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Contents: Departments 2 Comment 3 Quotes and Queries 4 Letters 9 Whispers, Rumours and Facts 41 I.T.I. 54 Guide: Theatre, Opera, Dance Spotlight 5 Jan Friedl — a passion for work with others — Bruce Williams 6 The INSEA Congress — Solrun Hoaas 7 The Continuing Saga of Twelfth Night — Veronica Kelly 8 Adelaide Commentary — Tony Baker 8 Don’t Forget Tassie — Karl Hubert Features 10 Kenn Brodziak interviewed by Robert Page 13 New Theatre Movement — Part I, Mona Brand 16 Kristian Fredrikson, Designer in Excelsis — Pamela Ruskin 42 The State Theatre and its Alternatives — Colin Ballantyne International 18 The last time Isaw Paris — Bogdan Giercznski reports. Playscript 33 Pandora’s Cross — Act II, Dorothy Hewett Dance 45 Dance Company — handed to us like a dead fish — William Shoubridge 47 A Profile of Ann Jenner — John Byrne Opera 48 Imported Wagner — David Gyger Theatre Reviews 21 VIC Under Milk Wood — Raymond Stanley Adventures in Opera — David Gyger The Fools’Shoe Hotel — VI Richards Freaks — Jack Hibberd 24 NSW Dracula — Robert Page The Removalist — Greg Curran Lamb of God — Anthony Barclay Metamorphosis — Roger Pulvers The Rocky Horror Show — Adrian Wintle Lovers (Winners & Losers) — Anthony Barclay The Knack — Lucy Wagner Visions — Roger Pulvers 30 QLD Tales from the Vienna Woods — Jeremy Ridgman Clowneroonies! — Veronica Kelly Just Between Ourselves — Richard Fotheringham Big Toys — Don Batchelor 31 SA A Manual of Trench Warfare — Tony Baker Film 32 50 51 51 Books 53 56 WA Dick Whittington and his Cat — Cliff Gillam Small Change — Peter Mann Mary Stuart — Cliff Gillam Those who go under and those who survive — Elizabeth Riddell 1978 Australian Film Awards — Terry Owen Macbeth on Video — Robert Page Better Plays from Colder — John McCallum Thespia’s Crossword No. 4

Publisher

Theatre Publications Ltd., New Lambton Heights, 58p

Rights

Reproduced with permission of creator and editor Robert Page. Digitised from the collections of the University of Wollongong Library.

Theatre Australia: Australia's magazine of the performing arts 3(3) October 1978

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