As part of the South Australian History Festival that has been running throughout May, there is a truly fascinating exhibition at the South Australian Maritime Museum in Port Adelaide – Leviathan: An Astonishing History of Whales. This a celebration of the compelling majestic power and beauty of whales.
Part of this exhibition is devoted to the history of ‘whaling’, past and present. Hunting whales, despite its current ‘politically incorrect’ status, was and still is part of human history. Why hunt whales? Many people today, including myself, would find such a thing truly repulsive – and it is! Nonetheless, whilst acknowledging the brutality of ‘whaling’, this exhibition captures the fascination, dependence upon and respect for whales by a number of human groups and tribes, some of which continue to hunt whales today. This includes a few modern indigenous tribes in places such as Indonesia and Greenland, as well as past ‘western’ commercial whaling that inspired artists and writers, including Herman Melville’s Moby Dick.
I am most certainly not defending the hunting of whales and ‘whaling’, nonetheless, there is a fascinating mystery, a kind of ‘romanticism’ about ‘whaling’ that is part of past and modern human history. Why? Neither I nor this exhibition has an answer, yet it does exist and is a conundrum – which is partly why this exhibition is so fascinating and well worth a visit. Furthermore, it is a part of South Australian history as Port Adelaide once was a trading centre for commercial whaling in the now distant past. This may be uncomfortable for many who think it should be buried beneath the veneer of the niceness of modern ‘political correctness’ – nonetheless, it remains an historical fact. This exhibition challenges as well as informs without being gory and horrific, adding to its overall impressive value.
Furthermore, there are many other reasons why a visit to the South Australian Maritime Museum is worthwhile. There are numerous artefacts from the past that are fascinating. This includes a series of ‘figureheads’ that once stood proudly at the prow of sailing ships – a lost art form in itself.
In the mountain range high above Lake Inle lies the ancient town of Indien. From a distance, these stupas appear, making it seem you are approaching a magical ‘Shangri-la’ kingdom. This was indeed once a major Burmese city, on the scale of an equivalent to Angkor Wat – and just as old. It’s a bit of a trek but thoroughly worth it.
The Fleurieu Peninsular extends to the immediate south-east of Adelaide. It was named in honour of Charles Pierre Claret de Fleurieu who was French explorer, by Nicholas Baudin when he was exploring the region in 1802. The name ‘Claret’ seems rather prophetic as this region that encompassed ‘The McClaren Vale’, one of the top wine regions in Australia. This is a short photographic record of a recent trip down to the Fleurieu Peninsula, particularly to the spectacular and rugged coastline, and the magnificent pristine beaches.
DAY 1 – GOOLWA to MASLIN BEACH
Goolwa – Paddle-Steamer and Hindmarsh Bridge
First ‘port of call’ was GOOLWA, at the mouth of the Murray River. Goolwa was once considered as the capital of South Australia due to it being a major port. This included the old paddle-steamers that travelled up and down the Murray River. It was also once known as ‘theNew Orleans of South Australia’, which conjures up all kinds of hedonistic possibilities. Now, however, Goolwa is a relatively quiet country town, a popular place for tourists to visit and perhaps catch a glimpse of the by-gone time.
PORT ELIOT – VICTOR HARBOUR – ENCOUNTER BAY
Encounter Bay – South Australia
From GOOLWA we drove west to PORT ELIOT and to the headland, granting a spectacular view of the coastline, including Victor Harbour and Encounter Bay. In the late-nineteenth century, the connection between Goolwa, Port Eliot and Victor Harbour was quite significant. There are remnants of this by-gone ear, old sandstone houses and hotels, and even an old steam train that still runs between the three towns. The rest is very much tourists and retirees townhouses, that are not particularly attractive. The best part is the beaches and coastal walks.
The headland is the remains of an old glacier, thousands of years old, which accounts for the unique rock formation.
Granite Island – Encounter Bay
Just beyond Victor Harbour, at the western promontory, there is this wonderful coastal walk. The coastline is rugged with some startling, almost pre-historic rock shapes, and there are tales of shipwrecks and drownings that are marked along the path. It kept reminding us of parts of Cornwall in the UK, with one lonely sandstone house set amongst the hillside that runs down the coast.
Deep Creek – Walk
We drove further west along the coast and started the walk to Deep Creek Beach, which marks the beginning of the ‘Heysen Trail’ that goes all the way to Cape Jervis. We only did part of this walk, which as you can see was rather steep, uphill and downhill. Nonetheless, the view was fantastic – and as you gazed south all you could think was ‘next stop Antartica’.
MALSIN BEACH in the Gulf St. Vincent was recently named amongst the ‘Top 10’ beaches in Australia. It easy to see why as it is quite unique with its impressive cliff face. We arrived at sunset and walked along the beach to the ‘Unclad’ section. Maslin Beach was the first official ‘nudist’ beach in Australia – we did not venture into that
Maslin Beach – Wedding
Maslin Beach – ‘Unclad’
Onkaparinga River – Maslin Beach
DAY 2 – PORT WILLUNGA to ADELAIDE
We started the next part of our journey through the Fleurieu Peninsula by visiting PORT WILLUNGA. This was another old sea-port that serviced Adelaide and the Fleurieu Peninsula. The only remnants left of that ear are the weathered posts of the old jetty and the man-made caves in the cliff-face. There is also the ship-wreck 200m of the coast of the ‘Star of Greece, which went down in 1888.
From Port Willunga, we drove inland to the PRIMO ESTATE VINEYARD.
And then to PORT NOARLUNGA, which is a beach suburb of the City of Onkaparinga; very popular with families and tourists. We bought a couple of delicious hamburgers from a local (Thai) restaurant and devoured them on the beach.
Like anywhere in Australia there are always fantastic and fantastical ‘street art’, which includes advertisements, murals, and shop window displays.
We returned to Adelaide and went to the South Australian Art Gallery, then walked through the Botanic Gardens before returning to the Rose Park apartment for another beautiful sunset.
Biennale – Art Gallery of South Australia
Adelaide Botanic Gardens
Rose Park – Adelaide
On June 4, 1789, in the middle of a Sydney winter and less than 18 months since ‘First Settlement’, the first piece of ‘Western’ theatre was produced in the new colony – The Recruiting Officer by George Farquhar. This first theatrical production in the new colony was mounted in honour of King George III’s birthday, performed by a group of unknown convicts, to an elite audience of about 60 people, including Governor Arthur Phillip, the Marine Corps officers and their wives, as well as the few ‘free settlers’, and was performed in a ramshackle convict hut. Other than this not much is known about this first theatrical production, nonetheless, there are a number of factors that remain as considerable influences on the character of the contemporary Australian actor. These include – the Play, the ‘Performing Space’, the ‘Event’, and the Actors. This series of posts will look at each of these factors and how they relate to modern Australian theatre, film, and television practice in forming the character of the Australian actor. This post concerns ‘The Play’ itself.
1. THE PLAY
George Farquhar’s The Recruiting Officer was a popular ‘Restoration’ comedy that had been first produced in London in 1706 and had remained in regular performance throughout the 18th Century. It concerns the social and sexual exploits of two officers, Captain Blume and Captain Brazen, in the rural country town of Shrewsbury, and the recruitment of soldiers from the local farming community with the ‘trickster’ Sergeant Kite to assist them.
One of the central tenets of ‘Western’ theatre is found in Shakespeare’s Hamlet (1601), that ‘the purpose of playing’ is ‘to hold as ’twere the mirror up to nature’; that the theatre is a reflection of life and the human condition in all its myriad forms. More often than not this a reflection of immediate contemporary life – as was the case with this convict production of The Recruiting Officer.
What does the title – The Recruiting Officer – suggest? This is a play involving the military, and subsequently, it had an immediate contemporary relevance for its elite audience of Marine officers and their wives and the ‘free settlers’. Recruiting was something they would have all be very familiar with, particularly being often enforced by the notorious “press gangs’. Furthermore, as Humphrey Hall and Alfred J Cripps state in The Romance of the Sydney Stage (1996) it is more than likely that the convict actors were dressed in borrowed clothing from the officers and their wives. Somewhat ironically, the convict actors were dressed as their jailers.
In modern theatre parlance, this would have been a ‘modern dress’ production of a relatively old and ‘classic’ play. This issue, plus the immediate relevance and topicality of the play has remained a relatively common feature in Australian theatre, film, and television – we like our dramatic works to be ‘modern’. Whilst we certainly do ‘historical drama’, nonetheless, for the most part, Australian audiences like their plays/films to be of immediate contemporary relevance.
This is particularly evident in the numerous ‘modern’ dramas and especially in satiric Australian ‘comedy of manners’, exemplified by the plays by David Williamson (amongst others), of which Williamson’s Don’s Party (1971) remains the most popular. Other examples include Chris Lilley’s Summer Heights High (2007) and Nakkiah Lui’s Black is the New White (2017). Subsequently, Australian actors are not only distinctively ‘modern’, reflecting their times, but are also experienced and skilled in ironic and satiric comedy. The mischievous ‘trickster’ character of Sergeant Kite in The Recruiting Officer is arguably the first in a long line of ‘larrikin’ characters.
The next installment in this series on The Genesis of the Australian Actor will look at The Event, and how similar events and festivals are those which are the most heightened times of theatrical activity in Australia.