“It’s come to my attention that you don’t know who I am” – is a line that Cate Blanchett delivers with deep and devastating effectiveness when she first enters THOR RAGNAROK. Could it be that she is referencing her old acting teachers, Kevin Jackson and myself? Not certain – but what this line does reflect is the subject of ‘identity politics’ that has come to dominate so much of modern theatre and film.
So – here we are – at the end of 2018 – that brief time in which we reflect on what we have seen and done over 2018, amidst the plethora of ‘Best of’ lists. I am not necessarily into the ‘Best of ’ etc. I have a fervent dislike of art becoming a kind of superficial competition, which is why I don’t watch a lot of TV. My lists are far more personal and revealing, reflective of those productions that affected me in one way or another, and have stayed with me for various reasons. I have my favourites, certainly, but they are not necessarily the “Best” of anything. I like the respective following works – because they moved me – that’s all.
I feel very fortunate to be living and working in Adelaide, partly because I am able to see a relatively vast range of national and international productions each year. This is primarily due to the respective festivals, such as the Adelaide Fringe Festival, the Adelaide Festival, the Adelaide Film Festival, the Adelaide Cabaret Festival, and (my favourite) the Oz-Asia Festival.
So – here we go. However, let me first state that I did not see any opera this year, nor did I see much dance and ballet, so these kind of productions are not on my list. All the theatre productions listed below were different in their own way, yet each profoundly moved me as well as enlightened and thrilled me.
THEATRE (in roughly chronological order)
JOHN BUCCHINO: IT’S ONLY LIFE – Davine Productions (USA/AUST. – Fringe Festival)
FLESH & BONE by Elliot Warren – Unpolished Theatre (UK – Fringe Festival)
KING JACK QUEEN by Baboab Tree Theatre Company (UK – Fringe Festival)
SMOKING WITH GRANDMA (Threewords Playwright (China – Fringe Festival)
KINGS OF WAR based on the ‘History’ plays by William Shakespeare – directed by Ivo von Hove and produced by Toneelgroep Amsterdam (Adelaide Festival)
US/THEM by Carly Wijs and BRONKS, Belgium (Adelaide Festival)
FLA.CO.MEN – Israel Galvan (Spain – Adelaide Festival)
MEMORIAL by Alice Oswald – directed by Chris Drummond with Helen Morse (Brink Productions) (Australia – Adelaide Festival)
PATTI LUPONE (USA – Cabaret Festival)
JOHN CAMERON MITCHELL (USA – Cabaret Festival)
NASSIM by Nassim Soleimanpour (Iran – Oz-Asia Festival
SECRET LOVE IN PEACH BLOSSOM LAND by Stan Lai (China – Oz-Asia Festival)
SUTRA by Sidi Larbi Cherkaoui (Netherlands/China – Oz-Asia Festival)
FAITH HEALER by Brain Friel – directed by Judy Davis with Colin Friels, Alison Whyte and Paul Blackwell. (State Theatre of South Australia.)
THE PURPLE LIST by Libby Pearson (UK – Feast Festival)
SEUSSICAL by Stephen Flaherty and Lynn Ahrens– Northern Light Theatre Company
LINES by Pamela Carter (UK) – directed by Cory MacMahon (UK)
GODS OF STRANGERS by Elena Carapetis (State Theatre of South Australia)
Whilst this is really just shameless self-promotion, nonetheless, I am very proud of the productions that STARC the company I have formed with Stefannie Rossi and Marc Clement, produced in 2018. This includes TOYER by Gardner Mackay, TWO by Jim Cartwright, and REASONABLE DOUBT by Suzie Miller. Plus – there was Genet’s THE MAIDS.
Suzie Miller’s REASONABLE DOUBT, Elena Carapetis’ GODS OF STRANGERS, as well as Jada Alberts’ BROTHERS WRECK were the outstanding new Australian plays produced in Adelaide in 2018. I did see other new works in Sydney and Melbourne – but that’s another story, and none of them had the same impact on me as these three works. I may be biased re REASONABLE DOUBT but it was an honour and privilege to direct and produce the Australian premiere of this play.
FILM (not in any order of preference)
SHOPLIFTERS (2018) directed by Hirokazu Kore-eda (JAPAN)
CRAZY RICH ASIANS (2018) directed by Jon M. Chu (USA)
A STAR IS BORN (2018) directed by Bradley Cooper (USA)
BOHEMIAN RHAPSODY (2018) directed by Bryan Singer (USA.UK)
HEREDITARY (2018) directed by Ari Aster (USA)
GURRUMUL (2018 directed by Paul Damien Williams (AUSTRALIA)
Films released at the end of 2017 and seen in 2018
SWEET COUNTRY (2017) directed by Warwick Thornton (AUSTRALIA)
THE INSULT (2017) – directed by Ziad Doueiri (LEBANON)
A FANTASTIC WOMAN (2017) directed by Sebastian Lelio (CHILE)
CALL ME BY YOUR NAME (2017) directed by Luca Guadagnini (ITALY)
THOR – RAGNAROK (2017) directed by Taika Waititi (USA/NZ)
DARKEST HOUR (2017) directed by Joe Wright (UK/USA)
THE POST (2017) directed by Steven Spielberg (USA
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017) directed by Martin McDonagh (USA)
THE DISASTER ARTIST (2017) directed by James Franco (USA)
STAR WARS: THE LAST JEDI (2017) directed by Rian Johnson (USA)
THE GREATEST SHOWMAN (2017) – directed by Michael Gracey (USA)
BLADERUNNER 2049 (2017) – directed by Denis Villeneuve (USA)
Rather an eclectic group – and there are others – but these are the ones that have stayed with me.
I was also very fortunate in representing the National Film and Sound Archive in presenting during the 2018 Adelaide Film Festival (which was excellent) the newly restored prints of Gillian Armstrong’s STARSTRUCK (1982) and John Duigan’s THE YEAR MY VOICE BROKE (1987). The latter, in particular, was very well received, and it was marvellous to see the very young Noah Taylor and Ben Mendelsohn who most certainly have gone on to have quite wonderful careers.
2018 also marked the 100th Anniversary of the Raymond Longford’s and Lotte Lyall’s THE SENTIMENTAL BLOKE (1918), which premiered in Adelaide on the 26 November 1918. I couldn’t attend the anniversary screening in Adelaide, so I watched this great Australian silent film classic at home.
Re Australian films – I did see a number, including Stephan Elliot’s SWINGING SAFARI, Mark Grenfell’s THE MERGER, Chris Sun’s BOAR, Ben Howling’s CARGO, Marion Pilowsky’s THE FLIPSIDE, and Heath Davis’ BOOK WEEK. I also finally caught up with Simon Baker’s BREATH (2017) and Ben Young’s HOUNDS OF LOVE (2017). A number of these films I admit I watched at home as they either had a limited cinema release and/or went straight to Netflix.
So – a wacky combo of romantic comedies and horror. None of these films was ‘brilliant’, but they were OK; in fact, more than OK. I particularly liked and appreciated the romantic comedies, perhaps the most difficult of all film genres to successfully pull off.
It was, however, Paul Damien Williams’ documentary GURRUMUL and Warwick Thornton’s SWEET COUNTRY that were the stand-outs – especially SWEET COUNTRY.
Warwick Thornton’s SWEET COUNTRY is terrific! And yet – I don’t know anyone who has seen it. Seriously. I saw it at the movies in Mitcham and I was one of three people in the session. Rather depressing – especially for such an excellent Australian film, but the reality is that it has been a bit of a disaster at the box-office, and continues to be an unknown despite good reviews etc.
SWEET COUNTRY, however, did trigger and inspired me to explore in more detail the nature of Australian ‘westerns’, and the ‘Western’ as a film genre in general.
The ‘Western’ is arguably the most common form of film in World Cinema, beginning with the Tait’s THE STORY OF THE KELLY GANG (1906), the first feature film in World Cinema, and the shorter THE GREAT TRAIN ROBBERY (1903).
Subsequently, it is possible to argue that it was the ‘Western’ that began cinema and feature film. There are so many sub-genres in regard to ‘Westerns’, including musicals, comedies, horror, and science-fiction. Virtually all major ‘stars’ have at least one ‘Western’ in their body of work – and often more than one. Nor is the ‘Western’ confined simply to US film – they are everywhere; for example, the influential Italian/ Spanish ‘spaghetti westerns’ of Sergio Leone. Australian ‘Westerns’ have the strange title of ‘meat-pie’ Westerns.
There is not the time nor space to elaborate on this wonderful conundrum (what does the ‘West’ mean? Etc), but SWEET COUNTRY certainly joins the pantheon of great Australian ‘Westerns’ that includes WAKE IN FRIGHT, THE MAN FROM SNOWY RIVER, THE TRACKER, THE PROPOSITION, MYSTERY ROAD, GOLDSTONE, as well as earlier films such as ROBBERY UNDER ARMS, BITTER SPRINGS and even JEDDAH.
The ‘Western’ is also very much a part of contemporary US films. Here is a list of some of the modern US ‘Westerns’ that I have watched. John McLean’s SLOW WEST (2015) and Ti West’s IN A VALLEY OF VIOLENCE (2016) being two in particular that I enjoyed and would thoroughly recommend.
THE HOMESMAN (2014) – directed by Tommy Lee Jones
SLOW WEST (2015) – directed by John McLean
BONE TOMAHAWK (2015) – S. Craig Zahler
THE HATEFUL EIGHT (2015) – Quentin Tarantino
IN A VALLEY OF VIOLENCE (2016) – Ti West
BRIMSTONE (2016) – Martin Koolhoven
Looking back – WOW – quite pleased with myself that I have actually seen so much.
Finally – did Ms Blanchett wickedly reference either Kevin Jackson or myself in THOR RAGNAROK?
I don’t really know – but it certainly has been suggested. No matter – but if and whenever I see this wonderful ex-student of ours I do intend to say to her in a rather deep voice – It has come to my attention that you don’t know who I am (Kevin), quickly followed by – Have you been listening to a word I’ve said!!! (Me)
Bring on 2019.
TK
Clair de lune sur le port de Boulogne (1869) – Edouard Manet
Le Bain (1873-74) – Alfred Stevens
I am big fan of James Tissot’s work. He is primarily known for his painting of ‘high society’ that are generally quite crisp and vibrant in detail. Subsequently, it was great to see La reveuse (The Dreamer), which is a rather dark intimate painting of a woman reclining in a chair. According to the accompanying descriptor, Tissot was also inspired by Japanese art at the time in regards to linear portraiture.
La reveuse (1876) – James Tissot
La neige / Snow (1873) – Charles-Francois Daubigny
Vue de toits (effet de neige) / Rooftops in the snow (snow effect) – Gustave Caillebotte
La neige a Louvreciennes / Snow at Louvreciennes (1878) – Alfred Sisley
There are a number of Alfred Sisley’s ‘snow’ paintings but this one stood out for me, partly because of my own fascination with ‘pathways’ and ‘perspective’.
La pie / The magpie (1868-69) – Claude Monet
La Barque pendant l’inondation, Port-Marly / Boat in the flood at Port-Marly (1876) – Alfred Sisley
Un coin d’appartment / A corner of the apartment (1875) – Claude Monet
Le bassin aux nympheas, harmonie / Water lily pond, pink harmony (1900) – Claude Monet
One of the most famous examples of Pointillism is Georges Seurat’s A Sunday Afternoon on the Island of La Grande Jatte (1884-86). This exhibition contains a couple of ‘studies’ that Seurat made in preparation for the final painting.
Les andelys / The riverbank (1886) – Paul Signac
La bouee rouge / The red buoy (1895) – Paul Signac
Le chateau des papes / Palace of the Popes (1909) – Paul Signac
L’entree du port de Roscoff / Entrance to the port of Roscoff (1889) – Theo van Rysselberghe
La cathedrale de Rouen. Le portail et la tour Saint-Romain, plein soleil / Rouen Cathedral. The portal and Saint-Romain tower, full sunlight (1893) – Claude Monet
Rochers pres des grottes au-dessus du Chateau Noir / Rocks near the caves above Chateau Noir (c.1904) – Paul Cezanne
Baptism on the Ouse River by Rev. Henry Dowling (1838) – John Glover
Evening Shadows, Backwater of the Murray River. South Australia (1880) – H. J. Johnstone
Winter’s Morning After the Rain, Gardiner’s Creek (1885) – Tom Roberts
Mystic Morn (1904) – Hans Heysen
Lieutenant Watkin Tench (1753-1833) was a Marine officer with the ‘First Fleet’ and provided one of the few eye-witness accounts of this production of The Recruiting Officer. Tench wrote, ‘That every opportunity of escape from the dreariness and dejection of our situation should be eagerly embraced will not be wondered at’ (Trench – A Complete Account of the Settlement at Port Jackson in New South Wales (1793). 25. Tench’s comment reflects the genuine concern and fragile position that faced the ‘First Fleeters’ in establishing the colony. There were only copies of two English plays that accompanied the First Fleet – George Farquhar’s popular satiric comedy The Recruiting Officer (1706) and the sentimental The Tragedy of Jane Shore (1714) by Poet Laureate Nicholas Rowe (1674-1718). Considering the difficulties, the ‘dreariness and dejection’ felt by Tench and one can assume by many others, Governor Arthur Phillip wisely chose Farquhar’s comedy to honour King George III’s birthday.
MARY ELIZABETH BRADDON (1835-1915) was a popular Victorian novelist, her most acclaimed and successful work being the ‘sensation novel’ Lady Audley’s Secret (1862). Initially published in serial form, the novel proved so popular that it was almost immediately adapted for the stage. There were a number of adaption, however, the most lasting and performed one was by the comedian Colin Henry Hazelwood (1823-1875); an irony in itself.
There are a number of fascinating things about Lady Audley’s Secret, not least its theatrical history and influence but also a rather fine connection to Australian history. Mary Elizabeth Braddon’s elder brother, Edward Braddon (1829-1904), immigrated to Australia in 1845 and eventually became Premier of Tasmania from 1894-99, and was a Member of the First Australian Parliament. The suburb of Brandon in the Australian Capital Territory, and the Tasmanian electorate of Braddon are named after Sir Edward Braddon. However, our story lays with his sister and the ‘sensation’ of Lady Audley’s Secret.
This is highly apparent in Disney’s Maleficent (2014) in which the classic evil witch, although wonderfully played by Angelina Jollie, is given a relatively predictable ‘back story’ that makes her subsequent actions ‘understandable’ due to be the victim of male domination. This romanticised reduction concerns me a little, as it does with male villains, such as the vampire, as it seems to suggest that real evil, real evil people, male and female, don’t really exists, and that everyone and all evil actions are relatively ‘understandable’ – they are actually ‘nice’ people underneath all this. Rubbish. Real evil, real evil people, male and female, do exits, and their actions rather than being ‘understandable’ are repugnant, destructive, and – well – evil – and should be denounced. The potential danger of hypocrisy, and the gullibility of accepting ‘wolves in sheep clothing’ is remarkably pronounced; not all people are ‘understandable’ or ‘nice’.
However, the above characters cited above are not really those that sit within the genre of sensation drama. As previously stated, and in reference to Lady Audley, sensation drama and the femme fatale really exists within a relatively domestic setting and not in the world of fantasy. This makes the modern femme fatale figure particularly dangerous. I am, however, hard put to find modern examples; although arguably Robin Wright’s Claire Underwood in the US TV series House of Cards (2013-2017) falls into the femme fatale archetype. As does Nurse Ratched in Dale Wasserman’s continuing popular play adaptation of Ken Kesey’s One Flew Over the Cuckoo’s Nest (1963). Furthermore, whilst Shakespeare’s Lady Macbeth may remain the most ever-present femme fatale I doubt very much if we will ever see again Ann Downs in Leonard Kastle’s The Shrike, or Lady Audley in Lady Audley’s Secret. Nonetheless, you can always read and see these works, and the femme fatale remains, in various forms, a vital archetype in modern and classical drama – long may she reign.
With Alfian Sa-at’s and Marcia Vanderstraaten’s HOTEL (2015) about to open here in Adelaide as part of the Oz-Asia Festival I thought it opportune to write something about Alfian Sa’at, one of Singapore’s best modern playwrights. Most people in Australia may not be aware of Alfian Sa’at and his work. This is an attempt to slightly address that. He is an exceptional playwright, poet, and from my all to brief dealings with him, a really great guy as well. I first became aware of Alfian Sa’at’s work whilst I was living in Singapore. During that time I was fortunate enough to see a number of his plays being performed by Singapore’s terrific Wild Rice theatre company, led by another exceptional person, Ivan Heng, the Artistic Director and co-founder of Wild Rice. The productions I saw included Dreamplay (2000), which is Part One of Alfian Sa’at’s beautiful Asian Boys Trilogy (2000-07), Cooling Off Day (2011), Cook a Pot of Curry (2013), and my personal favourite, the intriguing The Optic Trilogy (2001). All these are terrific plays and make an excellent introduction to the world of Alfian Sa’at.
The Asian Boys Trilogy is something that could be seen during Sydney’s annual Gay and Lesbian Mardi Gras and/or Adelaide’s Feast Festival. This is a terrific ‘gay’ play that is not only enlightening about ‘gay’ life in South-East Asia, past and present, but is also very entertaining. I have only seen Part One – Dreamplay, which is theatrically influenced by Strindberg’s Dreamplay, and was directed by Ivan Heng and featured the wonderful Singapore actor and dear friend Galeb Goh, amongst other excellent Singapore actors.
Cooling Off Day (2011) was actually the first Alfian Sa’at play I saw. It is a series of monologues based around the then recent Singapore General Election. I didn’t know much about the politics of Singapore so this was a terrific introduction. Whilst some of it went way over my head and was very local specific, nonetheless, it was extremely entertaining and enlightening. I loved the structure of the piece, a snap-shot of Singapore at a particular and politically important moment in time, the different voices and perspectives, a cross section of Singaporean characters and society, and the vital and engaging performances by the respective actors. It was also through this play and production that I became aware of the delights of Singlish.
I tried many times to speak Singlish, much to the amusement of my Singapore friends. I even had a couple of Singlish dictionaries, and would fervently implore my Singapore students and friends to speak Singlish as I just loved hearing it. Unfortunately, I never got the hang of it – lah. Friends would just giggle at my attempts, my problem centring on differences in stress. Australians follow our English-speaking heritage with an iambic word/vowel stress (Dee-DUM), weak-strong; Singaporeans follow their English-speaking heritage with a trochaic word/vowel stress (DUM-Dee), strong-weak. I couldn’t break my Australian cultural habit. Instead of saying the common ‘CAN lah’, I would say ‘Can LAH’, which generally produced shrieks of laughter. Nonetheless, I was acutely aware that whenever Singlish was spoken in the theatre, as in Alfian’s plays, it was like an electric current suddenly shot through the audience, making them excited and animated – it was fantastic! This was most apparent in Alfian Sa’at’s delightful domestic comedy Cook a Pot of Curry – I didn’t understand half of it, but it didn’t matter, I just enjoyed the vitality of the show, and the joy of the Singapore audience as it would roar with laughter at recognition of themselves and their unique colloquial language. I am sure Hotel will have some Singlish in it – can’t wait to hear it again.
As previously mentioned, my favourite amongst Alfian’s plays is The Optic Trilogy. This is a two-hander between an unnamed man and woman in three separate scenes. I remember this Wild Rice production clearly, which featured dear friend and colleague the wonderful Brendon Fernandez, and how from the very first scene set in a hotel room I was absolutely transfixed – by the drama, the complexity, the language, and the brilliant performances. This is a play about deceit, full of poetic metaphors, and is often very funny. It has been performed in a number of other countries, but not, as yet, in Australia. This is the play that I would love to do in Australia. I can only encourage you to get hold of it, as it is published, and read it. But please – let me do it! Haha!.
DAME OLIVIA DE HAVILLAND was born 1 July, 1916, in Tokyo and at the grand age of 101 she is still alive and well and living in Paris. Whilst her parents were British, nonetheless she and her younger sister Joan (later known as Joan Fontaine) was raised in Saratoga, California by their mother. She made her acting debut in an amateur production of Alice in Wonderland. What follows in this rather lengthy article is essentially a tribute to Olivia de Havilland’s brilliant career. In my respective acting classes I am often citing past great actors and films, of which my young (and not so young) students are often completely unaware. Many have not even seen or even know about Gone With The Wind, which is perhaps the film that most would identify with Olivia de Havilland. However, there is so much more to this extraordinary actress and 20th and 21st Century woman.
In 1934 she played the role of Puck in a local production of A Midsummer Night’s Dream. That summer the legendary director Max Reinhardt came to Los Angeles to direct a production of The Dream at the Hollywood Bowl. One of Reinhardt’s assistants saw Olivia de Havilland in the Saratoga production. Due to this assistant’s praise Reinhardt offered de Havilland the second understudy for the role of Hermia. One week before the production opened Gloria Stuart (Titanic), who was playing Hermia, and the first understudy left the production and Olivia de Havilland went on. Reinhardt 
was so impressed with the then 18 years old Olivia de Havilland that he subsequently cast her as Hermia in his lavish 1935 film version of A Midsummer Night’s Dream. She appeared with alongside other Hollywood legends including James Cagney, Dick Powell and a very young Mickey Rooney. Also in the cast was Australian actress Jean Muir who played Helena.
The 8 films that Olivia de Havilland did with Errol Flynn’s is a classic example of the successful on-screen romantic couple. Born from the Hollywood Studio system, as well as the classical theatre, many have tried to emulate this very specific but elusive kind of movie magic, but only a few have ever been as successful as the de Havilland-Flynn pairing. This includes, Katharine Hepburn and Spencer Tracy, and Doris Day and Rock Hudson. In modern cinema the films of Drew Barrymore and Adam Sandler are the only on-screen pairing that comes close, although I would also argue that the pairing of Kiera Knightly and Orlando Bloom in the Pirates of the Caribbean film series captures this special type of movie magic.
In the 1930s as well as the films she made with Errol Flynn she also appeared in a few films with Bette Davis, my favourite being It’s Love I’m After (1937). This marked the beginning of a life-long friendship between Olivia de Havilland and Bette Davis, which is an aspect of de Havilland’s current plans to sue the producer’s of the TV series Feud that deals with the relationship between Davis and Joan Crawford, and in which Catherine Zeta-Jones appears as Olivia de Havilland. One delightful little story about Olivia de Havilland’s relationship with Bette Davis can be found in the This Is Your Life: Bette Davis episode in which Olivia de Havilland makes a surprise appearance. She talks about her relationship with Bette Davis, who is sitting right next to her, and they laugh about how prior to The Private Lives of Elizabeth and Essex de Havilland was Flynn’s leading lady, but in Elizabeth and Essex she now was Bette Davis’ maid! Haha!
Olivia de Havilland also appeared in such ‘big budget’ epics such as Anthony Adverse (1936), but then came the biggest of them all – Gone With The Wind (1939).
I love Gone With The Wind, in which Olivia de Havilland played ‘mealy-mouthed’ Melanie Wilkes. She, like the rest of the film, is simply wonderful. I am fully aware that it now attracts some severe criticism in regards to its depiction of slavery and African-American stereotypes. Whilst there may be some validity in these censures, nonetheless, it is still a great film – for many reasons. Olivia de Havilland was amongst the first to congratulate Academy Award co-Best Supporting Actress nominee Hattie McDaniel when McDaniel won the award – the first African-American actress to do so. I love Hattie McDaniel’s quip when she was criticized as subscribing to so-called ‘Uncle Tom’ black stereotypes for her fabulous and memorable performance of Mammy: “I’d rather make seven hundred dollars playing a maid than seven dollars being one’.
Despite being somewhat overshadowed by Vivien Leigh, with whom Olivia de Havilland enjoyed a great friendship and working relationship, nonetheless, de Havilland’s Melanie also displays a wonderful ‘cool charm’ and ability to successfully lie and deceive. This ‘cool charm’ is particularly apparent in the second half of the film, in the Atlanta section, involving the deception of the army in regards to her wounded husband, Ashley (Leslie Howard). Olivia de Havilland is also at her best in all her scenes with Vivien Leigh (and there are a lot) including the final ‘death of Melanie’ scene. She is also wonderful in her scenes with Clark Gable, comforting him after the death of Bonnie, and before that her one scene with the terrific Ona Mason as Belle Watling.
One terrific example of superb screen acting is the sequence in which Melanie recognizes from afar the returning battle scarred Ashley (Leslie Howard); in this short sequence there are no words spoken, and the range of emotions that go across Olivia de Havilland’s face is wonderful and extraordinary – from concern, intrigue, disbelieve, realization and finally rapturous joy. I love Gone With The Wind and have watched it many many times, and always find it delightful and discovering something new about it.
Olivia de Havilland made 16 films during the 1940s. The best of these in the e 40s are Santa Fe Trail (1940), The Strawberry Blonde (1941), Hold Back the Dawn (1941) and The Died with their Boots On (1941). During WW2 Olivia de Havilland was an active member of the Hollywood Canteen, dancing and entertaining troops. This is somewhat reflected in the film 
Thank Your Lucky Stars (1943), in which she appears in a comic song ‘The Dreamer’ with Ida Lupino and George Tobias. Olivia de Havilland also bravely visited front-line troops on islands and other places in the Pacific war zone.
In 1945 she signed a two-picture deal with Paramount Pictures and subsequently made To Each His Own (1946), for which she received her first Academy Award for Best Actress.What To Each His Own exemplifies is Olivia de Havilland’s artistic need and desire to play characters that go through a considerable transformation, physically as well as psychologically. In To Each His Own Olivia de Havilland beautifully plays an unwed mother who has to give up her child. In this highly romantic drama the character she plays, Jody, ages from a young innocent American girl to an old woman in WW2 London. Whilst it is perhaps easy today to dismiss this sentimental drama, nonetheless, for its time it was covering controversial ground. Furthermore, To Each His Own marked the beginning of a new period in Olivia de Havilland’s career that saw her make films which what are possible her most impressive in regards to acting performances.
This includes the complex ‘film noir’ psychological thriller The Dark Mirror (1946), in which she plays the dual role of twins battling each other in a torturous love triangle. This fascinating film, written by Nunnally Johnson and directed by Robert Siodmak has been regarded as a precursor to Johnson’s The Three Faces of Eve (1957). Olivia de Havilland was experimenting with the so-called ‘method acting’ technique, and did an enormous amount of research into the psychology of twins. It is speculative as to whether or not she also drew on her own problematic relationship with her sister, Joan Fontaine.
The Heiress is based on Henry James classic novella Washington Square, and the play adaptation by Ruth and Augustus Goetz. It is a story about deliberate cruelty. A young woman, a wealthy heiress called Catherine Sloper who is cruelly treated by her father, brilliantly played by Ralph Richardson. She falls in love with a young man, Morris Townsend, played by the irresistible Montgomery Cliff, who deserts her after being offered financial remuneration by her father. Years later, after her father has died and Catherine has inherited her fortune, Morris returns in the hope that Catherine will forgive him and that now they can be married. Catherine goes along with Morris’ plans until the devastating ending. When challenged by her Aunt Lavinia (Miriam Hopkins) as to how Catherine can be so cruel, Catherine replies, “I was taught by experts”. This is a great story, complex and intriguing and Olivia de Havilland is simply brilliant, especially in the final scenes. Once again – as with The Snake Pit, and her other films in this period, one is seduced by her seeming innocence, unaware of the serpent that lies beneath until the end. Well worth watching.
Due to family commitments and various theatre engagements in New York, which included playing Juliet in Shakespeare’s Romeo and Juliet and Candida in George Bernard Shaw’s Candida, Olivia de Havilland did not make another film until 1952. When she did it was the mystery romance, My Cousin Rachel (1952), which was Richard Burton’s first US film. This was followed by Not as a Stranger (1955), which was Stanley Kramer’s debut film, and also featured Frank Sinatra. Her marriage to French journalist Marcus Goodrich meant that she relocated to live in Paris. She returned to Hollywood to make Michael Curtiz’s western The Proud Rebel with Alan Ladd, and 1959 she was in the British courtroom drama Libel (1959), directed by Anthony Asquith with Dirk Bogarde.
Her marriage to Marcus Goodrich ended in 1962, but they continued to 
cohabitate in the same house in Paris. In that same year Olivia de Havilland scored her greatest stage success, appearing with Henry Fonda on Broadway in Garson Kanin’s A Gift of Time. She also appeared in Guy Green’s film Light in the Piazza (1962) that many years later became the basis for Craig Lucas’ and Adam Guettel’s magnificent musical The Light in the Piazza (2005). In 1962 Olivia de Havilland published her semi-autobiographical book, Every Frenchman Has One, about her life in Paris, which subsequently became a bestseller.
In 1964 Olivia de Havilland made two rather extraordinary psychological horror films. The first was Walter Grauman’s Lady in a Cage (1964), which featured a young James Cann. This is really odd 1960s film – and it is stylishly very 1960s, almost psychedelic at times, with the addition of a doco-drama element. The other film was Robert Aldrich’s Hush…Hush, Sweet Charlotte (1964) with Bette Davis, as well as other ‘old Hollywood’ actors, Joseph Cotton, Agnes Morehead, Mary Astor, and Australian actor Cecil Kellaway. Olivia de Havilland took over the role that Joan Crawford was playing when Crawford became too ill and had to withdraw. This film also features the young Bruce Dern.
Hush…Hush, Sweet Charlotte is Robert Aldrich’s follow-up to his What Ever Happened to Baby Jane? (1962). As Bette Davis told me (yes – me) Baby Jane was the better of the two films due its script superiority. Still – Hush…Hush, Sweet Charlotte is a highly entertaining film, with the seemingly innocent Olivia de Havilland being actually as ruthless and cold-blooded as she was at the end of The Heiress.
SIR HENRY IRVING (1838-1905) was the greatest English actor of the late 19th Century. Sadly, however, very few now know anything about Irving. Yet his legacy lives on in London, primarily due the still operating Lyceum Theatre. This was Irving’s theatre – a grand proscenium arch theatre in which he performed his greatest roles, and to which the world came to be awed, entertained and shocked. Irving excelled at Shakespeare, yet his most famous role was Mathias in Leopold Davis Lewis’ The Bells (1871). 
Burgomaster or dispel the illusion of the stage’. Irving was immediately catapulted to the forefront of English theatre, where he remained, often reviving ‘The Bells’, until his death in 1905. Not only was he extremely influential in regards to the art and evolution of acting, he also influenced the creation and evolution of the ‘horror’ genre. This is not just due to The Bells, but also because he was the primary source of inspiration for Bram Stoker’s Dracula (1897). Bram Stoker was the business manager of the Lyceum Theatre, as well as operating as Irving’s personal manager/agent and friend.
I’m fully aware that some may be a little perplexed as to why I would even bother to write about the now largely forgotten Irving. However, I have just re-read The Bells, partly because the edition I found in O’Connell’s Secondhand Bookshop in Adelaide had as its preface a wonderful piece by Edward Gordon Craig (1872-1966) titled Irving’s Masterpiece – “The Bells”. I don’t wish to dwell too much on Edward Gordon Craig, although there is much to relate and discuss. Suffice to state at that Craig is one of the grandfathers of modern theatre design. Craig knew Irving well, personally and professionally. He saw Irving perform in The Bells over 30 times, and this preface is extremely enlightening as it gives a glimpse of what Irving was actually like on stage in The Bells. 
Craig writes of Irving’s ‘deep and human beauty which he lets you see’. In regard to Irving’s entrance in The Bells, following an ensemble scene of about 15 minutes, Craig provides a kind of challenging definition of true ensemble acting that runs contrary to modern assumptions and practice – ‘On his (Irving’s) appearance, they one and all fell back into their places, since to obtrude would have been out of the question. Ensemble was achieved, but there was something to achieve it for, something for which it can lend support; ensemble supporting itself, is it not rather a ridiculous spectacle? That’ democratic acting if you like – “for we are jolly good fellows…which none of us will deny.” For Craig, true ensemble acting is non-democratic; it only exists when there is something, or someone, to achieve it for – focus and a goal.
What Craig isolates is the power of the ‘star’ actor. When Irving entered he was greeted with a thunderous round of applause. Ordinarily, as stated by Craig, and referencing Stanislavsky, such applause was an annoying ‘interruption’. However, in the case of Irving, and other ‘star’ actors, such ‘hurricane of applause’ is not an interruption. “It is no boisterous greeting by an excitable race, for a blustering actor – it was something which can only be described as part and parcel of the whole, as right as rain…Power responded to power…It was necessary to them – not him’. This is very particular type of cathartic release that is necessary for the audience ‘to take in what he was about to give them’. Curious. I’ve only ever experienced such a release on the commercial West End and Broadway stage, as well as the Kabuki theatre in Japan; in egalitarian ‘democratic’ Australia it never happens. Is this why we tend not to see and rate our actors as great? Because we, the judicious ‘democratic’ orientated audience, won’t allow it?
Craig then references the classical Noh theatre of Japan; how an entrance of a great actor is preceded by ‘suspense’, followed by a ‘surprise’. In regard to Irving, as well as Edmund Kean, ‘an entrance was something to experience’ – ‘The manner of coming on made it extraordinary with great actors – it was this manner of timing the appearance – measuring its speed and direction – which created a rhythm that was irresistible’. Whist most actors do not possess the talent and skill to be ‘great’, nonetheless, the lesson here is in detail and timing, which is something that all good actors can concentrate on and achieve through thorough and precise preparation. The rhythm of entrances is also not just confined to the theatre but is a vital aspect of film – ‘suspense’ then ‘surprise’. The reward for such detail being, as Craig observes in regard to Irving, is the intense focus of attention of the audience on the actor – ‘now watch what he will do – better still, how will he do it – best of all, watch his face and figure, and follow what it is these are hinting at’.
Close attention to detail and the subtlety of psychological gestures is not something that is generally associated with 19th Century English acting, and yet it would seem that Henry Irving, as well as Ellen Terry, was a master at such insightful depth. Craig exemplifies Irving’s attention to detail, psychological gesture, and depth in how Irving as Mathias in The Bells removes his boots after entering, listening acutely to what is being said: ‘It was, in every gesture, every half move, in the play of his shoulders, legs, head and arms, mesmeric in the highest degree – slowly we were drawn to watch every inch of his work as we are drawn to read and linger on every syllable of a strangely fine writer. It was perfect craftsmanship’.
Craig clearly captures a hint of what made Henry Irving a ‘great actor’, not only as Mathias in The Bells but also in Hamlet, Macbeth, Faust and many other roles: ‘The thing Irving set out to do was to show us the sorrow which slowly and remorsely beat him down. As, no matter who the human being may be, and what his crime, the sorrow which he suffers must appeal to our hearts, so Irving set out to wring our hearts, not to give us a clever exhibition of antics such as a murderer would be likely to go through. He does not appeal to any silly sentimentality in you – he merely states the case by showing you that quite obviously here is a strong human being, through a moment of weakness, falls into error and becomes for two hours a criminal – does what he knows he is doing – acts deliberately – but (here is Irving) acts automatically, as though impelled by an immense force, against which no resistance is possible.’