Cirrus@Austlit

'This is the previously untold saga of one of theatre’s most controversial creators, Ernest C. Rolls, and his loyal wife, the revue star, Jennie Benson. They brought their talents to the Australian theatrical world in the 1920s. Their chaotic careers survived a daunting succession of personal and professional crises – everything from bankruptcy to murder. Rolls even served a term in prison. This extraordinary story, authored by well-known theatre critic and historian, Frank Van Straten, unfolds amidst an array of evocative, rarely seen, images. The racy text and vast selection of archival images bring to life the remarkable world of a forgotten theatrical great.' (Publication summary)

'This unique book raises the curtain on the hidden history of Adelaide's most remarkable playhouse - Her Majesty's Theatre. For one hundred eventful years 'the Maj' has hosted an extraordinarily diverse cavalcade of entertainment - from the grandest of grand opera to earthy vaudeville; from Dame Joan Sutherland and Sir John Gielgud to Stiffy and Mo, Whoopi Goldberg and Julian Clary. It's a place crowded with happy memories, a couple of benevolent ghosts - and it's Barry Humphries' favourite Australian theatre. Enriched by a treasure-trove of rare photographs, posters and costume and set designs, Her Majesty's Pleasure will delight anyone who loves show business and who loves Adelaide. ' (Publication summary)

'George Fairfax paid this tribute: ‘Known to her great family of “theatre children” as Renee, or Miss Mitch, or Teach, Irene Mitchell director, actor, teacher and theatre enthusiast was a mentor to thousands of actors, designers, playwrights and directors in Australia in a lifetime that spanned all but ten years of the 20th century. Long before Australian plays were fashionable or good box office, she was encouraging local writers, working with them on their texts and, above all, presenting their plays...' (Frank Van Straten).

'[Peter] Scriven’s contribution to puppetry is an important part of Australia’s performing arts history,’ said Jenny Gould, who toured through Asia with him. ‘He developed puppetry as an art form in this country where there had been none. It was original, creative and visionary in its scale. He sought funding from the corporate sector, a new concept we now take for granted; he was an entrepreneur. He had a genius for attracting talented and hardworking creative people – writers, musicians, actors, technicians and craftsmen – to implement his ideas...'