Sydney’s Drama Falters, But The Dance Goes On (Press, 21 February 1984)

Elric Hooper, the artistic director of Court Theatre, is currently on a six-month sabbatical to study theatre in the United States and Europe, during which he will also teach at the London Academy of Music and Dramatic Art, and in France and West Germany. His journey has included stops in Sydney, Athens, and Rome, and he plans to share his experiences through a series of articles for "The Press," with the first published on 21 February 1984. In his observations, Hooper notes the contrasting characteristics of Sydney and Melbourne, describing Sydney as brash and hedonistic, while Melbourne views itself as the more serious artistic city. He discusses the impressive production of "Nicholas Nickleby" by the Royal Shakespeare Company, which is currently dominating Sydney's theatre scene. This adaptation spans two evenings, with a total performance time of over eight hours, costing over SA60 for both parts. Although he found the production well-executed, he felt it lacked the subtleties and historical depth of the original London version, with the tone shifting from semi-tragic comedy to farce. Hooper attributes this disparity to the differences in the Australian theatre scene, noting that while leading performers are of high calibre, many supporting actors do not meet the same standards due to a lack of continuity within the profession. This results in performances that cater to audience expectations of comedy, leading to a trend he refers to as "Toby Jug acting." The ticket pricing for these blockbuster productions reflects a wider trend in Sydney’s theatre, where what is seen as a financial burden for the public leads to a reluctance to invest in new or adventurous plays. Major theatre companies, such as the Nimrod Company and the Sydney Theatre Company, have struggled financially over the past year. Despite critical acclaim for Australian plays, public interest has waned, a reversal from previous patterns. Despite generous government subsidies, the commercial sector has also experienced challenges with audience engagement for newer works. In terms of dance, however, Sydney remains a notable hub, boasting a world-renowned national ballet company and excelling in modern dance, particularly with the Sydney Dance Company, led by Grahame Murphy. This company, despite facing financial struggles without subsidies, is acclaimed for its innovative integration of dance and scenic design. Hooper highlights their latest work, "Some Rooms," which explores everyday life and intimacy through an imaginative lens. The performance features strong erotic elements and culminates in a beautiful sequence where fully clothed dancers interact with books, evoking themes of solitude and the pleasure of reading, set to Barber’s "Adagio for Strings." Hooper finds this portrayal to be a rare and uplifting experience in contemporary theatre, especially during turbulent times.

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