Summer of the Seventeenth Doll By Ray Lawler

Summer of the Seventeenth Doll By Ray Lawler

Finding an Authentic Australian Voice l l The Summer of the Seventeenth Doll is generally regarded as one of Australia’s most significant plays The play's uniquely Australian character and presentation of Australian life in a realistic manner was a revelation for theatregoers at the time. The play reflects 1950 s middle-class Melbourne suburbia Australian plays preceding ‘the Doll’ tended to be superficial, lacking convincing human conflict and based on stereotyped characters with parochial Australian themes – bush legends, exaggerated characters and mannerisms often drawing on melodrama

Finding an Authentic Australian Voice l In contrast Lawler’s play was a technical and skilful realist piece. l Presented believable and authentic characters, establishing and exploring the complex relationships between them. l At the time of its first production the renowned theatre critic Kenneth Tynan wrote: “At last we have found an Australian voice”

Plot and Story The play is relatively simple in structure, but complex in plot. It is this contrast which was partly responsible for its success. l Revolves around the lives of four major characters, Roo, Barney, Olive and Pearl. l Roo and Barney are Queensland cane cutters who spend five months of each North Queensland Cane year, (the layoff) in Melbourne. During this time they live with two bar maids, Cutters Olive and Nancy. l The play is set in the seventeenth year of this arrangement. Nancy has married and been replaced by the sceptical Pearl. Roo has left the cane fields due to a dispute with a younger cutter (Dowd), and makes plans to settle in the city. Olive fights against the change, desperate to Roo, Olive, Pearle and Barney in a maintain her ideal of ‘the layoff. ‘ modern production l

Ray Lawler: Background l l l l Ray Lawler was born in Footscray, Melbourne in 1921 ‘The Doll’ Was Lawler’s tenth play and certainly his most famous Has a long association with Drama and Theatre prior to the play Worked as an actor/director/writer with the National Theatre Movement early in his career In 1954 joined the Union Repertory Company at Melbourne University ‘The Doll’ was presented in 1955 with considerable success both in Australia and in London Lawler later lived and worked in England, Denmark and Ireland, returning to Australia in 1975 to write two other plays, Kid Stakes and Other Times. l. Ray Lawler, holding a kewpie doll in front of Russell Street Theatre, 1977

Ray Lawler: Background Both these plays are essentially ‘prequels’ to ‘the Doll’ and revolve around the same characters. l Kid Stakes revolves around the summer of the first doll. l Other Times revolves around the ninth summer l All three plays were performed as a trilogy by the Melbourne Theatre Company in the summer of 1976 -1977. l John Sumner and members of the original cast of Summer of the Seventeenth Doll, at the University’s Union Theatre

Context and Setting: 1950 s Australia l l l 1950 s Australia is seen as a period of significant social change Post War (WWII) Australia was one of economic boom The period is often noted for its ‘post war optimism’ Australia becomes increasingly influenced by American consumerism – technology, music, fashion Collins St, Melbourne in the It now became possible for many 1950 s Australians to purchase their own home and car – more freedom of independence and mobility Robert Menzies was Prime Minister and the post war immigration programme was slowly challenging the idea of Australia as a solely Anglo (European) country. (beginning of multiculturalism) European immigrants Nationalised in the 1950

Context and Setting: 1950 s Australia In the 1950 s, questions were being raised about the nature of Australian identity and people were beginning to challenge many traditional Australian values such as marriage and the role of women l Artists such as Sidney Nolan and Arthur Boyd were emerging and creating a distinctly Australian style of art that influenced other forms such as literature and Drama Advertisement for 1950 s kitchen l appliances

Context and Setting: 1950 s Australia Dances or ‘socials’ were the main form of entertainment for young people The Australian made FJ Holden became an icon of Australia in the 1950 s and typified this new sense of independence and mobility

Context and Setting: 1950 s Australia Though radio continued to be the main form of home entertainment in Australia, by the late 1950 s many Australians were now able to afford a ‘black and white’ television.

A Woman’s Place l l l Few career opportunities for women in the 1950 s Most women married and fulfilled domestic roles, caring for their husbands and families Women who were employed received sometimes only half of what a male received for doing the same job Ironically during World War II women had a brief feeling of ‘liberation’ as they took up occupations previously regarded as ‘male only’ – ambulance drivers, mechanics, farmers etc. When the men retuned, women were expected to then return to their domestic roles

A Woman’s Place Social perception generally found women barmaids (such as Olive and Pearl) as disreputable l Pubs were essentially a ‘male bastion’ l Women and men had separate rooms in pubs – the main area for the men and out the back a ‘ladies lounge’. Women were not permitted in the male area l Young and Jacksons in Melbourne, the pub mentioned in The Doll

A Man’s Place l l l Men were considered the wage earners in the 1950 s Growing urbanisation and the quest for employment drove many men and their families to the cities Men had always dominated higher occupations – politics, university, medicine, law etc. The changes brought about by World War II brought about a shift in attitude especially in women Many men returned from the war feeling disillusioned and unemployed

Key Themes The play’s themes represents conflict between bush (rural) and city (suburban) values. l The play deals with wide ranging themes, such as: l Gender Stereotypes (esp. male/female of the 1950's) l Ageing and time l Change l Dreams versus Reality l Mateship and Loyalty l

Key Themes Ray Lawler made this comment about the Doll in an interview shortly before its first production in 1955: “There is a central theme to hold the piece together: that of the unbearable nostalgia and bewilderment felt by a group of people when an enchanted private world, built entirely on a physical basis, crumbles away under the stress of years of changing circumstances”

Key Themes Many decades later in 1992 he made this observation: “More and More over the years, I’ve had the feeling that it examines the relationship between Olive and Roo, Barney and Nancy, and Barney and Pearl, the relationship outside marriage…Nowadays, relationships outside marriage are quite a normal thing, but in those days it really demanded a lot of strength of will to stand up against the existing moral code and I think the whole feeling of the play is searching for something which is outside marriage”

Key Themes This indicates that even the author’s perception of the play’s themes have altered over time Part of the reason for the plays continuous popularity lies in the fact that there are various themes interwoven throughout the play that can be brought out and highlighted in different productions. Barney, Olive and Roo in Act 1 when they first arrive

Dramatic Structure l The Doll follows a traditional play structure in three Acts – l Act 1 - Exposition (establishing characters and situations) l Act 2 – Complication (problems arise) l Act 3 – Climax and Denouement (Dramatic high point and aftermath)

Dramatic Form & Style: Realism The Dramatic style of the play is best described as ‘attempted realism’ – that is an attempt to capture as best as possible ‘real life’ on stage l Achieved via several conventions including realistic set and costumes, use of naturalistic language and slang by the characters l There is also a ‘symbolic’ aspect to the play which provides a profound poetic dimension l

Dramatic Form & Style: ‘The Doll’s’ attempt at dramatic realism Authentic Australian Drama: ‘the Doll ‘ evolved from: ‘Realism’ established European Style by the playwright Melodrama – Ibsen in the early primarily from 1900 s England Myths, bush legends and folklore of Australia

Use of Symbolism l There are many attempts by the playwright to incorporate symbolic elements into the play l Most significantly this is achieved through: l Set and Lighting Design l Costumes l Dialogue Dowd shaking Roo’s hand

Use of Symbolism: Set and Lighting Lawler provides detailed description of the requirements for both set, props and lighting which contribute greatly to an attempt at adding heightened symbolic meaning l Even though the set remains unchanged throughout the play, there are many instances when lighting and prop changes are used effectively to denote: l change in time (morning, evening) l Change in tone or mood l Juxtaposition between illusion and reality l A lighting technician of the 1950 s preparing for a production

Use of Symbolism: Set and Lighting A modern production of ‘the Doll’: note set, lighting, costumes and character

Use of Symbolism: Set and Lighting Drawing on the conventions of Ibsen and the ‘fourth wall’ notion, absolute Realism is attempted in the set design in The Doll. The idea of a one Room set is a convention of earlier dramatic forms including Melodrama, however the specifics for lighting and props reinforces the attempt at Realism. l There is a deliberate attempt at using props and set symbolically ie. Kewpie dolls, and various objects around the stage. They are meant to reveal a home that ‘has a past’ and is to some extent an extension of the characters themselves. One of Lawler’s stage requirements claims “It [the set] is rather that of a l glowing interior luminosity protected from the outside world”. Compare this statement with the character of Olive!

Use of Symbolism: Set and Lighting is to some degree meant to contribute to the realistic idea but is sometimes used to symbolise a change in mood l The lighting specifies a ‘sunset’ at the end of Act II Scene II with Roo on stage. This is symbolically attempting to foreshadow the expected change/heightening tension which eventuates immediately after with the arrival of Barney and Dowd.

Use of Symbolism: Set and Lighting The set description that forwards the play requests the presence of encroaching greenery, perhaps symbolic of encroaching ‘reality’ that is intruding on their ‘illusion’. l The fireworks lighting at the New Years ‘party’ deliberately juxtaposes the ‘boredom’ and ‘failure’ of the characters and further accentuates the aspect that things have changed. l

Use of Symbolism: Set and Lighting l The most significant use of symbol in the play is the use of ‘kewpie’ dolls and other holiday mementos (butterflies and birds) brought by Roo and Barney, which represent the past (especially for Olive). Lawler specifies that 16 of these kewpie dolls should be visible from the start of the play to represent 16 happy seasons of the ‘lay off’. So the destruction and pack up of these symbols by Roo and Olive towards the end of the play, represent the shattering of their illusion and the acceptance that things have changed.

Use of Symbolism: Set and Lighting The fight scene between Roo and Barney from a 1956 production. Note the Kewpie dolls above the mantle piece

Use of Symbolism: Costumes also aim to reflect ‘realism’, however there is some deliberate attempt at achieving symbolism: l Pearl and her ‘blacks’ – symbol for her perceived A modern production showing notion of respectability Olive and Roo l Olive in her ‘best dress’ at start of the play - reinforces the significance and expectation of Roo and Barney’s visit but juxtaposes Roo and Barney’s ‘casual clothes’

Use of Symbolism: Costume Bubba’s New Years Eve dress reveals she is ‘coming of age’. It ironically highlights the failed New Year celebrations of the group and fact that and circumstances have changed for them all l Roo in his paint clothes – highlights his ‘vulnerability’ when Dowd visits - reinforced with Barney in the following argument when he claims Dowd has seen him “black as pitch nearly naked” and Roo insistence that this is “different” l

Use of Symbolism: Costume Barney and Pearl in the original production Women’s Fashions of the 1950 s

Use of Symbolism: Dialogue There are many instances where dialogue has symbolic meaning in the play l Olive's reference to Roo and Barney as ‘eagles and kings’ l At the beginning of Act II, Emma proclaims that “there’s gonna be a cool change” foreshadows the events that follow l The Lyrics of the New Year’s ‘sing-along’ “There's a goldmine in the sky, Far away; We will find it, you and I, Some sweet day. " There is bitter irony here which the characters recognise. l

Character and Language l l l Characters are complex, well-developed and threedimensional. Attempt to create the illusion of real people dealing with the realities of life in their present world. They are characters drawn and depicted within the context of their everyday lives. Audiences would have made a connection with many of the characters and the situations they were in. The way they interact and respond with each other is also an important feature. Dialogue aims to ‘capture’ the historical context and the sense of realism. Frequent use of the Australian vernacular -colloquial language, sayings and expletives (swearing).

Character and Language Many of the colloquial phrases and sayings make a direct connection with the social, historical context in which they were written. l Dialogue is also free and naturalistic with short and unfinished sentences. Effective use of dramatic pauses and silences highlight an apparent subtext. (ie. Roo’s lack of words say as much about his character as Barney’s constant communication). Such effects not only create a sense of naturalism but also heighten dramatic tension. l

Character and Language An extract from a review in The Sydney Morning Herald in 1956 claims: ‘This fine play, untranslatably Australian in all its accents…was real and exciting Australiana, with Australian spirit springing from the deep heart of its characters, and never merely pretending that Australianism is a few well places bonzas, too-rights, strike-me-luckies and good-o’s. ’

Some Key Quotations l ". . . the regulars'd stand aside to let 'em through, just as if they was a - a coupla kings. " Olive about Roo and Barney, shows the type of language used. l "Oh yes, that's what they remind me of, she says, two eagles flyin' down out of the sun and coming south every year for the mating season. " Pearl, as she stirs up the group, showing how the layoff has changed for them. l "Middle of the night Olive sat here on the floor, huggin' this and howling. A grown-up woman, howling over a silly old kewpie doll. That's Olive for yer! Emma to Roo. This shows that Olive's world has been shattered - her life has gone with the lay-off.

Some Key Quotations l “Y'know, a man's a fool to treat you as a woman. You're nothin' but a little girl about twelve years old. " Roo to Olive, re-emphasising the above. l "Funny thing. I imagined this place pretty often. Oh, of course I've never been here, it's just the reputation that's been built up among the boys. I reckon you could say it's almost famous up north. " Dowd on the house and the illusion that Roo and Barney have created for themselves to Bubba. l "I want what I had before. You give it back to me - give me back what you've taken. " Olive to Roo.