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Daze of Our Lives

Premiere 8 June 1995
Venue George Fairfax Studio, Victorian Arts Centre, Melbourne

woman disappearing into the back of an armchair

Daze of Our Lives
Performer: Julie Forsyth
Photograph: © Peter Weaving, The Melbourne Times 1995
It's brilliantly fluent in the Handspan tradition and the team have found startling and apposite stage analogies for Leunig's visual style

Guy Rundle Review: The Age, Melbourne, 12 June, 1995




DAZE OF OUR LIVES was a visual theatre interpretation of Melbourne cartoon artist Mary Leunig’s1 work.


Adelaide Festival Centre season poster, 1996

Leunig’s published drawings - There’s No Place Like Home (Penguin 1985), A Piece of Cake (Penguin 1985), and One Big Happy Family (1992), collect her darkly witty commentary on domestic life. Their unusual and slightly disturbing look at motherhood, housework, family life, alienation and fantasies was the stimulus for the style and the story of the play.

Staged through gestural movement and animated design, it was described as:

a bittersweet monument to domestic terror and the poetry of the everyday

Ken Evans, Artistic Director's Report, Handspan Theatre, March 1995


DAZE OF OUR LIVES was directed by Annie Wylie, who also co-wrote the play with Katy Bowman. It was based on several creative development periods during 1994 with Handspan performers, and consultations with Leunig to ensure that interpretation of her drawings remained as a close as possible to their original intention.

Each one of Mary Leunig's drawings is bubbling with comment, narrative and action, all of which is a godsend to a company like Handspan, whose work it is to let the universal language of images speak to the hearts and minds of audiences.

Annie Wylie, Program Notes, Victorian Arts Centre, June, 1995

Watching Handspan make theatre, their creative process, their own interpretations of my work ... By taking liberties and not confining themselves to what I may have 'meant' by a single drawing, the artists of the company have taken the work to a new level which is innovative and inspiring.

Mary Leunig, Program Notes, Victorian Arts Centre, 1995


The writers found creating a play from preconceived images was a more difficult process than they had anticipated. The work was originally conceived for performance using only articulated images, props and body costume puppets manipulated in black theatre to bring Leunig’s cartoons to life on stage. As its development evolved however, dramatisation of the cartoon moments centred on its pivotal housewife character which became an actor's role, created by Julie Forsyth. It was accompanied by percussionist, Peter Neville’s soundtrack and had no spoken text or dialogue as envisaged from the outset.

Working this was is really arse-about for us because it's taking images and then working back. Normally what we take is a notion or a story and then pull images out of that. Staging the drawings was actually quite easy - creating some sort of drama out of that was the really difficult part. There were so many drawings to choose from, great pictures creating miniature stories, but finding a way to link all that and have a character develop was the tricky part ... There was no way for the audience to access any of the humanity of the piece unless we did have a central character''

Annie Wylie: Interview with Michael Harden: Southern Cross, Caulfield, 7 June, 1995


'She' or 'Her' became the universal housewife whose world came alive as her domestic objects embroiled her in chaos that was by turn hilarious, poignant and darkly frightening.

It's everyone's black world and everyone's fantasy world and my function in the piece is to be that human element, that can filter, can comment and have a sense of irony about the piece, of being in an environment that seems to be closing in. How this person is able to detach herself and make a comment on what is happening will in many ways undercut what can seemingly be a black moment.

Julie Forsyth: Interview with Jim Schembri: The Age, Melbourne, 9 June, 1995

Performer Julie Forsyth as She builds a determination and self-reliance while negotiating her way through both puppetry and props, and and does so with a vulnerability earmarked by both confusion and resolution. She is a full, honest character, neither saint or martyr, and as such holds the audience interest while negotiating life in the suburban '90s.

Avalon Sperring Review: JB Magazine, Adelaide, 20 November, 1996

In the standard Leunig living room the harried 'she' figure attempts to cope with rubbish that accumulates as fast as it can be disposed of, windows that become barred prison walls, a headless husband whose newspaper suddenly grows arms and legs and rears up metres high, and a couple of hessian figures to perform a weird mummer dance of copulation and mutual mutilation.

Guy Rundle Review: The Age, Melbourne, 12 June, 1995

Husband and wife (Julie Forsyth) at breakfast
Photograph: © Ponch Hawkes, 1995
Newspaperman in rehearsal

Company snapshot, 1994
Hessian doll family

Photograph: © Ponch Hawkes, 1995

Designer, Laurel Frank and the company's puppetry magic have produced a strong, faithful piece of theatre that strikes a good balance between narrative momentum and moody, surreal detour.

Julian Meyrick Review: The Melbourne Times, 14 June, 1995


Laurel copied several of Leunig's cartoon elements in her staging and articulated images, but enhanced their characteristics and dramatic capacity, aiming to

Focus the design on what the play was trying to say about the internal world, extending on the feelings that are found in Mary's drawings and bringing them into the broader environment.

Laurel Frank: Interview with Michael Harden: Southern Cross, Caulfield, 7 June, 1995

One of the most evocative Leunig images recreated during the performance is that of a woman with a beautiful pair of wings who is obviously meant to fly in the sky. Instead she is held back by the clay on her feet, which she tries in vain to chip off. In the production it speaks reams about a woman's unfulfilled potential, and the memory of it is still haunting.

Angela Crocombe Review: Melbourne Star Observer/Spinout, 16 June, 1995

Powerful images using puppet techniques bring the anguish of a woman all too close to the bone. Images of child abuse with the use of dolls, domestic violence and cameos of the Gestapo leave no part of the smutty, boring, psychotic side of housewifery unexplored. The show was impeccable but the material seemed dated. The image of male as perpetrator of all womens' woes was unrelenting

Barbara Biggs Review: The Sunday Herald, Melbourne, 11 June, 1995

Mary Leunig's world as interpreted by Handspan is feral domestica - a breathtaking work of visual theatre - with objects materialising and vanishing miraculously from the darkness. Furniture can suck a woman out of existence, the television set spits out dross, the lamp dances with the broom and the cat - well, it copes quite well with the existential mayhem. She, however, does not. She is being held siege by her own domestic life.

Samela Harris Review: The Advertiser, Adelaide, 9 November, 1996

In rehearsal, Handspan Studio, Gertrude St, 1994

Company snapshot, 1994

2 pictures side by side of woman wearing an apron covered in swastika symbols (left) and dressed as a queen in an armchair (right)

Housewife (Julie Forsyth) dictator and queen
Photograph: © Ponch Hawkes, 1995
Seeing fairies at the window
Photograph: © Ponch Hawkes, 1995

Following its Melbourne premiere season, DAZE OF OUR LIVES followed Handspan’s award winning production, Four Little Girls, to the Ibero-American Theatre Festival in Bogota, Columbia in 1996, and subsequently toured Sydney, Canberra (with Colette Mann in the role of She) and Adelaide.

The production was nominated for a 1995 Melbourne Green Room Award and critics were fascinated and predominantly enthusiastic.

Handspan have risen to the challenge of Leunig's work magnificently. If the show is not a complete success it is perhaps because its very project is incompletable: the translation of static drawing to a dynamic show, in which narrative cannot help but intrude, tends to dilute the fantasised, primordial nature of the drawings. It's an entrancing work that benefits from being watched with a more shifting, relaxed consciousness, more a drifting in and out, than is usual in a theatre piece.

Guy Rundle Review: The Age, Melbourne 12 June, 1995

This is theatre that doesn't tell the kind of story that has a beginning, middle and end. But it does tell a story of a housewife enmeshed, of her extravagant fantasies and desperate fears. Daze of Our Lives is grand visual theatre.

Pamela Payne Review: Sun- Herald, Sydney 11 August, 1996

The production goes for a full 70 minutes without an interval and every moment is a joy to see. Not to be missed by anyone who enjoys good drama which lies outside the confines of much of our theatre today.

Julie Moffatt Review: Manly Daily, Sydney 9 August, 1996


In this delightfully imagined production, Mary Leunig's celebrated images of domestic angst and fantasy are taken from the page and transformed quite beautifully by Handspan Theatre into a vivid and seamless stage dream.

James Waites Review: Sydney Morning Herald, 12 August, 1996


Some reviewers, particularly in Canberra at the National Theatre Festival, were critical of the play:

Performance and puppetry have not very coalesced into a gripping, exciting and dramatically cohesive entity.

Peter Wilkins Review: Canberra Times, 17 October, 1996

In its swirl of images there is much that is clever, but without a clearly thought out and developed narrative, Daze of Our Lives is little more than a series of disjointed episodes.

Bryce Hallett Review: The Australian, 13 June, 1996


Such responses, and with a proposed tour of the work to Germany in 1998, 'prompted a structural review of the work to be carried out in 1997' according to incoming Artistic Director David Bell in his Artistic Report for 19962. However, in his new programming and plans for the company, this did not eventuate.

Daze of Our Lives
Handspan Theatre archival compilation 1995

Julie Forsyth, housewife yearning
Photograph: © Peter Weaving,
The Melbourne Times 1995

  1. Mary Leunig website
  2. Handspan Theatre Annual Report 1996

Scroll back to Click Tabs: The People & The Performances



Creative team
Written & Devised Katy Bowman and Annie Wylie
Dramaturg Julianne O’Brien
Director Annie Wylie
Assistant Director Katy Bowman
Designer Laurel Frank
Lighting designer Philip Lethlean
Composer Peter Neville
Performers
Creative Development Julie Forsyth, Clodagh Wylie, Winston Appleyard & Avril McQueen
Housewife Julie Forsyth, Colette Mann (Columbia tour & Canberra season, 1996)
Puppeteer Heather Monk
Puppeteer Amber Parry
Puppeteer Rod Primrose
Puppeteer Michele Spooner
Production team
Production Manager Liz Pain
Stage manager Penny Gutteridge (1995), Natasha Marich (1996)
Assistant stage manager Joe Norster
Builders/ Scenic Artists Katy Bowman, Cliff Dolliver, Rod Primrose, Rob Matson, Paul Newcombe, Tien Giang Tran, Katrina Gaskell
Publicity Meredith King
Graphic designer Rob Hall, Cornell Jenkins Hall
Photographer Ponch Hawkes





Daze of Our Lives
Creative Development company: Gertrude St Studio, Fitzroy
Back row (Fr L): Philip Lethlean, Winston Appleyard, Peter Neville
Centre (Fr L): Katy Bowman, Annie Wylie, Laurel Frank
Front (Fr L):Unknown, Clodagh Wylie, Avril McQueen, Unknown, Unknown
Company snapshot, 1994

Scroll back to Click Tabs: The Production & The Performances


Seasons
1995
8 - 17 June George Fairfax Studio, Victorian Arts Centre
1996
4th Ibero-American Theatre Festival, Bogota, Columbia.
7-17 August Glen Street Theatre, Sydney, NSW
4 -19 October Theatre 3, National Festival of Australian Theatre, Canberra
6-16 November Space Theatre, Adelaide Festival Centre, SA
Total performances Unknown
Total audience Unknown


Scroll back to Click Tabs: The Production & The People




Mainstage: