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Playing Launceston: the Princess Theatre Turns 100 Community Engagement (2009-10) Report October 2010 Table of Contents Introduction ....................................................................................................................................... 3 The Community Engagement Grant ......................................................................................... 3 Oral History Workshop .................................................................................................................. 4 Thematic Interpretation Workshop ......................................................................................... 5 Appendix 1: Community Engagement Project Grant Proposal Document ................ 7 Appendix 2: Thematic Interpretation Workshop Outcomes Report ........................ 14 Appendix 3: Report on Research Findings Compiled by Danielle Grossman, 18/12/2008 .................................................................................................................................... 20 Appendix 4: Notes on Oral History Workshop .................................................................. 28 Appendix 5: Draft of Historical Timeline for the Princess Theatre ........................... 33 Appendix 6: Princess Theatre – Brief history and references to building alterations…………………………………………………………………………………………………….38 Report October 2010 Introduction Playing Launceston: The Princess Theatre Turns 100 was a community engagement project undertaken by the Launceston Theatre Project research team (LTP) of the Faculty of Arts, University of Tasmania.1 The Princess Theatre has been at the centre of the unique and vibrant theatre culture of Launceston for much of the city’s history, and is a significant cultural landmark for the city and the state of Tasmania. Playing Launceston: The Princess Theatre turns 100 is the first stage of an ongoing research project focusing on the rich theatre culture of Launceston. The broader research project (Launceston Theatre Project) aims to investigate how historical developments and the contemporary theatre scene in Launceston have been shaped by social, economic, and political forces and how the performance culture of this region has expressed understandings of place, identity, and community. Playing Launceston: The Princess Theatre Turns 100 involved collaboration between the LTP, Theatre North, the Launceston City Council, and the Launceston theatre community. It has contributed to a proposed publication of the history of the Princess Theatre to be undertaken by Theatre North. The Community Engagement Grant Playing Launceston: The Princess Theatre Turns 100 was funded in part by a UTAS Community Engagement Grant of $6000. Prior to the award of this amount the LTP had been provided with $5000 from the Office of the Deputy Vice-Chancellor and Provost, and $5000 from the Launceston City Council as seeding grants for the broader Launceston Theatre project. 1 Dr Robert Clarke, Ms Danielle Grossman (research assistant), Mr Peter Hammond, Dr Barbara Hatley, Dr Stuart King Mr , Robert Lewis, Dr Helen Trenos. 3 Report October 2010 Under the terms of the grant proposal (see Appendix 1) the Princess Theatre Project involved members of the LTP undertaking research to contribute to Theatre North’s publication of a short commemorative history. The key outcomes for the purpose of the Community Engagement Grant, as stated in the proposal document, have been achieved within the specified timeline: comprehensive scoping, identification and collection of information and materials on The Princess Theatre; interviews from key subjects who have been and continue to be part of the Princess Theatre community have been scheduled and are ongoing; materials for a publication on the history of the Princess Theatre have been provided to Theatre North. The grant enabled the employment of a Project Research Assistant. Ms Danielle Grossman was employed to undertake this role. Her duties included: Creating a database of archival source materials and contact details of relevant organizations and individuals; Undertaking literature survey of primary and secondary source materials; Liaising with key partners to identify significant historical materials and memorabilia; Locating subjects for oral histories and transcribing interviews; Contributing to funding applications in support of Princess Theatre history publication. Oral History Workshop To facilitate the conduct of oral interviews with relevant associates of the Princess Theatre, and other members of the Launceston Theatre Community, the LTP undertook a day-long workshop in oral-history interviewing techniques with local historian Jill Cassidy (President of the Tasmanian Branch of the Oral History Association of Australia) on Monday 23 November 2009. 4 Report October 2010 This was a successful event and provided project members with valuable information and guidance towards the conduct of oral interviews, as well as an opportunity to reflect on the skills they already have. Notes compiled by Danielle Grossman are included in Appendix 4 Thematic Interpretation Workshop During discussion between members of the LTP, the LCC and Theatre North in November, it was suggested by Ms Becky Shrimpton of the LCC that a Thematic Interpretation Workshop could be a valuable initiative in order to facilitate the research and proposed publication. The purpose of the workshop was to use world best practice communications methodology, Thematic Interpretation, to: establish the direction for development of the proposed book; and identify a foundation on which the project group can base its research The workshop was facilitated by Anna Housego, Consultant, who has trained and worked with Prof. Sam Ham, who pioneered Thematic Interpretation and is Director of the Centre for International Training and Outreach at the University of Idaho. Anna co-authored the Tasmanian Thematic Interpretation Manual in 2003, in conjunction with Prof. Ham and Prof. Betty Weiler, head of tourism at Monash University. Thematic Interpretation—sometimes referred to as Thematic Communication-focuses on the identification of central ideas (themes) that set the direction for communication that is meaningful, memorable and in some cases, leads to behavioural change. While the workshop was held specifically to facilitate the goals of the Playing Launceston: the Princess Turns 100 Project, it was open to other members of UTas staff. Key UTAS partners, the Launceston City Council and Theatre North, were also 5 Report October 2010 invited to send staff interested in learning more about Thematic Interpretation methodologies. The final group of participants included Robert Clarke, Helen Trenos, Barbara Hatley, Peter Hammond, and Danielle Grossman (LTP); Angela Sparrow (UTas); Robyn Lohrey (Theatre North); Becky Shrimpton (LCC); and David Henty, an active member of the Launceston Theatre community. Subsequent to the workshop, Ann Housego provided the LTP with a report on the Workshop and its outcomes (see Appendix 2). The Workshop assisted the group in identifying some major themes which assisted in focusing research and establishing target audiences for the eventual publication. These themes are: The Princess Theatre has survived against the odds, reinventing itself to keep pace with contemporary community expectations and theatre practices. The Princess Theatre has informed and inspired Launceston’s identity and lifestyle and is a cornerstone of the city’s heart and soul. The Princess Theatre has been and continues to be a powerhouse of creative activity, nurturing new generations and providing a launching pad for many theatrical careers. On and off the stage, the Princess Theatre has always been a place where the full range of human emotion is expressed and lived. Following the Workshop, members of the LTP met to reflect on the success and outcomes of the event. Generally it was agreed that the event had been extremely useful in clarifying and concretizing a number of significant ideas and themes in relation to the Project. Members agreed that the themes that were developed usefully informed specific research questions to guide the Princess Theatre Project. 6 Report October 2010 Appendix 1: Community Engagement Project Grant Proposal Document 2009 UTAS Community Engagement Grant Applicants: Dr Robert Clarke (School of English) & Dr Helen Trenos (School of Visual & Performing Arts) June 2009 Part 1: Project Outline Part 2: Budget & Timeline Part 3: Statement of support: Mr Peter Hammond (acting Head of School, SVPA) Part 4: Letter of support from community partner: Ms Robin Lohrey (General Manager, Theatre North Part One: Outline of Project I. Project Title: Playing Launceston: The Princess Theatre turns 100 II. Project Description: UTAS will collaborate with Theatre North toward developing a history of the Princess Theatre, which celebrates its centenary in 2011. The Princess Theatre has been at the centre of the unique and vibrant theatre culture of Launceston for much of the city’s history and is a significant cultural landmark for the city and the state. This project will contribute to the publication of a short history of the Princess Theatre to coincide with its centenary celebrations. III. Project Participants: UTAS: Dr Robert Clarke: Lecturer Faculty of Arts, English [email protected] Mr Peter Hammond: Lecturer and acting Head of School, School of Visual & Performing Arts [email protected] Professor Emeritus Barbara Hatley: School of Asian Languages and Studies [email protected] Mr Stuart King: Lecturer, School of Architecture & Design [email protected] Mr Robert Lewis: Lecturer, School of Visual & Performing Arts [email protected] Dr Helen Trenos: Lecturer, School of Visual & Performing Arts [email protected] 7 Report October 2010 Theatre North: Ms Robin Lohrey: General Manager [email protected] IV. Beneficial Outcomes: 1. Productive research outcomes There will be two main research outcomes: Firstly, this engagement project will result in comprehensive scoping, identification and collection of information and materials on one of Launceston’s most significant cultural institutions: The Princess Theatre. Secondly, it will collect interviews from key subjects who have been and continue to be part of the Princess Theatre community 2. Contributing to regional economic growth and linking with the community and the world This material will contribute to the creation of a publication on the history of the Princess Theatre to coincide with its centenary celebrations. In addition to being produced for a local ‘audience’, this publication will be designed as a souvenir appropriate for national and international tourist markets. In this way, the project has the capability of taking Launceston and part of its unique theatre history to the world. 3. Social capital development and developing of cultural and intellectual assets for the community Benefits for Launceston are significant: recognizing the social and cultural value of institutions such as the Princess Theatre will generate social capital and help to bring out what defines this city. Above all, the research outputs produced by Playing Launceston: The Princess Theatre turns 100 will make a significant contribution to the development of this community’s cultural and intellectual assets—bringing to light important archival material and ‘stories’. At a time when Launceston looks to promote itself as a cultural tourism destination and as the University strengthens its commitment to community engagement and to investigating the potential of educational tourism, a partnership project such as this has the potential to contribute to regional development. V. Contribution to EDGE2: Through its cross-disciplinary, inter-school approach, Playing Launceston: The Princess Theatre turns 100 builds on UTAS ‘research strengths’. The project aims to strengthen and ‘deepen the level of commitment’ and engagement with our performing arts communities and, beyond this, elicit what is distinctive about Launceston: its vibrant and unique performing arts culture. VI. Intended engagement outcomes: Playing Launceston: The Princess Theatre turns 100 is the vital first stage of an ongoing research project focussing on the unique and rich theatre culture of Launceston. The broader research project (Playing Launceston) aims to investigate how historical developments and the contemporary theatre scene in Launceston have been shaped by social, economic and political forces and how the performance culture of this region has expressed understandings of place, identity and community. For a city of its population, Launceston has an extremely diverse and vibrant theatre community which has inspired many, notably luminaries such as choreographer Graeme Murphy and composer Peter Sculthorpe. However, despite 8 Report October 2010 individual attempts to document Launceston’s theatre communities and their cultures, to date, no comprehensive documentation has been undertaken. This makes the proposed project unique. We will work with local partners such as the Launceston City Council, the Queen Victoria Museum and Art Gallery and local theatre groups. As a first step to informing and enthusing the Launceston theatre community, we have scheduled an event (‘The Launceston Theatre Gathering’) for August 22nd 2009. At the ‘Gathering’, theatre groups and prominent individuals within the Launceston theatre community will be invited to share their stories and experiences. The outcome of Playing Launceston: The Princess Theatre turns 100 will contribute to a publication of the history of the Princess Theatre. Funding to facilitate this publication will be sought from various sources including the Tasmanian Community Fund in 2009. Funding for Playing Launceston will be sought also through the Australian Research Council Linkage Grant scheme in 2010. VII. UTAS’ ongoing practice: This project will contribute to the University’s ongoing commitment of engagement with the local communities of Tasmania by partnering with local theatre groups, the Launceston City Council and heritage organizations. It will build upon the distinct qualities of the relationship between the University and the Launceston theatre community, particularly in regard to the long and vital history of the University as a training institution for emerging performing artists and as a supporter of local theatre activities through the ongoing interaction between SVPA staff & students and the local community. Part 2: Budget proposal and timeframe: Project costs Amount ($AUD) Research Assistant 11,146 CRA2 @ 250 hours Equipment Cash contributions: Launceston City Council In-kind contributions: Faculty of Arts: Clarke 0.08 FTE Trenos 0.08 FTE Justification Essential duties: Create a database of archival source materials & contact details of relevant organisations and individuals; Undertake literature survey of primary and secondary source materials; Liaise with key partners to identify significant historical materials and memorabilia; Locate subjects for oral histories and transcribe interviews; Assist in drafting funding applications to support Princess Theatre history publication. 1,750 External hard drive for RA; Audio-visual hire for interviews. 5,000 Agreement made: June 4th 2009 (ref: Ms Anna Stephenson (Manager Economic Development): [email protected] 10,136 10,136 Staff overload: Conduct interviews with identified local informants and organizations; Review & organise the collected materials for the purpose of developing a publication on the history of the Princess Theatre; Maintain relationship with community partners. 9 Report October 2010 Theatre North: Office space and equipment Consumables Staff Time: General Manager Staff Time: Marketing Manager Sub-total in-kind: Total Project costs: Total requested (i.e. total project costs minus in-kind contribution minus cash contribution) Timeline Aug 2009 Sept 2009 Sept-Dec 2009 Jan-Feb 2010 March-Apr 2010 June 2010 2,585 200 5,000 1,175 29233 42129 7,896 Commence Project Employ RA Literature survey of primary and secondary source materials Locate subjects for oral histories Commence database (archival source materials and inventory of organizations and individuals) Conduct interviews with identified community partners. Complete literature survey & database Complete inventory of subjects for oral histories Transcribe interviews Project completed 10 Progress Review January 2010 School of Visual and Performing Arts Locked Bag 1362 Launceston Tasmania 7250 Ph: (03) 6324 4442 ABN 30 764 374 782 Community Engagement Fund LETTER OF SUPPORT Monday 15. June 2009 The Playing Launceston project is an ideal example of harvesting collective intelligence through the collaborative benefits generated by scholars engaging with community partners. Such a confluence of research and community activity is an affirmation and celebration of learning institutions and local businesses working together to mutual benefit. University research effort is enhanced through social engagement. In this instance the Playing Launceston project is an investment with potential long-term social, cultural and economic benefits to the community. Launceston’s reputation as an energetic cultural arts environment will be celebrated and marked through the proposed publication. The outcome links researchers in universities, local government and the broader Northern arts community. This publication will become a valuable primary research resource as the plethora of performances and performing companies that have visited the Princess Theatre are testimony to the interconnectedness of artists, creative collaborations, places, organizations, practices and responses that converged around this live performance venue. To this end the publication will authenticate Launceston’s performing arts history and the pivotal role played by the Princess Theatre as the major live performance venue in the North of the state. It will also allow public access to reliable information on live performance in Launceston. Performance and theatre history cannot only be measured by material traces. The relationship(s) developed between the individual participants and the institution of theatre also signify the importance of history. To this extent the gathering of verbatim accounts, as experienced by key players, is a vital component of such an investigation: personal testimony adds veracity and authentication to factual data. The Playing Launceston project is indeed an exciting prospect and its outcomes promise to add greater understanding of what it means to live in a community with such a rich history. Peter Hammond Acting Head of School 11 T RA D I T I O N S O F E X C E L L E N C E Progress Review January 2010 12 Appendix 2: Thematic Interpretation Workshop Outcomes Report Progress Review January 2010 14 Progress Review January 2010 15 Progress Review January 2010 16 Progress Review January 2010 17 Progress Review January 2010 18 Progress Review January 2010 19 Appendix 3: Report on Research Findings Compiled by Danielle Grossman, 18/12/2009 Princess Theatre Centenary Publication Report on Research findings as of 18/12/2009 To date, I have been collating an archival database, listing material held by the Princess Theatre and the Community History Centre, Queen Victoria Museum and Art Gallery (QVMAG) relating to the history of the Princess Theatre. Please see below, a description of the information I have found. In addition to the archival database, I have created a table from the Launceston City Council Assessment Rolls, detailing Princess Theatre owner and occupier details between 1911 and 1957. I have also been working on a timeline of events, which includes specific historical information relating to the Princess Theatre, Launceston’s general theatre history, and the general history of Launceston since settlement in 1806. Princess Theatre Architectural Drawings: There are approximately 30 architectural drawings at the Princess Theatre, most of which seem to be in original format. Of particular interest, are some copies of architectural drawings of the 1911 building design. These drawings detail the longitudinal section, circle plan, basement plan, Brisbane Street elevation, cross section through the auditorium and stage, and the ground plan. None of the drawings are dated, but they are titled New Princess Theatre, Brisbane Street, Launceston, for M. Lucas, ESQ, so are most likely from early 1911. I have not been able to find the original source of these drawings. After checking with the Launceston City Council Properties department they informed me that the copies at the Princess Theatre might be our most original source. The remainder of the architectural drawings at the Princess Theatre range in date from 1965 to 1980, as well as a couple of drawings of the Earl Arts Centre dated 1993. Progress Review January 2010 Max Oldaker Material: The Max Oldaker memorial room at the Princess Theatre contains a display case (including the cupboards underneath) of items relating to Max Oldaker. These include photographs, certificates, newspaper articles, posters, small objects and programmes as well as three framed photographs/portrait on the wall. The Launceston Library also has a collection of Max Oldaker material, as does the National Archives of Australia, Canberra. Miscellaneous Items: There is an invitation to the official re-opening of the Princess Theatre on November 17, 1970, as well as an entrée card for the gala opening. There is a file of original correspondence relating to film dispatches, dated between December 1957 and May 1958. On the wall in the Princess Theatre foyer is a portrait of Margot Fonteyn and her signed ballet slippers. Programmes: There are over 50 original programmes at the Princess Theatre which range in date from 1970 to 2000, but there are quite a few that don’t show the year. There are three copies of the Princess Theatre re-opening night programme in 1970, at which the Australian Ballet performed. 30th Birthday Celebration material: In the year 2000, the Princess Theatre celebrated 30 years as a live theatre venue since its purchase by the Launceston City Council in 1970. For the celebrations, copies of newspaper articles and photographs were collected for display boards. Most of the photographs are copies of originals which are held at QVMAG, apart from 7 coloured photographs taken of the re-opening night in 1970. Community History Centre, QVMAG Architectural Drawings: The Library Department of the QVMAG (adjacent to the Community History Centre) holds 8 architectural drawings relating to the Princess Theatre, 3 of which are engineering drawings or blue prints. One is the original drawing of the 1911 drainage plan of the Princess Theatre for Marino Lucas, with an attached notice of J&T Gunn’s intention to erect the theatre (there are copies of these at the Princess Theatre). The remaining drawings are dated 1939 and show the art deco changes that were made to the building. 22 Progress Review January 2010 Community History Series: The Museums’ Community History Series of records contains over 100 different collections of personal papers, community organisations and business records, relating predominately to Northern Tasmania. One such collection is the Gunns Limited Collection, CHS 39. J & T Gunn built the Princess Theatre in 1911 and was commissioned to do the alterations in 1939 and 1970. Gunns Limited Collection, CHS 39: The Gunns Limited Collection contains a variety of material including private journals, deed books and account books. I checked all of the relevant items within the 1911, 1939 and 1970 date range, but unfortunately there were not many references to the Princess Theatre in this collection. There is a 1939 reference to the theatre in an accounts ledger, a scrapbook of newspaper cuttings which mentions the Princess Theatre because it was across the road from the Gunn’s office building in Brisbane Street which burnt down, and a list of newspaper references that mention the Princess Theatre, which was compiled by Brendan Lyons for his book, All Gunns Blazing. Launceston City Council (LCC) Correspondence Files: This is a large collection of material that begins in 1853 when the municipality of Launceston was formed. The early years of correspondence files are separated into series 1, 2, and 3, based on specific date ranges. The dates of the Princess Theatre fall into the LCC 2 and LCC 3 series of correspondence files. LCC 2 Correspondence Files, Alphabetical System 1907-1922: Despite the Princess Theatre being privately owned during this period I have found a couple of references in this series. In particular I have been looking for LCC references (I have found newspaper references) to the opening night in 1911, which was opened by Mayor Oldham and attended by Alderman, but I haven’t found any as yet. In the ‘Sunday Entertainment’ file of 1915 there is correspondence between January and December, relating to the ‘Peoples Sacred Lantern Service’ which was held at the Princess Theatre, during the year. I still have a few LCC 2 files to look through, so will hopefully find some more references to the theatre in this early date range. 23 Progress Review January 2010 LCC 3 Correspondence Files, Two Number System, 1922-1975: This series of files is quite extensive. There were approximately 26 large files relating to the Princess Theatre, dating between 1968 and 1975. Most of the content is of an administrative nature, but includes references to building alterations, hirings, staff, and newspaper cuttings. There are a couple of files relating to the sale of the National Theatre and the purchase of the Princess Theatre, as well as the re-opening of the Princess Theatre in 1970. Note: This collection of material is in the process of being moved to the Archives Office of Tasmania, Hobart. LCC 5, Letterbooks and Related Indexes: In a letterbook dated 1911-1923 I have found some correspondence from the Town Clerk and the Chief Health Officer to Mr M. Lucas explaining that the Princess Theatre license is provisionally approved providing the aisles of the pit are widened. There were no other references to the Princess Theatre is this series. LCC 7, Newspaper Cuttings and Scrapbooks, 1856-1989: I found two newspaper references to the Princess Theatre in the scrapbook dated 1909-1911. The two articles are prior to the official opening, dated the 10th and 26th of August. There were no other references to the Princess Theatre is this series. LCC 8, Mayors’ Valedictory Addresses and Other Reports: In this series I have looked through the Annual Departmental Reports, the Annual Report of the City Architect and Building Surveyor, and the Mayor’s Valedictory Addresses in the relevant date ranges. In the City Architect and Building Surveyor reports between 1970 and 1982 (some years are missing) there is usually a brief paragraph about the Princess Theatre explaining the maintenance works that have occurred throughout the year. The Mayor’s Valedictory Address 1969-1970 is particularly informative about the Princess Theatre re-opening night, and includes some nice photographs. LCC 22, Administrator of Theatres Files, 1971-1996: This collection includes some files relating to the Princess Theatre of a general administrative nature, however most of the files are records of hirings by particular artists and organisations. This collection provides insight into the many performances held at the Princess Theatre, including local, interstate and international acts, but it doesn’t appear to be a 24 Progress Review January 2010 complete listing. These files contain mostly hiring agreements and schedules. There is a small amount of correspondence, but unfortunately very little ephemera. Note: These files are in the process of being moved to the Archives Office of Tasmania, Hobart. Manuscript Collection: The Community History Centre has a collection of manuscript items which is separate from the Community History Series. Relevant to the Princess Theatre is the Alex Lithgow Collection, posters of performances at the Princess Theatre and a Princess Theatre programme, dated 1915. Alexander Frame Lithgow Collection: This collection contains original music scores by Alex Lithgow, newspaper cuttings, and a small number of programmes with accompanying biographical information about Alex Lithgow. There is also correspondence from Pat Ward, the granddaughter of Alex Lithgow, who wrote a book about her grandfather. Alex Lithgow used to conduct the orchestra for the silent films at the Princess Theatre, and therefore the music scores are quite a special find. One is titled Suite: At the Movies, and includes a garden or ball scene, a love scene, a dramatic scene and a race scene. At my next visit to Community History I will describe this collection in more detail. Posters: To date I have described approximately 28 posters at the Community History Centre, but there are quite a few more to list. Most are part of a donation by Rex Johnson, the former manager of the Princess Theatre. Unfortunately very few have the year written on them, but all would be post 1970. Programme: The Community History Centre has an original programme of The New Princess Theatre, dated the week ending 3rd February 1915. Alex F. Lithgow is listed as the conductor of the orchestra. There is quite a variety of films listed. Photographic Collection: The Community History Centre has approximately 26 photographs that relate to the Princess Theatre. The most common content is the exterior of the theatre, the interior, and advertisements for films showing at the Princess Theatre, predominantly on the side of cars. The majority of the photographs date between the 1930s-1940s, and the 1970s. 25 Progress Review January 2010 Future Research Community History Centre, QVMAG: I will probably need to spend one more day at the Community History Centre. I will finish listing the posters, the Alex Lithgow material, check the oral history collection for any transcripts of relevant interviews, search for photographs of Alex Lithgow, Max Oldaker and Peter Sculthorpe, check through the remaining LCC 2 files, and look through the news cuttings files on the Princess Theatre and Brisbane Street. Launceston Library: After finishing at Community History I will visit the Launceston Library. I will search the newspapers on microfilm, particularly in the date range of 1911-1950s. I will also check the library’s architectural drawings, photographic and Max Oldaker collections. The Library also have Ode to a Happy Occasion by Peter Sculthorpe, which was performed at the re-opening night of the Princess Theatre in 1970, and later donated to the library. Archives Office of Tasmania (AOT), Hobart: According to the AOT online database there are 6 items relating to the Princess Theatre in their collections, including some architectural drawings. I will most likely visit the archives in the New Year to describe these items. Interviews: Interviews with key people involved with the Princess Theatre will take place in early 2010. Of particular interest will be former staff of the Princess Theatre and Tony Lucas, the grandson of Marino Lucas, who built the Princess Theatre. I have not been able to find a lot of information about Marino Lucas to date, so I am hoping that his family might have some photographs or information that could provide a few leads. Other: Throughout its history the Princess Theatre has been occupied by the following cinemas: Spencer’s Pictures Limited, Union Theatres, Greater Union Theatres, Hoyts and the National Theatres Corporation. I am currently trying to find any archives for these companies. I have found a reference to a list of records at the State Library of South Australia titled Greater Union Organisation 1923-1983 which I will follow up on, as there may be a reference to the Princess Theatre in this 26 Progress Review January 2010 collection. The National Archives also contains two films titled Son’s of the Anzacs which were dispatched via Greater Union Theatres for screenings in Launceston and Hobart, dated 1944-45. Literary Database: Once the archival database is complete I will compile a list of literary resources relevant to the Princess Theatre and Launceston’s general theatre culture. 27 Progress Review January 2010 Appendix 4: Notes on Oral History Workshop Oral History Workshop Notes – Monday 23rd November 2009 with Jill Cassidy, Oral Historian and President of the Tasmanian Branch of the Oral History Association Equipment/Recording - It is very important to know how your equipment works and be comfortable in using it. It is a good idea to practise with your equipment beforehand and do a test recording. - For good sound quality the recording device should be about a hand span away from the interviewee. - There are many different recording devices, but recommended were the Edirol, Morantz or Fostex brands. The Tasmanian branch of the Oral History Association has a Fostex which they loan for a fee. The Fostex records to a card from which the recording can be downloaded. - It is important to avoid external noises as much as possible because they can really affect the quality of the recording and in some cases override what the interviewee is saying. - The original recording should remain unedited as a true testament to the interview. Edit the copy or parts of the recording for other purposes. - Prodisc supply good quality CDs, up to archival standards. The label should be written on the inside circle of plastic to avoid corrosion. When ordering CDs it is best to triple your requirements as most CDs are 80 minutes. 29 Progress Review January 2010 - The best sitting position for recording between the interviewer and the interviewee is in an ‘L’ shape. Interviews Preparation - Decide who to interview and how to choose your interviewees, for example 10 good quality interviews. - Know what you are going to do with the interviews – this will assist in deciding who to interview. - Contact the interviewee by letter. For example, explain the project, why you would like to interview them, the interview topic and that it will be recorded. Explain in letter that you will follow up with a phone call (in about 1 week) to ascertain whether they are interested in being interviewed and to set up an interview time. Allow 2 to 3 hours for the interview, but the interview should not go longer than 2 hours in one sitting. - Test your equipment before going to the interview. Record a blurb that introduces the recording, for example: ‘This is an interview with Mrs Sarah Smith on the 14th of December 2009, at Mrs Smith’s home, 1 Smith Street, Launceston. The interview is conducted by Danielle Grossman for the University of Tasmania Playing Launceston project’. - Try to be flexible when scheduling the interview. Ask the interviewee when the best part of the day is for them. - Choose a room in their house that is free from interruption and reasonably quiet. Be aware of background noise, for example the fridge in the kitchen, fluorescent lights, outside traffic noises, phones, pets etc - Take notes to the interview, but rather than a series of questions to ask, take a list of topics that you would like to cover. Interview - Before the interview explain briefly the topics you would like to discuss and the kind of simple questions you will start off with, in order to identify the interviewee and help them to feel at ease. 30 Progress Review January 2010 - Start the interview by asking their name, their parent’s names and when and where they were born (see above – warn interviewee that these are the types of questions you will start with, as some people may not feel comfortable giving their date of birth etc). - Ask open ended questions and let the interviewee lead. Ask questions that follow on from what they are talking about if it fits with the kind of topics/themes you would like covered. - Ask the interviewee to tell you about interesting things as they remember them, if you forget to ask. - The interviewer should aim to be as unobtrusive during the recording as possible. They are simply the person who poses the question with no opinion. - Try to use gestures to offer encouragement, agreement etc to the interviewee rather than noises as this will come through the recording and can be quite distracting for the listener. - During the interview write down common names etc as the interviewee says them, and after the interview check the spelling for the purpose of the transcript. - Photographs can be used to prompt discussion but show the photograph first and then turn on the recording device. - After the interview ask the interviewee to sign a copyright form – read through the form with the interviewee so that they understand what they are signing. See attached QVMAG copyright form as an example. - As a courtesy, within approximately one week, send a thank you letter and a copy of the recording to the interviewee (check whether they would prefer CD, cassette, digital etc). - Sometimes people may not feel comfortable with a comment they may have made during the interview and it may be necessary to remove it from the recording, particularly if it is of a defamatory nature. - Some interviewees may want to place an embargo on the interview, for example the recording can be released after the person’s death. Try to discourage this and instead suggest a period of time. For example, this recording will be released in five years time on the 14/12/2014. Transcripts/Summaries - Transcript is a word for word representation of the interview. 31 Progress Review January 2010 - Summary is done in time intervals, for example every five minutes. Direct quotes of interest during each interval are noted, but the general summary is usually in italics to show that it is not the words of the interviewee. Further Information ROBERTSON, Beth M., Oral History Handbook, 2006. (This publication is available for purchase through the Tasmanian Branch of the Oral History Association. An early edition is also available for loan through the UTAS Launceston Library, call number: 907.2 R6490) Jill Cassidy, President of the Tasmanian Branch of the Oral History Association contact: [email protected] 32 Appendix 5: Draft of Historical Timeline for the Princess Theatre DRAFT OF PRINCESS THEATRE/LAUNCESTON TIMELINE KEY: BOLD = Relates to the history of Launceston’s Princess Theatre BLUE = Relates to the general history of theatre in Launceston RED = Relates to general historical events in Launceston DATE EVENT 1806 Settlement of Launceston. 1853 The Municipality of Launceston is founded. 1890 The Albert Hall, under the Mayorship of Samuel Sutton, is constructed for the Launceston International Exhibition which opened during November 1891. Over 240,000 people attend the International Exhibition, despite Launceston having a population of less than 18,000 people. (ref: GREEN, Anne; The Home of Sport and Manly Exercise Places of Leisure in Launceston, 2006). 10 December 1895 The streets of Launceston are lit by electricity for the first time, after the completion of the Duck Reach Power station. (ref: COOPER, Ian G.; Launceston Municipal Transport 1911-1951, 2006). 16 August 1911 The Launceston Municipal Tramways are officially opened by Mayoress Mrs Oldham. (ref: COOPER, Ian G.; Launceston Municipal Transport 1911-1951, 2006). 30 August 1911 The Princess Theatre is opened by the Mayor of Launceston, William Claude Oldham (1910-1911). Progress Review January 2010 The theatre was built for Mareeno Lucas by J & T Gunn. 1912 Spencer’s Pictures Ltd occupies the Princess Theatre. Albert Clark is the manager (ref: Launceston City Council Assessment roll). August 1914 Outbreak of World War I. 1915 The National Theatre is opened by Mayoress Mrs Percy Hart, followed by a performance of The Silence of Dean Maitland by the George Marlow Dramatic Company. The National Theatre was the primary performance space for live theatre in Launceston (ref: GREEN, Anne; The Home of Sport and Manly Exercise Places of Leisure in Launceston, 2006). 1915 Most of the members of the Corrick family settle in Launceston, having toured Tasmania, other Australian states and internationally since 1902. The Corrick family are heavily involved in the musical and entertainment culture of Launceston. Among many other musical engagements the Corrick Orchestra provided the music for the silent movies at the Majestic Theatre. (ref: Introduction to The Corrick Family Collection, CHS 70, QVMAG). 1915/1916 Princess Theatre sold by Mareeno Lucas and purchased by Elizabeth Jane Tait, Iris Tait and Katherine Victoria Tait of Melbourne (ref: Launceston City Council Assessment roll). 1917 The Majestic Theatre in Brisbane Street, Launceston’s first purpose built cinema, is constructed by Mareeno Lucas. It is sold to a local syndicate that same year. (ref: GREEN, Anne; The Home of Sport and Manly Exercise Places of Leisure in Launceston, 2006). November 1918 World War I ends. 1920/1921 Union Theatres Ltd occupies the Princess Theatre 34 Progress Review January 2010 with Frank Wright as the manager (ref: Launceston City Council Assessment roll). September 1926 The Launceston Players Society is formed, with an original membership of 19 people. The Launceston Players Society is reputedly the ‘oldest continuously operating amateur theatrical society’ in Australia. The Players have staged performances at many Launceston theatres, including the Princess Theatre. (ref: Introduction to the Launceston Players Society Records CHS15, QVMAG). 4th April 1929 The 1929 Launceston floods have a major impact on the North, with 22 deaths, 40 people injured, 2000 buildings damaged and 100 buildings destroyed (ref: ABC website, story remembering 80 years in 2009 since the 1929 Launceston floods). 12 July 1929 Alexander Frame Lithgow dies in Launceston. Alex Lithgow was a conductor and composer for the silent film orchestras at the Princess Theatre and Lyceum Theatre. (ref: ADB online) 1934-1937 Greater Union Theatres Ltd occupies the Princess Theatre (the change happened between 1934 and 1937, ref: Launceston City Council Assessment roll) 5 October 1937 The Star Theatre on Invermay Road is opened by the Premier of Tasmania, Albert G Olgivie. The construction of the cinema was to be ‘a monument to the advancement of Invermay’ (ref: GREEN, Anne; The Home of Sport and Manly Exercise Places of Leisure in Launceston, 2006). 1938 Hoyts Ltd occupy the Princess Theatre (ref: Launceston City Council Assessment roll) 1939 The Princess Theatre is sold by Elizabeth Jane Tait, Iris Tait and Katherine Victoria Tait of Melbourne, and purchased by Russell Investments Pty Ltd. (ref: 35 Progress Review January 2010 Launceston City Council Assessment roll) 1939 The Princess Theatre undergoes renovations to the façade and foyer in art deco style. The renovations are done by J&T Gunn. 1939 Outbreak of World War II – Australia engaged in combat from 1941. 1945 World War II ends 26 July 1969 The Star Theatre on Invermay Road closes. February 1970 The Majestic Theatre closes its doors as a cinema and is transformed into a menswear store, Neil Pitts. Within a week the Princess Theatre also closes as a cinema. 1970 The Launceston City Council sells the National Theatre and purchases the Princess Theatre for $71,000. 17 November The Princess Theatre re-opens as a live theatre 1970 performance venue. The Australian Ballet Company performs at the opening. 1 February 1972 Max Oldaker dies in Launceston. Max Oldaker supported and encouraged the purchase of the Princess Theatre by the Launceston City Council and there is a memorial room at the Princess Theatre in his honour. (ref: ADB online). 1998 Theatre North takes over the management of the Princess Theatre under a lease agreement with the Launceston City Council. 22 August 2009 The UTAS Playing Launceston project is launched at the Annexe Theatre, Inveresk. In a first for Launceston’s theatre community, representatives from each theatre company came together to discuss the many facets of Launceston’s theatre scene. June 2010 The first comprehensive database of Princess Theatre (1911-1999) archival resources sourced from Community History Centre, QVMAG and the State Library of Tasmania is completed by project RA Danielle Grossman. The resources include architectural & 36 Progress Review January 2010 engineering drawings, research notes, posters, programmes photographs, correspondence, newspaper and magazine articles, reports, books, and ephemera. July – August 2010 As part of a separate project, RA Danielle Grossman compiled a digital story about the Princess Theatre. The Digital Story is seven minutes in duration and consists of historical and contemporary images of, and relating to, the Princess Theatre. The images are accompanied by a narrated history of the Princess Theatre between 1911 to present day. The Princess Theatre digital story will be able to be used in an educational context to inform about the history of one of Launceston’s iconic buildings. ARC LIEF Grant for AusStage Phase 4: Harnessing October 2010collective intelligence and pioneering new visual 2011 methodologies for innovative research into Australian live performance. UTAS is part of this national research initiative. The Tasmanian arm of this research (CI Helen Trenos) aims to extend on the research undertaken in Playing Launceston: The Princess Theatre Turns 100 and: review the AusStage database in order to identify the gaps in relation to other venues in Launceston (both operating and extant) which are of significant historical interest, specifically The National. scope & begin assessing archival collection(s) of The National; devise an approach to data entry; undertake data entry. 37 Progress Review January 2010 Appendix 6: Princess Theatre – Brief history and references to building alterations Princess Theatre – Brief history and references to building alterations Research compiled by the Playing Launceston Research Project, University of Tasmania Brief History: - The Princess Theatre was built in 1911 for Marino Lucas, by J&T Gunn. It was originally intended as a live theatre performance venue, but was used as a cinema until 1970. - The Princess was occupied by a number of cinema companies between 1912 and 1970, including Spencer’s Picture’s Ltd, Union Theatres, Greater Union Theatres, Hoyts and the National Theatres Corporation. - The Princess was owned privately until 1970 when it was purchased by the Launceston City Council and reopened as a live theatre venue. - The Launceston City Council sold the National Theatre and used the funds to purchase the Princess Theatre. A bequest from A. W. Monds went towards purchasing the National Theatre. - Extensive alterations to the Princess Theatre in Art Deco style, took place in 1939 to the foyer and facade. More improvements and alterations to the theatre occurred in 1970. Both works were undertaken by J&T Gunn. Architectural Drawings: Holding Library, QVMAG Registration number LCC:1991:AD:1383 Sheet number 740 Princess Theatre 38 Description Notice of intention by J&T Gunn to erect a building (the Princess Theatre) in Brisbane Street for Marino Lucas, dated 23/5/1911. There is also an architectural drawing titled ‘Drainage Plan Princess Theatre Brisbane Street’, dated 18/10/1911. Copy of an architectural drawing of the longitudinal section of the Princess Theatre titled New Progress Review January 2010 Princess Theatre Princess Theatre Princess Theatre Princess Theatre Princess Theatre Princess Theatre Library, QVMAG LCC:1996:AD:456 Sheet Number 5032 Library, QVMAG LCC:1996:AD:456 Sheet Number 5033 39 Princess Theatre, Brisbane St Launceston, for M Lucas Esq, scale 1/8 inch to a foot. Not dated but c.1911 Copy of an architectural drawing titled New Princess Theatre, Brisbane Street, Launceston, for M.Lucas Esq Circle Plan. Not dated but c.1911. Copy of an architectural drawing titled New Princess Theatre, Launceston, for M. Lucas esq, Basement Plan. Not dated but c.1911. Laminated copy of an architectural drawing titled New Princess Theatre, Launceston, for M. Lucas esq, Brisbane Street elevation. Not dated but c.1911. Copy of an architectural drawing titled New Princess Theatre, Brisbane Street, Launceston, for M. Lucas, Cross Section through Auditorium and Cross Section through Stage. Not dated but c. 1911. Architectural drawing titled New Princess Theatre, Brisbane Street, Launceston, for M. Lucas Esq, Ground Plan. Not dated but c.1911. Copy of an architectural drawing titled New Princess Theatre, Brisbane Street, Launceston for M. Lucas esq, Brisbane Street Elevation. Not dated but c.1911. Architectural drawing of the Princess Theatre titled 'Balcony Plan' dated 4/8/1939. This drawing is of the art deco changes made to the Princess Theatre in 1939 and details the stalls, the balcony foyer and the ceiling plans for both. The seating capacity is also noted. Architectural drawing of the Princess Theatre titled 'Front Elevation and Cross Section' dated 4/8/1939. This drawing shows the façade and internal Progress Review January 2010 Library, QVMAG LCC:1996:AD:456 Sheet Number 5034 Library, QVMAG LCC:1996:AD:456 Sheet Number 5038 Library, QVMAG LCC:1996:AD:456 Library, QVMAG LCC:1996:AD:456 Sheet 2 Library, QVMAG LCC:1996:AD:456 Sheet 3 Princess Theatre 40 detail of the theatre when looking at it front on. There is a note to demolish the existing dome. Architectural drawing of the Princess Theatre titled 'Long Section' dated 4/08/1939. This drawing shows the side section of the theatre detailing the outside neon sign, the balcony and stalls foyer, re-grading and re-flooring of the existing balcony and the removal of the port windows (these had a monogram of ML in the glass) and bricking of the holes. There are also notes to replaster and redecorate some of the walls. Architectural drawing of the Princess Theatre titled 'Stalls Plan' dated 4/8/1939. This drawing details the ground floor of the Princess Theatre including the foyer, shop and toilets. The seating capacity is also noted. Engineering drawing or blue print of the Princess Theatre titled 'Mezzanine Floor Plan,' Part Stalls Plan,' and 'Part Balcony Plan'. This drawing shows dimensions and a schedule of steel and concrete beams. It is dated 28/8/1939. Engineering drawing or blue print of the Princess Theatre titled 'Detail of J9,' 'Elevation of AJ4', 'Elevation of AJ6,' 'Awning Details,' 'Typical Fascia Elevation.' It is dated 28/8/1939. Engineering Drawing or blue print of the Princess Theatre titled 'Details of Steel Frame Supporting Neon Sign.' It is dated 28/8/1939. Three page architectural drawing in colour, titled City of Launceston Princess Theatre Measured Drawing 1969. The first two pages relate to the Princess Theatre and are titled Sheet 2: First floor plan and Sheet 3: Plan of basement projection room. The Progress Review January 2010 third page is of alterations and additions to the Little Theatre, Launceston. Architectural drawing of the Princess Theatre ground floor plan by the City Architect W.L.Clennet, dated December 1969. Architectural drawing of the roofing of the auditorium of the Princess Theatre by the LCC city architect E.S. Wright, dated December 1969. Architectural measured drawing titled First Floor Plan of the Princess Theatre, dated December 1969. Three page architectural drawing titled Princess Theatre Measured Drawing 1969. The pages are titled sheet 1: Ground Floor Plan, Sheet 2: First floor plan, Sheet 3: Plan of basement projection room. Architectural drawing titled Princess Theatre Launceston Exhaust System to New Dressing Rooms, dated 26/8/1970. Architectural drawing of structural alterations to the stage area of the Princess Theatre by the LCC city architect E.S.Wright. The drawing includes longitudinal and cross sections and is dated October 1972. Seven page architectural drawing titled Princess Theatre Structural Alterations to the stage area, and is dated 1/10/1972. Sheet 1: Elevations of existing building, Sheet 2: Location plan and sections thru existing building, Sheet 3: Floor plans: basement, ground and first floors, Sheet 4: Plans at roof, grid and walkway levels, Sheet 5: Longitudinal and cross sections, Sheet 6: Elevations showing proposed alterations, Sheet 7: Miscellaneous details. Two large sheets of architectural drawings from the City Architect, Princess Theatre Princess Theatre Princess Theatre Princess Theatre Princess Theatre Princess Theatre Princess Theatre Princess Theatre 41 Progress Review January 2010 Launceston City Council relating to the structure of the Princess Theatre. The drawings show the structural details and proposed alterations to the truss supports, lower beam, catwalk and ladder, dated November 1972. Architectural drawing of the Princess Theatre female toilet upgrade on the 1st floor, dated March 1978. Architectural drawing titled New ticket office, managers office & alterations of the Princess Theatre, dated 15/1/1980. Princess Theatre Princess Theatre Photographs Holding State Library of Tasmania (Launceston Library) Registration Number Pictures Collection Folio No. 46 - Theatres to Turners Marsh Tasmanian Mail 14/9/1911, page 24. State Library of Tasmania (Launceston Library) Weekly Courier, 7/9/1911 Community History Centre, QVMAG QVM:1999:P:0978 Community History Centre, QVMAG QVM:1999:P:0979 42 Description Photograph titled 'The New Theatre at Launceston,' showing the façade and the Earl Street side of the Princess Theatre in 1911. Photograph of the interior of the Princess Theatre, from the stage and featuring the audience, on the opening night in 1911 (30/8/1911) by Stephen Spurling. View of outside the Princess Theatre. Three female staff can be seen, two standing by the door and one seated in the ticket office. C.1939 (Post art deco renovations). View of inside the Princess Theatre showing the stairs to an upper level. C. 1939 (Post art deco renovations). Progress Review January 2010 Community History Centre, QVMAG QVM:1999:P:0982 Community History Centre, QVMAG QVM:1991:P:0077 Newspaper Articles Holding State Library of Tasmania (Launceston Library) State Library of Tasmania (Launceston Library) Other Holding Community History Centre, QVMAG Community History Centre, QVMAG Community History Centre, QVMAG Community History Centre, QVMAG Community History Centre, QVMAG View of inside the Princess Theatre showing the lounge area and two staff in the background on the left. C. 1939 (Post art deco renovations). View of the Princess Theatre, Brisbane Street. The photograph is of the exterior of the Princess Theatre taken across the road in Brisbane Street. C. 1940 Registration Number Newscuttings File: Daily Telegraph, The New Theatre, 4/3/1911; Daily Telegraph, The Princess Theatre, 28/8/1911, page 2. The Examiner, The New Theatre, Completion of the Princess, 28/8/1911. Description These articles describe the interior and exterior of the Princess Theatre in 1911. Registration Number LCC 8 2/1970 Annual Departmental Report 1969-1970 Description The LCC Annual Reports each contain a brief description on the works carried out at the Princess Theatre during the year. As above LCC 8 2/1972 Annual Departmental Report 1971-1972 LCC 8 2/1973 Annual Departmental Reports 2/1973 LCC 8 2/1974 Annual Departmental Reports LCC 8 6/1975 Annual Report of the City Architect and Building Surveyor 43 As above As above As above As above Progress Review January 2010 Community History Centre, QVMAG Community History Centre, QVMAG Moved to Archives Office Hobart LCC 8 6/1976 Annual Report of the City Architect and Building Surveyor LCC 8 6/1978 Annual Report of the City Architect and Planner's Department LCC 8 6/1980 Annual Report of the City Architect and Building Surveyor's Department LCC 8 6/1982 Annual Report of the City Architect and Building Surveyor's Department LCC 22 Princess Theatre – Counterweight system 1973-1978 Community History Centre, QVMAG Moved to Archives Office Hobart LCC 22 Princess Theatre – Sound shell and sound equipment 1971 – 1983 Community History Centre, QVMAG Moved to Archives Office Hobart LCC 22 Max Oldaker Room 1972-1975 Community History Centre, QVMAG Moved to Archives Office Hobart LCC 22 Princess Theatre – Buildings, renovations, repairs -1973-1977 Community History Centre, QVMAG Community History Centre, QVMAG Community History Centre, QVMAG 44 As above As above As above As above File contains correspondence and diagrams relating to the installation of a counterweight system at the Princess Theatre. File contains correspondence and reports about the acoustic properties of the Princess Theatre, and the installation of sound equipment. File contains a list of items transferred to the Northern Regional Library from the Princess Theatre 22/5/1975. Part of the collection was to remain on display in the Princess Theatre Max Oldaker memorial room. Also included is an architectural drawing of the Max Oldaker room proposal. File contains architectural drawings relating to the proposed handrail and balustrade, correspondence and drawing relating to changes to the loading Progress Review January 2010 area and cloak room facilities, painting quotes and colour samples and planter boxes. 45