Portrait of a Star (18 May 1963) (Perth)

 
      Drama play tracing a young singer’s rise to fame, and the pitfalls and sorrows she encounters along with success. Based heavily upon Baker’s own career.

Originating Station:      TVW-7
Running Time:      60 mins

Cast : Dorothy Baker
     Ron Graham
     Alan Cassell

Airdate:      9:30 p.m Saturday May 18th 1963 (TCN-9)

SMH 6 May 1963

SMH 13 May 1963

SMH 18 May 1963

List of notes

When listing wiped plays mention The Torrents


PORTRAIT OF A STAR



Reaching For The Knob  

Portrait of a Star, Channel 9.  

Tn some “viewing areas” Saturday nights A are considered suitable for some of the best television shows, with the lightest items last on the bill. In Melbourne you can see “Startime” from 10.30 until you fall into a dreamless sleep. But in Sydney anything can happen on a Saturday night, and, as an instance, I give you a recent “musical play” called “Portrait of a Star,” which flashed on to my screen  at 9.30 and remained visible until about 9.45 when my palsied hand at last found the knob, and tuned out. “Portrait of a Star (60 min.),” said the programme notice, “is the first musical play from TVW, Perth.” It starred Melbourne singer, Dorothy Baker, who has since gone to England, and it told the story “of a young singer’s struggle for recognition, and her rise to fame and fortune, of the people who guided her and the pitfalls she encountered on the way up.” It all had a familiar ring,somehow.  

Well, the producer and director, Max Bostock, started his portrait with a splash of everything. On a tiered stage, floodlit and surrounded with utter blackness, the chorus whirled and Miss Baker sang in a magnificently loud, flat and tuneless fashion. It was an impressive way of showing her humble beginning with the West Cottesloe Musical, Dramatic and   Marching Girls’ Society, and I waited for James Mason to appear and say, “You can’t sing, but you can be taught. You  
have that other indefinable something, the stuff from which stars are born.”  

He didn’t, though. In the next shots, our star was backed against her dressing room door by a tide of newspaper photo-  
graphers who fired questions at her but took no pictures. And what questions! How, they asked, had she become a star?  
The rest was flashback. Miss Baker, as a teenager named Dorothy Baker, wearing a pony tail obviously borrowed from  
a real pony, came prancing in to a deserted dance hall where “Steve” sat fooling with a piano.  

After a hesitant beginning, Miss Baker suddenly proved that she can sing more like Vera Lynn than Vera Lynn can these days, and “Steve”, sharing our astonishment, engaged her on the spot Apparently without rehearsal, she turned up that night to sing, run shyly from the stage, be talked back on by Steve, and win feeble applause from an unseen  audience.  

It must have contained a talent scout from the nether regions, because immediately the cameras looked down on our girl dancing in some hellish pit, while fallen vestal virgins swirled around her and some fellow tap-danced, waving a top-pop record. The cameras descended for a shot over a cauldron of sulphuric acid, and the fumes spread, and a man and woman danced merrily in them, crying “Baba Lu!” Then more of our  girl and the vestals in their pit. And the result of all that was a clipping, pasted on to an edition of, I guess, the “Nether Regions News”, proclaiming “NEW STAR DISCOVERED”. I almost cried with relief when a new voice declared that you get one and a half cups of flavor from someone or other’s coffee beans, and that broke the spell. The trembling hand reached the knob, and Gary Cooper said, “Hop onto the stage,  ma’am,” and thank heavens it was a  sane, old fashioned Wild West stage he  was talking about.  

Naturally, I missed the credits and cannot report who wrote, or daubed, the “Portrait”. Nor do I know “Steve’s” name, but whoever he was, he did very well and much more should be seen of him, if anyone’s really looking for new actors in television.  

FRANK ROBERTS  

Bulletin 1 June 1963



Born on This Tide (22 December 1963) (Adelaide)

Cast      Jean Marshall
     Tom Georgeson
     Judith Dick
     Laurie Davies
     Carmel Millhouse

    Christmas drama play about a family spending the holiday at a beach shack, when they discover a pregnant woman washed up on the shore in a small boat. However, the woman has been exposed to radiation, and the family is divided over whether or not to aid her.

Scriptwriter:      Reverend Frederick Wiseman
Director:      Ted Craig
Producer:      Maurice Coombs
Originating Station:     Christian Television Association / ADS-7
Running Time:      30 mins

Airdate:      10:30 p.m Sunday December 22nd 1963
     5:45 p.m Sunday December 25th 1966 (SES-8)

The Age on Radio

 

From June 1954 here:
 
No single organisation has tried
harder to build up a body of Aus
tralian dramatists than the ABC.
It has, by. competition and readi
ness to consider plays of Australian
origin, thrown the gate of encour
agement wide open.  The result to
date has not been worthy of the
effort, because of a lack either of
talent or critical judgment— perhaps
some of both.

The Moods of Love (10 Nov 1964)

 Program from Will Sterling and Laurence Collinson.  Episode of The Lively Arts.

 

Age 29 Oct 1964

 

Age 5 Nov 1964

 

 

SMH 2 Nov 1964

 

 

 

 

 

 

 

 

From Graham Willet article

 

The Moods of Love also provided the basis for a quite remarkable experiment in translation across media.17 In 1962, television producer, Will Sterling, presented a paper at the UNESCO Conference on Playwriting in Adelaide in which he argued that the reason why there was so little Australian drama on television was that so few writers wrote specifically for that medium. Laurie, who was at the conference and presented a paper on whether Australian-made television was possible or even necessary, was in the audience and, immediately after, button-holed Sterling saying, ‘in his forthright way’ that he had plays available and had been writing and he would be happy to make his material available. The result was a version of Laurie's play Uneasy Paradise which was shown on ABC TV in June 1963. The collaboration was a success, and the two of them stayed in touch, looking for other ideas. In 1964, they entered into an intense exchange of letters (Laurie having gone by this time to England, Sterling being in the USA) out of which came the experimental television film, The Moods of Love. The poems (including some new ones) were voiced over by professional actors, a score was commissioned from the distinguished composer Robert Hughes and performed by members of the Melbourne Symphony Orchestra and images were filmed in a ‘multiplicity of colourful locations’ around Melbourne. The ‘poetic fusion of pictures, natural sounds, word and music’,18 described by Sterling as ‘a free rhapsody, a fantasia, a symphonic poem …’ was aired on 10 November 1964.
The Moods of Love told the story of an innocent young woman and her romance with a rather more sophisticated young man. Although initially the young man shares her feelings, and the relationship brings them much happiness, problems emerge when it becomes clear that her feelings are deeper and more intense than his, and he finds himself driven away from her suffocatingly desperate love. He finds someone else but, rather than tell her of his new affair, he leaves her to discover this infidelity for herself. Which she does. After great suffering she comes through, becomes herself again, a little wiser perhaps than she had been. All of this is told through seventeen poems – variously serious, comic, tragic – spoken over the visuals. Only the woman was seen on screen; her lover was the camera, which worked as a ‘visual narrator’. It was set in Melbourne, in winter – ‘the bleakness, the harsh bare poetry …, the stillness of night, fog, rain, windswept streets, empty beach, dark reserves, dank parks’, all to convey an affair that ends unresolved, broken …
But there was a secret life to Moods, as well. One that friends of Laurie’s knew about, but which was kept well away from the public. The fact is, most of the more recent poems – and all of the sonnet series – were written in response to Laurie’s first great experience of love. Love, not in the sense of sympathy, understanding, compassion – all those aspects he had enumerated at the Melbourne University celebration – but romantic and carnal love. And, Laurie, being who he was – love, homosexual.