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Plays of the 70s: Volume 2  

A Hard God / Coralie Landsdowne Says No / How Does Your Garden Grow / The Cake Man

Plays of the 70s: Volume 2 $31.77 ex GST
$34.95 inc GST

The years 1973-75 are famously remembered as 'the Whitlam years' (after the then Labour Prime Minister Gough Whitlam), and the plays of this period reveal a new sense of direction and a desire for political and cultural rejuvenation.

After experiments with social satire, nudity and challenges to public order, the playwrights in this volume turn to the domestic arena to examine more seriously the way in which the individual is shaped by society. There is also a new preoccupation with personal morality and ethics, and hints of the fear and disillusion that change can bring about.

The volume includes - 

A Hard God by Peter Kenna 

The story of the Cassidy brothers and their wives is counter-pointed by a brief involvement between two teenage boys.

   Resources

Coralie Lansdowne Says No by Alex Buzo 
A woman's struggle for her sense of self in a play that reflects as much on the enduring need for commonplace emotional security and comfort as on the need for social progress.

   Resources

How Does Your Garden Grow by Jim McNeil
Examines a prisoner’s need for domestic comforts.

   Resources

The Cake Man by Robert Merritt
This landmark play portrays life on a mission in Western NSW. A simple, moving story which shows white Christian paternalism from a black point of view.The Cake Manwas the first play by an Aboriginal writer to enter the repertoire of the white theatre.

Published with notes on Wiradjuri country and memories of the mission where Merritt was raised.

   Resources
Cast : A Hard God - 5M, 2F / Coralie Landsdowne Says No - 4M, 3F / How Does Your Garden Grow - / The Cake Man - 5M, 1F, including 1 boy

Currency Press | 978-0-86819-552-0 | Sales rights: worldwide | PB

Author

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.