Summer Of The Seventeenth Doll

Ray Lawler Characters:3 male, 4 female Interior Set This compelling Australian play was a success in London and was hailed by critics in New York for its vigor, integrity, and realistic portrayal of two itinerant cane cutters: Barney, a swaggering little scrapper, and Roo, a big roughneck. They have spent the past sixteen summers off with two ladies in a Southern Australian city. Every year Roo has brought a tinsel doll to Olive, his girl, as a gift to symbolize their relatio

How are masculinities enacted in Australian theatre? How do Australian playwrights depict masculinities in the present and the past, in the bush and on the beach, in the city and in the suburbs? How do Australian plays dramatise gender issues like father-son relations, romance and intimacy, violence and bullying, mateship and homosexuality, race relations between men, and men’s experiences of war and migration? Men at Play explores theatre’s role in presenting and contesting images of masculinity in Australia. It ranges from often-produced plays of the 1950s to successful contemporary plays – from Dick Diamond’s Reedy River, Ray Lawler’s Summer of the Seventeenth Doll, Richard Beynon’s The Shifting Heart and Alan Seymour’s The One Day of the Year to David Williamson’s Sons of Cain, Richard Barrett’s The Heartbreak Kid, Gordon Graham’s The Boys and Nick Enright’s Blackrock. The book looks at plays as they are produced in the theatre and masculinity as it is enacted on the stage. It is written in an accessible style for students and teachers in drama at university and senior high school. The book’s contribution to contemporary debates about masculinity will also interest scholars in gender, race and sexuality studies, literary studies and Australian history.

First staged in 1955, no play has been more important to the history of Australian theatre than Summer of the Seventeenth Doll. Twenty years later, Lawler returned to his lovable Carlton household and created two more plays: Kid Stakes and Other Times. Kid Stakes: A joyful portrait of the summer of the first doll, in which a chance encounter brings Olive and Emma, Roo and Barney, into the shabby Carlton terrace to begin a seventeen year journey of seasonal love and argument. Kid Stakes introduces the fun-loving Nancy, who has left the scene by the seventeenth summer, adding a new poignancy to the story. Other Times: The middle play of Ray Lawler's Doll Trilogy. Set during the Second World War, in late winter, when Barney and Roo are on leave from the army. Other Times is the fulcrum of the three plays in which the characters stop being kids and become adults. Middle age is looming and life is no longer just a game. Things are changed forever by Nancy's decision, setting the stage for Summer of the Seventeenth Doll. Summer of the Seventeenth Doll: Ray Lawler's revised script (2012) of his (and Australia's) most famous play, in which two larrikin canecutters and their women awaken to middle-age. The impact of The Doll cannot be over-stated. Its success both here and abroad was quickly recognised as a defining moment in Australian theatre history.

Seventeen-year-old Angie, who lives with her family in Fond du Lac, Wisconsin, finds herself in love for the first time the summer after high school graduation.

Kate is only eighteen when she meets Tom Harper, one of America's biggest pro-football stars. They share an idyllic and glamorous first love. But the bullet that suddenly ends Tom's career also ends their life together. A failed suicide attempt will leave him mentally and physically disabled forever. Kate will be left alone, heartbroken, and pregnant with their son. Soon she will have another chance at love, but it will mean learning to let go of the past and learning to trust again.

Boleslaw Prus is often compared to Chekhov, and Prus’s masterpiece might be described as an intimate epic, a beautifully detailed, utterly absorbing exploration of life in late-nineteenth-century Warsaw, which is also a prophetic reckoning with some of the social forces—imperialism, nationalism, anti-Semitism among them—that would soon convulse Europe as never before. But The Doll is above all a brilliant novel of character, dramatizing conflicting ideas through the various convictions, ambitions, confusions, and frustrations of an extensive and varied cast. At the center of the book are three men from three different generations. Prus’s fatally flawed hero is Wokulski, a successful businessman who yearns for recognition from Poland’s decadent aristocracy and falls desperately in love with the highborn, glacially beautiful Izabela. Wokulski’s story is intertwined with those of the incorrigibly romantic old clerk Rzecki, nostalgic for the revolutions of 1848, and of the bright young scientist Ochocki, who dreams of a future full of flying machines and other marvels, making for a book of great scope and richness that is, as Stanisław Barańczak writes in his introduction, at once “an old-fashioned yet still fascinating love story . . . , a still topical diagnosis of society’s ills, and a forceful yet subtle portrayal of a tragically doomed man.

Opera has been performed in Australia for more than two hundred years, yet none of the operas written before the Second World War have become part of the repertoire. It is only in the late 1970s and early 1980s that there is evidence of the successful systematic production of indigenous opera. The premiere of Voss by Richard Meale and David Malouf in 1986 was a watershed in the staging and reception of new opera, and there has been a diverse series of new works staged in the last thirty years, not only by the national company, but also by thriving regional institutions. The emergence of a thriving operatic tradition in contemporary Australia is inextricably enmeshed in Australian cultural consciousness and issues of national identity. In this study of eighteen representative contemporary operas, Michael Halliwell elucidates the ways in which the operas reflect and engage with the issues facing contemporary Australians. Stylistically these eighteen operas vary greatly. The musical idiom is diverse, ranging from works in a modernist idiom such as The Ghost Wife, Whitsunday, Fly Away Peter, Black River and Bride of Fortune, to Voss, Batavia, Bliss, Lindy, Midnight Son, The Riders, The Summer of the Seventeenth Doll and The Children’s Bach being works which straddle several musical styles. A number of operas draw strongly on musical theatre including The Eighth Wonder, Pecan Summer, The Rabbits and Cloudstreet, and Love in the Age of Therapy is couched in a predominantly jazz idiom. While some of them are overtly political, all, at least tangentially, deal with recent cultural politics in Australia and offer sharply differing perspectives.