On the occasion of the centenary of the visit of eminent English novelist D.H.Lawrence to Australia in 1922, Playscript is proud to announce a season of the theater work “Somewhere South” which explores events, characters and ideas related to that visit. The show uses an exciting mix of styles, including drama, magic realism, verse, movement and narration, to capture the ideas and characters of Lawrence, as well as his encounters with left and right wing groups and leaders. The dramatized characters of Kangaroo and Struthers tick off ideas and polarities of public life that are still relevant today. Personally, and in his writing and thinking Lawrence was transformed by his experience of beauty in the ocean bush and mountains of the south coast.
This work draws on Lawrence’s book “Kangaroo” written when he was in Australia. Shaun Foley plays Lawrence, Mel Day his wife Frieda, Dominic Collier plays multiple roles (Kangaroo, Struthers, Jack, Ezra Pound), and Katrina Maskell plays Victoria and the Muse who serves as the whimsical narrator. The show uses the striking images of Archibald winning painter Garry Shead from his D.H. Lawrence series as part of its style.
The work is written by Geoffrey Sykes, who has had over thirty professional presentations of his work. It was first presented a decade ago at Thirroul, near where Lawrence stayed, where it was very well received, and it re-presented at time of centenary with a strong cast. This is an entertaining, thought provoking work with important perspectives on Australian identity and values.
Why did you write a play about D.H.Lawrence?
Sykes: There any several reasons. Lawrence remains a prominent figure in modern literature, attracting new biographies and publication of his essays and shorter works. Kangaroo, the book he wrote while in Australia, in particular touches political and naturalist perspectives not really present in his earlier, well known novels such as Women in Love and Sons and Lovers. Australia was a divided society – his depiction of left and right politics resonate with politics today.
I also live on the south coast of NSW, near Thirroul, where he stayed, so that might have stimulated this work in part.
A regional production was done in 2011, in the new community space at Thirroul. These four performances were very well attended and the show was much liked. I hope the response to this remounted show is just as strong. The centenary of his visit in part motivated this remount – also the desire to present the style and ideas of the work to a wider audience.
Did the south coast where he stayed make much of an impression on him?
You mean the escapement, beaches and rugged coastline? It did indeed – there are some masterful evocations of it in his book, and the show registers this aspect of his visit. Raised as a working class young man from Nottingham he engaged with nature as he had not done before, and his writing and ideas were transformed as a result. For example, he entertained ideas of the unconscious present in world, of forces and beauty and magic qualities. The show depicts through magic realist techniques encounters he had with a bird on the beach.
Wasn’t he famous for his pioneering exploration of sensuality and sex?
He was in his earlier books – and paid a high price. His books were burned at one stage in London, and his persecution was one reason for his travels. In Australia sexual energy and personal intimacy are transformed into connection with the land, and also with political leaders. He was much more in the world, but in a very imaginary way.
Is ‘Kangaroo’ a good book?
It is patchy, perhaps two books in one, It is an interesting read, but aimed to be a potboiler to make some much needed royalties. So while there is experimental prose, inspired in part the show says by imagist ideas of modernist writers in England, such as Pound and Eliot, whom he met, much of the political drama could be sharpened. There are the elements of a great Australian novel, but he needed to stay longer for that to happen. However as an account of its times it is invaluable, and as I said the book offers unique ideas that are still relevant today.
Why did he not stay longer than 12 weeks?
Good question. His trip was being sponsored by a patron in New Mexico USA. He was obliged to go to the United States eventually – but it seems that he left Australia a bit quickly. The play looks at the tensions this caused between him and his wife Freida, suggesting she had begun to like the lifestyle they had on the coast. The play generally explores the lively relationships between couple. The play also suggests that Lawrence was threatened by some secret right wingers, who were not happy being portrayed in his novel.
Have you enjoyed the rehearsal period?
It is such a privilege to work with committed gifted actors. Mel Day, Shaun Foley, Dominic Collier and Katrina Maskell are all strong in their roles and preparation. The show could not happen without them. Rehearsals have also been helped by the studio we run at Leichhardt – it is great to have a home of props and gear and for extended rehearsing.
Are you collaborating with the Australian painter Garry Shead?
Yes his paintings form the D H Lawrence Series were projected in the 2011 production – now they are more continuously seen. They add a special dimension. I have been interested in multi layered or multiform production for many years.
How long have you been writing for theatres?
Well decades actually – professionally, but part time owing to commitments to University research and teaching, and also video production. There have actually been over 30 productions – here, in other states and overseas. It all adds up. A good number were commissions for major cultural venues such as the Art Gallery of New South Wales. I suppose it’s in the blood, and I’m trying to give more time and achieve that little bit more at present. This will be my third production this year. Currently Out of Africa is on at the Seymour Centre, and it has been very well received by good audiences and reviews.
Do you have any final reflections to add?
Well the final reflection – or reflections as I am sure there will be many – comes from the production itself and its audiences, and any ensuing debate or outcomes. Does a writer who lived and visited 100 years ago have anything to say today? We will soon find out.
Season Details
Sydney
Venue: Chippen Street Theatre
Dates: 3-12 November 2022
For tickets click HERE
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