Cirrus@Austlit

Intimate revue.

Devised in order to celebrate the Phillip Street Theatre's fifth birthday, The Birthday Show comprised a smattering of new material along with popular favourites from previous productions, notably Top of the Bill, Hit and Run, Hat Trick, Two to One, Mr and Mrs, Around the Loop, Cross Section, and Bats.

Songs interpolated into the production included 'Oh What a Year it's Been' and 'Trite Fantastic' (McKellar); 'The Oracle' (Rasdall/Goldman); 'The World is My Ashtray', 'Tiger Moth', and 'Noel' (McKellar/Mendoza); 'Katoomba' (McKellar/Mulcahy); 'Soap Opera', 'Breakfast Delight', and 'White Carnations' (McKellar/Donovan); 'Golden Hair', 'You Came from Outer Space', 'Beside Myself', and 'Wow of a Frau' (McKellar/Donovan/Mulcahy); 'Bread Love and Teddy Bears' (McKellar/Frazer); 'Queen's Square' (Nettheim); 'Letter Song' (Taylor/Mulcahy); 'Circulation', 'Cuckoo', and 'Call of the Wild' (Donovan/Mulcahy); 'April in Fairbanks' (Grand); 'Woy Boy' (Cranko/Swan); 'Don't Let Him Know You Too Well' (Cranko/Addison); 'Surly Girls' (Flanders/Swan); 'Bedside Manners' (Frazer); and 'Happy Birthday' (Mendoza).

Intimate review.

For this revue celebrating Phillip Street Theatre's first birthday, most of the sketches and songs were sourced from the three previous productions. The Sydney Morning Herald critic, A. A., writes that as

'an attempt to re-present the wittier items from past shows... it does not quite succeed. Why? Is this critic just a churlish pedant likely to be bored by humour below the standard of Aristophenes and Moliere? Or has some of the material gone stale with repetition? Or are there no fresh personalities coming along to interpret it with the necessary lean and high spirits?' (14 May 1955, p.18).

According the Herald's review, the highlight was John Meillon 'jerking and throbbing with tremulous frenzy, [providing] an extraordinarily clever comment on Johnnie Ray's brand of exhibitionism; it was more than mere mimicry; it was true and telling caricature'. Special mention is also made of Lyle O'Hara, 'bizarre and grotesque', wailing about the mysteries of Baghdad; Gordon Chater in bib and golden curls, analysing an infant's psychology; and Ray Barrett going into a soft shoe routine on the theme of the Elizabethan Theatre being situated in Newtown.

Intimate revue.

Compèred by Max Oldaker, this third and final installment of the Phillip Street Theatre revues by McKellar, Donovan, and Mulcahy (prior to their departure for England) was favourably reviewed in the Sydney Morning Herald. 'Last night was hearty fun from start to finish', writes the paper's theatre critic, L. B., 'and quite excelled all its predecessors in matters of pace, variety, well-placed surprise, and consistent sparkle of wit' (20 January 1995, p.4).

The sketches included 'Twelve Shopping Days to Christmas', 'Cinderfella on Ice', and two skits by Lyle O'Hara: one in which she, as a daisy-munching centaur, urged all the underpaid animals of Hollywood to unite behind her leadership and one in which she was married to herself before a congregation of herselves ('all piercingly clever, and the house was in uproar!' writes L. B.).

Intimate revue.

Described as 'Parodies and burlesques against a background of neatly turned melodies', Hit and Run combined imported sketches 'from the Globe and Lyric revues, London' (Sydney Morning Herald 28 August 1954, p.18) and original material from the in-house creative team of McKellar, Donovan, and Mulcahy.

Intimate revue

The Phillip Street Theatre revue company's debut production, Top of the Bill comprised a varied collection of sketches, songs, and dance, including spoofs and takes on Shakespeare, a family at breakfast time, Kinsey's report on sex, and some well-known musicals.

The Sydney Morning Herald theatre critic's review notes:

'Mr Chater, in Shakepearean mood, hotted up Othello for the jitterbug public and swung Hamlet around to the Roberta Cowell theme: "To be he, or not to be he...". The audience had its most boisterous response for the more elaborate group skits, most of all for the pinafored members of the High Falutin' Girls' Choir, who religiously stuck to the idea that any singer touching the right pitch would be defiled therewith... The sketch in which a family of breakfasters acted their way through the stilted detail of a movie advertisement brought the house down... Lola Brooks acted with saucy vivacity in various numbers, and John Fleming with sauce - but clever as they were, their "Kidsey Report" on sexual behaviour in children was distasteful... One sketch was a stew of The Consul, South Pacific and Call Me Madam, but it could have been funnier with keener writing, and so could the "Seven Deadly Scenes". Too often in shows like this, ideas are left in their first slapdash form' (8 May 1954, p.6).

A musical comedy set in Egypt.