Wikipedia

Australian Elizabethan Theatre Trust

The Australian Elizabethan Theatre Trust (AETT) is an Australian theatre and performing arts company based in Sydney established in 1954. It is today especially known for its music scholarship program.

History

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The Australian Elizabethan Theatre Trust was established in September 1954, with the aim of establishing drama, opera and ballet companies nationally.[1] It was founded by H.C. Coombs, governor of the Commonwealth Bank, Sir Charles Moses, general manager of the Australian Broadcasting Commission, and John Douglas Pringle of the Sydney Morning Herald.

The arts company was so named to commemorate Queen Elizabeth II's visit to Australia, after the trust raised £100,000 by a public appeal.[2][3] The trust had an agreement with the Commonwealth government to match public donations "in the ratio of 1:3 and to provide ongoing funding".[4] With substantial contributions from both the public and the Commonwealth Government, the Trust commemorated the first visit of the Queen, who had taken the title "Queen of Australia" in 1953, and since then The Trust has been the only arts body to bear her name.

The hope in 1954 was that there would occur in the arts a new "Elizabethan age", which would be as productive as the first in the sixteenth century.

Support for performing arts

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The trust has nurtured and seen to independence many of Australia's most significant performing arts companies including Opera Australia and the Australian Ballet Foundation. The trust also formed, maintained and administered two music Opera and Ballet orchestras, one each in Sydney and Melbourne, to accompany ballet and opera companies, and one smaller orchestra of Sydney freelance musicians named the Elizabethan Sinfonietta.[5]

The trust played a key role in establishing high culture in Australia through its involvement in setting up:[6][7]

It has also supported:[8]

Following the establishment of the Australia Council for the Arts in 1968, it ceased to be a funding body for opera and ballet in 1970.[6]

In 1974, Geoffrey Wynter Armstrong bequeathed a sum of money to the trust to establish a memorial fund to be known as the Geoffrey Wynter Armstrong and Elizabeth Mary Martin Scholarship. The annual award is currently administered by Music & Opera Singers Trust Limited.[9]

In 1982 it helped to fund the tour of Aboriginal playwright Bob Merritt's play The Cake Man to the World Theatre Festival in Denver, Colorado.[10]

Change in focus

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During the 1980s the Trust scaled back its operations and in the 1990s had a Sydney focus and operated a ticketing agency and organised theatre parties.

In 1990, the Trust went into provisional receivership and its operations were scaled back by its administrator. Its arts promotion role passed to the Australian Council for the Arts (later the Australia Council).[11] Management of the trust was given back to the directors in 1992.

In 2000, the trust launched its international music scholarship program for Australian singers, musicians and conductors wishing to undertake overseas music study.[12]

In 2004 the trust purchased the Independent Theatre at North Sydney[13] and undertook a major acoustical and heritage refurbishment of the venue. This initiative resulted in the production of a fine chamber music venue with an outstanding acoustic quality for both performers and audience. The Trust sold the Independent in 2013 to Wenona School, who have continued the chamber music programs.[14]

People

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Jeffry Joynton-Smith AM was general manager/CEO of the Australian Elizabethan Theatre Trust[15] from 1969 until June 1984, when Kathleen Norris was appointed to replace him.[16]

Chairs

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Chief Executive

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  • Hugh Hunt
  • Neil Hutchison (1959-1962)
  • Stefan Haag

Today

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The Australian Elizabethan Theatre Trust (AETT) is a non-profit organisation dedicated to supporting the arts in Australia.[21]

Australian plays presented by the Trust

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Plays sponsored by the Trust

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Plays

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1955

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  • The Sleeping Prince by Terence Rattigan with Ralph Richardson and Sybil Thorndike (27 July - 5 Oct 1955) - first production[22][23]
  • Separate Tables by Terence Rattigan with Ralph Richardson and Sybil Thorndike (5 August 1955)
  • Medea with Judith Anderson (11 Oct - 5 Nov 1955) - this production then toured[24]
  • The Little Hut presented with HM Tennant (8 Nov - 20 Dec 1955)[25]

1956

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  • Summer of the Seventeenth Doll by Ray Lawler (10 - 30 Jan 1956) first Australian play[26]
  • The Boyfriend by Sandy Wilson (31 Jan - 24 March 1956) - in associ with JC Williamson[27] made profit £1,836
  • Summer of the Seventeenth Doll* by Ray Lawler (27 March - 19 April 1956) - return season - proft £3,541
  • Twelfth Night by William Shakespeare (21 April - 17 May 1956)[28]
  • The Rivals (19 May-9 June 1956)
  • The Tintookies (12 June - 7 July 1956) - presented concurrently with Mozart opera season[29] - made profit £1,458
  • Witness for the Prosecution (14 July - 29 Sept 1956) - co production
  • Ned Kelly* by Douglas Stewart (3-27 October 1956) - made a loss of £9,137[30]
  • The Rainmaker by R Nash (20 Nov 1956) - replacement for Ned Kelly, presented in Sydney, Melbourne and Brisbane - loss of £17,118[31]

1957

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  • Mozart season - Cosi Fan Tutte,[32] Marriage of Figaro, The Magic Flute, Don Giovanni )[33] - this toured and lost £36,051
  • Summer of the Seventeenth Doll return engagement (11 Feb 1957) - returned after tour with cast who would go to London
  • The Beggar's Opera by John Gay (13 March 1957) - loss of £8,097
  • Hamlet by William Shakespeare with Paul Rogers (27 April 1957)[34]
  • The Relapse by Sir John Van Brugh (15 May 1957) - would alternate with Hamlet - these productions toured[35]
  • La Boheme opera (31 Aug 1957)[36]
  • Otello opera (3 Sept 1957)
  • The Bartered Bride opera (20 Sept 1957)[37]
  • The Shifting Heart* by Richard Beynon (4 October 1957)[38]
  • Cinderella a pantomime (23 Dec 1957)[39]

1958

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  • The Shifting Heart (Jan 1958) - return season - profit £1,031
  • Salad Days musical (31 Jan 1958)[40]
  • Time Rememebred by Jean Anoulih (7 May 1958)[41]
  • Look Back in Anger by John Osborne (4 June 1958)[42] - lost £2,997
  • The Barber of Seville (19 July 1958)[43]
  • The Happiest Days of Your Life by John Dighton with Margaret Rutherford (6 November 1957)[44]
  • Fidelo opera (19 July 1958)[45] - part of 1958 opera season which lost £68,998
  • Curly on the Rack* by Ru Pullan (3 September 1958)[46] - lost £5,621
  • Lola Montez* musical by Alan Burke, Peter Benjamin and Peter Stannard (22 October 1958)[47] - lost £31,581
  • Little Fella Bindi* (23 Dec 1958)[48]

1959

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  • Slaughter of St Teresa's Day* by Peter Kenna (11 March - 4 April 1959) - with Trust Players[49]
  • Man and Supeman by George Bernard Shaw (8 April - 2 May 1959) - with Trust Players
  • The Bastard Country* by Anthony Coburn (3-30 May 1959) - with the Trust Players[50]
  • Long Day's Journey Into Night by Eugene O'Neil (3-27 June 1959) - with Trust Players[51]
  • Julius Caesar by William Shakespeare (1-25 July 1959)[52]
  • Summer of the Seventeenth Doll (Aug 1959) - return season

1960

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  • The Magic Pudding - loss of £1,085
  • Candida - loss of £4,619
  • Charley's Aunt - loss of £7,1l6
  • The Hostage - loss of £8,827

1961

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  • Lock Up Your Daughters - loss of £3,870
  • The Most Happy Fellah - loss of £10,172
  • The One Day of the Year - loss of £1,867
  • Come Blow Your Horn - profit £6,158 - tour made profit £2,434
  • Rigolotto - profit £819
  • Leningrad ballet - profit £11,181

1962

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  • Man for All Seasons - loss of £14,266
  • Australian Play Season (The Break, Shipwreck, Naked Island) - loss of £9,709
  • Marionette theatre - loss £6,362
  • The Miracle Worker - loss £5,412
  • Nina - loss £3,277
  • Saint Jack - loss £14,000
  • The Ham Funeral - loss £3,884
  • Write Me a Murder - loss £3,954
  • Little Mary Sunshine - loss £5,515
  • Once Upon a Mattress - loss £6,737
  • Thorndike-Casson recitals - loss £1,147
  • ballet - profit £5,538
  • Come Blow Your Horn - profit £4,376
  • Orpheus in the Underworld operetta - profit £6,875
  • Sound of Music - profit £18,135

See also

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References

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  1. ^ Tim Rowse, 'Playing the blame game', The Australian, 16 May 2007.
  2. ^ MS 5908 Records of Australian Elizabethan Theatre Trust at the National Library of Australia
  3. ^ Annual Report 1957, The Australia Elizabethan Theatre Trust
  4. ^ Roger Wettenhall, 'Kaleidoscope, or 'Now We See Them, Now We Don't!', Canberra Bulletin of Public Administration, No. 110, 2003, p. 32.
  5. ^ BlueSoap. "Our History". The Australian Elizabethan Theatre Trust. Retrieved 17 May 2024.
  6. ^ a b Industries Assistance Commission - Reports - Assistance to the performing arts, 30 November 1976, Parliamentary Paper No. 290/1977 of the Commonwealth of Australia. ASSISTANCE TO THE PERFORMING ARTS. Industries Assistance Commission Report 30 November 1976
  7. ^ [Australian Elizabethan Theatre Trust : programs and related material collected by the National Library of Australia], retrieved 17 May 2024 – via National Library of Australia
  8. ^ BlueSoap. "The Australian Elizabethan Theatre Trust Past Activities". The Australian Elizabethan Theatre Trust. Retrieved 17 May 2024.
  9. ^ "Music & Opera Singers Trust Ltd. (MOST) - Our Story". MOST. Retrieved 17 May 2024.
  10. ^ Lewis, Berwyn (27 June 1982). "Return of The Cake Man" (PDF). The National Times. p. 29.
  11. ^ Roger Wettenhall, 'Kaleidoscope, or 'Now We See Them, Now We Don't!', Canberra Bulletin of Public Administration, No. 110, 2003, p. 32. [verification needed]
  12. ^ BlueSoap. "Scholarship". The Australian Elizabethan Theatre Trust. Retrieved 17 May 2024.
  13. ^ Taffel, Jacqui (18 March 2006). "Just outside the limelight". The Sydney Morning Herald. Retrieved 24 December 2023.
  14. ^ Dow, Steve (26 June 2013). "Young musicians find a chamber to call their own". The Sydney Morning Herald. Retrieved 17 May 2024.
  15. ^ "Jeffry Joynton-Smith interviewed by Amy McGrath [sound recording]". Trove. 6 July 1980. Retrieved 26 December 2023.
  16. ^ Australian Elizabethan Theatre Trust (1984). Annual Report 1984 (PDF) (Report).
  17. ^ Valerie Lawson, 'In the steps of the Empire', Sydney Morning Herald, 9 Feb 2002.
  18. ^ Frank Strahan, "Gibson, Aubrey Hickes Lawson (1901–1973)", Australian Dictionary of Biography, vol. 14, Melbourne University Press, Melbourne.
  19. ^ Corrie Perkin, 'Philanthropist made his play', The Australian, 4 May 2006.
  20. ^ "Board Of Directors". The Australian Elizabethan Theatre Trust. Retrieved 26 December 2023.
  21. ^ "About". The Australian Elizabethan Theatre Trust. Retrieved 26 December 2023.
  22. ^ Program at The Trust
  23. ^ Original program at the Trust
  24. ^ Original program at Trust
  25. ^ Program at the Trust
  26. ^ Original program at the Trust
  27. ^ Program at the Trust
  28. ^ Original program at the Trust
  29. ^ Original program at the Trust
  30. ^ Original program at the Trust
  31. ^ Original program at the Trust
  32. ^ Program at the Trust
  33. ^ Program at the Trust
  34. ^ Original program at the Trust
  35. ^ Original program at the Trust
  36. ^ phttps://www.thetrust.org.au/pdf/trust-activities/TA_la-boheme.pdf Program] at the Trust
  37. ^ Program at the Trust
  38. ^ Original program at the Trust
  39. ^ Program at the Trust
  40. ^ Original program at Trust
  41. ^ Program at the Trust
  42. ^ Original program at the Trust
  43. ^ Program at the Trust
  44. ^ Program at The Trust
  45. ^ Program at the Trust
  46. ^ Program at the Trust
  47. ^ Original program at the Trust
  48. ^ Program at the Trust
  49. ^ Original program at the Trust
  50. ^ Program at the Trust
  51. ^ Original program at Trust
  52. ^ Program at the Trust

Sources

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  • The Trust: The rise and fall of an Australian icon by Brian Adams (the history of The Australian Elizabethan Theatre Trust as told by its foundation members in extensive interviews with Brian Adams, former ABC TV Arts head)
  • The Australian Elizabethan Theatre Trust: the first year, Sydney: The Australian Elizabethan Theatre Trust, 1956
  • Stephen Alomes, The search for a National Theatre, Voices, Spring 1993, pp. 21–37.
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