Legal Action Over Play (Press, 18 April 1984)

The Suter Gallery in Nelson faces the possibility of legal action for banning Garry Beveridge's production of "The Elocution of Benjamin Franklin," written by Australian playwright Steve J. Spears. Beveridge has initiated legal proceedings against the gallery and plans to escalate the matter to court if it is not resolved by April 30, 1984. Additionally, he is contemplating a defamation lawsuit due to negative statements made by the gallery regarding him and his performance. "The Elocution of Benjamin Franklin" tells the story of a convivial elocution teacher and his student, Benjamin Franklin. Beveridge has been touring the play since October 1983, with performances across the North and parts of the South Island. He asserts the play addresses themes of homosexuality without depicting inappropriate relationships, countering the misconceptions that arose in Nelson where the show was initially banned. The one-man show features a character who is a transvestite, challenging perceptions about sexuality. Beveridge clarified that while the play includes a brief nudity scene, it is innocent and non-sexualised. He expressed his commitment to transparency in advertising the show to ensure potential viewers are aware of its content. The reaction to the play in Nelson has caused Beveridge significant distress, as he believes it is driven by uneducated criticism from those who had not witnessed the performance. He feels compelled to take a stand against censorship and protect the principles of artistic freedom and expression. During its initial run in Nelson, the play was performed for six nights. Due to overwhelming demand, Beveridge planned a return engagement for two additional nights, only to discover that the Suter Gallery had banned the show. Ultimately, he was able to secure a venue at the Theatre Royal in Nelson. Beveridge has faced a wave of backlash throughout the country, including vandalism of promotional materials and hostile treatment in public. Despite this, he continues to passionately advocate for the play's message. His background includes extensive education in American Studies and theatre, having studied in New York and obtained a scholarship to further his studies at the Dallas Theatre Centre. After struggling to find work in New Zealand's theatre scene, Beveridge decided to self-produce the show, selling his possessions to finance the rights to the play for a year. His upcoming performance in Christchurch is expected to mark the 100th date of the tour. Prior to the public performance, Beveridge will present the show at a national conference for lesbians and homosexuals. To aid in his touring efforts, Beveridge is accompanied by technician Bruce Appleton, responsible for set design, and his pet dog, Lottie. Looking ahead, Beveridge aspires to secure rights to stage the production on a tour across the United States post-New Zealand performances.

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