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Norm and Ahmed is now available in a single edition and and be ordered separately here.
'The years 1966-68 were at the cusp of reform', writes Brisbane. 'The writing here reflects a deep sense of the need for change.'
History, identity and racial attitudes reflect a growing diversity of opinion; but distinctive in this volume, argues Brisbane, 'is the sudden and spontaneous elevation of language'. In these few years a truly local form of contemporary theatre began to make itself felt. Included here are -
This Old Man Comes Rolling Home by Dorothy Hewett
A play centred on family life in working-class Redfern in the 1950s which captures the colour, spirit and political character of the inner-city suburb. Hewett who lived in Redfern during the Cold War, wrote that her aim was 'to write of a self-contained world ... with its own language, its own folklore, its own values, its own ethos, to write of it with both realism and poetry'.
The Lucky Streak by James Searle
An exploration of the rhythms of the inarticulate, and the aggression, rooted in frustration, which can be present in the simplest of domestic conversations.
Norm and Ahmed by Alex Buzo
A rather ocker, white Australian male encounters a well-mannered Pakistani student with revolutionary ambitions in a Sydney park at midnight. Buzo creates an image of race prejudice as a profoundly irrational force in the behaviour of ordinary Australians.
Single edition eBook available from
Private Yuk Objects
by Alan Hopgood
A rich portrait of Australia in the mid-1960s where, in the 1966 federal election,conscription and the Vietnam War were the major public issues.
Cast : This Old Man Comes Rolling Home - 9M, 9F (doubling possible) / The Lucky Streak - 3M, 2F / Norm & Ahmed - 2M / Private Yuk Objects - 10M, 3F
Currency Press | 978-0-86819-550-6 | Sales rights: Australia/NZ | 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.