Bendigo Hospital Promotes Connectivity, Kindness, Community, plus World-Class Health Care

entrance to hospital
Entrance area with volunteers for Open House at a table on the right.

The award-winning Bendigo Hospital showcased last year for the inaugural Open House Bendigo and again this year. The result of the Victorian State Government’s $630 million-dollar project, the largest regional hospital in Victoria is well worth a visit, even though hospitals aren’t usually on the tourist circuit.

Over the last few months, I’ve had more interaction with the Victorian health system than I’d like because friends and close family members have needed serious surgery or other procedures. As a consumer health representative, I’m always interested in the ‘where, when and how‘ healthcare is delivered as well as any outcomes so I was determined to see Bendigo Hospital this year during Open House Bendigo.

The Bendigo Hospital Project’s much-lauded design includes therapeutic gardens and harnesses the healing power of inclusiveness and nature to deliver world-class healthcare facilities in a welcoming, holistic, and positive environment.

 I can assure you ‘seeing is believing’…

The project a Private Public Partnership between Exemplar Health and the Victorian Government and involved collaboration and consultation. The contract hands the hospital back to the government in 25 years.

Is this a pathway for the future of providing public hospital care?

Medical technology and expertise can detect and treat disease earlier, replace or heal damaged body parts, and extend life expectancy – but it all comes at a ‘dollar’ cost.

Students of history know the difficulties experienced when Medicare was introduced and the ongoing battle to retain it. To fund or even establish a universal healthcare system opens the proverbial ‘can of worms’ in Australia. Maintaining public health systems is costly financially and in political terms, because there are those ideologically opposed to the idea of government completely funding anything.   

And ‘bean-counters’ must be satisfied.

Australia’s two-tiered health system of public and private services already stretches government dollars and there is an underlying reluctance or suspicion of change from most people – especially radical change – private-public partnerships may be the compromise we need to have.

The design, organisation, and management of hospital buildings evolve at a slower pace than medicine and treatments because bricks and mortar and technological equipment require huge investment and often relocation. Expanding existing facilities may not be possible and any new site can meet community opposition or the shortcomings of political expediency.

The Bendigo Project united three existing sites. From the beginning, the architects, design team, and landscape architects OCULUS collaborated and consulted to join the various precincts through a series of connecting paths and diverse landscaped gardens, where staff, patients, and visitors could move or sit in communal and private spaces.

The scale, colours, and proportion of the built form of the hospital reference Bendigo’s distinguished heritage buildings, while establishing a strong sculpturally, formed civic element creating a more friendly and human scale.

Dja Dja Wurrung & Chinese Gardens

There is a designated area for the Dja Dja Wurrung respectful of their needs and Chinese gardens reflect the cultural diversity of the region since colonial times. The green infrastructure ensures trees and plants are inside the building as well as in gardens outside. 

Mainly indigenous plants are used but also non-indigenous to mirror the history of gardens in the Bendigo area – special plants that may have been introduced or cultivated by colonial settlers.

scar tree

Tree bark was an important resource for the Dja Dja Wurrung People and was used for the manufacture of a number of different articles such as canoes, shields and coolamons (bowls). Trees like this one, bearing the scars from bark removal can still be seen in many parts of the Country and are an important reminder of the Dja Dja Wurrung presence in the landscape.

When you enter Bendigo Hospital there is a sign that reads ‘ We are proud to acknowledge Dja Dja Wurrung as the Traditional Owners of this Country’ and at the entrance to the Aboriginal Support centre/gathering place, there is a framed Possum Skin Cloak by the artist Jida Gulpilil with the following explanation:

The creation of a Djaroon – Possum Skin Cloak to Dja Dja Wurrung people is a direct link to our past and connection to our physical and spiritual world today – it continues our healing, forever telling the stories, customs, beliefs and culture of our people. The Djaroon creates warmth and is shared with others for healing, health and wellbeing.

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The Mootchung (wattle seed pod design) represented reflects the practice of seasonal food cycle collection and movement. It is high in protein and can be cooked or eaten raw like green peas. The wood of the tree is used to make the implements for hunting and gathering other bush-foods and medicinal plants that build strength and connection to country.

Our belief, which has been passed down over 2000 generations is that our spirits and physical presence were created to encourage and support all peoples health and wellbeing, through health support, education, mutual respect and understanding: we should never disconnect from that objective as a universal community.

Jida Gulpilil 2016

 

The privacy of the Aboriginal Support area, the secluded garden with a fire circle for smoking ceremonies and meetings were designed with consultations to meet the needs and cultural sensitivities of those who use the services.

The impression of tranquillity and quietness is strong, also the smell of eucalyptus leaves. The furniture and building features made with natural materials blend into the landscape to create an inclusive and beautiful space.

The Chinese Garden with its central Pomelo tree surrounded by seats for rest and contemplation is also distinctive and beautiful.

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The plaque in English and Chinese reads:

88 

Number 88: Representing abundance, prosperity, good health and family unity.

Pomelo trees are an important symbol in Chinese culture. To the Bendigo Chinese, this is a ‘tree of life’, and pomelo tree leaves are made as an offering to the decorative Chinese dragon at many special ceremonies. This tree was propagated by Russell Jack AM, from trees grown from seed by his mother, Gladys Ah Dore in Elmore during the early 1900s. A donation from the Golden Dragon Museum of Bendigo this tree is a living reminder of the growing contribution the Bendigo Chinese community has made to Bendigo Health for more than 100 years.

Nature Invited Inside

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Our guides waiting patiently to start the tour

This recently finished hospital impressive in many ways and it was a joy to be shown around the place by one of the Oculus architects and a representative from Exemplar Health. Both women were exceptionally generous in the details they provided,  answering every question, no matter how repetitive. 

Yesterday, I received a list of all the plants and trees used in the incredibly stunning gardens because many of us requested it.

This list for the precinct is nine pages and as Joan from Exemplar Health stated in the email ‘a live document, changing over time as we work with our horticultural staff to maintain the gardens and see what is thriving (or not!) in each area.’

When I walked through the gardens and entered the hospital, first impressions were unlike any hospital I’ve ever visited. I say this as a positive, not a negative. Inside the building was even more stunning than the magnificent garden area outside where you’d expect to see rows of parked cars.

The entrance, airy and light with abstract paintings and sculptures by internationally renowned, Daylesford based artist Esther Stewart contributing to the positive ambience.

 

Stewart explores repetition and composition through colour and line. the intricate hand-painted wall painting references decorative arts, crafts and flowers from the Bendigo region. Inspired by the symmetry and formal geometry of Bendigo’s famous gold-rush era architecture.

The wall-painting features architectural elements drawn from German-born, Bendigo architect William Vahland’s ornate structures, as well as from the historic Victorian threshold tiling found in domestic and civic buildings in the Bendigo region.

Bendigo’s native flowers, Shrubby Dampiera, Sweet Bursaria and Rosy Heath have been incorporated into a repeated pattern through the piece. These decorative elements contrast with solid blocks of joyous colour, the palette of which has been inspired by the work of artists Agnes Goodsir and Emma Minnie Boyd, who were amongst the Bendigo ArtGallery’s first female acquisitions.

The elaborate wall work is a complementary counterpoint to the feathered natural light and earthy materials of Bendigo Hospital’s internal street space, providing a human warmth and local familiarity to the important new civic space.

You notice the trees growing inside the building and can’t resist checking if they are real or artificial.

Everywhere you look there is shrubbery and this green infrastructure has a remarkable, immediate, beneficial effect. The restorative power of gardens is documented here in an article written in 2015  for Frontiers in Psychology, after a study about the benefits of formal or informal gardens.

At Bendigo, there are three full-time gardeners over the three sites, plus contractors at particular times when seasonal changes may demand extra maintenance.

Our guides told us that the design of the ceiling in the entrance area was influenced by the way light filtered through the tree branches. The architects altered their original design and materials accordingly. This openness and flexibility apparent throughout the project and staff and patient input were given high priority.

We walked through the ground floor of the hospital and learned about the landscaping, soil depth, microbes, plant needs, tree needs, light and sunshine available, the reason for rainforest trees. 

When choosing plants they had to consider allergies, if plants were poisonous and could be ingested, if plants, seeds, branches, stones in rockeries could be weaponised. The mental health and dementia area have their own closed-in and safe garden.

Each floor has its own garden/rainforest – wherever you are receiving treatment there is a view to the outside world and access to plants and fresh air closeby. On the lower floors, canopy trees offer privacy from upper storeys and balconies.

We walked through the Cancer Centre and several other departments, each decorated in a specific colour scheme with artistic backdrops reflecting the seven shires that make up Bendigo. An aerial photo of some aspect of the shire enlarged behind the reception desk while chairs and other furniture complement the main colour.

When looking at the Cancer centre, one of the volunteers told me her husband was treated at the hospital and died in the hospice. I appreciated her volunteering because her grief would still be raw. 

The Treatment and Chemotherapy Rooms look out onto gardens, which help you relax and take your mind off what is happening but for some procedures ‘staff and patients have to remember to shut the blinds,’ she said with a smile. Patients can see out but people sitting outside can also see in!

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the chemo room

I told her that when I was going through chemo at Cabrini Brighton, they had scenic landscapes hanging on the wall and I used to stare at one of a beach, close my eyes and pretend I was in Samoa! My daughters waited in a nearby cafe until I was ready to go home but at Bendigo, support friends could sit and relax in one of the lovely courtyards.

An Interesting Segue

Last year the Cancer Council of Victoria chose Bendigo to launch a national campaign tackling obesity and cancer – a campaign claimed to be a world first.

  • Targeting ‘toxic fat’ around internal organs, the campaign revealed sugary drinks contribute to obesity and being above a healthy weight is a preventable cause of 13 types of cancer, including breast cancer.
  • Sugary drinks, including soft drinks, sports drinks, sugar-added juices and milk are the single biggest source of sugar in our diets.
  • 98% of Australians are aware obesity is a risk factor for type 2 diabetes and heart disease but as few as 40% know about its link to cancer.

Bendigo Health BANNED all sugary drinks being sold within its precinct – a great initiative for the sustainability of our health resources!

We want people to realise that they could be drinking their way towards weight gain, obesity and toxic fat, including their risk of many types of cancer.

Dr Sam Harris, consultant medical oncologist

It can’t be overstated how important a relationship with the outside world is when recovering in hospital. To be able to access natural beauty with its promise of new buds, leaves, and flowers contributes a promise of healing.

Central to the landscape architectural approach was the idea of connections and kindness… delivering high-quality public spaces, streets and edges inviting use and respite.

Key Outcomes & Sustainability Pluses

  • Design using evidence-based & biophilic design approaches
  • nearly 50 green roofs, roof decks, balconies & courtyards (some accessible), nearly 20 mental health courtyards and an Aboriginal Services Garden (part of closing the gap initiative).
  • the largest green roof in a hospital project in Australia
  • the hospital’s green roofs reduce glare and heat island effect, improving acoustics and thermal performance.
  • a 770panel 200-kilowatt solar photovoltaic panel array generates clean energy power
  • annual reduction in greenhouse gases of approximately 300,000 kilograms of CO2
  • the hospital roof can harvest and store more than 300kL of potable and no-potable rainwater in this drought-prone region
  • recycled water systems supply landscape irrigation, toilet flushing and heat rejection systems.
  • green infrastructure has been incorporated combining water sensitive urban design and structural soils and increased biological diversity.

Not surprisingly Exemplar and Oculus have won a string of awards for Bendigo Hospital, the latest only recently: the Prize for the Civic Landscape by the International Federation of Landscape Architects.

Other awards include:

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  • Premiers Sustainability Awards, winner Regional Recognition Prize
  • PCA Victorian Development of the Year
  • Good Design Awards, winner Architectural Design
  • AILA Sir Zelman Cowen Award Public Architecture
  • AILA National prize Civic Landscape

Robots In Use

While listening to our guides some hardworking robots glided along a designated corridor on a walkway above us.

The robots looked like large silver boxes to me.

The robots made in Germany (Siemens) operate on a small platform/trolley that can be raised. They deliver food and linen after being loaded by humans. The robots operate in a special corridor and lift reserved for their use, taking the items to the wards to be distributed by nurses or other staff.

The robots take themselves into a storage area to be recharged and when you consider all the repetitive movements and effort required to lift clean or dirty dishes and linen, having a machine to do it makes sense.

Further Improvements Transform Bendigo Health

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The transformation of Bendigo Health is amazing considering in 2012, some buildings were deemed non-compliant after failing to meet fire-safety standards.

The Victorian Government promised $60million last year to fit out the old hospital building, demolish towers at the Anne Caudle Centre, and complete the redevelopment of Bendigo’s hospital precinct.

Stage three of the hospital’s redevelopment brings together allied health services, including physiotherapy, social work, speech therapy, prosthetics and orthotics, clinical psychology and neuropsychology.

People recovering from illnesses and injuries will have good rehabilitation services and support close at hand when the new rehabilitation centre is complete by 2023. Work will start in 2021, this enables current services to move with minimum disruption before towers are demolished.

This stage is not part of the private-public partnership that delivered the first two stages so it will be interesting to see if the greening continues!

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Conservation and Caring for Community a Collective Responsibility

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I’ve lived in Mordialloc for 35 years and like many living bayside I’m forever conscious of the fragility of our environment: erosion of cliffs and sand dunes, the need for the perpetual replacement of sand on some of the beaches, the close proximity of the water table and propensity to flood, importance of the wetlands for bird migration and propagation, history of the swamps and flooding in certain areas, the risk of pollution to Mordialloc Creek…

I’m also aware and proud, of the beauty we can access every day – losing count of how many sensational sunsets admired while sitting on the beach or walking along the foreshore.

sunset at Mordialloc

The glorious walks along Mordialloc Creek alone, or with Jillian, my current walking buddy, or walking the family dog, Josie with one of my daughters. You never know what or who you will encounter.

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I love strolling through Attenborough Park showing visitors the Indigenous plants, the boats moored on Mordialloc Creek and then wandering up and down the pier checking what fish are biting – or not – whether it is a good day for sailing – before finishing the tour enjoying a cuppa in one of the many cafes in Mordialloc and Parkdale.

Memories of sitting on Doyles’ deck abound – sipping a cider or cup of tea, revelling in the happy noises of chatter and laughter, birds twittering, ducks quacking, boat engines chugging and the steady drone of cars powering to work or home.

To live in such a peaceful community a blessing, especially surrounded by so much natural beauty. However, peace, tranquillity and beauty do not ‘just happen’ in urban areas because for every park, waterway or wetland there are friends’ groups and volunteers working hard to preserve the natural environment, forever vigilant against threats and encroachment.

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Mordialloc Beaumaris Conservation League Caring for 50 years!

The reason we have so much natural space and loveliness to enjoy in Kingston is that there are those within the community ever ready to defend the environment – even if that means public demonstrations, court challenges to the council and state government proposals and decisions, or campaigns of awareness that something of value is under threat.

invite to conservation league 50th copy

One such group is the Mordialloc Beaumaris Conservation League and at the end of September, I attended a low-key celebration of their 50th Anniversary.

This community group of volunteers dedicate their time to protecting and promoting the wonderful coastline of the Bayside suburbs and also monitoring the environment of Mordialloc Creek.

A name that continually pops up in regard to the group is Mary Rimington AM, who with her husband and children and a handful of stalwarts have done an outstanding job over the years, ensuring the group not only continues but achieves many successes.

Mary has been the secretary of MBCL for 30 years and is the keeper of archives – being a local school librarian  BC (before children) her training and attention to detail a wonderful asset.

Research and accurate record-keeping and a passion for the environment have helped Mary be an inveterate writer to the newspapers. Her published letters in the local paper and The Age always demonstrate knowledge and field experience. Likewise the numerous submissions to government bodies and enquiries.

mary rimington speaking

There was a board display at the celebration but also bundles of leaflets and material on shelves, which were full of remarkably rich historical information. I’m grateful to another active member of the group, Nina Earl for this summary:

  • the first AGM in 1969 and documentation and outcomes of other meetings
  • campaigns against a Bay Gas Pipeline and later channel deepening to retain the natural coastline and Mordialloc Creek
  • Copies of submissions, letters, maps, photographs, paintings
  • flyers on the long-running campaign for the Bay Trail,
  • three versions of brochures of Coast and Creek walks – the latest one used in local secondary colleges
  • the 2019 submission on the Mordialloc Freeway Environmental Effects Statement
  • the draft concept for the long-awaited Sandbelt Open Space Chain of Parks and Trails first proposed in 1984 and long supported by MBCL and still current.

The contrast between the booklets published previously and the latest one, more to do with cost and availability of technology than the information provided.

Although, there is no contest as to what booklet will appeal to young people and hopefully, encourage them to read and explore the local environment. The latest edition is stunning!

Here are selections from each to compare:

 

Mary’s son, Lew, the Treasurer for MBCL shared some firsthand memories of the various campaigns since his school days and how he and his siblings were often called in at short notice to be ‘in the picture’ if media showed interest in a campaign and a photographer turned up – his mother always media savvy!

The Hon. Clifford Hayes MLC Southern Metro and his Chief of Staff, Kelvin Thompson (an ex-MP) were invited guests and Clifford Hayes thanked the group, especially Mary and her family for their conservation work and keeping so many important and necessary campaigns in the public eye.

He promised to continue to advocate for the environment.

Passionate and dedicated community groups are the best watchdogs for the environment and to check that government projects do good, not harm and Kingston is lucky to have several active groups.

Mary spoke about some of the highs and lows of MBCL’s history – not every campaign was successful and some were more memorable than others. She commended the commitment and activism of Professor Michael Buxton and Peter Scullin who were unafraid of taking on the establishment and challenging the law.

I nominated Mary to be a co-speaker when I was asked to present at IWD 2016 because I was Kingston Citizen of the Year.  When she was awarded the Kingston Citizen of the Year in 2017, I was thrilled her remarkable community service and devotion to all things environmental was recognised!

mary rimington and me 2017

I have a deep respect for all that MBCL have achieved and know Mary is the devoted lynchpin of the group, even when some of the campaigns have been controversial or far from popular.  I’ve lived in Mordialloc for 35 years and have seen the improvements to the foreshore, the Creek, the Wetlands – all areas championed by  MBCL.

Other community groups have also been active for many years with a few prominent in the 80s and 90s when the council responded to their concerns and we are reaping the benefits today.

I became involved with some of the groups and in campaigns to rein in developers and retain the ‘village atmosphere’ so many Mordialloc residents value.

Campaigning to retain the integrity of the Green Wedge an ongoing battle debated every year for almost the last decade!

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A climate catastrophe has been declared/recognised by many countries, at the same time Victoria has massive infrastructure projects and fast-paced housing developments, and in Mordialloc and surrounds we see evidence of this daily.

We need the diligence and courage of groups like MBCL to remind us of the value of our natural environment, of what we must conserve if we want to protect the habitat for countless flora and fauna facing extinction and to ensure our own health. 

Infrastructure and housing important for a growing population but how we manage the necessary development important for the survival of the natural environment because our health and wellbeing depend on that too!

Groups like the Mordialloc Beaumaris Conservation League remind us to value the natural world and inspire us to action to convince legislators to protect and provide a vision of what is necessary for future generations.

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Establish a relationship with your surroundings, whether your garden, your street, or the wider community, value and protect the flora and fauna and we all reap the benefits.

Greta is Great! No One is Too Small To Make A Difference!

greta's book

My daughter, Anne bought the tiny tome No One Is Too Small To Make A Difference by Greta Thunberg and gave it to me to read yesterday. The book is only 68 pages and recently published by Penguin Random House, UK.

Tome is normally used for a large scholarly work and Greta’s first book is tiny in pages and size compared to many others but it is scholarly, comprising of her speeches to climate rallies, the UN, the World Economic Forum and the British Parliament – speeches in which she recites scientific data and reveals her extensive study into the implications of global warming.

If you want to read what she actually said rather than remember news bites, doctored quotes, memes and deliberately misleading information on social media or by grumpy adults in The Australian, or on talkback radio and Sky TV, this is a handy little book to buy. There are many details to spark the conversations we need to have…

 

 

The titles of the various ‘chapters’ are apt and leave the reader in no doubt of this sixteen-year-old Swedish climate activist’s determination to get her message across to everyone from students, average citizens, politicians, national leaders, activists – in fact, anyone who will listen.

Several factual statements and emotional pleas are repeated in every or most speech in a down-to-earth, some may say pedantic manner. Greta is unashamedly proud of having Asperger’s which she considers ‘a gift’ enabling her to ‘see the climate crisis in black and white.’

What Better Primary Source On Greta Than Greta’s Own Words!

On page 24, a Facebook Post by Greta on 2 February 2019, entitled ‘I’m Too Young to Do This’, she addresses the rumours and misconceptions circulating, and sadly the ‘enormous amounts of hate’ generated by her courageous stance on what she considers a climate catastrophe and unhealthy future for herself and following generations.

She clarifies and explains her journey of enlightenment and subsequent politicisation of the ‘climate crisis,’ and her desire to motivate those with power to do something about this crisis and at the same time awaken the rest of the world’s population to the fear young people have for the future.

facebook:twitter post about Greta

When Greta addresses the European Parliament in Strasbourg 16 April 2019 in Cathedral Thinking, she tells them ‘I am sixteen years old. I come from Sweden. And I want you to panic.’

She admits to repeating the words, recognises the criticism but advises, ‘when your house is on fire and you want to keep your house from burning to the ground then that does require some level of panic.’

This speech perhaps the most pertinent and poignant of them all because it came a day after Notre-Dame burned in Paris. Greta recognised that ‘some buildings are more than just buildings. But Notre Dame will be rebuilt.’

Not so our fragile home … Earth…

quote about earth

Around the year 2030, 10 years, 259 days and 10 hours away from now, we will be in a position where we will set off an irreversible chain reaction beyond human control that will most likely lead to the end of our civilization as we know it. That is, unless in that time permanent and unprecedented changes in all aspects of society have taken place, including a reduction of our CO2 emissions by at least 50 per cent… these are just calculations, estimations, meaning that the point of no return may occur a bit sooner or later than that…

These predictions are backed up by scientific facts, concluded by all nations through the IPCC.

Nearly every major scientific body around the world unreservedly supports the work and findings of the IPCC.

We are in the midst of the sixth mass extinction and the extinction rate is up to 10,000 times faster than what is considered normal, with up to 200 species becoming extinct every single day.

  • Erosion of fertile topsoil.
  • Deforestation of our great forests,
  • Toxic air pollution.
  • Loss of insects and wildlife.
  • The acidification of our oceans.

These are all disastrous trends being accelerated by a way of life that we, here in our financially fortunate part of the world, see as our right to simply carry on.

But hardly anyone knows about these catastrophes or understands that they are just the first few symptoms of climate ecological breakdown…

… they have not been told by the right people and in the right way.

Our house is falling apart.

Our leaders need to start acting accordingly.’

global warming warning 2004
This is from a report by World Wildlife Fund in 2004!

What Are Our So-Called Leaders Doing To Avert Catastrophe?

Greta challenges them to stop flying around the world, ‘chatting about how the market will solve everything with clever, small solutions to specific, isolated problems.’

Stop trying to buy and build out of the crisis ‘created by buying and building things.’

Why ‘hold three emergency Brexit summits and no emergency summit regarding the breakdown of the climate and ecosystems’?

She can’t understand why countries are still arguing about ‘phasing out coal in fifteen or eleven years’ or ‘celebrating that one single nation, like Ireland, may soon divest from fossil fuels.’

Why do they ‘celebrate that Norway has decided to stop drilling for oil outside the scenic resort of Lofoten Islands, but will continue to drill for oil everywhere else, for decades’?

 

 

Greta is aware that scientists have been warning governments for years about global warming and inaction or poor decisions have created this climate catastrophe.

batttle for reef 1999

There Is No Polite Way To deliver an Unpopular Message!

The ongoing climate and ecological crisis must make up the headlines in the media – and if school strikes and extinction rebellion demonstrations are what it takes then that is what people must do.

Greta begs world leaders to stop arguing about taxes and squabbles like Brexit and start cooperating to work out what we are going to do to address climate change. And ‘the bigger your carbon footprint, the bigger your moral duty.’

At the recent ‘school strike for climate change’ in Melbourne, unprecedented numbers – 150,000 plus – stopped the city and young students were joined by thousands of adults: representatives of churches, unions, community groups, and political parties all demanding action because like Greta, they see this is a make or break time for Mother Earth

 

 

Unite behind the science!

Greta advises we just ‘Make the best available science the heart of politics and democracy.’

She recognises that politicians fear to be unpopular with voters and that many voters are ignorant or refuse to accept the reality of the climate crisis, so ‘it will take a far-reaching vision.

‘It will take courage. It will take a fierce determination to act now, to lay the foundations when we may not know all the details about how to shape the ceiling’ of this house of ours which is falling apart, ‘In other words, it will take cathedral thinking.’

She finishes her address to the European Parliament with,

‘it’s okay if you refuse to listen to me. I am after all just a sixteen-year-old schoolgirl from Sweden. But you cannot ignore the scientists, or the science, or the millions of schoolchildren who are school-striking for their right to a future.

I beg you, please do not fail in this.’

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A Strange World Indeed!

Greta dedicated an award at the Goldene Kamera Film and TV Awards, Berlin 30 March 2019, to people fighting to protect the Hambach Forest and to activists everywhere who fight to keep fossil fuels in the ground.

She hammers home how strange the world is when the ‘united science tells us that we are about eleven years away from setting off an irreversible chain reaction, way beyond human control, that will probably be the end of civilization as we know it.’

Politicians don’t act because of the cost yet spend trillions subsidizing fossil fuels and ‘a football game or a film gala gets more media attention than the biggest crisis humanity has ever faced.’!

Greta begged celebrities to use their influence and voice to raise awareness about the global crisis and suggests those that don’t are worried action ‘would inflict on their right to fly around the world visiting their favourite restaurants, beaches and yoga retreats.’

The well-known proverb advises ‘Good things come in small packages’ – this can definitely apply to Greta and her book. She is unafraid to speak from her heart and face whatever criticism is thrown at her and when invited to speak at forums most of us will never be invited to (especially not the bigheaded bigots like Alan Jones and Andrew Bolt), she speaks with courage, clarity and does not falter.

You’re Acting Like Spoiled, Irresponsible Children‘ is her address to the European Economic and Social Committee ‘Civil Society for rEUnaissance in Brussels, 21 February 2019.

We are school striking because we have done our homework… There is simply not enough time to wait for us to grow up and become the ones in charge… We know that most politicians don’t want to talk to us. Good, we don’t want to talk to them either. We want them to talk to the scientists instead. Listen to them, because we are just repeating what they are saying and have been saying for decades.

We want you to follow the Paris Agreement and the IPCC reports… unite behind the science, that is our demand…

we need new politics, we need new economics where everything is based on a rapidly declining and extremely limited remaining carbon budget…

… we need a whole new way of thinking. The political system you have created is all about competition. You cheat when you can because all that matters is to win, to get power…

… we must stop competing with each other, we need to cooperate and work together and to share the resources of the planet in a fair way.

We need to start living wihtin the planetary boundaries, focus on equity and take a few steps back for the sake of all living species.

We need to protect the biosphere, the air, the oceans, the soil, the forests.

This may sound very naive, but if you have done your homework then you know that we don’t have any other choice…

You can’t just sit around waiting for hope to come – you’re acting like spoiled, irresponsible children… hope is something you have to earn.

In 1988, author Kurt Vonnegut wrote a letter of advice to people living on Earth 100 years in the future. It has been summarised and is doing the rounds of Facebook, probably due to Greta and her supporters reminding us that the time for talking, procrastinating, denial of the seriousness and downright ignorance and stupidity is well and truly over!

Kurt Vonnegut advice 2088

We Need More Like Greta

I have been an environmental activist for years and often use my writing abilities to raise awareness that there is no Planet B!! I taught both my daughters to care for the environment and my first books of poetry (Small Talk, 1994 and More Small Talk,1995) were written for children, including poems on subjects I hoped would initiate family discussions about the environment, pollution, littering, caring for wildlife, our oceans…

pollute and perish poem

In the 1990s, the terminology used was the Greenhouse Effect and many businesses were asked to participate in the ‘Greenhouse Challenge’, Australia’s National greenhouse gas emissions reduction strategy. A goodwill pact between Australian industry and the Commonwealth government to reduce gas emissions through voluntary industry action was supported by responsible businesses.

Throughout the world, there were programs to plant trees, save forests and a heightened awareness of the importance of trees, especially rainforests that provide the oxygen which life on Earth needs to survive.

Greta reminds us that not enough was done, governments changed, many haven’t honoured their commitments, some had no intention of making a commitment…

We now have a climate catastrophe looming…

grim forecast for global extinctions 2004

Let’s start listening and adding our voice to Greta’s – she deserves our admiration and support. Read her book and be inspired to act.

Make your vote count!

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voting for the environment
a couple of elections ago!

 

{PROOF} at Parkdale Confirms Playwrights’ Power To Confront & Explore Important Themes

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Shirley Burke Theatre’s Current Production

Last night, my friend and fellow scribe, Lisa Hill attended our local theatre to enjoy {PROOF} by playwright, director and screenwriter, David Auburn. It’s a drama I’d recommend and you only have another week to grab a seat!

This is one of the best productions I’ve attended since Lisa invited me to be her ‘play buddy’ and buy a yearly ticket to Shirley Burke’s 2019 series. Other reviews of ones I’ve enjoyed this year are here and here.

Now officially an aged pensioner supporting local theatre a joyful pastime and helps ensure an accessible art scene in Kingston. There have been several mixed outings this year: some scripts and/or acting better than others, but last night was a triumph for the actors and an interesting script.

The prize-winning play written two decades ago raises relevant and timeless issues, explores the human condition to provide that all-important conflict necessary for memorable art. 

playwright of proof

{PROOF} examines family relationships, sibling rivalry, the stress of being a carer, grief, mental illness, hereditary disease, gender equality, the fine line between brilliance and madness, and most importantly, trust and its importance for a healthy relationship!

The title, encased in parentheses alludes to the mathematical motif running through the plot and characters.

One of the four characters, Robert (Peter Hatherley), is a mathematics genius suffering an indeterminate mental illness – not an easy role to play but he handles it well.

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Hal (Chris Hill) an ex-student of Robert’s is going through Robert’s notebooks hoping to discover another great mathematical theory, Catherine (JaneLeckie), Robert’s daughter has inherited his genius and perhaps his mental illness – a fear alluded to and voiced.

A notebook with a new groundbreaking theory becomes the centre of contention causing conflict between Hal and Catherine, and Catherine and her sister Claire (Samantha Stone).

Who wrote the entries and when? How do you establish authenticity? Who will gain from the notebook’s contents?

Jokes about maths geeks dispelling their nerdy image of being plain, boring or weird provide several laughs in a play tackling the fragility and frailty of the human mind, body, and spirit.

Serendipity or Coincidence?

Yesterday was R U OK Day? with all forms of media and health bodies promoting increased awareness of mental health. Mental illness was a strong theme in the play with the character, Robert suffering an unnamed condition. The audience learns he often disconnects from reality and displays paranoia.

I doubt I was alone in seeing the similarity between Robert’s psychosis and that of John Forbes Nash, diagnosed with schizophrenia and played by Russell Crowe in the movie, A Brilliant Mind. 

Both characters portrayed as brilliant mathematicians but in {PROOF} the audience is left wondering about Robert’s illness …

… the oft-quoted line by Oscar Levant (1906-1972) springs to mind, There’s a fine line between genius and insanity. I have erased this line.”

Another theme explored in the play is the role of carers and with an ageing population, regardless of whether healthy or sick, it’s a hot topic.

Do you care at home or put the person in an institution? What is the toll on the carer? Catherine has sacrificed her education and career to look after father, Robert. A sacrifice her sister Claire didn’t agree with and it is Claire who pays the bills for the upkeep of the house and Robert’s care.

Several poignant scenes in the play occur when the sisters, Catherine and Claire (Samantha Stone) argue about the wisdom of keeping Robert at home and whether the fragile Catherine needs to be cared for if she has inherited her father’s ‘condition’ – whatever that is – and Claire’s insistence Catherine return with her to New York after the father’s funeral so the house can be sold.

There were several scenes where anger demanded and all the actors were persuasive in their portrayals coming across as authentic, which can be hard to do with extreme emotions.

Catherine goes through the full gamut of emotions and Jane Leckie did a superb job with a minimum of make-up – her facial expressions and body language captured grief, fear, anger, disappointment, sadness, distrust, playfulness and joy – to the extent when final bows were made with her hair loose and a beaming smile it could have been a different person on stage!

Peter Hatherley’s, Robert suitably mercurial and feisty using the space on stage to good effect with expansive gestures hinting at his younger self’s confident brilliance and older self’s celebratory status but unsteady at times to remind us of his illness.

actor in proof clareactor in proof 2 catherine

Plenty in this play to feed private reflection and reminiscing about family responsibilities, loyalty and relationships, the opportunities and positions available for women in academia, the strain of caring for those you love when they become unlovable, and the profound, debilitating, and often unpredictable effects of grief.

The Gender Card & Generational Divide

Bearing in mind, the play is 20 years old, you don’t expect an exploration of the recent complex debates around gender to be a major theme, but there is a strong acknowledgement of the omission of ‘herstory’ in {PROOF}.

Debates on important issues demand lots of conversations in the community and it’s no secret that for years the sciences excluded women.  The situation resulting in efforts to address school curriculums, and increased encouragement of women to study mathematics and associated fields.

The issue is dealt with on stage with an interesting conversation between Hal and Catherine both in their twenties, both maths geeks, both quirky and socially awkward in their own way. The underlying romantic tension between the pair an interesting sub-story and the physical and verbal interactions between them believable and well-executed by Jane Leckie and Chris Hill.

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The play tackles the generational divide with Hal suggesting maths is ‘a young man’s game’, and even Robert mentions it is important to achieve early success to compete.

Hal reveals attending conferences and observing drug use (alcohol and LSD) and that some older men need a drug like Speed to keep their mind sharp and racing because of fears creativity has peaked in their early twenties!

Robert’s illness started in his mid-twenties and Hal who is twenty-eight fears the chance to be as brilliant and famous as Robert has passed him by.  However, if he can decipher Robert’s notebooks and perhaps discover something new… perhaps produce that great leap of the mind and experimentation that renders mathematicians awesome.

Hal believes all creative mathematicians who come up with original work are men, especially young men who are at their peak in their early twenties, but after probing by Catherine acknowledges there was a woman at Stanford University, he can’t remember her name.

Sophie Germain?’ Catherine suggests.

Hal pauses for a moment as if remembering, and replies, ‘…I’ve probably seen her at meetings, but haven’t met her…’

‘She was born in Paris in 1776,’ is Catherine’s droll comment.

‘So I’ve definitely met her,’ Hal replies with a grin.

Amidst this humour, Catherine delivers a lesson on Sophie Germain surviving the French Revolution’s Terror by hiding in her father’s study and reading. Later, formal education denied because she was a female, she furthered her education by personal study but only got noticed for her work on prime numbers when she corresponded with learned men under the male pseudonym, Antoine August Le Blanc.

Catherine explained how her father gave her the book about Sophie to read and encouraged her to study – another hint that she shared her father’s love, perhaps obsession of math. 

Hal admits his ignorance and stupidity – he has studied Germain Primes.

There is an exchange of numbers, equations and sums in their conversation similar to one Catherine had with her father at the beginning of the play and Hal starts to understand Catherine has talent, but as if threatened, he stops adding and extending figures and instead queries if Sophie’s ruse was ever discovered by Gauss, the most famous of her correspondents.

Catherine recites a long passage from a letter she has memorised where Gauss recognised the extraordinary talents of Sophie and her difficulties and courage revealing her genius to a world dominated by men.

Hal’s reaction is to kiss Sophie and then apologise for being ‘ a little drunk’!

The budding romance between Catherine and Hal is a roller-coaster ride in the play – trust shattered along with Catherine’s composure when Hal doubts her honesty and even seems to go along with Claire’s suggestion that Catherine is mentally unstable.

The kindled romance dissolved by an explosive row, reignited in an uneasy truce, perhaps understanding and acceptance, but we are left to write their future.

Stagecraft & Setting

The various set designs I’ve seen this year at Shirley Burke have been impressive – the team who build the sets deserve congratulations. It is a small intimate theatre, therefore, the stage has limitations, yet they ‘come up trumps’ every time.

Like a short story, nothing in a play, including set and props, must be there unless it advances the plot or contributes to the storyline.

{PROOF} is yet another play set in the USA but thankfully the American accents did not jar as much as earlier plays this year.

Every scene is set on the back verandah (porch) of a house near the University of Chicago where Robert’s genius is revered and where he taught before his initial ‘breakdown’ and later descent into ill health.

The confined space is not glamorous and a scattering of dead leaves suggests autumn and in another scene winter – a metaphor for Robert’s ageing and death? The need for regrowth and change? Catherine’s sacrifice and confinement for years as she cared for her father, but a promise of better things to come?

Playwriting like screenwriting is a collaborative art, for results you require the sets, actors, lighting, sound, stagecraft and direction to gel … this production of {PROOF} ticks all the boxes.

director of proof.jpg

The drabness of the porch relieved by the glimpse of the interior of the house through glass doors and at Robert’s wake the light is suitably bright accompanied by party music so we get a sense there are others inside.

Scene changes are heralded by various mood-appropriate music, the most memorable being a discordant, noisy band number after Hal admits he is with a group of fellows from the math department who play in a bar. Their signature act called ‘i’ lower case and they stand without playing anything for three minutes.

A math joke which Catherine guesses, ‘Imaginary Number?’

There are successful flashback scenes too (and a ghost scene, when grieving Catherine ‘talks’ to her father after his death).

These are often difficult to deliver effectively on stage and can be confusing for an audience to follow, but are handled well.

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Like all good dramas, Act 1 ends with a shock announcement, which gave us plenty to talk about over Interval!

An Irrelevant Aside?

It’s interesting what actions resonate with members of an audience.

The play opens with twenty-five-year-old Catherine curled asleep in a chair on the verandah. Her father, Robert wakes her up – it has just gone midnight and now officially her birthday. He has a bottle of champagne, which she insists on popping because last time he broke a window! (The first chuckle/laugh in the play.)

Catherine pops the champagne cork like a waitress serving at a high table keeping the cork under control. She proceeds to swig at the contents while conversing with her father who we learn has been unwell but now believes he is okay and is convincing her to return to study.

Because of my lived experience waitressing throughout university student days in Canberra and later travelling in Scotland, I know how to open a bottle of champagne in a confined space without letting a wayward cork hit a person or an object and yet still retain that satisfying “POP” everyone expects. It is an acquired skill, so well done Jane Leckie for not hitting a member of the cast or audience!

Another memorable moment in the play is when Hal discovers a page in one of Robert’s notebooks where he recognizes Catherine has kept him from being institutionalised (what Claire wanted) and has saved his life by caring for him. ‘Where does her strength come from? I can never repay her?’

My father had dementia and was eventually institutionalised for his own and my mother’s safety but in his lucid moments, he often uttered similar sentiments.

When the play ended, the audience gave well-deserved extended applause and Lisa and I both agreed it has been the best production we have seen this year.

I picked up a flyer advertising the next production and considering the shenanigans in the UK (is life imitating art?) it seems a timely production to end the year with a few belly laughs and the absurdities of ‘the human condition’.

If you can’t get to see {PROOF} perhaps book early to be “Out of Order‘!

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A Dickens of An Exhibition For Writers of Fashionable Fiction!

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While attending two great free workshops on aspects of Scottish history at the Prahran Mechanics’ Institute Victorian History Library last week, I picked up a flyer for another event in Stonnington – also free. (I’m prepared for the jokes about stereotypical Scot being mean!)

This is a fabulous opportunity to learn some historical background and context for many of the female characters in the classic novels of Charles Dickens and to see yet another superb collection of clothes from the Dressing Australia Museum of Costume that provided the wonderful collection of clothes and other items for Be persuaded – Jane Austen, an exhibition by Glen Eira Council in January 2019.

Fiona and Keith Baverstock use the period fashion, textiles and fashion ephemera in their collection to create a themed exhibition, which they then take on tour. The research and attention to detail and the information supplied truly awesome.

Similar to many people, I read Great Expectations, A Christmas Carol, A Tale of Two Cities and Oliver Twist while at high school. Later, I watched the many film and television adaptations of novels such as Bleak House, David Copperfield, The Mystery of Edwin Drood and Nicholas Nickelby produced by the BBC among others.

Many of Dickens’ characters and their utterances are household names. I’ve used quotes from his books in my creative writing classes, also extracts from newspaper articles because Dickens was a journalist before becoming a novelist.

Although, as one exhibit explains, he would fit right into the current complaints of  ‘fake news’ because Dickens had a dramatic streak. Always a creative writer at heart with emphasis on the ‘creative’ instead of factual reporting, he embellished stories to make them more interesting for the readers!

Charles Dickens is revered as a writer and most of the accolades are well-deserved. However, a neat summary of his life, plus many books, plays, and articles written revealing his complex personality, misbehaviour, and shabby treatment of his wife may disappoint some fans.

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First impressions of the Exhibition are of being on set preparing to make a historical film; the display of dresses stunning and cleverly grouped. The varied colours and designs catch your eye and display cases have accessories laid out as if in preparation to be donned.

You start to wander around the room and become absorbed in the stories of the women who peopled the novels of Dickens. You may be fascinated when examining the outfits and imagining their lives. What must it have been like moving around in voluminous gowns, restrictive corsetry and even more restrictive social mores and expectations?

dickens quote

Sairey (Sarah) Gamp from Martin Chuzzlewit

Dickens had a talent for creating memorable caricatures – comical but also despicable. They often personified the seven deadly sins: envy, gluttony, greed, lust, pride, sloth and wrath… and introduced words from the vernacular that became common usage.

Sarah Gamp exemplified greed, selfishness and as a drunken nurse/midwife displayed a callous disregard for others. She was ‘ a potent weapon in the campaign against untrained, incompetent nurses. It took a Florence Nightingale to fully expose and sweep aside the armies of Sarah Gamps.’

 

The 1840s gown with evidence of wear and tear is slate-coloured striped taffeta. She presided over so many deaths so wears a mourning apron and black, crepe trimmed taffeta mourning cape and her ‘gamp’ (umbrella).

The image of Mrs Gamp’s ‘gig’ umbrella clutched to her person wherever she went, or displayed ‘with particular ostentation’ against the chimney breast of her bird-sized apartment above the bird fancier’s shop in Holborn so resonated with readers that ‘gamp’ became synonymous with umbrella, just as ‘Sarah Gamp’ became synonymous with a slovenly, inebriated ‘nurse’.

A gig was a light carriage with two wheels pulled by a single horse. In the latter part of the 19th century, it was deemed suitable for ladies to drive around their estates or into the village.

... ‘the lady would need a nifty weapon to beat off any ne’er-do-wells with the temerity to approach, and when stepping down she would need a handy little parasol. The gold cap comes off the sycamore case, the parasol slides out and screws neatly into the gold tip on the other end, Voila, protection from the sun or rain.’

There was nothing dainty or lady-like about Sarah Gamp. She would have driven a cart and her ‘gamp’ a heavy umbrella.

Catherine Dickens – the discarded wife

It was the actress Miriam Margoyles portraying Catherine Dickens in her play Dickens’ Women based on or inspired by 23 different characters in the novels by Dickens that made me think more deeply about how women were portrayed by the great storyteller.

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One reviewer said the production highlighted Dickens’ “obsession with youthful beauty and his baffling relationships with his sister-in-law”.

The detailed notes along with the chosen gown for Dickens’ wife are not complimentary to the man and emphasise how unfair the legal, as well as the social system,  was regarding the treatment of women.

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Reading about Catherine and looking at the dresses on display you can’t help but notice the tiny waists, the design drawing attention to the breasts and of course, being the era of gloves and hats, there was a dress code or expectation a lady had accessories.

  • How long did it take to get dressed?
  • How complicated were the designs to maintain – especially considering the material used?
  • And in an era of women producing baby after baby, how unsuitable were those clothes for pregnancy, breastfeeding and caring for children, let alone housework.

My paternal grandmother was married in 1900, the clothes hadn’t changed that much from the years before and the family story is that she fainted twice on her wedding day as her sister pulled the corset strings tight enough to ensure she had the obligatory 18-inch waist to fit her wedding dress!

Nancy in Oliver Twist, a ‘fallen woman’

Dickens never used the term prostitute or sex worker in his novel but readers are under no illusion about Nancy and her friend Bet described:

“They wore a good deal of hair, not very neatly turned up behind, and were rather untidy about the shoes and stockings. They were not exactly pretty, perhaps; but they had a great deal of colour in their faces, and looked quite stout and healthy. being remarkably free and easy with their manners, Oliver thought them to be very nice girls indeed. Which there is no doubt they were.”

I read Oliver Twist when I was fifteen and stark images of Victorian England and the appalling living standards of the poor in cities like London remain with me. Dickens

… knew how to hold an audience. The themes in his novels did, however, challenge the accepted beliefs of the day. Oliver Twist shines a light into the dark underbelly of life in the cities like London, confronting the comfortable complacent with the relationship between poverty and crime, revealing the iniquity and inequity of the Poor Laws and the Workhouse system – and its inept and corrupt officials.”

I can remember hoping that Nancy, who showed kindness to Oliver, would somehow be miraculously transformed and freed from the seedy clutches of Bill Sykes, but deep down knew her shockingly violent death was inevitable.

The ruched and frilled dress with elaborate cording, tight waist, laced back and revealing cleavage was chosen because the silky style would have appealed to Nancy, even if she would have preferred a more striking colour. This dress was ‘Perkins Purple’ and faded over time to mauve and then pearly grey.

In my imagination, Nancy would have worn feathers in her bonnet and always had a shawl!

Miss Havisham – who can forget a woman scorned?

There have been many adaptations of Great Expectations and it remains one of Dickens’ more popular novelsAgain he takes on the establishment, the ‘haves’ and emphasises the divide between the rich and poor.

The powerful regard poverty as a crime and use prison to punish those who ‘have not’. The story of a young man overcoming obstacles to achieve success another of his recurring themes.

But it is the jilted, embittered, and wealthy Miss Havisham living in a ruined mansion with her adopted daughter Estella, who fascinates and intrigues readers and leaves a lasting impression. She still wears her wedding dress as if frozen in time.

Twenty minutes to nine was the moment the letter arrived revealing the calumny of her fiance. There she was in her wedding gown, the wedding breakfast and adornments laid out in readiness, one satin slipper still to don. And there she remained. Since then, the wedding breakfast, the decorations, the room have been weighed down by dust and cobwebs, have been nibbled by decay and vermin till the house itself is crumbling. The fraudster Compeyson took her future and her fortune (although obviously not all of it) and might as well have taken her life.

Her revenge is Estella, whom she has fashioned into a weapon to destroy men and the hapless Pip is the whetstone on which Estella is to hone her skills…

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The addendum to “Expectations unfulfilled – Miss Havisham” states that

Dickens has trouble with consistency when he sets his novels in an earlier era. This is certainly evident with the ages and setting of Great Expectations. We’ve chosen to place Miss Havisham’s wedding in the early 1800s and have dressed her in a distressed, disintegrating Regency style gown.’

All of the costumes are original 19th-century outfits and so the ‘distressed’ signs are natural. Dressing Australia’s disclaimer that they’ve chosen what they think fits/suits each character rather than adhering strictly to the publication date of the novels, although many of the costumes coincide nicely.

Oliver Twist was published in 1837, but Nancy’s gown is from a later decade. It was chosen to represent the ‘tart with a heart‘ and Nancy’s notion of what is ladylike. Estella’s exquisite gown is from the late 1850s when Dickens was writing Great Expectations, published in 1860, although the story was set in an earlier era.

Madame Defarge – Knitting while heads rolled

Madame Defarge in A Tale of Two Cities, a novel set in the time of the French Revolution is the embittered wife of a wine shop owner who owed his status and business to her revolutionary fervour.

She enjoyed knitting the names of the aristocrats she plotted to send to the guillotine and while weaving their names into Liberty Caps sat and watched their heads roll off the beheading machine.

Acknowledged as a leader of the Tricoteuse Movement, which evolved from the Market Women heroines who marched on Versailles and became ‘too uncontrollable and troublesome, and barred from the gallery of the National Convention and from political assemblies’ she proves to be devious and brutal even if her vengeful crusade facilitated by The Reign of Terror is justified.

Madame Defarge’s sister and unborn child, brother, brother-in-law and father were all killed by Darnay’s uncle, assisted by his father.


The green shot silk gown is ‘somewhat distressed’ polonaised over a black quilted satin petticoat. The Liberty Cap is pinned with a rosette and a rose. (Madame Defarge popped a rose in her cap warning that ‘outsiders’ were nearby and it was not safe for revolutionaries or the Tricoteuse to speak.)

Confronting the Ghosts of Christmas

A Christmas Carol probably ranks as one of the most read of Dickens’ novels along with Oliver Twist and Great Expectations. If not read, most English speaking people will still have heard of Scrooge or know what it means to call someone a scrooge!

A Christmas Carol sold out the minute it hit the bookstands in 1843 and has remained a favourite ever since. It has the feel-good factor – goodness triumphs over the mean and mean-spirited, adversity can be overcome, redemption is possible…

A man without conscience is not confronted by his own humanity, yet that is precisely what the Ghost of Christmas Past does to Scrooge. Look at how you used to be. Look at how others used to view you. Look at how you felt when facing rejection. Look at the beginnings of your loss of innocence when you chose greed over love.

A man entirely without compassion cares not when confronted by disturbing images of the distress of others, a man without imagination does not see what he might be missing. Yet that is precisely what the Ghost of Christmas Present shows Scrooge.

A man who is impervious to the consequences of his actions, who cares not that he has alienated all who might care for him, who does not mind a lonely, uncelebrated life and death will take no notice of the Ghost of Christmas Yet To Come. And yet Scrooge does.

He has confronted his ghosts, is redeemed and regains his humanity and compassion.

The exhibition’s vision of the three ghosts as women enabled an interesting choice of costumes:

  • Christmas Past represented by a distressed Regency gown – a style from Scrooge’s youth
  • Christmas Present represented by a brown moire two-piece gown – a style from Scrooge’s present.
  • Christmas Yet to Come represented by a brown stripe taffeta gown of 1869 – a style yet to come.

There are so many characters from other novels with their stories summarised and the reasons for the choice of garments explained – please catch the exhibition before it closes.

Stand and ponder how these women lived – imagine riding in a carriage beside them, walking down a crowded London street navigating flower sellers, spruikers, beggars, even chimney sweeps… attending a dress fitting, visiting for high tea, soliciting, waiting for an errant husband or an abandoned lover, knitting while aristocrats lost their heads or haunting mean-spirited men!

Pity the poor seamstresses

Whenever I read about the world of Dickens and see the clothes of the era, the textiles, antiquated machinery, and the appalling factory conditions I am amazed at the complicated patterns, intricate beading and buttons, and delicate embroidery on the gowns, shawls and hats.

How resilient and talented must those tailors and seamstresses have been and yet we know workers in the clothing trades historically and even in current times are consistently some of the most abused, underpaid and exploited.

In much more modern times, my Aunt Chrissie was a tailoress in Scotland and eventually owned her own sewing school when she migrated to Australia. My older sister, Cate inherited Chrissie’s gift for sewing, crochet, knitting, embroidery… all handicrafts and I’ve written about her talent and her award-winning quilting.

One night, watching my sister sit and sew by a bedside lamp I was inspired to write a villanelle…

A Stitch in Time
Mairi Neil (2014)

She sits sewing by dim lamplight
embroidered threads by her side
contented, happy, eyes shining bright.

In the stillness of evening light
needle and thread silently glide,
as she sits sewing by pale moonlight.

Cross stitches pattern small and tight
new techniques taken in her stride
contented, happy, eyes shining bright.

Her creativity in wondrous flight
imagination flows like the tide
as she sits sewing by candlelight.

Machines embraced despite Luddites
mass production becomes her guide
contentment gone, eyes no longer bright

History records seamstresses’ plight
workers stripped of all but pride
many still struggle in shadowed light
exploited, sad, eyes no longer bright.

It was standard practice for women to learn how to sew and for those who did not have to work or scrabble for their living, sitting doing crochet, cross-stitch and embroidery of Bible texts, the alphabet or seasonal motifs considered a genteel pastime.

The exhibition has a lot of interesting historical detail and invaluable research for any would-be writer. Information about waves of migrants bringing new skills, new technology and techniques and of course, fashion fads. Wonderful background fillers that may even inspire short stories or novels.

Stitched with Love

“The first printed patterns for stitching woolwork on canvas were produced in Berlin in the first half of the 19th century. The craft, which became known as Berlin woolwork was promoted at the Great exhibition of 1851 in London just as the middle classes were expanding and more women had the leisure to stitch, and just as new chemical dyes produced never before imagined colours.

Some of the most popular designs were for slipper vamps and uppers. Some, like these, were never attached and have survived for us to admire. A favourite dog stitched with love.”

 

 

Do You Have a Sentimental Yearning To Tell Stories About The Past?

slide of frstival

On Thursday evening, July 4th, my friend Jillian came with me to a fabulous event in the annual Glen Eira Storytelling Festival.

Not only was the event free but they put on a cuppa and delicious choice of biscuits if you turned up before starting time and plenty of us did that!

I no longer work at Godfrey Street in Bentleigh where I used to encourage my students to enter the writing competitions (and in past years a couple got guernseys!) however, my Facebook feed alerts me to Glen Eira Council posts.

They have some great events – the last one I attended was all about fashion of the Regency Period and Jane Austen.

For anyone writing recent family history (Jillian) or stories about or based on their own life (me), Thursday’s event was a great shortcut for historical detail, reminders of what Melbourne’s suburbs used to be like and a way to generate ideas to turn your life into interesting fact or fiction with specific research done by people passionate about the past and with an established following for their writing.

Nostalgia and the ‘Burbs

libby presenting
Libbi Gorr with Eamon Donnelly, David Wadelton and Aron Lewin

Award-winning television and radio broadcaster, Libbi Gorr hosted a panel of contemporary artists and authors with research, websites, and books devoted to cultural observations of our changing suburbs.

Libbi, currently, on ABC Radio Melbourne Weekends was known as Elle McFeast in the 90s. 

Lisbeth Joanne “Libbi” Gorr is an Australian broadcaster working in both TV and radio. Gorr is also an author, voice artist, writer and performer. She first came to prominence with the satirical television character that she created called “Elle McFeast”.

 Wikipedia

With her comedic skills to the fore, Libbi introduced herself by saying she looked up the meaning of Libbi and it was a wallflower, so she chose Elle because in the 90s the model and magazine was associated with long legs and great tits.

She explained that if you wanted to know her job on ABC Radio Melbourne think of her as the Waheed Ali of the weekend except she has a Jewish background, or Miranda Kerr after a feed and Oprah on Crack…

She was a young Jewish girl growing up in Murrumbena, a suburb ‘not quite Caulfield’. Her father originally, from Shepparton but his family escaped the pogroms of Russia. Her grandfather came to Australia at the same time as the Myer family but he worked on the Snowy Hydro scheme.

Sidney Myer’s family got the Sidney Myer Bowl, her father got a fruit bowl – Shepparton.

Libbi’s mother born in Caulfield – a pharmacist like her mother – ‘two generations of druggies’. Her father owned a petrol station, Gorr Automotive so Libbi said, ‘she could sniff cocaine or petrol’…

Libbi’s introduction, placing herself as a local with a connection to place important for the ‘home crowd’ – and it was a crowd – in excess of 100 people packed the room. Not a bad turn out for a winter’s evening.

 

 

The blurb on the invite about ‘burbs said:

As corner milk bars disappear, video stores shut their doors and quirky suburban houses and landscapes give way to gentrification, a group of writers, photographers and artists have set about capturing the quirks and nostalgia of our changing suburban landscapes.

Join us for an evening of cultural observations from the ‘burbs, trips done memory lane and some musings on the very strange phenomenon we call nostalgia.

Why is Nostalgia important?

Before Libbi introduced the panel she mused that Carl Jung answered that question when he studied how childhood experiences are cemented as unconscious memories connecting us to our past.

Our unconscious is the part of the mind containing memories and impulses of which we may not even be aware.

Jung talked about ‘collective unconscious’, a term to represent a form of the unconscious common to mankind as a whole and originating in the inherited structure of the brain.

We all have experienced premonitions – a sense that we know who is on the phone before it rings and we pick it up. We all have had deja vu, that feeling we’ve been somewhere before…

Jungians, almost by definition, tend to get enthused anytime something previously hidden reveals itself when whatever’s been underground finally makes it to the surface.

Carl Jung founded the field of analytical psychology and, along with Sigmund Freud, was responsible for popularizing the idea that a person’s interior life merited not just attention but dedicated exploration — a notion that has since propelled tens of millions of people into psychotherapy.

… Jung, over time, came to see the psyche as an inherently more spiritual and fluid place, an ocean that could be fished for enlightenment and healing.

Whether or not he would have wanted it this way, Jung — who regarded himself as a scientist — is today remembered more as a countercultural icon, a proponent of spirituality outside religion and the ultimate champion of dreamers and seekers everywhere, which has earned him both posthumous respect and posthumous ridicule.

Jung’s ideas laid the foundation for the widely used Myers-Briggs personality test and influenced the creation of Alcoholics Anonymous. His central tenets — the existence of a collective unconscious and the power of archetypes — have seeped into the larger domain of New Age thinking while remaining more at the fringes of mainstream psychology.

The Holy Grail of The Unconscious, Sara Corbett, The New York Times, 16/9/2009

Nostalgia is a sense that connects and cements us all and Libbi wanted the panel and the audience to consider what we get in a community when we share it or live it…

speakers being intriduced Frankston milkbar
Jessie Scott, Eamon Donnelly, David Wadelton, Aron Lewin and Libbi Gorr

The Panel

Jessie Scott, video artist and author of The Coburg Plan. Jessie is doing her PhD – the subject, video stores. She has researched many, interviewed owners and customers.

Eamon Donnelly, artist, photographer and author of The Milk Bars Book. Born in Geelong, the family moved to Melbourne. He began to take photos of places/shops. Many are now defunct and others are disappearing fast. He spent 15 years documenting change before publishing his first softcover book. A cultural artisan, his hardback book was on sale for the evening.

David Wadelton, a contemporary artist, photographer and author of soon to be published, Suburban Baroque.

 Aron Lewin, journalist/writer – recording football and real estate, chronicling progression of Melbourne shops, a Real Estate reporter. He set up the Tales of Bricks And Mortar website https://talesofbrickandmortar.com/author/alewin1/ after collecting stories about longstanding shops, restaurants and cafes across Melbourne.

Projected in the background were slides taken by the panel and whenever a familiar shop appeared, a murmur of recognition rippled through the audience.

I nudged Jillian when a picture came up of a milk bar in Edithvale and one in Seaford – several of my students have mentioned these shops in their stories.

Edithvale milkbar in background

David Wadelton – Documenting Transition

Abandoned shops, shops replaced with apartments, empty blocks… places symbolising change and loss all interest David. Change over time affects not just buildings when factories are replaced by apartments, shops on a local strip disappear or are replaced by a shopping centre…

He was fascinated by how different postwar migrant housing was compared to traditional Aussie houses. Old weatherboard home extensions added a top storey of brick to make houses look more European. The decor and colour schemes inside were soft furnishings and souvenirs from ‘the old country’.

He has photographed milk bars, newsagents, fish and chip shops… Lightbox signs: ‘sweets and smokes’ in Footscray; an adult ‘newsboy’ in Northcote,  small Barbershops in business 50+ years with souvenirs of their European homeland and their adopted homeland on the walls and counters.

He has a picture of Thornbury Espresso slide, Hattams clothes shop still with a sign ‘we take bankcard’…

David has a following and audience on Flicker, Instagram, and Google’s YouTube – he has made the transition from traditional print to digital.

speakers david and Aaron

While David was talking I thought about the milkbar that used to be at the end of Albert Street Mordialloc before several adjacent shops were demolished and turned into an ugly block of flats.

Several people tried to make a go of the business, impacted by an expanded Safeway supermarket and a new Jewels Supermarket built in Main Street. An elderly couple ran the milkbar in 1984 when John and I moved into Albert Street.

It was not long before they retired and it was bought by a man who owned another shop in Warren Road. He installed his son and a mate to run the shop before a retired army officer, originally from Wales became the last manager.

Albert Street changed dramatically in the early 90s – a petrol station/garage demolished for a nursing home, washing machine repair shop transformed into a hairdressing salon and the milk bar and mini hardware shop demolished for a block of flats. Several stand-alone houses made way for units.

Aron Lewin – Writing Poems About People and Places

Aron saw a picket fence shop and wondered who would start a shop like that, how long would it last – and it inspired a poem about why and how… and he got an idea for a website.

He went to interview the owners but they were not interested. However,  from there he looked at other small business owners in the area, shops in a strip – proprietors all knew each other with most shops around 40 and 50 years. In fact, the owners were local identities.

He focused on ones that stayed in the same place for years because he wanted to capture their stories before businesses closed and disappeared as they will…

He was fascinated by what motivated these business owners, why did they choose their particular trade/product/lifestyle? What were their challenges, successes, failures? How did they see themselves in relation to the community?

He took photos with his mobile, then teamed with a proper photographer. He aimed to interview ten people but now has fifty stories!

From a small beginning, his enthusiasm and passion to record the stories and details of old shops across Melbourne propelled and grew into a big project. It’s all about connections and relationships with a local community – stories about the butcher, the baker, the barber… recorded before the people and places disappear.

A slide of Franks Bakery, Elsternwick flashed onto the screen eliciting lots of noises of recognition from the audience and Libbi. 

‘Aw, Frank, lovely man – been there forever.’

Aron said, ‘ I saw a sign couple of days ago. It’s closing.’

‘Oh, no!’ gasped Libbi, ‘is this true? Does anyone know?’ she asked the audience.

There were murmurings and Libbi googled to check if there was anything on the Bakery website – as did others on the panel and in the audience!

are they googling the Elsternwick bakery closure?
everyone checking Google?

Jessie Scott – Extracting meaning From Unloved & Neglected Sites

A video artist/photographer, Jessie’s PhD is about Video Stores. She grew up in Moonee Ponds and the western suburbs. So many small places are disappearing, the renowned Olympic Donut place is gone and street after street subjected to gentrification with the real estate boom.

At university, she rediscovered video shops when she was studying video art and did an assignment, her Miraculous Ribbon Project. Slides of Colac Video and Network Video shops that existed then but those stores are either closed and empty or gone now.

No longer the  ‘Home Entertainment Experts’.

A Video Ezy shop was her local store. She got a text message to say it was closing and having a ‘fire sale’. That moment was when she realised how painful nostalgia felt because part of her childhood disappeared when that store closed.

People congregated to discuss, gossip, share news in the video stores. Staff would point out good movies – there’d be discussions, it was a social and family place.

Video Stores were often the first point of contact with a broader culture for people.  Nowadays with the explosion of the Internet, there is access to whatever you want but when she was growing up it was a family outing to choose your entertainment for the weekend.

Jessie’s talk reminded me of the two video shops we had in Mordialloc. Most of the time, John took the girls to choose their movies – $5 for the latest release (if they were lucky), or more likely a selection of the weekly $2 ones. (I’m talking ’90s.)

Captain Beaky’s store was their favourite and the owner nicknamed the girls ‘the horror queens’ because they loved hiring the latest horror movies – Buffy the Vampire Slayer popular!

The man in the other store on the opposite side of Main Street was nice and friendly too. Just as well because when we returned from a holiday once, the friend looking after our house and dog forgot to return the videos and left them where Goldie decided to treat them as toys she disliked.

When I offered to pay for replacements, the Video guy just laughed and said not to bother because accidents happen. Obviously, a dog lover or no one else had our taste in videos.

speakers Jesse and Eamon

Eamon Donnelly – The Milkbar Man

He was born 1981 in Geelong, his happy memories as a child are of copper coins in his back pocket as he rode his bike or walked to the milkbar to buy some lollies or ice cream.

His favourite milkbar run by the Hawkings Family.

Milkbars had colour, warmth, sounds and smells – sweet aromas – lollies, ice creams, and the owners knew everyone. They also sold cigarettes and often newspapers.

He is nostalgic for the 1980s. In the 1990s, his parents sold their renovated home and moved to Melbourne suburbia. Their new suburb did not have nearby milkbar but a golf club as a substitute.

Eamon went to university and studied graphic design and art. He returned to Geelong to take photos of his old family home and didn’t recognise the area: the family home altered, several milk bars gone – some had old signage left, others the building vanished.

He started to record Geelong first, then Melbourne – so many small businesses closing but iconic brands and typography remembered by lots of people.

Milkbars made milkshakes and spiders – many also provided school lunches being a nearby tuck shop (one even called the milkbar that).

He got a story in The Age about his first book – a soft cover book. Jenny, the daughter of one of the milkbar owners – the Hawkings – Googled him and got in touch. She loved the photographs and they corresponded.

He experienced a ‘Full Circle Moment’ – he was invited to meet the family and the Hawkings remembered the Donnellys. They met and had dinner and reminisced and discovered so many incidents were their life or the life of family members and friends crossed.

Eamon started to interview families because lots of people got in touch after the first book came out and he saw the need to save their stories.

David listening to audience member

Audience Response confirmed we love to indulge in Nostalgia

A young woman introduced herself as Phyllis.  She grew up in a milkbar and her father is in Eamon’s book.

She got emotional and apologised. Her dad passed away two years ago so the book is a treasure, ‘ I come from a Greek background, Dad was Greek.’

Libbi asked how she managed not to gorge on lollies and Phyllis laughed. ‘Dad was Greek, he said, if you steal lollies, I’ll cut your hands off, and I believed him!’

Phyllis then went on to say how much she admired her father and others like him who had little or no English when they arrived in Australia yet still ran a business.

How did they do it? Her father couldn’t speak enough English to learn or remember customer’s names but called them by descriptions like ‘giraffe lady’ (a woman who was really tall). He remembered customers that way.

She believes the milkbar building is still there in Elsternwick but now an Indian restaurant or perhaps a dodgy hamburger place!

Eamon remembered Phyllis’s dad and said there is a beautiful black and white photo of him behind the counter in his shop. He remembered how he was always smiling when he greeted customers.

A man in the audience shared a story too.

His uncle had a milkbar in Swanston Street in Melbourne city just before Bourke Street. It was a cafe too and ‘served Aussie tucker: bacon and eggs and chips.’

He used to help his uncle during holidays by selling toffee apples.

His parents had a milkbar in Huntingdale Road near Huntingdale Railway Station and in the 1960s, it was one of the busiest milkbars in Melbourne.

He ran the milkbar at 15 years old because his father got ill. They made sandwiches for nearby factories which proliferated at that time in Huntingdale. They opened from 6am – 10 pm but got a sleep-in at weekends and opened at 8.00am.

Because of some quirk in the law, they couldn’t sell groceries after 5.00pm but bribed the inspectors.  They’d board up shop and after the inspection open up again. The inspectors went away with a carton of cigarettes or large salami sausage or something similar. They also sold sly grog – brandy – an inherited side of the business from previous owners.

He remembered they sold sanitary pads, which were wrapped in brown paper in those days. Ladies would come into the shop and ask to be served by his mother. She would come and duly serve them but yell to him, ‘Get a packet of pads for the lady.’ 

Local shops provided entertainment, produce and local news!

David has been chronicling architecture of the 70s 80s 90s. Other buildings, as well as shops and milkbars, fascinated by their nostalgic and iconic status. 

His focus on the broader conspicuous change – they were on every street corner, they personify and represent change on a broader scale – no room for family businesses anymore.

Regarding the houses of migrants of that era with taste-defying interiors, garish colour schemes, eccentricity and clash of ideas – this is vanishing. Everything homogenised today, everything the same – colour schemes beige and shades of beige!

We are seeing a homogenising of culture, tastes have radically changed. He is just documenting but sees so much slipping away. His mission to record a way of life vaporising before our own eyes.

What contributes to the change?

  • Employment laws have an impact:

Contracts, transient and casual employees, staff constantly changing in franchise stores like 7/11 so no attachment to customers, no special relationship like with milkbars and small family businesses.

  • No sentimentality with 7/11 and similar franchises

Convenience stores have prepackaged mixed lollies – no choosing your own,’ one of these, two of them…’ The signage generic, the atmosphere different.

You remember the place and the people in a family business, you are cemented to it even if an employee.

You chat and value the conversations, reflect on relationships that extend beyond the shop – perhaps go to school with children, attend the same church… the shop an extension of that community.

EXHI021708.jpg
one of David’s photographs, National Gallery exhibition

Do relationships stay in the shop or do they exist and extend beyond that boundary?

Eamon said the Hawking Family became friends and a connection developed with the project but people do get displaced.

Jessie said one of the video store owners she interviewed was so well-liked by his customers that some volunteered to keep the store open while he went out cleaning to earn enough to keep the store afloat. 

Unfortunately, the store eventually had to close. Many people say they regret stores closing and miss them after they have gone but don’t patronise them to keep them viable.

Another audience member volunteered her story. She lived and worked in a local shopping strip and most of the business owners were Holocaust survivors and WW2 migrants.

They frequented shops where they could be understood, where people spoke their language and knew their culture – Jewish shops, Romanian, Polish, Scottish.

Everyone knew each other – it was a community for new migrants.

She worked in a milkbar in Malvern in the 70s, so did her sisters.  The downside was she couldn’t ‘buy cigs on the sly’ because they knew her parents.

She recalled how milkbars were referred to by their stock: a Peter’s milkbar, a Streets’ milkbar even one referred to as the weird guy you wouldn’t visit – especially on your own!

It was a night for confessions.

A man in the audience said he attended Mt Scopus College and with the help of milkbar in Armadale, he started a profitable enterprise.

He and his mates bought lollies at one price and then sold them for an inflated price from his school locker. He raised money for bands like Sky Hooks to visit and play at lunchtime concerts at school. Chocolate buttons and snakes were the most popular lollies!

When Libbi asked did Netflix and other digital technology kill video and going to the movies there was a muted response.

A man suggested that it is a change in culture and we are distancing ourselves from our neighbours so don’t blame technology because we take it up – it is a choice.

Years ago, on hot nights people sat in front gardens or on verandahs and talked to each other. Pre-television they went for walks and talked to each other.

Fences have become increasingly higher built between properties. First tall fences then security gates, even on unremarkable houses that would not be immediate targets for thieves.

A woman said that times may be changing again because of rules in some of the new estates in places like Pakenham, no front fences are allowed and side fences must be a certain height. Different councils have different rules.

Libbi asked:

DO YOU KNOW YOUR NEIGHBOURS?

Sadly, many people don’t know their neighbours citing new development, ageing and the movement and shifting of the population as reasons.

A woman who grew up behind a fruit shop said someone should do a story on the demise and change of fruit shops.

Libbi asked if she was a Cincotta and the woman said, yes. Her family owned businesses in East Malvern, Murrumbeena and Hughesdale.

Fruit shops have been absorbed into supermarkets and the trade absorbed by multi-nationals and the changing trends like organic fruit and vegetables – all big business nowadays.

ceramic art piece
Transformations 1992 by Julie Begg – ceramic art in foyer Glen Eira town hall

Has Cafe Culture replaced the Milkbar’s Role?

There is a strong cafe culture today and it is a parallel culture to the old milkbars with regular customers. The cafes are often on street corners, many developed from converted milk bars.

They are a modern social hub. For example, in Northcote, the milkbar on the corner is now a cafe – it’s about loyalty.

An Inkerman Street milkbar taken over by a cafe. They kept the name and signage, use old fashioned china crockery – a contributor to future nostalgia.

In milkbars, relationships were built and they were a meeting place for people in the neighbourhood – many cafes fulfil a similar role – providing familiarity and friendship.

ailsa oconner's sculpture
“Ourselves when young” bronze by Ailsa O’Connor  in foyer Glen Eira Town Hall

Glen Eira Town Hall

The evening had to end but people were reluctant to leave and as Libbi thanked the panels and organisers she pointed out how important a community hub is to keep the spirit of community alive and to help people belong and feel part of a place.

These events Glen Eira put on don’t cost a lot, you feel comfortable, you’ve been with people and interacted in a meaningful way,  and because it is local there is little or no travelling time…

We were all given a paper bag of mixed lollies on the way out … the reminiscing, the discussion, the relaxing warmth …

The evening proved we do yearn to share stories of the past and Nostalgia and the ‘Burbs a great success!

Well done Glen Eira Council!

If you have a story of a milk bar or other local business please share it – I have a list of stories I can write or add detail to ones already written to include milkbars:

  • I tasted my first Choc Wedge at a milk bar in Croydon 1962
  • My first trip alone on a bicycle was to the local milk bar in Croydon 1963

 

 

Mr Bailey’s Minder -a play about growing old disgracefully, being disgracefully old… and something much deeper!

noticeboard for play

On Saturday, I went to the matinee session of the Mordialloc Theatre Company’s latest play at the Shirley Burke Theatre, Parkdale.

My theatre buddy, Lisa cancelled because of ill-health but I am glad I didn’t let that or the wintry weather, which caused sudden and severe squalls, to convince me to stay at home in the warmth – although it was tempting!

Now I’m ‘retired’ it is easier to stay at home, especially in winter and by the demographics I’ve observed who support the MTC and the smattering of empty seats on Saturday, the cold weather and perhaps the lethargy of age took its toll, which is a pity.

The play was enjoyable, the ambience in the theatre welcoming, and you get free coffee/tea and biscuits at the interval.

In fact, if so inclined you can buy a glass of wine or sherry before the play starts. Saturday definitely, chilly so I’m not surprised many people took that option.

See this play and support your local theatre

Mr Bailey’s Minder is on until the end of the week!

theatre ticket

Of the three productions I’ve seen this year, this definitely gets a thumbs up from me and considering the response of the audience, others also agree.

  • Maybe it is because this is the first one this year by an Australian playwright and so the actors didn’t have fake American or Canadian accents.
  • Maybe it’s because I can relate more to the themes which are not only current and relevant but emotionally engaging.
  • Maybe it’s because of the actors – apart from a bit of nervousness at the beginning, their interactions were believable and entertaining.

This is the promo blurb:


blurb for play

However, discussing the play at the interval with one of the volunteers another lady joined the conversation and when I said the subject matter was interesting and topical she said, ‘Ah yes, elder abuse.’

A reflection perhaps because we are in the middle of a Royal Commission into how we treat people in Aged Care and there are stories galore about abuse in the media.

But Mr Bailey’s Minder is much more than a story about someone growing old and being mistreated or fearing mistreatment.

All the major characters in the play have fears and emotional scars – not just Mr Bailey.

We are all ageing or know someone who is and if we live long enough must face declining health and death.

We all have or will have a life to reflect on with good and bad decisions, successful or unsuccessful relationships, haunting memories of the warm glow kind or filled with regret.

Many of us have had experience with someone in the family coping with alcoholism and/or dementia and family estrangement is common too.

The play mines a rich field of life experiences.

Therese, as the title suggests, is the ‘Minder’ or carer, and frequently, takes centre stage. Her story, one of a need to belong and be valued – and to value herself – a contrast to Leo’s life of celebrity status where being a ‘famous artist’ resulted in Leo overvaluing himself! (as others did too!)

scenes from play 2

Leo Bailey (Eric Hayes) is a drunken ‘has-been’ artist suffering from decades of alcohol abuse and self-indulgent misbehaviour. He’s offended, hurt or neglected friends, several ex-wives and all but one of his children. His past is confronting – what he can remember of it, or how he remembers it, which varies depending on his mood or awareness.

Now he is facing death – and he is astute enough to know it will probably be alone.  He must also cope with the realisation that he’s lost some of his artistic abilities yet boasts how valuable his signature still is – even on a blank piece of paper (be intrigued).

Only his daughter, Margo (Juliet Hayday) continues to visit him and manage his affairs, despite being subjected to a barrage of abuse every time she steps into Leo’s home.

Margo has remained dutiful although she can’t escape the bitterness of unhappy memories of childhood spoilt by her celebrity father’s behaviour.

In the opening scene, the much-maligned Margo meets Therese (Julia Landberg), a young woman desperate for work and the latest in a long list of Leo Bailey’s minders.

We learn how ill Leo is, about his obnoxious behaviour, plus how dementia has heightened his disagreeableness.

Margo who works in investment banking does not ‘pull any punches’ regarding her father. In fact, she repeats the well-worn cliches –

  • Old people abandoned in nursing homes must look no further than their own past behaviour.
  • Abusive drunks reveal their true self – it’s never just the drink talking.
  • Adults must take responsibility for their behaviour whether they’re a celebrity or not

Therese, cagey about her past, is worried Margo will check her references. She doesn’t expect to get the job, yet in her desperation behaves alternately, belligerent and defensive. She is feisty and a survivor.

Leo comes downstairs, he is at his alcohol-sodden best, insulting Margo and Therese and accusing them of wanting to take his home and independence.

Disagreeable is an understatement.

(Interestingly, “Leo’s” lines or actions alternated between outrageous, wily astuteness and downright insulting, but a group in the audience loudly appreciated Eric’s performance – indicative that the actor who is a Life member of MTC has a following!)

The final major player to add to the emotionally scarred cast appears later.

Karl (Aaron Townley) a tradie who comes to remove a mural and repair a wall. His life is as difficult and broken as the others. He’s paying off a debt caused by an ex-business partner and recovering from a marriage breakdown caused by same debt.

Needy and lonely,  Karl continues to visit to do odd jobs after establishing a friendship with Leo and Therese who manages to get her charge to give up drinking and begin to make amends to those he has mistreated by writing letters of apology. They even start going out and visiting parks and museums.

Of course, there are sub-plots and a minor character (also played by Aaron) who will make your blood boil and an all-important twist that good drama provides.

The necessary conflict to keep an audience interested is delivered – with a couple of realistic physical scenes, which had me worried because Eric wasn’t using make-up to age!

Each character also revealed an inner conflict through actions or dialogue at some stage.

theatre program

The Playwright, Debra Oswald. 

Wikipedia tells us that Debra Oswald is a screenwriter, playwright and fiction author. She was the co-creator and head writer for series 1-5 of the award-winning Channel Ten series Offspring

Mr Bailey’s Minder and The Peach Season both premiered at Griffin Theatre Company. Mr Bailey’s Minder toured nationally in 2006 and premiered in the United States in 2008 at The Walnut Street Theatre in Philadelphia. 

When it was first released, a review said, the play

grapples with how much latitude we’re prepared to give artists we consider to be blessed with some kind of genius. It also explores the separate journeys of three individuals committed to creating a place where they can belong.

The play may also promote discussion about past behaviour and caring for ageing parents whether they were celebrities or not.

The worship of celebrity, of course, seems to have intensified in recent years. A prime example is in the acting profession where TV creates celebrities frequently, with actors who study the craft and perform on stage often overlooked or not given the recognition, they may deserve.

In this social media age celebrities flourish, however, in the future they may pay the price for their behaviour much earlier or burn out quicker.

The publicity social media gives that makes it easier to make celebrity status, also makes it easier to punish or shatter a celebrity. And with the Internet – everything is on record whether it has been edited, doctored, embellished, made up…

Plus we have an ageing population. Debra’s play will remain topical and relevant for some time.

Stagecraft and Set Design

scene from play 1

The set design and construction depicting Bailey’s disintegrating home above Sydney Harbour is eye-catching and memorable. Martin Gibbs, the Director and set designer is to be congratulated.

The various scene changes facilitated seamlessly by three exits – a door through to a kitchenette, the ‘front’ door and a staircase that led to the bedrooms and much-mentioned bathroom. The music accompanying each scene change setting the relevant mood and the lighting used to great effect to signal the passing of time and a new day.

So, add a bit of spice or emotional angst to your day and catch a session of Mr Bailey’s Minder you won’t be disappointed and it will do what all good art does – make you confront various aspects of the human condition – especially your own.

PS

A note of caution – if like me, you have experienced a loved one whose personality changed because of dementia, ageing, or a combination of both, or have experienced family estrangement, make sure you have a tissue in your pocket… you never know what triggers an emotional moment… this play just might hit the spot.

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To Turn Your Life Into Fiction – Start at Your Local Library

library plans.jpg

Last night I attended an author event at Sandringham Library with my good friend, Lisa Hill who is a fellow bibliophile, blogger and writer. Well-respected and fiercely independent, please check Lisa’s reviews of any of the books mentioned in this post.

I’m fortunate she keeps me in the loop about local events and on a cold, dark winter night gave me a lift in her comfortable car!

An eminent book reviewer with an award-winning blog, Lisa concentrates on Australian and New Zealand literature but also reviews an impressive range of international writers, including many translations not necessarily widely distributed.

When she heard about this event in Bayside she let me know especially since I taught  Life Stories & Legacies for several years.

alan marshall sculpture.jpg

This event showcased three authors discussing how they used events from life in their novels so how apt to have a bust of Australian writer, Alan Marshall OBE outside. Alan hailed from the nearby suburb of Black Rock.

Alan’s most famous novel I Can Jump Puddles, which was on the school curriculum for years and made into a mini-series on TV, was based on his childhood fight to recover from Polio.

When I came to Australia in 1962, I think Alan Marshall was an author everyone knew and is an excellent example of turning real-life events into novels.

Library renovations are scheduled and this was the last public event before they begin so the 72 in attendance were indeed fortunate.  Before Vivienne, the Customer Service Co-ordinator for Bayside introduced the guest panel, she confided that she was celebrating her 21st Anniversary with the library – so two memorable milestones for the evening.

Vivienne also plugged the library’s campaign to promote its various services and events around the theme Libraries Change Lives, but my guess is she was preaching to the converted!

library promotion.jpg

Local author, Claire Halliday was the emcee  and in the spotlight were authors

  • Eleni Hale
  • John Tesarsch
  • Lee Kofman

Eleni was asked about the parts of her own life she mined to write her debut YA novel Stone Girl. She admitted to always wanting to write but before she could write other stories she had to write about her childhood in State Government care first.

It was a story hammering inside her to be written although she had ‘redacted being a ward of the state from her life story.’

She had been a university student, a journalist, fiancee, wife and mother but found relief in being able to write about a part of her early life never mentioned.

She released her muse and making the story fiction gave her the freedom to write without worrying about hurting others.

There are 40,000 children in the care system and her story is a compilation of those stories. Her novel a vehicle to open up and talk about her past. She listened to a lot of Metallica and similar music and kept writing!

The writing itself private and personal but became confronting when published and she faced the prospect of the publicity and marketing treadmill because as Claire suggested, journalists love a book where the author can be pressured to share what parts are true.

Eleni, a journalist herself, agreed the ‘real life experience’ is a bigger story than the novel if you expose yourself like she did, so she compiled a list of five talking points to be avoided!

The old me was about growing up in an Australian orphanage,’ said Eleni, ‘and I wore that like a cape.’

She still feels separate from the character because the media have been reasonable and looked at the actual issue she wanted to spotlight – the experience of kids in care.

eleni with her book.jpg
Eleni holding her novel Stone Girl

Embellishment versus Truth?

Eleni said that in the beginning, her character Sophie is twelve and has lost her mum and ends up a Ward of the State. She meets Milo on the street and he is a cool dude she is attracted to but ends up trapped in his home.

Eleni shared a true story ‘not shared publicly before.

An incident in her own life was the inspiration for the Milo scene. She was fourteen or fifteen and in care. They were encouraged to go out during the day and one day she met a Jamaican DJ who fitted the description of Milo. She ended up scared and locked in his house. The Milo scene in the book has the essence of that real-life event.

Why didn’t she smash a window?

She recalls being groggy so he must have put something in her food or drink and yet she was street smart.

Work In Progress

In Eleni’s new book, a crime thriller and still a work in progress, she will tackle a theme of ‘classism’ and the poverty it creates in Australia.

After Stone Girl was published she was contacted by many people wanting to share their stories. She gathered more knowledge and ideas and became aware of how many people are ashamed to admit they were in care or were poor and had traumatic experiences. There are many stories to be told!

claire and panel.jpg
Claire Halliday introducing Lee, John and Eleni

Claire then focused on John who is a barrister in Melbourne.

He was asked if he used his clients’ stories, particularly since the theme of his book The Last Will and Testament of Henry Hoffman was an estate issue. A daughter finds a will after her father’s untimely death and wonders who is the mystery woman mentioned.

John declared that the intersection of family and money is toxic, which is why as a lawyer, he avoids estate work but it is a rich vein for storytellers.

He doesn’t directly poach client stories because that would be unethical, however, his novel has elements of autobiography. It is about a father and daughter, the relationship between parents and children, and how trauma resonates through generations.

Claire mentioned that the character Sarah is a concert pianist who has to quit music as a career. Did John draw on his experience as a cellist with a stellar career who had to quit?

John explained that when he was in Vienna the skin on his hands began to peel off and he discovered he was allergic to the dark rosin applied to the cello bow. He had to give up playing an instrument he loved.

However, his character, Sarah gave up playing because of stage fright and they both coped with the initial grief differently. He reinvented himself as a lawyer and now a writer believing ‘when one door closes another opens‘ whereas his character just got stuck.

John believes writing fiction is all about imagination and he never runs out of ideas – and hopefully, they will always be good ideas. His ‘compost heap of a mind‘ searches for a response – a counterfactual experience – and he will not worry about running out of experiences to fuel ideas to write about.

john and lee.jpg
Lee Kofman and John Tesarsch

Balancing Historical Facts, Real Life & Fiction?

Dinner With the Dissidents, John’s novel set in 1971 Moscow has an aspiring author as the main character. An Australian publisher offers him a book deal if he’ll spy on Aleksandr Solzhenitsyn.

John drew on his experience trying to get his first manuscript published to the extent he empathised and appreciated the writer’s desire to be published.

It is daunting to write a novel that sits well with historical facts. He read lots of Russian novels and researched for months about that time in history before coming to the realisation that the human condition is universal. The emotions a character reveals the same regardless of ethnicity.

For his work in progress, John is having a change of pace and genre. He is writing a romantic comedy involving an Elvis impersonator – and he has been that! This drew laughter from the audience, especially when he confessed he may use a pseudonym!

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Lee Kofman is a memoirist and memoir teacher and talked about applying an evocative twist to real-life writing. She admitted to being a prolific confessional writer in three languages.

In the 90s, when she started to write in her style, there was no real creative non-fiction but she fell in love with the memoir genre, which is a slice of your life – not all autobiography.

She found the trick was to examine the difference between herself now and younger self. Look at younger self from a distance, try not to be too attached to current emotions and thoughts – look at younger self, be the cold observer. Ask what are the emotions younger self feel? Why did events happen to cause those feelings? Reveal something that happened intimately, yet do it overtly.

It is confronting to reveal something, or a life that you once hid (she referred to Eleni’s expose of her life as a State Ward) and Lee said she experienced that when writing Imperfect about her body scars.

The balances between what to include or omit difficult to attain. She found Helen Garner a good model as a writer when she advised ‘keep to your own truth and story’. Lee followed this advice when she wrote Dangerous Bride. She stuck to writing her own feelings and emotions and didn’t run down her ex just to make him look bad. It was an intimate expose of a marriage breakdown but it remained her story.

She also admires novelist Robert Dessaix.

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Lee believes successful writing is all in the voice and how you tell your story. One of Helen Garner’s books begins with a description of ordinary people having breakfast yet you keep reading.

It is how you write your voice. Keep it true and natural and your voice will be authentic.

Lee curated/edited an anthology of personal essays, SPLIT. All the contributors were told the stories had to be about endings. Personal essays are a meshing of real life and to be successful

  • the stakes must be high,
  • there must be conflict,
  • a resolution or change in the character
  • or if no resolution, show acceptance of there being no change.

Therefore, in SPLIT, the stories had to be dramatic endings, endings that changed the writer. Good essays include snippets of dialogue and colour to bring the words to life.

John said he had been asked to write a personal essay but enjoys fiction writing. Eleni finds writing personal essays confronting and would be worried about who she’ll affect so prefers hiding behind characters.

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The Editing Process – Writing For Readers or Yourself?

Eleni advised ignoring who will be reading your story and just write and worry about readership later when editing. Write first, think about publishing later; worrying about readers will block your writing flow.

She put Metallica on and just wrote furiously, not worrying about how many words or how they came out on the page.

To be a writer you must read, read and read. Then write, write, write and have tenacity without beating yourself up about how good or bad your work is.

She wrote four drafts of her 80,000-word novel and threw the first three out!

She is with Penguin and they didn’t change anything of the final draft. She only needed a line edit, not a structural edit. However, as a journalist with The Herald Sun, she is not a novice writer.

John is with Affirm publishers, who won publisher of the year. Lee is also with them as well as another publisher. They both agreed you are fortunate if you receive a structural edit. It is wonderful to get attention and good editing, many publishers don’t offer that today.

To have an independent outsider check your work is a valuable and rewarding process for a writer.

Regarding the writing process, Lee told the story of a suicidal Russian poet who left a note for his mother, sister and lover – ‘I don’t recommend it!’ She said she feels like that about memoir!

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How Important is Having Distance Between an Event and Writing About It?

A member of the audience noted the panel had all mentioned having distance between a life event/experience and writing about it – whether that was emotional, time, or relocation of place.

John said that with his music experience, it was a long time ago and he had a sense of perspective about his allergy and his reaction to not being able to play anymore. He believed having that distance adds depth to your writing but he stressed he writes fiction, it is not him but his character who is doing the experiencing. Characters must have their own life.

Eleni said it was about time – she went from someone who didn’t have a voice and became a Herald Sun journalist. But she needed time to write about when she didn’t have a voice.

For Lee, it took twenty years before she was able to write about broken relationships and her marriage.

When Eleni was asked if there was a conflict between what she experienced and how much the reader must know to understand and connect with the story, she said she had woven the story around other kids’ stories and hoped people would see and understand the telling.

She recalled her writing teacher at university saying that writing was like taking a photograph, don’t clutter it up. Good writing is picking what needs to be in the story.

Eleni tried to write an autobiography but couldn’t. Writing as fiction she had to show not tell, although it was important to be truthful. She walked in the footsteps of those who suffered plus showed the bureaucracy, social workers, the homes the kids moved around in and the other kids met along the way.

She hoped readers would see and understand.

John was asked if he thought there was a dearth of political novels in Australia and why? His novel Dinner With Dissidents set in the 1970s Russia and was about surveillance etc but considering recent events in Australia where the Australian Federal Police raided the ABC HQ in Sydney and a News Corp journalist’s home, there is obviously, fodder for political novels.

John suspects it will change here. Although we have had a relatively benign political climate, the whole apparatus of society is changing because of technology and the level of surveillance is different compared to a decade ago.

Another question from the audience raised the crime genre as a vehicle for social realism and asked Eleni if this is why she chose to write another issue based book.

The audience member referred to Wendy Squires article in The Age after the young woman Courtney Herron was murdered in Royal Park.  Wendy revealed she had been homeless and could empathise with the feeling of shame and stigma attached to people like Courtney.

Eleni agreed this was a great example of a writer using their voice and real-life experience to draw attention to an important social reality.

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Do You Write For Self or for Readers?

An audience member told the panel he was recently sent three novels to review. Two were awful. The third he found better because the writer produced a book where scenes came alive as if watching a movie.

Did the panel consider their readers?

Eleni said the first draft of her novel was awful and it would have been a punishment if someone was required to read it! She threw it out.

She believed you must weave description through the characters’ actions and dialogue. Excellent writing is visual.

John is motivated by the joy of the writing process. When he is in the writing zone he feels alive and vivid and doesn’t think about anything else but the story and moving it along. His publisher and agent can figure out the readership. He doesn’t think about what readers will take from his novels.

Lee writes for herself. She wants to answer questions and writes for selfish reasons but redrafts all the time. The last book she was very mindful of the readers.

There was a happy buzz when the panel concluded and a beeline for the table with books for sale. Others queued to talk with the authors.

The organisers can pat themselves on the back for a successful evening.

How lucky we are to have authors willing to sit in a suburban library on a cold winter’s evening and generously share their time, skills and writing tips.

Now to put some of that expert encouragement and inspiration into practice!

 

 

 

 

 

 

Homegrown Stories A Success for Kingston Arts

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Now officially an aged pensioner and semi-retired from teaching creative writing, I made a promise to attend more local activities to feed my soul and keep engaged with other creative arts.

An easy promise kept because my friend, Lisa encouraged me to take out a yearly membership and go with her to see plays at Shirley Burke Theatre in Parkdale. The offerings have been mixed but I thoroughly enjoyed ‘Underground’ and wrote a review which you can read here.

I usually write a post if I enjoy something or it piques my interest. I’m not an experienced reviewer with any particular expertise but in the words of many an armchair critic “I know what I like!”

And I liked the sound of Six Moments In Kingston – Bus Tour.

Six Moments in Kingston is a public art bus tour that celebrates Kingston’s rich history. Responding to six infamous local stories, this ambitious public art commission features performances, music, street parades, broadcasts, sculpture and videos sited around Kingston. Audiences board a public art bus to tour secret locations where each story occurred…

Lisa didn’t want to go, so I booked for Sunday, May 19 but almost reneged because of the late night watching the depressing results of the Federal Election.

However, I am glad I made the effort because it was a fantastic couple of hours and lifted my spirits!

I even met up with some friends who were ‘a blast from the past’ and so returned home in a buoyant, jovial mood.

Thank you Kingston Arts!

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The event was advertised as the biggest public art program in Kingston and judging by the full buses and well-organised and resourced tour (repeated over two weekends so you still have a chance to book!) the logistics and potential for hiccups must have had the organisers biting their nails.

But the tour is seamless and heaps of fun from the starting point at the front of Kingston Arts Centre to the end, by the tent installation in the carpark of the centre.

Curators David Cross and Cameron Bishop, together with a stellar group of contemporary artists, lead SIX MOMENTS IN KINGSTON, a dynamic series of six public artworks set in sites around Kingston.

Each artwork responds to an infamous local story, including the mysterious disappearance of aviator Fred Valentich in 1978, following his sighting of a UFO; a celebration of globally successful Parkdale rocker Rick Springfield’s worldwide hit ‘Jessie’s Girl’; Phil Carman’s infamous head-butting incident at Moorabbin Oval, and the story of Julie Cooper, Moorabbin’s first female councillor and Mayor. And much more!

Hop on board a magical mystery bus tour to visit six delightful artworks in secret locations around Kingston! Each tour lasts under two hours. The bus tour features local stories told by legendary Australian actors, Michael Caton (The Castle) and Kate Fitzpatrick.

Six Moments – Six memorable Stories

tent installation one

While we waited for the bus two young women sat in a tent erected in the forecourt. This tent, linked to the installation in the Kingston Arts Car Park (both by artist Steve Rhall) and the story of the occupants told in depth when we were on the bus.

The installations, inspired by an event in 1982, honour Moorabbin’s protest histories. At this site, two homeless schoolgirls set-up camp outside the town hall to proclaim what should be a fundamental right to all people – shelter.

homeless protest Moorabbin 1982
Image credit: Silent Protest, archived by the Kingston Historical Society, source unknown.

It links to the work by artist Spiros Panigirakis, which refers to the removal of the historic ‘Grange’ homestead built on Kulin Nation land further down the road on Nepean Highway.

Whilst its future contested, the homestead became a squatter’s residence and at one stage it was suggested before its demolition, that it could become a women’s refuge or a hostel for the homeless.

However, the battle with developers was lost (sound familiar?) in 1983 and the Moorabbin Police Station was built and homelessness replaced in the news by other issues.

Story One – the Fundamental Right To Shelter – and to Protest

The bus drove us past the police station and as the story of ‘The Grange’ unfolded we learnt a little about the artist Spiros, his application to ‘paint the story of Moorabbin’s development on a purpose-built wall’ and the process of getting a Heritage Overlay.

spiros' house and original wall
Image supplied by Spiros Panigirakis of the potential site for redevelopment

This project reflects on the divisive and contentious debates led by a number of interest groups – arts, theatre, youth groups, accommodation services and commercial enterprises – around the restoration of The Grange, a prominent settler homestead built in 1856.

Redeveloped in 1977, the Moorabbin Police Station now occupies the old Grange site.

The project considers the site, the edifice of the Moorabbin Police Station and the suburban home of Tony and Dimitra Panigirakis in Moorabbin. It explores the notion of redevelopment through a series of fictional redevelopment proposals for the current site of the Moorabbin Police Station.

Using planning documents, real-estate hoardings and other public platforms that announce proposed redevelopment plans, heritage issues and planning approvals, a series of developer’s hoardings explore the notion of who controls redevelopment.

Working with Kingston Council landscape architects and urban planners, as well as his parents iconic Moorabbin home, Panigirakis looks at the ways municipal bureaucracy mediates redevelopment ideas and architectural propositions.

The work culminates in a series of installations across Moorabbin, and the production of an artist’s book that incorporates administrative and visual documentation surrounding the journey of the project.

As someone who doesn’t drive, my visits to Moorabbin are via public transport therefore many parts of the area I’d never seen before. It was fascinating and enlightening.

There were examples of a variety of architectural styles and I assume, it is the heritage overlay that has protected neighbourhood character of some of the streets and prevented Hilston Grove’s transformation into a ‘pigeon coop city’ with hastily (and in many cases shoddily) built apartments that has afflicted much of Kingston.

In 1977, the Grange was set alight and in the same year Spiros was born – I liked how the stories of the young girls attempt to get the authorities to do something concrete about homelessness joined dots and linked to the fight to save the Grange examining the big picture of neighbourhood character and housing.

We listened to the deep and soothing tones of Michael Caton as he explained how the history of the country could be told through the prism of Melbourne’s heartbeat – represented by Kingston (lots of smiles at that) – and the six stories would reveal the culture and the history of the area between the years of 1976 and 1981.

He supported the artists’ assertions that the image of Moorabbin as ‘a sleepy suburb‘ in the late 70s and early 80s ‘disguises a politically charged population actively participating in international protest movements.’

I came to live in Mordialloc, now part of Kingston, in 1984 but lived in other suburbs of Melbourne for the latter part of the 70s. It was good to be reminded of some of the ‘Headline’ stories of past media frenzies and to consider how close to home the events happened.

Story Two – When Sport is Not Necessarily Sporting

I have to confess that most stories about sport – particularly sporting celebrities, leave me underwhelmed.

I played sport when I was younger and was captain of the hockey team at Croydon High School in the 1960s, played hockey for ANU Seconds in the 70s and for the B-grade team for the City of Croydon – I even played netball as a young mum at Mordialloc Community Centre until a fall and cracked sacrum made that inadvisable.

I am a team player but would rather play than watch sport and prefer the days when Sport was added to the News and not considered the main item.

My knowledge regarding the 1980 scandal of Phil Carman’s behaviour negligible – in fact, non-existent.

head butt incident
Image sourced from YouTube – Video still, Phil Carman and Graeme Carbery, the footage was taken in 1980

The story revolved around Phil Carman who was one of the VFL’s most awarded players despite being frequently reported for bad behaviour.

Local performers explored an infamous head-butting incident between Phil Carman and umpire Graeme Carberry on Moorabbin Oval. This was filmed by video artist Laresa Kosloff and displayed on a large screen in the foyer of the club building.

Phil copped a year-long suspension and it was the end of his football career, which by all accounts was turbulent. He’d probably last one game nowadays!

Phil Carman was one of the VFL’s most brilliant players, dazzling spectators and developing a passionate following amongst fans in the 70s and early 80s. However, his career was marred by violent incidents, resulting in short-lived contracts with four VFL clubs.

This behaviour culminated in the 1980 season at Moorabbin Linton Street oval when Carman head-butted umpire Graeme Carberry, earning him the longest suspension in VFL history (20 weeks), and signalling the end of his career as a player.

Laresa Kosloff creates a choreographed video work with local footballers, exploring the gestures and symbols that characterise the Phil Carman incident and Aussie Rules football during the late 70s and early 80s…

Inspired by the ‘headbutt incident’ Laresa is currently working on an abstract interpretation of the moment that investigates the unique and universally understood language of sport.

Laresa grappled with finding a way to bring sensitivity and critical analysis to the moment without being dismissive or disrespectful to the footballing community. As with most of her practice, she navigates this thin line through carefully choreographed humour and slapstick comedy, keeping this quirky work accessible and open to all.

She has spent hours going through interviews and game footage and sketching the postures and movements inherent to the game. Through this process, she began to map out the language of gestures, emotions and the body universally understood to sporting fans across the globe.

Many of those on the bus obviously understood footy better than me and loved the video installation. I was more interested in seeing where tax dollars have been invested in this very new stadium.

As a first-time visitor, I found the home of St Kilda Football Club quite amazing and I’m sure the community is thrilled.

Our art tour interruption seemed to go unnoticed by the public intent on watching a game in progress.

No doubt the head-butt story filled the pages of local and state newspapers in 1980 and I am aware of recent controversies in sport but still have a lack of enthusiasm when some football stories (like who has a knee injury) are elevated to prime importance in the nightly news bulletins.

However, in display cabinets in the foyer, part of a Heritage Museum, the exploration of the club’s Indigenous connections is interesting with the stand taken by Nicky Winmar against racism a pivotal moment in the code.

Perhaps the subject of a future storytelling tour?

And of course, there is always the importance of what diehard fans bring to the spirit of the club.

In the 90s, when my daughters attended Mordialloc Primary School there was a yearly fundraiser revolving around Melbourne’s football teams and team colours replaced uniforms for the day.

On ‘Pie & Tinnie Day’, students bought a meat pie and can of soft drink from the Canteen and donated one and two cent coins by creating a line on the floor behind their footy team’s poster.

I learnt then how popular St Kilda was as their line snaked out the door. It was a team most in the Southeastern suburbs regarded as theirs.

Our household not footy enthusiasts but my daughter, Anne barracked for Footscray because they were called the ‘dogs’ and had a bulldog as their emblem. Devoted to real live dogs, which still are her favourite pet, she put her couple of dollars on the floor for Footscray.

However, I often had to rush home and grab John’s loose change from his bedside table so that Anne, who seemed to be the sole ‘doggy’ supporter wasn’t embarrassed by having the smallest donation line in the school!

There are consequences if you live in Melbourne you must follow footy and defend your team’s honour at all costs!

watching footy sunday morning

When we left St Kilda’s grounds, the bus turned onto the Nepean Highway near Wickham Road and I saw a few more streets I’d never seen before we entered a semi-industrial area.

Story Three – Fair Pay Worth Fighting For

On the bus, we heard the story of workers protesting for fair pay and better working conditions in 1979.

One of the strikers used his car to block access to the factory. A tow truck was called and while the driver was connecting up the vehicle, its owner stole his keys and threw them over a fence.

Although the original factory is gone, we were taken to the site and saw a re-enactment of

… an infamous incident involving a tow truck and physical struggles between constabulary and workers at the former Phillip Morris car park; a public art installation using illuminated LED boards and text developed with community consultation.

This project has been developed alongside The Gathering Place and Kingston Koorie Mob.

We stayed on the bus but the scene came alive through hearing the descriptions on the police radio and through conversations on the ground all played through the intercom on the bus.

Driving up to that area of Moorabbin, it struck me how high up we were compared to other parts of the city. It was an interesting perspective I’d not seen or understood before.

Story Four – Moorabbin Airport Mystery Remains Unsolved

On the way to our next stop, we were informed that Moorabbin Airport is the second busiest airport in Australia and the home of the Australian National Aviation Museum founded in 1962.

The first fact was interesting but not surprising – anyone who lives in Mordialloc will testify to the regular sound of aircraft overhead.

I visited the Museum years ago and knew friends who volunteered there and wondered how much it had changed because there was often appeals for people to get involved.

Frank Jones, who was a member of Mordialloc Writers’ Group served in the RAAF during WW2 and a short story he wrote was turned into a radio play and performed at the Museum so they were no stranger to getting involved in the arts.

But the story we heard on Sunday was a much more recent event and the enemy – if there was one – came from another world…

missing pilot
Image sourced from abc.net.au – front page of The Australian, Monday, October 23 1978, ‘UFO Mystery’ by Robin Southey

In 1978, Fred Valentich took off from Moorabbin Airport in a Cessna and within minutes, radioed sightings of a metallic object hovering above him and then there was silence!

It was a routine training flight to Tasmania but when he and his plane went missing it became the subject of so much speculation it entered the realm of the ‘Twilight Zone’ – the name of a popular TV Show of stories about the paranormal and aliens.

“It is not an aircraft.”

On the evening of October 21st 1978, nineteen-year-old pilot Frederick Valentich disappeared shortly after take-off from Moorabbin airport.

Before his disappearance, Valentich reported sighting a metallic aircraft moving at high speed. Reports further southeast noted a similar aircraft sporting multiple lights on its belly before transmission abruptly ceased. Valentich and his plane were never seen again.

Partnering with the Australian National Aviation Museum and the Victorian UFO Action Group, artist collective Field Theory will work with volunteers to tell the conflicting stories, myths and unassuageable mysteries that took this story to the top of Australian security organisations.

This interactive project drops the audience deep inside the many mysteries surrounding this story.

On the bus, making full use of the intercom again, we heard the conversation between the pilot and air traffic control, we also heard excerpts of the Minutes Of October 27, from the investigation into the missing plane with a conclusion ‘human factors’ played a significant role.

There was mention of the pilot’s low IQ, his failed exams and psychological assessments, his dream to be in RAAF probably unattainable and his stories of many flying activities a facade to impress.

On the 15th October, during a drive in the Dandenongs with his girlfriend, he was reported to have said if a UFO landed, he would go in it but ‘not without you’.

The authorities emphasised he often talked about UFOs and they worked hard to besmirch his character.

Why?

His girlfriend went into a hotel near where the plane disappeared and asked for the pilot by name. They’d arranged to meet at 7.00pm but he’d already vanished.

There were articles in The Australian about a clairvoyant and New Zealand author, Colin Avery who held a seance. He said he’d been contacted by Fred. His message being – I’m in space with aliens.

He told Fred’s father to go into his son’s bedroom and wait to be contacted. Unfortunately, there was a mix up with time zones!

Sixty seconds of the radio transmitted conversation is believed to have been edited with accusations the pilot claimed he was in a galaxy far away, no longer having a physical body but was with others chosen.

I wonder what really happened??

I wonder if this tree at the airport holds secrets?

tree with vines

Story Five – Who Knew ‘Jessie’s Girl’ Lived in Mordialloc?

Jessie's Girl a hit
Image sourced by Shane McGrath: Photo of Rick Springfield. Background: video still of Rick Springfield, Jessie’s Girl, 1981

The next story stop was perhaps the biggest surprise to me – it was a five-minute walk from my house and as the bus pulled into the parking lot at Central Bayside Health we heard the story of Rick Springfield and his hit record Jessie’s Girl, which ushered in the new pop sound – a generational hit record produced by an Aussie!

Rick hailed from the ‘aspirational suburb’ of Parkdale and often visited the family home in Melrose Street, a haven of middle-class suburbia. He held his wedding reception in the house and used it as a bolt hole with not much changed from his childhood except the corner milkbar now a beauty salon.

Kingston has produced many famous sons and daughters but none quite like Rick Springfield who, in a little known fact, spent his teenage years in Parkdale.

First a heart-throb and actor in American soap General Hospital, Springfield became internationally famous for his worldwide smash hit single, Jessie’s Girl, released in 1981. The song climbed to no.1 and went platinum in the USA and Australia.

Artist Shane McGrath and local musicians honour Springfield’s place in the rock pantheon, creating their own renditions of Jessie’s Girl in the streets of Parkdale, headed up by a phalanx of bull terriers, after Rick Springfield’s love for the breed.

The scene recreated was the promotional video Rick made and we marched behind the banner and a tambourine and flute band, singing along to a boom box belting out Jessie’s Girl until we were outside Rick’s house with “Rick” himself, led there by four dogs!

Apparently, each day there is a different musical band with a brass band promised one of the performances.

Regardless of the musicians, it is a lovely, happy, interactive interlude.

Story Six – the Final Flourish

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Image credit for Featured image: Girls Just Want to Have FUNdamental Human Rights by Tal Fitzpatrick (2015) 50cm x 50cm

The last story featured was that of Julie Cooper who paved the way for women to enter local politics when she was elected Moorabbin City’s first female Councillor in 1976 and went onto being their first female Mayor in 1982.

A stadium named in her honour continues to be a point of contention.

Julie Cooper HTV card
Supplied by her family

On the 12th of June 1902, Australia became the first country in the world to give women the right to vote and stand for office.

However, in Moorabbin, it wasn’t until 1976 (74 years later) that the first female councillor, Julie Cooper, was elected. Julie went on to challenge the norms of local government and fulfilled another milestone when she was elected the city’s first female mayor in 1982.

Her groundbreaking achievements are today reflected in a Beaumaris stadium that bears her name and marks her role in creating opportunities for women in local politics.

As we returned to the Kingston Arts Centre we heard about Craftism – craft and activism combined to make social change – something dear to Julie’s heart.

Since the term craftivism was coined by Betsy Greer in 2003, the idea has blossomed into a global movement of like-minded makers who mend the fabric of society and make with meaning.

protest quilt 1

Textile artist Tal Fitzpatrick, along with local crafters practising hands-on craftivism, celebrates the contribution of female and gender non-conforming leaders and invited participants to take part in the struggle for gender equality.

A Melbourne-based artist who is curious about the ways craft can be deployed to bring people together and drive positive social change, Tal hosted a series of free craftivist protest banner-making workshops in Kingston during March and April.

Participants created a textile protest banner of their own. Materials were provided and these were the banners we collected at Moorabbin Station and carried and marched back to the Kingston Arts centre carpark to finish a wonderful tour!

We walked up Nepean Highway carrying the wonderful banners high led by Marcia chanting:

‘What do we want?’

‘Another election!’

‘When do we want it?’

‘Now!’

I think Julie Cooper would have approved.

In fact, I know she would because her daughter Mandy and family were there marching and Mandy Cooper and husband John are the friends I reconnected with and previously mentioned as ‘the blast from the past’!

Cooper Family

A selection of the banners will also be featured in an exhibition curated by Tal, called Crafting Resistance: Six Moments in Kingston at Kingston Arts Centre in September 2019 so if you can’t take part in a guided tour of Kingston’s streets and some of the stories they hold this weekend perhaps attend the exhibition – I can guarantee you won’t be disappointed.

our bus patiently waiting
The driver waiting with the patience of a saint!

Underground – an exploration of what lies beneath the surface of a war hero

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Nancy Wake, WW2 Hero

On Thursday night, I attended Underground, a play at the Shirley Burke Theatre, Parkdale – a great venue within walking distance of my home in Mordialloc, but also opposite the Parkdale Railway Station.

When I arrived home, I couldn’t wait to share the experience with my daughter.

‘What a wonderful evening! It made me glad to be a writer – so inspiring. An original interpretation… makes me want to write… keep trying different ways of telling great stories!’

‘Glad you’re so happy, Mum. Obviously, much better than your last experience,’ Mary Jane observed.

Yes, I’ve reached the stage where if I don’t like a play or film, or a book, I don’t force myself to see it through to the end and a couple of months ago, my friend Lisa and I walked out of the same theatre at the interval.  We preferred sharing a coffee and chatting to returning for the second half!

‘Indeed,’ I answered, ‘but… this production was clever, well-acted, and focused. A fantastic retelling of a powerful story about a truly heroic and intriguing woman – who so many people don’t know anything about – you included!’

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A Great Night At The Theatre A Much-needed Injection Of Joy

With my own writing in the doldrums, it was a change to feel happy and invigorated about writing. I wanted to talk about the story, the production, presentation, the acting, the stagecraft …

There is a wonderful feeling of elation when you watch a play or a film and it affects you that way. Just like the satisfaction of finishing a good book or short story.

You relish the experience, wish it hadn’t ended, want to prolong the ideas, emotions, and memories stirred. You’re ready for a discussion or to revisit a second show, a replay or reread.

There is no mystery as to why book clubs, and film and theatre appreciation groups thrive.

I missed out getting a copy of the programme – they ran out – but the lady next to me retrieved her folded copy from her bag and I snapped a shot with my phone camera.

The eclectic list of supporters thanked is interesting and indicative of the importance of this work in the wider community as well as the art world.

  • Professor Graeme Wake, a distant relative of Nancy who had joined efforts to see her honoured by New Zealand, said her death was a sad day for the country.
  • Anthony Crowley, multi-award-winning playwright
  • Michael Brindley, writer Stage Whispers
  • The Hon Tim Fischer, retired politician, leader of National Party 1990-1999
  • Uschi Felix -a versatile actress professionally trained in Germany and Australia
  • Josh Burns Labor candidate for the new Federal seat of Macnamara
  • Marisa Cesario, Programming Coordinator at Gasworks Arts Parks
  • Tamara Jungwirth, Director and CEO of Gasworks Arts Park

The Writer, Christine Croyden’s Note

Nancy Wake (1912-2011), now as The White Mouse (die Weisse Maus) left Sydney for Paris at eighteen and became a celebrated WW2 spy. She was one of only thirteen female special agents to survive the war.

My interest in her story began in 2015 when I wrote the book and lyrics for a musical The White Mouse, licensed by DSP in Sydney. In 2017, I spent six months as a resident with a theatre company in Paris where my interest in the French resistance and the German Occupation of France reignited. During this time I wrote Underground.

I describe it as a hallucinatory view of Nancy’s life.

Nancy was never keen on anyone messing with her story and hated all films, TV series and almost everything that was ever written about her, so I doubt she’d like my play.

However, I hope the small grains of truth contained within this fictionalised drama illuminate her complexity. Nancy Wake was (and still is) often referred to as a ‘difficult woman’.

She was not recognised for her efforts during WW2 in Australia until very late in her long life, despite her bravery and the admiration of the French for her contribution to their Resistance and subsequent Liberation.

In a culture where we are finally beginning to recognise women for what they do rather than how they look or behave, I feel Underground has something to say.

Christine Croyden, February 2019.

portrait of Nancy Wake

The above portrait is a rare picture of Nancy wearing some of the honours she received:

  • The George Medal,
  • 1939-45 Star,
  • the France and Germany Star,
  • the Defence Medal,
  • the British War Medal 1939-45,
  • the Croix de Guerre with Palm and Bar,
  • the Croix de Guerre with Star,
  • the US Medal for Freedom with Palm
  • the French Medaille de la Resistance
  • and she is an Officer of the Legion d’Honneur.

Underground has a lot to say and the execution by superb actors – especially Margot Knight – was impressive.

The technique of having an aged Nancy reflect on her life just before another ceremony lauding her war service, and having other actors portray the flashbacks on stage, sometimes with the older Nancy interacting, worked extremely well.

Margot Knight stayed in character throughout – her slower movements, facial expressions and word delivery never faltered. She was Nancy!  Her memories a bit addled from age, grief, and her love of Gin, but with such clear and believable delivery.

Nancy Wake was in her 99th year when she died. Her life before, during, and after the war could fill volumes.

Christine Croyden’s attempt to capture the essence of this complicated human being deserves high praise.

The ‘White Mouse’ helped countless people escape death and torture in Occupied France. On the Nazi’s ‘Most Wanted’ list she earned the moniker White Mouse because of her elusiveness. after effective operations against the enemy.

When she managed to escape to England she trained as a spy and was parachuted back into danger despite knowing the consequences if she was caught. Her French husband, Henri was tortured and murdered by the Nazis.

Nancy earned the reputation of being strong mentally, physically and emotionally – legend has her killing a man with her bare hands and executing a German agent by shooting her in the back of the head.

Underground tells us the highlights of Nancy’s life focusing mainly on the WW2 era and the drama is enhanced by song and choreography.

The story of Nancy Wake’s exploits as spy and hero are well-documented with several online links containing excellent detail. There is some repetition and the usual discrepancies regarding dates and other information because most of the articles reflect the paucity of resources available.

Everyone agrees that for a very long time Nancy Wake was ignored/neglected in a way no male war hero ever suffered.

Nancy Wake on Wikipedia: https://en.wikipedia.org/wiki/Nancy_Wake

Nancy Wake – the girls who spied: https://www.abc.net.au/radio/programs/fierce-girls/nancy-wake-the-girl-who-spied/9485892

Nancy Wake OA – Education Services Australia: https://www.civicsandcitizenship.edu.au/cce/nancy_wake,17565.html

Nancy Wake, A larrikin and a hero: http://www.convictcreations.com/history/nancywake.htm

National Portrait Gallery – Capturing TheMouse
Nancy Wake – The White Mouse, 2001 by Melissa Beowulf: https://www.portrait.gov.au/magazines/13/capturing-the-mouse

My Mother was a huge fan of telling the stories of women’s contribution because she felt ‘herstory’ important. It was Mum who bought me a book on Joan of Arc, The Maid of France, the French author Collette and Nancy’s book which was first released in the 1980s. Mum encouraged me to read widely and seek the untold or rarely told stories.

I read the autobiography and later when studying at university, bought a biography written in 1956 about Nancy by Russell Braddon who had been a POW of the Japanese. A prolific author, he suffered a mental breakdown several years after the war, which doctors attributed to his war experiences.

The effect of trauma and the horrendous violence people witness and become part of during a war and how it may change your attitude and personality, and most certainly your outlook on life is explored in Underground. 

The stresses and effect of the journey of other characters and their relationships with Nancy included.

However, it is the price Nancy paid for her courage and persistence and the price she saved others from paying that you think about long after the play is over.

There was a TV series starring the brilliant Noni Hazelhurst as Nancy a few years ago too and a couple of documentaries worth following up.

Why Do We Do What We Do?

That question of WHY concerning human behaviour is difficult to answer and because all of us are complex with varying degrees of experiences, different backgrounds and perspectives with various wants and needs, it is an eternal conundrum to be explored.

The ‘human condition’ a topic most writers of every genre are drawn to explore.

To dissect, and attempt to understand… Scottish poet, Rabbie Burns said, ‘the moving why they do it‘… It may be an unanswerable question.

… To step aside is human:

One point must still be greatly dark,

The moving Why they do it;

And just as lamely can ye mark,

How far perhaps they rue it…

from Address to the Unco Guid, or the Rigidly Righteous by Robert Burns

Christine Croyden has succeeded in tackling that bastion of male stories – heroism during wartime, with Underground. Succeeded shedding a little light on the motivation of Nancy Wake and her legacy.

The Allied authorities acknowledged Nancy’s exuberant spirits and physical daring but thought she was just ‘good for morale’ whereas the men and women on the ground who saw her in action formed a different opinion.

“She is the most feminine woman I know until the fighting starts. Then she is like five men.”

one of Nancy’s WW2 comrades she Captained

It is a contemporary play with a powerful beginning which gives a nod to Nancy’s New Zealand roots when the aged Nancy performs the Māori haka – a memorable visual feast.

A creative way of declaring her birthplace and links to a proud warrior race plus the profound links between Australia and New Zealand through the commemoration of ANZAC.

Nancy’s pre-war career as a journalist is used to good effect too and employing poetic licence we hear Nancy describe the horrific events of the 1938 Kristallnacht while recounting her experience of going to Vienna in 1933 to interview Adolph Hitler.

Nancy witnessed the ill-treatment of the Jewish population and the emotional rendition by Margot Knight leaves you in no doubt why Nancy dedicated her life to fighting the Nazis.

The playwright has drawn on all the available information but Margot Knight gives us insight into the horror’s effect on a young Nancy who wrote about her visit to Vienna.

“The stormtroopers had tied the Jewish people up to massive wheels. They were rolling the wheels along, and the stormtroopers were whipping the Jews. I stood there and thought, ‘I don’t know what I’ll do about it, but if I can do anything one day, I’ll do it.’ And I always had that picture in my mind, all through the war.”

Nancy Wake went on to become the Allies’ most decorated servicewoman, eventually collecting bravery awards from France, England, Australia and the United States.

In answer to being overlooked, she said of Australian authorities, ‘they can stick their award and be thankful it’s not a pineapple’.

Australia was slow to acknowledge her contribution but New Zealand is still to officially acknowledge their ‘daughter’ despite the efforts of a relative Professor Graeme Wake.

Professor Wake who met up with Nancy in 1990 said:

When I met her she was always adamant she was a New Zealander, she kept her New Zealand passport right through to when I met her and I believe beyond…

She never lived much of her life in New Zealand and left as a small child, when she was taken by her parents to Australia and hardly came back…

I believe she made one fleeting visit as a youngster to see her father before she went to Europe …

She was a forthright person, very direct on her views, clear on her views.  You knew exactly where you stood with her… a toughness of spirit which you can only admire.  

So Many Stories Still to be Told

Other Nancy quotes:

I hate wars and violence, but if they come I don’t see why we women should just wave our men a proud goodbye and then knit them balaclavas.’

‘I got away with blue murder and loved every minute of it.’

She is also reported to have said she hoped to go down in history as the woman who turned down 7,000 sex-starved Frenchmen! 

Perhaps her personality and attitude came from a tough early life when her journalist father returned to New Zealand deserting his wife and six children.

She was certainly no shrinking violet or demure lady often portrayed as the norm.

Nancy was a nurse in Australia during the early 1930s but harboured dreams of a different life and when she inherited money from an aunt left for Europe as soon as could be arranged.

What would her life have been like if no world war?

Nurse, ambulance driver, journalist, spy, commando, war hero, would-be politician…

Underground is a great play but it sparks interest and shines a light on a host of other stories deserving to be told about Nancy and many others from that era.

The play is an inspiration for telling stories in an entertaining and memorable way and I hope it returns to Kingston and more people take the opportunity to see it.

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