Cirrus@Austlit

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).

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.

Comprising songs and sketches from the Phillip Street Theatre revues staged over the previous six years, this production also included several new faces amongst the cast.

According to a review in the Sydney Morning Herald, the highlights were a sketch titled 'Soap Opera'; Jill Perryman in 'The World is My Ashtray (and you would be my next cigarette...)'; 'Swan Like', a sketch 'where wooden swans creak and ballet is reduced to controlled and humorous gymnastics'; and 'Cinderella on Ice', described as a devastating crack at the slippery surface of pantomime' (28 April 1960, p.6).