Festival of Dorothiorama

Miss Hewett's Shenanigans

Alison Margaret Richards (Other), Suzanne Chaundy (Other), Robert Stephens (Composer), Jane Bayly (Performer), Zoe Ellerton-Ashley (Performer), Luke Jacka (Performer), Peri Jenkins (Designer), Shane Grant (Designer), Canada White (Producer), Carole Patullo (Performer), Andy Jackson (Producer), Kate Lilley (Other), Justin Clemens (Other), Gig Ryan (Other), Emilie Zoe Baker (Other), Maryanne Lynch (Other), Lucy Freeman (Other), Cheyney Caddy (Other), Brigid Gallacher (Other)

Research output: Non-textual formCurationOther

Abstract

This project formed the practice-based (PaR) case study component of my research into gender and repertoire formation in Australian theatre. Dorothy Hewett (1923-2002) remains one of Australia's literary mavericks. Poet, novelist and playwright, Communist and rabble-rouser, Hewett's reputation during her lifetime ranked alongside that of her friend and supporter, Nobel Laureate Patrick White. But while White's works now form part of the repertoire of mainstage (Australia Council Major Organisations Board funded) companies as classics of Australian theatre, Hewett's plays are neglected. Many have had only one professional production; others remain unproduced; her major play The Man from Mukinupin (1979) had its last mainstage production in 2009. Despite the continued popularity of works including The Chapel Perilous (1971) as set study texts and in student and community theatre, there is a real danger that Hewett's lively and significant body of work will fail to find a secure place in the Australian theatre repertoire.
My primary research questions for this undertaking were:
1. How performable are the plays of Dorothy Hewett in the context of contemporary Australian theatrical performance practice?
2. How can a practice-based investigation of questions arising from the dramaturgy and performance style of Hewett's plays inform approaches to their performance in that context?
My status as an Adjunct Senior Lecturer in CTP at Monash was detailed in the program for the event (see attached). Other documentation includes copies of handouts for the Poetica and Hewett Happening events, an online review of Miss Hewett's Shenanigans in Australian Stage 24/8/2012 and the edited/adapted performance text of MHS. Archival images from rehearsal and performance available on request.
Original languageEnglish
Place of Publication349 Drummond St Carlton 3053
PublisherLa Mama Carlton Courthouse Theatre
Media of outputNot Specified
Publication statusPublished - 22 Aug 2012
Event Festival of Dorothiorama - La Mama Carlton Courthouse Theatre, Melbourne, Australia
Duration: 22 Aug 20122 Sep 2012

Keywords

  • Australian plays
  • Dorothy Hewett
  • Miss Hewett's Shenanigans
  • performance as research
  • Australian theatre repertoire

Cite this

Richards, A. M. (Other), Chaundy, S. (Other), Stephens, R. (Composer), Bayly, J. (Performer), Ellerton-Ashley, Z. (Performer), Jacka, L. (Performer), ... Gallacher, B. (Other). (2012). Festival of Dorothiorama: Miss Hewett's Shenanigans. Curation, 349 Drummond St Carlton 3053: La Mama Carlton Courthouse Theatre.
Richards, Alison Margaret (Other) ; Chaundy, Suzanne (Other) ; Stephens, Robert (Composer) ; Bayly, Jane (Performer) ; Ellerton-Ashley, Zoe (Performer) ; Jacka, Luke (Performer) ; Jenkins, Peri (Designer) ; Grant, Shane (Designer) ; White, Canada (Producer) ; Patullo, Carole (Performer) ; Jackson, Andy (Producer) ; Lilley, Kate (Other) ; Clemens, Justin (Other) ; Ryan, Gig (Other) ; Baker, Emilie Zoe (Other) ; Lynch, Maryanne (Other) ; Freeman, Lucy (Other) ; Caddy, Cheyney (Other) ; Gallacher, Brigid (Other). / Festival of Dorothiorama : Miss Hewett's Shenanigans. [Curation].
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title = "Festival of Dorothiorama: Miss Hewett's Shenanigans",
abstract = "This project formed the practice-based (PaR) case study component of my research into gender and repertoire formation in Australian theatre. Dorothy Hewett (1923-2002) remains one of Australia's literary mavericks. Poet, novelist and playwright, Communist and rabble-rouser, Hewett's reputation during her lifetime ranked alongside that of her friend and supporter, Nobel Laureate Patrick White. But while White's works now form part of the repertoire of mainstage (Australia Council Major Organisations Board funded) companies as classics of Australian theatre, Hewett's plays are neglected. Many have had only one professional production; others remain unproduced; her major play The Man from Mukinupin (1979) had its last mainstage production in 2009. Despite the continued popularity of works including The Chapel Perilous (1971) as set study texts and in student and community theatre, there is a real danger that Hewett's lively and significant body of work will fail to find a secure place in the Australian theatre repertoire.My primary research questions for this undertaking were: 1. How performable are the plays of Dorothy Hewett in the context of contemporary Australian theatrical performance practice?2. How can a practice-based investigation of questions arising from the dramaturgy and performance style of Hewett's plays inform approaches to their performance in that context?My status as an Adjunct Senior Lecturer in CTP at Monash was detailed in the program for the event (see attached). Other documentation includes copies of handouts for the Poetica and Hewett Happening events, an online review of Miss Hewett's Shenanigans in Australian Stage 24/8/2012 and the edited/adapted performance text of MHS. Archival images from rehearsal and performance available on request.",
keywords = "Australian plays, Dorothy Hewett, Miss Hewett's Shenanigans, performance as research, Australian theatre repertoire",
author = "Richards, {Alison Margaret} and Suzanne Chaundy and Robert Stephens and Jane Bayly and Zoe Ellerton-Ashley and Luke Jacka and Peri Jenkins and Shane Grant and Canada White and Carole Patullo and Andy Jackson and Kate Lilley and Justin Clemens and Gig Ryan and Baker, {Emilie Zoe} and Maryanne Lynch and Lucy Freeman and Cheyney Caddy and Brigid Gallacher",
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publisher = "La Mama Carlton Courthouse Theatre",

}

Richards, AM, Chaundy, S, Stephens, R, Bayly, J, Ellerton-Ashley, Z, Jacka, L, Jenkins, P, Grant, S, White, C, Patullo, C, Jackson, A, Lilley, K, Clemens, J, Ryan, G, Baker, EZ, Lynch, M, Freeman, L, Caddy, C & Gallacher, B, Festival of Dorothiorama: Miss Hewett's Shenanigans, 2012, Curation, La Mama Carlton Courthouse Theatre, 349 Drummond St Carlton 3053.
Festival of Dorothiorama : Miss Hewett's Shenanigans. Richards, Alison Margaret (Other); Chaundy, Suzanne (Other); Stephens, Robert (Composer); Bayly, Jane (Performer); Ellerton-Ashley, Zoe (Performer); Jacka, Luke (Performer); Jenkins, Peri (Designer); Grant, Shane (Designer); White, Canada (Producer); Patullo, Carole (Performer); Jackson, Andy (Producer); Lilley, Kate (Other); Clemens, Justin (Other); Ryan, Gig (Other); Baker, Emilie Zoe (Other); Lynch, Maryanne (Other); Freeman, Lucy (Other); Caddy, Cheyney (Other); Gallacher, Brigid (Other). 2012. 349 Drummond St Carlton 3053 : La Mama Carlton Courthouse TheatreEvent: Festival of Dorothiorama, La Mama Carlton Courthouse Theatre, Melbourne, Australia.

Research output: Non-textual formCurationOther

TY - ADVS

T1 - Festival of Dorothiorama

T2 - Miss Hewett's Shenanigans

A2 - Richards, Alison Margaret

A2 - Chaundy, Suzanne

A2 - Stephens, Robert

A2 - Bayly, Jane

A2 - Ellerton-Ashley, Zoe

A2 - Jacka, Luke

A2 - Jenkins, Peri

A2 - Grant, Shane

A2 - White, Canada

A2 - Patullo, Carole

A2 - Jackson, Andy

A2 - Lilley, Kate

A2 - Clemens, Justin

A2 - Ryan, Gig

A2 - Baker, Emilie Zoe

A2 - Lynch, Maryanne

A2 - Freeman, Lucy

A2 - Caddy, Cheyney

A2 - Gallacher, Brigid

PY - 2012/8/22

Y1 - 2012/8/22

N2 - This project formed the practice-based (PaR) case study component of my research into gender and repertoire formation in Australian theatre. Dorothy Hewett (1923-2002) remains one of Australia's literary mavericks. Poet, novelist and playwright, Communist and rabble-rouser, Hewett's reputation during her lifetime ranked alongside that of her friend and supporter, Nobel Laureate Patrick White. But while White's works now form part of the repertoire of mainstage (Australia Council Major Organisations Board funded) companies as classics of Australian theatre, Hewett's plays are neglected. Many have had only one professional production; others remain unproduced; her major play The Man from Mukinupin (1979) had its last mainstage production in 2009. Despite the continued popularity of works including The Chapel Perilous (1971) as set study texts and in student and community theatre, there is a real danger that Hewett's lively and significant body of work will fail to find a secure place in the Australian theatre repertoire.My primary research questions for this undertaking were: 1. How performable are the plays of Dorothy Hewett in the context of contemporary Australian theatrical performance practice?2. How can a practice-based investigation of questions arising from the dramaturgy and performance style of Hewett's plays inform approaches to their performance in that context?My status as an Adjunct Senior Lecturer in CTP at Monash was detailed in the program for the event (see attached). Other documentation includes copies of handouts for the Poetica and Hewett Happening events, an online review of Miss Hewett's Shenanigans in Australian Stage 24/8/2012 and the edited/adapted performance text of MHS. Archival images from rehearsal and performance available on request.

AB - This project formed the practice-based (PaR) case study component of my research into gender and repertoire formation in Australian theatre. Dorothy Hewett (1923-2002) remains one of Australia's literary mavericks. Poet, novelist and playwright, Communist and rabble-rouser, Hewett's reputation during her lifetime ranked alongside that of her friend and supporter, Nobel Laureate Patrick White. But while White's works now form part of the repertoire of mainstage (Australia Council Major Organisations Board funded) companies as classics of Australian theatre, Hewett's plays are neglected. Many have had only one professional production; others remain unproduced; her major play The Man from Mukinupin (1979) had its last mainstage production in 2009. Despite the continued popularity of works including The Chapel Perilous (1971) as set study texts and in student and community theatre, there is a real danger that Hewett's lively and significant body of work will fail to find a secure place in the Australian theatre repertoire.My primary research questions for this undertaking were: 1. How performable are the plays of Dorothy Hewett in the context of contemporary Australian theatrical performance practice?2. How can a practice-based investigation of questions arising from the dramaturgy and performance style of Hewett's plays inform approaches to their performance in that context?My status as an Adjunct Senior Lecturer in CTP at Monash was detailed in the program for the event (see attached). Other documentation includes copies of handouts for the Poetica and Hewett Happening events, an online review of Miss Hewett's Shenanigans in Australian Stage 24/8/2012 and the edited/adapted performance text of MHS. Archival images from rehearsal and performance available on request.

KW - Australian plays

KW - Dorothy Hewett

KW - Miss Hewett's Shenanigans

KW - performance as research

KW - Australian theatre repertoire

M3 - Curation

PB - La Mama Carlton Courthouse Theatre

CY - 349 Drummond St Carlton 3053

ER -

Richards AM (Other), Chaundy S (Other), Stephens R (Composer), Bayly J (Performer), Ellerton-Ashley Z (Performer), Jacka L (Performer) et al. Festival of Dorothiorama: Miss Hewett's Shenanigans 349 Drummond St Carlton 3053: La Mama Carlton Courthouse Theatre. 2012.