briggs has taken out the 2005 Helpmann award for Best New Australian Work.

Entertainer and Helpmann winner, Paul Capsis, presented Mr Briggs with the award last night at the 2005 Helpmann award ceremony in Sydney. The Australia Council for the Arts proudly sponsors the Best New Australian Work award.

'Thank you for bringing The Sapphires to Australian audiences,' said Australia Council CEO Jennifer Bott, congratulating Mr Briggs on winning the Best New Australian Work award, as well as the Helpmann award for Best Play.

'This is a unique Australian story magically transformed into a new Australian work for the stage - a story told with generosity, humour, love and music,' she said.

The Sapphires is set in Vietnam in the 1960s. It is the story of Briggs' mother and aunts, a group of four talented Aboriginal singers who left Australia to entertain troops during the Vietnam War.

A Melbourne Theatre Company production directed by Wesley Enoch and starring Deborah Mailman, Rachael Mazza, Lisa Flanagan and Ursula Yovich, The Sapphires played to packed houses in Sydney and Melbourne, becoming a favourite with both audiences and critics.

'Thanks to Melbourne Theatre Company, Company B and to audiences in Melbourne and Sydney,' said Mr Briggs, accepting the award.

The Sapphires beat strong competition to win the Best New Australian Work Award from finalists: Through the Wire by Ros Horin; Eating Ice Cream With Your Eyes Closed by David Brown; and Madeline Lee with music by John Haddock and text by John Haddock with Michael Campbell.

The Best New Australian Work Award honours outstanding work by an Australian author, composer, book writer or lyricist. The Australia Council supports and encourages the creation of new Australian work by Australian artists and is proud to sponsor the award for the first time in 2005.

Source: http://www.australiacouncil.gov.au/news/news_items/the_sapphires_honoured_as_best_new_australian_work_for_2005

http://www.australiacouncil.gov.au/news/news_items/the_sapphires_honoured_as_best_new_australian_work_for_2005


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Characters:

GAIL: (29) The oldest Sapphire. She has a tough love approach and pushes her sisters to make the most of their talents. The bossy self-appointed manager who is stern, to the point and will never take a backward step.

KAY: 27) The level headed one. She is intelligent, caring, and strong. Loves and protects her sisters

unconditionally especially her baby sister Julie. A lonely sole, she is looking for something or someone to replace the emptiness inside of her.

CYNTHIA: (24) Loves life and enjoys every minute of it. She is a cheeky risk taker with a rebellious side to her.

Always good for a laugh with her tongue in cheek sense of humour. She glows with an outward confidence that is attractive to all around her. Especially the men. But her loyalty and complete adoration are reserved for only one man. Jimmy.

JULIE: (19) The youngest of the sisters with a Passion for singing. She can stop a room with her voice that is

as sweet as honey. Timid and naïve, she has a fire and determination in her belly for independence. She is terrified of being pregnant.

DAVE: The talent scout. Fancies himself as a mover and shaker. He has a heart of gold and thinks he has

everything under control but can’t quite get it right. He falls in love with Gail. JIMMY: Cynthia’s ex fiancée. Cheeky, frivolous and lovable. Conscripted into the army. He tries to rekindle the

romance with Cynthia again after a two year disappearing act. JOE (TrânVăn Hai): A fourteen -year -old Vietnamese boy Orphaned by the war. Cheeky, determined and very

street smart. He develops a friendship with Dave and the girls while searching for his family. ROBBY: A black American soldier. Kay’s ‘black angel’ arrives from the heavens and sweeps her off her feet. SNAKE: A white American soldier. He is a sinister and sleazy character with evil intentions.

MP: Military police (American soldiers).

TT

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The Style – Juke Box Musical

THHHEEE FFFOOORRRMMM &&& SSSTTTYYYLLLEEE

The Form – Realism Features of Juke Box

Musicals Features of Realism Influenced by the emergence of psychology as a study. A jukebox musical is a stage or

film musical that uses previously released popular songs as its musical score. Usually the songs have in common a connection with a particular popular musician or group — either because they were written by, or for, the artists in question, or were at least covered by them. The songs are contextualized into a dramatic plot: often the biographical story of the performer(s) whose music is featured, although in some cases the plot doesn't revolve around the particular group at all. Although jukebox musicals had achieved success for years (for instance Buddy - The Buddy Holly Story, the musical about the life of Buddy Holly which ran in the West End for 13 years from 1989 to 2003) their recent surge in popularity was led by the success of Mamma Mia!, built around the music of ABBA.

The most dominant form of theatre in the last 100 years. Sought to create drama without conventions or abstractions. Renounced idealised or prettified settings, contrived endings, stylised

costumes and performances. Likeness to life is the general goal. Creation of believable characters and situations which give the illusion of

real life. A true representation of human experience. Audience suspension of disbelief. Realism began in the 19th Century with a number of attempts to move

away from melodrama which had dominated the stages of the world. Stanislavski pioneered realism with his scientific approach to acting. Other

practitioners to create realistic theatre in its early stages were Ibsen and Chekhov. Later continued with playwrights such as Tennessee Williams and Arthur Miller.

Major Developments of Realism August Comte (1798-1857), often considered to be the "father of

Sociology," developed a theory known as Positivism. Positivist (the doctrine that recognizes only natural phenomena or facts

that are objectively observable) Everything of a speculative, inferential, or metaphysical nature is declared

illusory and rejected Knowledge derived from metaphysics and from theology was the

"nonsense" Doctrine of materialism the facts of the universe could be described in

physical terms and explained by the properties of matter and energy The critical and commercial success of jukebox musicals has been uneven. Some (such as Lennon) have closed after a short season, while others (e.g. Movin' Out, Mamma Mia!, and Jersey Boys) become hugely successful. The idea of using familiar songs, with or without new lyrics, in a stage production dates back at least to the Beggar's Opera of 1728, sometimes called "the first musical."

All knowledge is derived from sensory experience Among the Comte’s ideas was an encouragement for understanding the

cause and effect of nature through precise observation. Charles Darwin published The Origin of Species in 1859, and creators a

worldwide stir which exists to this day. Darwin’s essential series suggested that life developed gradually from common ancestry and that life favoured "survival of low fittest." The implications of Darwin's Theories were threefold: •people were controlled by heredity and environment • behaviours were beyond our control (being determined by our heredity

and environment) • humanity is a natural object, just another part of nature rather than being

above all else or special (In conflict with traditional and Christian world views of mankind as special).

Karl Marx (1818-1883) in the late 1840’s espoused a political philosophy arguing against urbanization and in favour of a more equal distribution of wealth.

Source: http://en.wikipedia.org/wiki/Jukebox_musical

Source:

http://web.archive.org/web/20040224092941/http://www.newberry.edu/theatre/theatre/THE+110/REALISM+AND+NATURALISM.htm

http://en.wikipedia.org/wiki/Jukebox_musical


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A list of jukebox musicals

The Night That Made America Famous (1975), the songs of Harry Chapin Elvis (1977), music of Elvis Presley

Leader of the Pack (1984), music of Ellie Greenwich Buddy – The Buddy Holly Story (1989), music covered by Buddy Holly (including many early rock "standards")

Return to the Forbidden Planet (1989) Forever Plaid (1990)

Smokey Joe's Cafe (1995), music of Leiber and Stoller Boogie Nights (1997), music of the seventies

Disco Inferno (1999), music of the 70s era Mamma Mia! (1999), music of ABBA

Love, Janis (2001), music of Janis Joplin We Will Rock You (2002), music of Queen

Our House (2002), music of Madness Movin' Out (2002), music of Billy Joel

The Boy from Oz (2003), music of Peter Allen Tonight's The Night (2003), music of Rod Stewart

On the Record (2004), music of the Walt Disney Company Lennon (2005), music of John Lennon

Good Vibrations (2005), music of The Beach Boys All Shook Up (2005), music of Elvis Presley

Jersey Boys (2005), music of Frankie Valli and Four Seasons Hoy No Me Puedo Levantar (2005), music of the Spanish group Mecano

Daddy Cool (2006), music of Boney M Rock of Ages (2006), music of the 80s era.

The Times They Are A-Changin' (2006), music of Bob Dylan The Onion Cellar (2006), music of The Dresden Dolls

Never Forget (2007), music of Take That The Slide (2007) music of The Beautiful South

Besame Mucho (2005), Mexican and Cuba Boleros Various Artist Mentiras, the Musical (2009), Mexican song from 80s era Various Artists

Saturday Night Fever (2004), music of Bee Gees Back To The 80's (2005), Music of the 80s era

Is The Sapphires a jukebox musical?

This play uses popular music to underpin the dramatic action.

How, is this, an effective way to set context and create mood and atmosphere in a theatrical performance?

PPPRRREEE---PPPEEERRRFFFOOORRRMMMAAANNNCCCEEE AAACCCTTTIIIVVVIIITTTIIIEEESSS The Style cont. – Juke Box Musical

Jukebox Musical: n. a theater show built around popular songs.

Source: http://www.doubletongued.org/index.php/dictionary/jukebox_musical/

http://www.doubletongued.org/index.php/dictionary/jukebox_musical/

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PPPRRREEE---P The Set Designer PPEEERRRFFFOOORRRMMMAAANNNCCCEEE A

Also known as scenic design or production design. AACCCTTTIIIVVVIIITTTIIIEEESSS Creation of scenery for theatre, television, or film productions. Responsible for creating a visually appealing set that conveys

the production's concept. The Set Design Background in performing arts production and set design

May also have experience in architecture, interior design, and fine art. Needs to study the script carefully, and have a good understanding of the time period and location of the production. The director of the production usually has a specific vision or

concept for the set design, and asks the set designer to work within these standards. However the set designer has a lot of artistic liberty when creating the scenery design, lighting, and overall look in regards to shape and colour.

Sometimes the set designer also oversees the prop creation,

costumes, and makeup. Creates the ideas for the set design, but others are responsible

for producing it. Prepares scale models of the set, sometimes using computer

design. The Production Manager is responsible for realising the set

designer’s design on time and on budget When the set is ready to be constructed, the set designer

oversees the work of prop masters, scenic painters, and carpenters. The set designer works closely with the director throughout this whole process.

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The Costume Design: By Tim Chappel

Middle to Upper Secondary Level Activities

Arts Ideas, Skills & Processes Technology & Enterprise Processes

Drama Course Processes

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Publicity

In order to have some sense of the story read through the publicity copy below. Conduct a class brainstorm (appendix 1) in response to the copy below. As a class discuss what this says about the direction of the publicity campaign and what improvements could be made. Are student’s able to identify the target audience? How? Are student’s able to identify the form of the theatre? How? After seeing the show ask students if the copy was a true reflection of the play, ask them to record what was ‘true’ and if anything was ‘misleading’.

Collect and Study print advertisements for The Sapphires In journals, students should record what they notice about the advertisements. Consider; colour, line, balance, slogans, images, font size and style. Draw and complete a PMI chart (appendix 1) in response to the various advertisements. As a class, discuss what the advertisements say about the creative direction of the promotional campaign and what improvements could be made. Ask students to individually design their own print advert focusing on the symbolic aspects of colour, line, texture, balance, images and words. On the back of the poster students should write what they hope to achieve with their poster; what response do they expect, what impact they hope to achieve? Students may choose to use pencil/textas/paint and paper or computer programmes. As a follow up it is suggested that all posters are placed around the room for all students to see. Each student presents their designs and justification to the rest of the class. Feedback can be recorded in Journals. List other media through which The Sapphires could have been advertised and discuss which students believe to be the most successful – Justify!!!!

NB: After students have seen the show it is worthwhile asking them how well the print images reflected the form/style and story of the play.

Middle to Upper Secondary Level Activity Drama Course

Management Skills & Processes Production

English Course Reading Writing

Arts Ideas Skills & Processes Responses Technology & Enterprise

Processes

The Sapphires by Tony Briggs

18 May – 22 May 2010 Illawarra Performing Arts Centre Director Wesley Enoch Set Design Richard Roberts Costume Design Tim Chappel Choreography Tony Bartuccio Lighting Design Trent Suidgeest Musical Director & Sound Design Peter Farnan Assistant Musical Director Simon Burke Assistant Director Kyle Morrison Cast Aljin Abella, Hollie Andrew, Christine Anu, Jimi Bani, Casey Donovan, Kylie Farmer, Kenneth Ransom & Oliver Wenn. Musicians Simon Burke (Lead Musician), Ben Collins (Sax), Daniele Di Paola (Drums), Andrew Weir (Guitar). Meet the McCrae sisters – four gorgeous singers from country New South Wales whose biggest dream is to become as famous as their Motown idols. It is 1969, and their Supremecover band is performing in St Kilda’s Tiki Club when the sisters are spotted by a talent scout. Soon they are dreaming of fame, fortune and glamorous international careers. Instead, these Koori divas find themselves in the war zone of Vietnam, entertaining the troops. Based on the true story of his mother’s and aunts’ showbiz careers, Tony Briggs hascreated a steamy and swinging medley of the highs and lows of family, love, war and the hottest soul music in the jungle of ‘Nam! This new co-production by Black Swan and Company B Belvoir of the hit musical The Sapphires will be bigger and better than ever, and features a stellar cast led by Christine Anu and Casey Donovan. Wesley Enoch directs this feel-good production full of the Motown classics that defined a generation, and our leading ladies are sure to raise the roof of the Playhouse Theatre as they perform such hits as Stop in the Name of Love, Chain of Fools, Sex Machine, Knock on Wood and Respect. “Wesley Enoch is a shining star of the Australian theatre and we are delighted that he is at the helm of this play, with music that spans two continents and several cultures, with a lighttouch but also a certain sense of pathos.” Kate Cherry “… a gem of a play … heartfelt and joyous.” The Sydney Morning Herald Duration: approx. 2 hrs 20 minutes (incl interval)





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As a Publicist

The Sapphires is Realism with a Juke Box Musical

Style.

Middle to Upper Secondary Level Activity Drama Course

Activities:

In small groups, investigate the elements of Realism and identify which elements apply to the play. Locate specific scenes, events or characters which demonstrate them.

Compose two publicity flyers and posters for the play, each

one foregrounding a different genre reading of the play – that is, one flyer promoting the play as Realism, and the second promoting it as a Non-Realism. Pay attention to both the visual and verbal elements of your compositions.

Present a talk to the class, explaining your posters and flyers.

Management Skills & Processes Production

English Course Reading Writing

Arts Ideas Skills & Processes Responses Technology & Enterprise Processes

Social and Historical Contexts Allow some time for library research.

The Context Middle to Upper Secondary Level Activity Drama Course

Historical & Social Knowledge English Course

Reading Writing Speaking Listening

Arts Ideas Skills & Processes Arts in Society Society & Environment Culture

Place Space

Activities: What do you know or what can you find out about: Tony Briggs Life in Australia in the 1960’s The Vietnam War

The Supremes

Australia’s White Australia Policy Discuss in small groups why theatre is a good forum to tell a story Bring your thoughts back for whole class discussion

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PPPOOOSSSTTT PPPEEERRRFFFOOORRRMMMAAANNNCCCEEE AAACCCTTTIIIVVVIIITTTIIIEEESSS

Immediate Reactions After viewing the play set aside time for class discussion. Consider the

following aspects of the play, record comments on the class board and encourage students to copy them into their journal.

What were the strengths and weaknesses of The Sapphires and how did

they impact on the audience?

Which scene was the most powerful of the production?

In what way was it the most powerful? - Explain and support with evidence.

Production Elements Performance Elements

Strengths

Impact on Audience

Weaknesses

Impact on Audience

Middle to Upper Secondary Level Activity Arts Responses Drama Course

Outcome 3 English

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Design Roles in The Sapphires

For each of the following design roles, explain using three specific examples, how each role added meaning to the action or your understanding of context, theme or other aesthetic understandings of the drama event.

Design Role Technique What did this contribute to the performance?

One

Two

Lighting

Three

One

Two

Sound

Three

Middle to Upper Secondary Level Activity Arts Skills & Processes Drama Course Drama Processes

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Design Roles in The Sapphires

Design Role Technique What did this contribute to the performance? One

Two

Costume

Three

One

Two

Set Design

Three

One

Two

Make up & Wigs

Three

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Middle to Upper Secondary Level Activity Arts Responses Drama Course Responding

Drama Activities: Writing the review

Before we write a review on a play, it is important to clearly address key aspects of the performance. Use this framework to help collect and address your ideas as an audience member.

Writing the review

Introduction

Provide background information on Briggs Name play title and playwright Briefly state historical context of play

Style

What style is The Sapphires? What features does this play have? Any conventions? (think about Wesley Enoch’s use of music, sound or lighting)

Context

What was the purpose of the play (e.g. educate, inform, entertain?) What do you think Brigg’s hoped to achieve with this play? Do you think that Wesley Enoch transferred this onto the stage? What were central issues, themes and values highlighted in the production?

Performance!

Discuss the strengths and weaknesses of one performer in the play (e.g. verbal, non verbal and characterisation)

Justify your points by using examples from the performance

Now pick one design and production element (e.g. lighting/music) How was it used in the performance to help enhance issues? Use examples to explain key choices made by the Designer.

Conclusion

Discuss and evaluate the effectiveness of this performance What sort of audience impact did it make?

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Drama Activities cont: Directing The Sapphires

Middle to Upper Secondary Level Activity

Read the comments from Wesley Enoch’s notes to the 2005 production of The Sapphires. How is this production of

the play an example of oral traditions?

In what ways is this a history play?

How does theatre do its

“job of informing differently”?

In what ways is theatre “a

mirror” and not “a magnifying glass”?

What was the

referendum that Enoch referred to? What is its significance to this play?

Writing The Sapphires

What other stories are

waiting to be told?

What are the ways that this production is “fun”?

What is “fun”?

Arts Skills & Processes Drama Course Processes

From the Director The Sapphires is one of many true stories that I have directed in my career. True stories have a lot of authority in Aboriginal culture. In our oral tradition, true stories speak our history. Today, theatre continues that tradition of documenting history for us. We can’t rely on the news media to tell us the truth. And I think it is ironic that news media are so busy entertaining us that it becomes the job of entertainers to inform us of the world. Our perceived roles have swapped over. Of course, theatre does its job of informing differently. The theatre is more concerned with broad truths than narrow facts, more about being a mirror than a magnifying glass. The truth that I personally take from The Sapphires story is the idea that four young women felt powerful enough – given the circumstance of the late 1960s, only a few months after the Referendum – to say: ‘We shall go to another country and we will be the best singers we can be’. They did not let things hold them back. And I think there is a lesson for contemporary Aboriginal society there too: the more we focus on what we don’t have, the less we will achieve; the more we focus on what we want and where we want to go – and feel empowered regardless of whether people give us that power or not – the more we will achieve great things. Wesley Enoch Source: http://www.belvoir.com.au/341_prod_detail_general.php?production_id=54

From the Writer The story of The Sapphires is such an inspirational one that I had to share it with everybody. It had to be told. Too often we take for granted the experiences of our elders and the wealth of knowledge they are willing give us. If we just ask the right questions and listen to what they tell us, a whole new world can open up. This is exactly what has happened for me. The inspiration for this story comes not just from my mother and three of her relatives, but from many courageous people of their generation. This story is my way of paying homage to those people who have cleared the path for the following generations to pursue their dreams and make them come true. People such as the late Hyllus Maris, Bob Maza, Brian Syron, Charlie Perkins, Oodgeroo Noonuccal, Bruce McGuinness and Margaret Tucker. My intention was to create a show that was fun. Something people of all ages could dance and sing along to. As a youngster I grew up listening to all kinds of music and seeing all kinds of images that I couldn’t always relate to. But what inspired me the most were the tunes and images magically created by the Motown team and other creators of the soul classics of that era. I would listen to the stories in their songs and they would tell me to express myself, to hold my head up high and to be proud. In the sixties and seventies the media rarely offered positive sentiments like these to a young impressionable Koori boy with an afro. These artists were people I could relate to. They were also my heroes. Tony Briggs Source: http://www.belvoir.com.au/341_prod_detail_general.php?production_id=54


Drama Activities cont: Laban Energies and Dynamics

Rudolph Laban's system of analysing movement has been

used extensively in training performers. His system analyses movement according to three categories (direction, time and weight), which yield eight possible combinations that can define a movement. These are known as the Eight Effort Energies. (Dab, Flick, Float, Glide, Press, Punch, Slash, and Wring).

The style of The Sapphires relies heavily on the actor’s ability to explore the physicality of their character. After viewing The Sapphires, complete the following table. Support your interpretations with

evidence form the production.

Gail Kay Cynthia Julie Dave Laban Effort

Posture

Energy

Gesture

Facial expressions

Proxemics

Middle to Upper Secondary Level Activity Arts Skills & Processes Drama Course Voice & Movement Drama Processes

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Drama Activities Upper Secondary

level Activities The following questions can be used to instigate classroom discussion post performance. Teachers should take note of students’ responses, which can be used as anecdotal evidence to supplement students’ written responses.

Arts Responses

1. How do the opening sequences of the play establish the sisters’ lives – what mood do these scenes set?

Drama Course Outcome 3 English Course

2. Why doesn’t Julie reveal the true reason she left home? Why do you think she hides the fact she has been crying from her sister Gail?

Stage 2/3

3. Why do you think the sisters are so hard on Julie when she first comes to live with them?

4. What does it reveal about Australian society at the time that Dave can’t pronounce Cummeragunga?

5. How do the sisters react to Julie’s appearance at the club?

6. What do you think convinces the girls to take up Dave’s offer of a tour of Vietnam? Do you think they are fully aware of the situation in Vietnam?

7. How is the relationship between Gail and Dave established during their first conversation? What is Gail’s attitude towards Dave?

8. When does the reality of Vietnam hit the girls?

9. Why do you think Cynthia tells Julie not to tell Gail that she’s pregnant?

10. How would you describe the relationship between Gail and Dave once they arrive in Vietnam?

11. Why are the girls told they have to sleep on the stage after their first gig? What is their response when they find out?

On their feet

Ask two students to volunteer to get up and act out the following lines of dialogue:

DAVE: Ya can’t do this! You’ve signed a contract.

KAY: Food. Airfares. Accommodation. Good one Dave.

CYN: Dave, you’ve just robbed these men of a great moom shaking.

CYN exits

DAVE: Yeah go on, walk away. That’s exactly what every one said you’d do!

GAIL glowers at DAVE. She takes a threatening step towards DAVE.

GAIL: That’d be right. You make the rules, you’re the one in control, all the decisions are yours, and when you screw up we’re the ones who look like useless black fellas.

46

She exits.

DAVE: (calling after her) I’ll sort it out. It’ll be organised I promise! I’ll organise things now. I’ll have it all ready. I won’t let you down.

PPPOOOSSSTTT PPPEEERRRFFFOOORRRMMMAAANNNCCCEEE AAACCCTTTIIIVVVIIITTTIIIEEESSS Drama Activities cont…

12. Explain in your own words what Dave and Gail mean after Gail announces the group won’t be singing.

13. Why is Cynthia so surprised to see Jimmy in Vietnam? Why is she not so happy to see him? What do we find out about their past together?

14. How does Kay meet Robby, the American soldier?

15. How does the following exchange show Kay’s naivety?

ROBBY: …You don’t wanna be stranded in this place. The Viet Cong are everywhere in these parts.

KAY: So that’s why there’s so many black soldiers in this camp.

16. Do you remember how the scene between Kay and Robby ends? Why is it funny when Kay begins to leave? How effective was it to have Robby hanging upside down on stage?

17. How is the tension created on stage when Julie loses her way at the camp? How is the tension broken?

18. How does Act One end? What is the effect on the ending?

19. How does Joe trick Dave? Do you sympathise with the character of Joe? Why or why not?

20. How does Dave show his interest in Gail? How does she respond?

21. What are Gail’s issues with Dave? Of what does she accuse him?

On their feet


KAY: Having a baby is what makes us deadly Jules.

JULIE: I’m scared.

KAY: Don’t be scared. I’ll help you take care of it.

JULIE: I can’t do it.

KAY: Don’t be stupid.

JULIE: (snappily) I CAN’T!!!

KAY: It’s hard to understand things clearly when you’re pregnant, that’s normal.

JULIE: Shaaare, and you’re such an expert.

KAY: You don’t understand.

JULIE: Don’t tell me I don’t understand!

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KAY: I’ve got a little more experience than you.

JULIE: I’m the one who’s pregnant not you!


Drama Activities cont…

On their feet cont… 22. Think about the scene (on the

previous page & left) between Julie and Kay in which Julie discovers Kay was once pregnant. How does the dialogue in this scene build up the tension between the characters?

KAY: I know that.

JULIE: You haven’t got a clue how I feel!

KAY: You feel scared.

JULIE: You don’t know.

KAY: I know how you feel blast ya! 23. Why do you think Kay encourages Julie to keep her baby? JULIE: How would you bloody know?

KAY: Experience. 24. How does the girls’ mood change during Act Two? Why aren’t they having fun? How is their frustration conveyed in the scene

in the Officer’s Club dressing room?

JULIE: Experience!?

KAY: You’re not the only one who’s been pregnant!

25. How does the mood change after the girls speak to their mother on the phone? How do things change between Gail and Dave?

26. What is the effect of the girls singing Ngarra Burra Ferra (particularly compared to the style of the other songs)?

27. Why does Joe want to travel with the girls and Dave? Where does he want to go?

28. How does Jimmy enter the stage for his last scene? What is the effect of his entrance?

On their feet


JULIE: You’re lucky you’re gonna see your family. I miss mine too.

JOE: Do you have husband and children?

JULIE: is a little taken aback by the question.

JULIE: You’re a little sticky beak aren’t you? I don’t want to get married.

JOE: is shocked and has pity on Julie.

JOE: Ohhh, this is very bad news. I am sorry for you. Very, very sorry. This is very bad luck to Vietnamese people.

JULIE: Lucky I'm not Vietnamese then.

JOE: Bad luck for woman not to be married with children.

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JULIE: I don’t want to have children.

JOE: Children very important for family.


Drama Activities cont…

29. What is the purpose of the scene on the previous page between Julie and Joe in the truck at night? How is Joe’s view of the world different from that of Julie?

30. How does Jimmy convince Cynthia that he has changed? Do you find the way she forgives him credible? Why or why not?

31. What is the purpose of the scene between Julie and Joe in the truck at night? How is Joe’s view of the world different from that of Julie?

32. What is the effect of having the characters shot at the end of this scene?

33. How do you think this experience changes Julie?

34. Why does Dave decide to cancel the last gig? How do the girls react? How does Gail’s reaction change when she discovers Julie is pregnant? Why do you think she says “Well this changes everything.”?

35. Explain in your own words what Gail means when she says:

“The soldiers here can’t pack up and go when they want (indicating Joe) neither can this fella. We can’t take what we’re doing for granted. The black fellas stuck here can relate to us because we’re black fellas. We’re singing their blasted music for heaven’s sake”.

36. Describe in your own words what happens when Dave takes Joe to his family’s home. Why aren’t Joe’s family there?

37. What has Dave just realised in the following moment:

DAVE: Joe, come back! It’s too dangerous.

Dave steps forward. Dave takes another step. He looks down at his feet.

DAVE: Oh shit.

38. How did you react when Dave is killed? What is the effect of having Gail read the letter Dave wrote to her after he has been killed?

39. Why do you think this is not the last scene of the play? How does the play end? What is the effect of this ending?

40. Draw or describe the set as you remember it. How do the actors use the space to represent different locations?

41. Describe or draw one of the costumes from the show. What sorts of colours were used? What was the predominant colour on stage? Why might this colour have been chosen?


49

PPPOOOSSSTTT PPPEEERRRFFFOOORRRMMMAAANNNCCCEEE AAACCCTTTIIIVVVIIITTTIIIEEESSS Drama Activities cont…

Consider the journey of each of the following characters over the course of the play. How do they change? Consider their view of the world and of others at the beginning of the play compared to their

view at the end? What key events in the narrative contribute to their change?

Characters Journey → Character ↓

Beginning Middle End

Gail

Dave

Julie

Cynthia

Kay

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Journal Questions Which character do you find yourself sympathising with? Why? Which scene stood out to you as most powerful and why? What was

it that affected you? What are the themes that are explored in The Sapphires? Discuss

examples which demonstrate and explore the themes? Why might these themes and this story be relevant to a younger

audience? Which production elements did you feel most enhanced the essence

of the play? (Set, Costume, Lighting, Sound?) Discuss how the lighting by Trent Suidgeest, influenced and

contributed to the performance. For example, consider mood and transitions of scenes or moments in the play.

Responding Upper Secondary level Activities Arts Responses Drama Course Outcome 3 English Course Writing

After the play – discuss the style and form: Realism with a Juke Box musical Style. What in particular were features of the costume design – discuss in small groups and report back. How was sound important in this play? What choices did the Sound Designer make? In what way is this play relevant to the world and your own personal experiences?

Create a PMI table (Appendix One) about the production.

Work with others to brainstorm as many points as you can about the production – aim for at least 10 points in each column.

Some tips for productive brainstorming:

Divide the columns amongst class members, and brainstorm only on your particular column. Find one or two others who also did the same column as you did and add ideas they might have

had. Team up with two students who covered the columns you didn’t, and use their notes to complete

your PMI table. You will generate even more points if you keep a particular audience (see list below) in mind

when you brainstorm, and your points will also be more focused. Try doing a separate PMI for two or three of the suggested audiences and impress yourself with

what you come up with!

Select from the notes you have made in the table, to write two theatre reviews, each for a different audience. (Select from those listed below or suggest your own in consultation with your teacher).

A junior school student magazine. A public newspaper (such as The West Australian). A newsletter for students who wish to study drama/theatre. An arts magazine. A women’s magazine.

51

UUUSSSEEEFFFUUULLL LLLIIINNNKKKSSS Black Swan State Theatre Company: http://www.bsstc.com.au/ Black Swan State Theatre Company on facebook: http://www.facebook.com/home.php?#/pages/Black-Swan-State-Theatre-Company/8878293172?ref=ts This is a great site to find interviews with cast and creative’s, production and rehearsal images and lots more. Christine Anu:

http://www.christineanu.com.au/

Casey Donovan: http://www.caseydonovan.org/

http://www.casey-donovan.net/

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http://www.bsstc.com.au/

http://www.facebook.com/home.php?#/pages/Black-Swan-State-Theatre-Company/8878293172?ref=ts

http://www.facebook.com/home.php?#/pages/Black-Swan-State-Theatre-Company/8878293172?ref=ts

http://www.christineanu.com.au/

http://www.caseydonovan.org/

http://www.casey-donovan.net/

AAACCCKKKNNNOOOWWWLLLEEEDDDGGGEEEMMMEEENNNTTTSSS Script Briggs, T. (2005). The Sapphires. 7/205 Alma Rd. ST Kilda East VIC 3183. September 2004, 5TH DRAFT.

Texts Clausen, M. (2000). Centre Stage. Sydney: Heinemann Websites/ Images

http://www.statetheatrecentre.dca.wa.gov.au http://www.wavisitorcentre.com/NR/rdonlyres/A05EBA61-8C6D-4691-9D5C-7B906418BE47/15214/playhouse_Theatre.bmp http://www.playhousetheatre.com.au/about.asp http://top40.about.com/od/top10list http://www.ww1photos.com/WW1MusicIndex.html http://www.jwsrockgarden.com/jw02vvaw.htm http://www.elefanttraks.com/chooser.cfm?view=forum&forumSection=5&forumThread=694&threadStartRow=121 http://en.wikipedia.org/wiki/I_Was_Only_Nineteen http://www.skwirk.com.au/p-c_s-14_u-189_t-507_c-1876/nsw/history/australia-s-social-and-cultural-history-in-the-post-war-period/social-and-cultural-features-of-the-1960s/1960s-decade-in-context http://vietnam-war.commemoration.gov.au/vietnam-war/index.php http://www.anzacday.org.au/education/activities/activities01.html http://www.anzacday.org.au/history/vietnam/overview.html http://www.theage.com.au/news/entertainment/music/lord-we-got-arevival/2009/09/17/1252780396097.html?page=fullpage#contentSwap3 http://www.guardian.co.uk/world/2005/dec/24/usa.iraq http://www.smh.com.au/news/music/idol-off-to-iraq/2006/07/03/1151778843289.html http://www.abc.net.au/wa/stories/s1620476.htm http://www.artistnetwork.com.au/beccy_cole.html http://www.mediaspy.org/report/?s=stint http://www.girl.com.au/tom-gleeson-tom-on-comedy.htm http://www.defence.gov.au/media/DepartmentalTpl.cfm?CurrentId=3901 http://www.forcesentertainment.org.au/ http://adbonline.anu.edu.au/biogs/A160588b.htm http://www.womenaustralia.info/exhib/war/war.html www.defence.gov.au/equity/publications/chronology.pdf http://www.awm.gov.au http://www.curriculum.edu.au/democracy/classroom/new2003/ad_topic4.htm http://www.abc.net.au/gnt/history/Transcripts/s1147114.htm http://www.theage.com.au/articles/2004/11/12/1100227566726.html?from=storyrhs http://www.smh.com.au/news/Entertainment/Questions-for-LaurelRobinson/2005/01/16/1105810756950.html http://www.smh.com.au/articles/2005/01/09/1105205980903.html http://www.australiacouncil.gov.au/news/news_items/the_sapphires_honoured_as_best_new_australian_work_for_2005 http://web.archive.org/web/20040224092941/http://www.newberry.edu/theatre/theatre/THE+110/REALISM+AND+NATURALISM.htm http://en.wikipedia.org/wiki/Jukebox_musical http://www.doubletongued.org/index.php/dictionary/jukebox_musical/ http://www.belvoir.com.au/341_prod_detail_general.php?production_id=54 http://www.belvoir.com.au/341_prod_detail_general.php?production_id=54 Thank you to the Black Swan State Theatre Company’s Teacher Group: Gwen Browning Tammy Donnelly Jo Isaia Libby Klysz Robin Pascoe Samantha Perera Lorraine Scorer Sven Sorrenson Thank you to: Company B Belvoir: The Sapphires Education Resource 2005.

53

http://www.statetheatrecentre.dca.wa.gov.au/

http://www.wavisitorcentre.com/NR/rdonlyres/A05EBA61-8C6D-4691-9D5C-7B906418BE47/15214/playhouse_Theatre.bmp

http://www.playhousetheatre.com.au/about.asp

http://top40.about.com/od/top10list

http://www.ww1photos.com/WW1MusicIndex.html

http://www.jwsrockgarden.com/jw02vvaw.htm






http://www.anzacday.org.au/education/activities/activities01.html

http://www.anzacday.org.au/history/vietnam/overview.html

http://www.theage.com.au/news/entertainment/music/lord-we-got-arevival/2009/09/17/1252780396097.html?page=fullpage#contentSwap3

http://www.guardian.co.uk/world/2005/dec/24/usa.iraq

http://www.smh.com.au/news/music/idol-off-to-iraq/2006/07/03/1151778843289.html

http://www.abc.net.au/wa/stories/s1620476.htm

http://www.artistnetwork.com.au/beccy_cole.html

http://www.mediaspy.org/report/?s=stint

http://www.girl.com.au/tom-gleeson-tom-on-comedy.htm

http://www.defence.gov.au/media/DepartmentalTpl.cfm?CurrentId=3901

http://www.forcesentertainment.org.au/

http://adbonline.anu.edu.au/biogs/A160588b.htm

http://www.womenaustralia.info/exhib/war/war.html

http://www.defence.gov.au/equity/publications/chronology.pdf

http://www.awm.gov.au/

http://www.curriculum.edu.au/democracy/classroom/new2003/ad_topic4.htm

http://www.abc.net.au/gnt/history/Transcripts/s1147114.htm

http://www.theage.com.au/articles/2004/11/12/1100227566726.html?from=storyrhs


http://www.smh.com.au/articles/2005/01/09/1105205980903.html


http://web.archive.org/web/20040224092941/http://www.newberry.edu/theatre/theatre/THE+110/REALISM+AND+NATURALISM.htm


http://www.doubletongued.org/index.php/dictionary/jukebox_musical/

http://www.belvoir.com.au/341_prod_detail_general.php?production_id=54

http://www.belvoir.com.au/341_prod_detail_general.php?production_id=54

AAAPPPPPPEEENNNDDDIIIXXX OOONNNEEE ––– TTTEEEAAACCCHHHIIINNNGGG SSSTTTRRRAAATTTEEEGGGIIIEEESSS TEACHING STRATEGY – ENVOY Objectives: To provide a structure for group discussion. To provide an opportunity for students to learn from each other. To develop listening and oral skills. Structure: Students are put into groups (4 – 6) and given a task. One student (A) from each group is selected to be the Envoy. After group discussion and the recording of notes each envoy (A) reports to another group and outlines what was discussed – what ideas or suggestions were made, what decisions were reached etc. Group members may ask questions, seek clarification etc. One of the remaining group members (B) makes notes regarding the information from the envoy (A) and reports back when the envoy returns. TEACHING STRATEGY –BRAINSTORM Rules Provide a stimulus. Provide a time frame. Record information somewhere accessible to all participants (e.g. Whiteboard = class. Butchers Paper = small group). Coloured markers are good, it makes it more interesting and it also holds students accountable to stay focussed and not write something inappropriate. Quantity is more important than quality (Now that doesn’t happen very often!). Hitch hiking is welcome – i.e. build on from the ideas of others. Do not criticise ideas. Do not paraphrase – write as said. TEACHING STRATEGY –THINK PAIR SHARE Objectives; Allows for overt and covert learning processes. Increases students’ accountability for their work. Promotes the social skill of respecting silence and privacy. Facilitates student engagement at all levels of Blooms Taxonomy of Learning. Encourages students to share ideas in an atmosphere of respect and collaboration. Structure Class is divided into pairs (A and B). Students are asked respond to a given stimulus and record their thoughts on paper– Silent activity. After a set amount of time student pairs share their responses. Within a given timeframe A shares their response with B. B may ask questions and seek clarity but may not challenge A. Repeat in order that B may share their response.

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AAAPPPPPPEEENNNDDDIIIXXX OOONNNEEE TEACHING STRATEGY – PMI PMI, Plus/Minus/Interesting, is a lateral and creative thinking strategy. Objectives: PMI helps students learn to:

See both sides of an argument. View things from a different point of view. Think broadly about an issue. Suspend judgement. Make informed decisions. Work as individuals, in pairs or as members of a group.

Structure: This strategy can be used within a range of classroom activities such as analysing texts or examining issues. Students are provided with a format for recording:

Plus

Minus

Interesting

Individually, in pairs or small groups, they apply three questions to a statement /task provided by the teacher:

What are the positive ideas about this? What are the negative ideas about this? What is interesting about this?

Within a specified time limit, students brainstorm their responses, having appointed a recorder and a reporter. At the end of the designated time, students report back on their most original/creative ideas from each of the categories.

55

AAAPPPPPPEEENNNDDDIIIXXX TTTWWWOOO ––– RRREEESSSPPPOOONNNSSSEEE RRRUUUBBBRRRIIICCC

Response Rubric STAGE 1 Assessment: Response

Students will write a review on a live production. Submission date: ________________________

Introduction /3Presents a succinct introduction that includes relevant details 3 Presents an introduction that includes some general information 2 Presents an introduction with minimal information about the play and the performance 1 Contextual understanding /3 Describes succinctly relevant contexts of the play - cultural, social and/or historical 3 Describes the relevant contexts of the play – cultural, social and/or historical 2 Makes some mention of the relevant contexts of the play – cultural, social and/or historical

1

Plot, themes and issues /3 Succinctly outlines the plot, themes and issues in the play 3 Describes the plot, themes and issues in the play 2 Recounts the plot 1 Design and production elements /3 Succinctly outlines the design and production elements 3 Describes the design and production elements 2 Briefly mentions some design and production elements 1

Evaluation /3

Evaluation includes appropriate justification and examples to support opinions 3 Evaluation includes some justification and examples to support opinions 2 Evaluation includes a response that is in essence a number of generalisations with very limited supporting evidence or examples to support opinions 1

Drama terminology and language /3 Uses a range of pertinent drama terminology and appropriate language 3 Some use of pertinent drama terminology and appropriate language 2 Imprecise and infrequent use of drama terminology, uses general language 1 Communication skills /3 Writing communicates a well-constructed, clearly expressed, response appropriate to the question

3

Writing communicates a well-constructed response appropriate to the question 2 Writing is not of a sufficient quantity to fully express ideas 1 Writes with a very limited level of literacy and/or legibility 0 Conclusion /3 Presents a succinct conclusion that includes relevant details 3 Presents a conclusion that includes some general information 2 Presents a conclusion with minimal information about the play and the performance 1 Total / 18

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AAAPPPPPPEEENNNDDDIIIXXX TTTHHHRRREEEEEE ––– RRREEESSSPPPOOONNNSSSEEE RRRUUUBBBRRRIIICCC Response Rubric STAGE 2 and 3 Assessment: Response

Students will write a review on a live production.

Submission date: ________________________

Introduction /4Presents an insightful and succinct introduction that includes relevant details 4 Presents a succinct introduction that includes relevant details 3 Presents an introduction that includes some general information 2 Presents an introduction with minimal information about the play and the performance 1 Contextual understanding /4 Discusses insightfully and succinctly relevant contexts of the play - cultural, social and/or historical

4

Describes succinctly relevant contexts of the play - cultural, social and/or historical 3 Describes the relevant contexts of the play – cultural, social and/or historical 2 Makes some mention of the relevant contexts of the play – cultural, social and/or historical 1 Plot, themes and issues /4 Discusses insightfully and succinctly the plot, themes and issues in the play 4 Describes succinctly the plot, themes and issues in the play 3 Describes the plot, themes and issues in the play 2 Recounts the plot 1 Design and production elements /4 Discusses insightfully and succinctly the design and production elements 4 Describes succinctly the design and production elements 3 Describes the design and production elements 2 Briefly mentions some design and production elements 1

Evaluation /4

Evaluation includes insightful and succinct justification and examples to support opinions. 4 Evaluation includes appropriate justification and examples to support opinions 3 Evaluation includes some justification and examples to support opinions 2 Evaluation includes a response that is in essence a number of generalisations with very limited supporting evidence or examples to support opinions 1

Drama terminology and language /4 Uses a wide range of pertinent drama terminology and appropriate language 4 Uses a range of pertinent drama terminology and appropriate language 3 Some use of pertinent drama terminology and appropriate language 2 Imprecise and infrequent use of drama terminology, uses general language 1 Communication skills /4 Writing communicates a well-constructed, succinct, clearly expressed response appropriate to the question

4

Writing communicates a well-constructed, clearly expressed, response appropriate to the question

3

Writing communicates a well-constructed response appropriate to the question 2 Writing is not of a sufficient quantity to fully express ideas 1 Writes with a very limited level of literacy and/or legibility 0 Conclusion /4

Presents an insightful and succinct conclusion that includes relevant details 4 Presents a succinct conclusion that includes relevant details 3 Presents a conclusion that includes some general information 2 Presents a conclusion with minimal information about the play and the performance 1 Total / 32

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SSSCCCRRRIIIPPPTTT EEEXXXCCCEEERRRPPPTTTSSS

Excerpt One

ACT ONE: PROLOGUE: A radio microphone stands downstage under a spotlight. The band plays a funky beat as JIMMY enters dancing his way to the mic. He wears a deep blue coloured tuxedo with a sequined bow tie. JIMMY: Ladies and gentlemen IT'S STAR TIME! It gives me great pleasure to welcome to the stage four of Australia’s deadliest entertainers. I knew them as snotty nosed kids when they performed in front of huge family audiences from the back of a fruit truck. I knew them when they lifted the roof off at the Shepparton debutante ball. I knew them when they whipped their first international audience into a frenzy. They’ve come a long way from their humble beginnings in Cummeragunga, New South Wales. They have dared to follow their dreams and make them come true! So clap your hands and stomp your feet and get ready to shake your shimmy to the beat! Introducing Australia’s original funky soul divas! Our very own black gems! Ladies and gentlemen, could you please put your hands together for the stars of our show, the one, the only …The SAPPHIRES!!! The stage lights up behind JIMMY revealing the SAPPHIRES and their band. All four sisters are dressed in long sequin evening gowns. The girls swing into a slick choreographed performance. SONG: HEATWAVE SCENE ONE: SOOKY LA LA A radio plays softly. DJ: If you’re looking for something to do this fantastic Friday night, get on down to the Tiki Club in ST Kilda. Tonight it’s the final in their ‘Search for a Star’ talent quest. The Tiki Club is not my cup of tea but some say it’s groovy and there are some colourful live acts on show tonight. Speaking of groovy, here’s a song from one of Australia’s most talented singers, Johnny Farnham! The DJ plays SADIE THE CLEANING LADY. JULIE sits at the kitchen table looking unhappy. Her face contorts and she begins to cry. GAIL enters holding a paper bag. She wears her work uniform and hairnet. JULIE snaps upright, and quickly composes herself. She wipes her face with a tea towel and quickly checks out her reflection in a pot next to her. GAIL puts the bag on the table, sits next to JULIE and kicks her shoes off. GAIL: Thank God It’s Friday! I’m sick to death of chocolates. Chocolates with cream, chocolates with cherries, chocolates with nuts, if I see another chocolate I’m gonna be sick. Where are the others? JULIE: I don't know. GAIL takes a chocolate from the bag and pops it in her mouth. GAIL: What’ve you been doin’ all day? JULIE: Busy cleaning up your mess. GAIL searches through the bag. GAIL: Well you should get a job, lazy arse. GAIL pops another chocolate in her mouth. JULIE: Shaaare! I’ve only been here two days boof-head! GAIL: Why’d you leave home anyway?

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Excerpt one cont… JULIE: Why? Aren’t you happy to see me? GAIL: I’m not happy to see you mope around the house all the time. JULIE: I’m not moping. GAIL: You should get back to mum and dad. They need help with the little ones. You’re too young to be out of home anyway. JULIE: No I’m not. You think that cos you’re so old. JULIE starts stuffing her face with a few chocolates. GAIL takes JULIE’S face between her hands and stares hard at her. GAIL: You been crying again? JULIE: No. KAY and CYNTHIA enter. They too are dressed in their work gear. KAY: Aggh, I’m exhausted! CYN: Shaaare! All you do is sit on your fat moom in front of a switch board all day. What’s exhausting about that? KAY: Nick off. All you do is play dress ups with dolls. They sit at the table with GAIL and JULIE. CYN: They’re not dolls they’re mannequins and I dress them with style. It’s all part of my plan for a modelling career. CYN takes a chocolate. KAY: Cynthia, you’ll never be a model in this country. In case you haven’t noticed, you’re black and the only time we get our photos taken is when we get arrested. And if you even dressed in some of those flash clothes people would think you stole them. CYNTHIA passes over the bag. KAY shoves some in her mouth. CYN looks at JULIE. CYN: What’s wrong with you? GAIL: She’s been crying cos she’s homesick. JULIE: I have not GAIL: (To JULIE) Yes you have. JULIE: I wasn’t. CYN: If you’re homesick go home. JULIE: I wasn’t crying! CYN: She’s homesick for mum hey? KAY: She’s bored. She needs to do something with her days. GAIL: She needs to go home.

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SSSCCCRRRIIIPPPTTT EEEXXXCCCEEERRRPPPTTTSSS CCCOOONNNTTT……… Excerpt Two ACT ONE: SCENE EIGHT- BIG NAME, NO BLANKET. On a stage, the girls are in full costume and are waiting. CYN lifts up her dress and fans herself. CYN: I’m so stinking hot I can hardly breath. Gail slaps CYN on the arm. CYN: Ouch! GAIL: It’s swarming with Mosquitoes too. JULIE: What’s taking so long? GAIL: Dunno. KAY: Where are we anyway? JULIE: In the middle of nowhere that’s for sure. DAVE enters. GAIL: About bloody time. We’ve been sweating our mooms off here. DAVE: Everything’s sorted; we’re on pretty soon so let’s get ready. GAIL: What are they? DAVE: Sleeping bags. GAIL: Where are we sleeping? DAVE hesitates DAVE: Well, there was a problem but it’s been fixed. GAIL: What kinda’ problem? DAVE: They thought we were leaving straight after the gig and didn’t make sleeping arrangements. But it’s been fixed! GAIL: How? DAVE: (Hesitantly) We… er… have to…um… sleep on the stage when we’re done. GAIL/CYN/KAY/JULIE: What?? DAVE: It’s okay they’re going to have round the clock guards watching us. KAY: Who’s gonna watch them? GAIL: That’s not what we agreed!!! DAVE: I know, I know. But they didn’t know… KAY: What?

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SSSCCCRRRIIIPPPTTT EEEXXXCCCEEERRRPPPTTTSSS Excerpt Two cont... JULIE: Yeah, what? DAVE is totally lost for words. KAY: Didn’t know what Dave? CYN: What’s goin on Dave? DAVE: Ahh...that… GAIL: Didn’t know we were black? Is that it Dave? KAY: Don’t be ridiculous! Most of the soldiers here are black! DAVE: No. No. I… GAIL: That’s it. Who do I have to speak to? DAVE: I’ve got it organized. GAIL: No Dave, you don’t have it organized or we wouldn’t be sleeping outside like dogs! JULIE: Oh, great, great! This is just great! DAVE: It won’t be that bad, it’s not going to rain. Probably just like sleeping out bush. It’ll be fun. KAY: You ever slept out in the bush? DAVE: Not really. CYN: I hate the bush. JULIE: This is just great! GAIL: Are you stupid?!! We are in the middle of a strange jungle, surrounded by hundreds of strange men, who probably haven’t seen a woman in who knows how long and they all have guns! DAVE: Never fear Lovelace Dave is here. (Makes a ridiculous combat gesture.)Just let ‘em try. GAIL: This is a bloody joke Dave! It's a stuff up! You were so desperate to make a quick buck out of us you didn’t bother to find out the details! You’re too quick with your mouth and too slow with your brain. Get your brain working and get us out of here! DAVE: Ssshhhh… GAIL: Don’t you dare shush me! You expect us to sleep outside like mission dogs and you want me to shush? We’re not in Australia now! This is our first gig and this shit happens! If you expect us to get up and sing now, think again.

The girls start to walk away. DAVE: (He panics) Hang on. Hang on. Hang on! GAIL: Dave. Get in. We're going. DAVE: We can't. Actually. There's a curfew. So look, let's just do the gig, have a nice night under the stars, and we'll leave first thing in the morning.

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SSSCCCRRRIIIPPPTTT EEEXXXCCCEEERRRPPPTTTSSS Excerpt Two cont... JULIE: Oh, great! This is just great. Nowhere to sleep and no way of getting back. I’m having a great time! JULIE exits. DAVE: Ya can’t do this! You’ve signed a contract. KAY: Food. Airfares. Accommodation. Good one Dave. CYN: Dave, you’ve just robbed these men of a great moom shaking. CYN exits. DAVE: Yeah go on, walk away. That’s exactly what every one said you’d do! GAIL glowers at DAVE. She takes a threatening step towards DAVE. GAIL: That’d be right. You make the rules, you’re the one in control, all the decisions are yours, and when you screw up we're the ones who look like useless black fellas. She exits. DAVE:(Calling after her) I’ll sort it out. It’ll be organized I promise! I’ll organize things now. I’ll have it all ready. I won’t let you down.

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SSSCCCRRRIIIPPPTTT EEEXXXCCCEEERRRPPPTTTSSS Excerpt Three SCENE EIGHT: TOO CLOSE FOR COMFORT

DAVE and the girls are transported in a truck through the moonlit jungle. Everyone is exhausted and sleeps except JOE. JOE excitedly points into the distance. JOE: There is my home! JULIE: What? JOE: (pointing) My home! JULIE: I saved you some chocolate. JOE: I will see my family soon. JULIE: That’s great. Dave’s gonna take you tomorrow. JOE: Long time I have not seen them. JULIE: Where? In those hills? JOE: Not far now. JULIE: Do you have a big family? JOE: I have many sisters. JULIE: How many brothers? JOE: No brothers, just sisters. JULIE: Our brother is the only boy in the family too! He’s the youngest. How many sisters have you got? JOE: (He holds up seven fingers) Bẩy. JULIE: Seven! There are seven girls in my family! What’s their names? He counts them on his hands. JOE: ba Hòa, tư Lan, nǎm Phúc, sáu Lành, bẩy Thuần, tám Thương, chín Hiền. JULIE: What’s your name? JOE: Joe. JULIE: I mean your Vietnamese name. JOE: Tran Van Hai. I am called Hai because I’m the first born. JULIE: Hai. I’m gunna call you Hai from now on. You should keep your real name. Why are you called Joe? JOE: Americans not too smart. JULIE: You’re lucky you‘re gonna see your family. I miss mine too.

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SSSCCCRRRIIIPPPTTT EEEXXXCCCEEERRRPPPTTTSSS Excerpt Three cont... JOE: Do you have husband and children? JULIE is a little taken aback by the question. JULIE: You’re a little sticky beak aren’t you? I don't want to get married. JOE is shocked and has pity on JULIE. JOE: Ohhh, this is very bad news. I am sorry for you. Very, very sorry. This is very bad luck to Vietnamese people. JULIE: Lucky I’m not Vietnamese then. JOE: Bad luck for woman not to be married with children. JULIE: I don't want to have children. JOE: Children very important for family. JULIE: Yeah, but one day. Not now. JOE: There's no good time for children. Can't wait for good time. JULIE: I can't have a child now. There's a war. I'm singing. I'm happy. JOE: I seen much dead, the French, American, all the same. My father he had many children for happiness. He very happy man. I want to be happy like him. JULIE: Where's your Dad now? JOE: He dead. JULIE: Sorry. JOE: I will have a wife and many children. JULIE: Good for you. JOE: I will have many boys. JULIE: Only boys? JOE: Only boys. JULIE: Well I’m gonna have girls. Only girls. JOE: I am very sorry for you. JULIE: Don’t be. I want girls. JOE: (cheeky) What use girl? JULIE: You little goonganar. A volley of machinegun fire suddenly breaks out jolting the others from their sleep. It is total confusion. CYN, KAY and GAIL scream in fear. JOE ducks for cover.

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SSSCCCRRRIIIPPPTTT EEEXXXCCCEEERRRPPPTTTSSS Excerpt Three cont... DAVE: Get down! Get down! Keep your bloody heads down! Silence. DAVE: Is everyone okay? Tentatively people lift their heads. GAIL: I’m okay. CYN: I’m right. KAY: I’m fine. JOE: I OK. GAIL: Julie? GAIL/CYN/KAY: Julie! JULIE sits motionless, looking down, with both hands on her belly. JULIE: I’m fine. I’m fine… We're fine A single spotlight falls onto JULIE. SONG: CONGO LULLABY

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