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Plays of the 60s: Volume 1  

Currency Modern Drama

Plays of the 60s: Volume 1 $31.81 ex GST
$34.99 inc GST
Burst of Summer by Oriel Gray (1960) 
A social-realist play dealing with racial prejudice set in a country milk bar. Suggested by the promotion of the Aboriginal actor Ngarla Kunoth, who played the title role in Charles Chauvel's  Jedda, the play explores a town divided over a new housing development for the Aboriginal population. Passions are stirred by press interest in Peggy, an Aboriginal girl who has won brief fame as a film actress; entrenched pastoral interests; envy and racism; and perceived Aboriginal fecklessness. Despite the intercessions of a local black lawyer and Joe, the 'dago' cafe owner, the summer heat busts into violence.


The Well by Jack McKinney (1960)
A delightful country comedy that testifies to the impending end of the cultural isolation of rural life. 


The Promised Woman by Theodore Patrikareas (1963)
Possibly the first play by a post-war immigrant staged in Australia, The Promised Woman has also been produced in Greece. Set in a boarding house in Sydney's inner city suburb of Newtown, it captures the dislocation and problems of immigration as it tells the story of a strong young woman who finds a way to break free of traditional constraints. Displays the new world of the post-war immigrant.


The Season at Sarsaparilla by Patrick White (1962)
Patrick White described his play as 'a charade of suburbia'—a play of shadows, rather than substance. The neighbours of the play are held by their environment, waiting with determination, but little expectation, for the inevitable cycle of birth, copulation and death.
Cast : Burst of Summer - 7M, 2F / The Well - 7M, 2F / The Promised Woman - 7M, 4F / The Season at Sarsaparilla - 9M, 7F

Currency Press | 978-0-86819-545-2 | Sales rights: worldwide | PB


KATHARINE BRISBANE co-founded Currency Press, Australia’s performing arts publisher, in 1971 with her late husband, Dr Philip Parsons (1926–1993). Brisbane remained managing editor and publisher until her retirement in 2001. In 2000 she established Currency House as a non-profit charitable association with the brief to assert the value of the performing arts in public life and raise the level of debate. She was a theatre critic for twenty-one years, including a period as national theatre critic at the Australian (1967–74) and has published widely on the history and nature of Australian theatre.