Cirrus@Austlit

"When the cold August wind abated in its final sigh of emergence from the lean, hard winter months into springtime, the People emerged from the cold, and often leaky shanties, and old discarded car-bodies, which were their home, to gather together their few ragged possessions and tie them in bundles ready for traveling to the cherry orchards, often many hundreds of miles away. Many would travel by bicycle with their swags swinging crazily from the frames; many traveled in old tattered caravans drawn by horses; many just walked beside the caravans through the red sandhill and mallee country, while the more daring 'jumped the rattler', the slow old steam train that chugged across the land.

Wherever the people gathered there too was a spirit of revival, of intense relief, for the "cherry season" meant a temporary release from near starvation. In a good season it could mean some old debts would be repaid. It meant food and toys for the children for the forthcoming Christmas season and, above all, it meant some independence, some freedom, from under the crucifying heels of the local police and the white 'station' managers; an escape from the refugee camps called 'Aboriginal Reserves'. The cherry season was the time for hope, for meeting old friends and relatives, for laughing and for making love. The Cherry Pickers tells it all.' Source: http://blackwebs.photoaccess.org.au/~kevingilbert/books/books.html (Sighted: 12/4/2009).

'Undoubtedly one of Australia's favourite plays, the One Day of the Year explores the universal theme of father-son conflict against the background of the beery haze and the heady, nostalgic sentimentality of Anzac Day. It is a play to make us question a standard institution - Anzac Day, the sacred cow among Australian annual celebrations - but it is the likeability and genuineness of the characters that give the play its memorable qualities: Alf, the nobody who becomes a somebody on this day of days; Mum, the anchor of the family; Hughie, their son, with all the uncertainties and rebelliousness of youth; and Wacka, the Anzac, with his simple, healing wisdom.'

(Description from publishers website)

A poignant drama centred on Jeanne, a homesick French war bride and her shell-shocked husband battling hardship and prejudice in a drought-stricken Mallee town.

One-woman play, written by and for Leah Purcell, which draws on her experiences growing up, her relationship with her mother, and the contrast between her country upbringing and city life.

'The most famous Australian play and one of the best loved, Summer of the Seventeenth Doll is a tragicomic story of Roo and Barney, two Queensland sugar-cane cutters who go to Melbourne every year during the 'layoff' to live it up with their barmaid girl friends. The title refers to kewpie dolls, tawdry fairground souvenirs, that they brings as gifts and come, in some readings of the play, to represent adolescent dreams in which the characters seem to be permanently trapped. The play tells the story in traditional well-made, realistic form, with effective curtains and an obligatory scene. Its principal appeal – and that of two later plays with which it forms The Doll Trilogy – is the freshness and emotional warmth, even sentimentality, with which it deals with simple virtues of innocence and youthful energy that lie at the heart of the Australian bush legend.

'Ray Lawler’s play confronts that legend with the harsh new reality of modern urban Australia. The 17th year of the canecutters’ arrangement is different. There has been a fight on the canefields and Roo, the tough, heroic, bushman, has arrived with his ego battered and without money. Barney’s girl friend Nancy has left to get married and is replaced by Pearl, who is suspicious of the whole set-up and hopes to trap Barney into marriage. The play charts the inevitable failure of the dream of the layoff, the end of the men’s supremacy as bush heroes and, most poignantly, the betrayal of the idealistic self-sacrifice made by Roo’s girl friend Olive – the most interesting character – to keep the whole thing going. The city emerges victorious, but the emotional tone of the play vindicates the fallen bushman.'

Source: McCallum, John. 'Summer of the Seventeenth Doll.' Companion to Theatre in Australia. Ed. Philip Parson and Victoria Chance. Sydney: Currency Press , 1997: 564-656.

'A rather ocker, white Australian male encounters a well-mannered Pakistani student with revolutionary ambitions in a Sydney park at midnight. Buzo creates an image of race prejudice as a profoundly irrational force in the behaviour of ordinary Australians.' (Publication summary)

'This collection includes: The Well (1960) by Jack McKinney, a rustic comedy in the Steele Rudd tradition set in Queensland; Burst of Summer (1960) by Oriel Gray is a realist play dealing with racial prejudice and is based on the brief success of the Aboriginal actress Ngarla Kunoth, who played Jedda in the Chauvel film; The Season at Sarsaparilla (1962), Patrick White's poetic satire examining the inevitable cycle of birth, copulation and death; White called it a 'charade of suburbia'; and The Promised Woman by Theodore Patrikareas which had its first stage production in Sydney in 1963 and is possibly the first play by a post-war immigrant staged in Australia. The play portrays migrants adapting to their new country and finding new identities and was adapted for the screen in 1974. (1 act, 2 women)' (Publication summary)