QTC Tangent Productions @ Edward St: Brisbane's Off-Broadway: formed in 1981

QTC Tangent Productions

With special thanks to Gregory Gesch, who assisted greatly in preparation of this page.

1981 was the peak of a golden period for the Queensland Theatre Company which was powering along doing 18 productions: 7 mainstage productions in its season at the SGIO Theatre, 1 outdoors in Albert Park, 2 separate touring shows, ANNIE doing a Queensland state tour and return season at Her Majesty’s Theatre, 3 Theatre in Education productions plus the launch of QTC Tangent Productions with another 3 productions:

Alan Edwards had long wanted to have a second house. A place for new work, more risky productions, passion pieces and where talents could be given an opportunity to branch and develop. The idea was for more bare boards and passion rather than big glossy production. As a result, QTC Tangent Productions was formed in 1981 to mount experimental work in a converted office building on Edward Street: Edward Street Community Arts Centre Theatre (later the Sue Benner Theatre).

The budgets were small and tight. Salaries, plus a small amount of workshop and wardrobe time was inevitably stretched by those departments. Use of stock set, costumes and props was presumed. Admission charges ranged from a high of $7 for adults to just $2 for QTC Passport Holders.

“A Necessary Tangent“
The Australian

QTC Tangent Productions quickly became an important part of QTC’s work:

QTC wanted to find a way of giving artists a chance to experiment.
QTC wanted to give some younger artists a chance to develop their skills.
QTCs magnificent main house, the SGIO Theatre, didn’t always suit every play, in particular the more intimate ones, and it was important to the showcase the greatest variety of theatrical fare as possible.

Theatre with a difference is what QTC’s Tangent seasons were all about. The plays were innovative and entertaining. The productions were thought provoking and creative. QTC Tangent Productions gave artists a chance to extend and develop their horizons. QTC commissioned new works and music and produced world premieres.

QTC Tangent Productions provided theatre with a difference…

	*A SEASON AT CLAYTON’S,* Opened on 24 June 1981 (World Premiere) a new Australian play by Stuart Dickson launched Tangent, Directed by Gregory Gesch. The play was a black comedy with a cast including Betty Ross and Faye Donaldson. Designed by James Ridewood and lighting by Jamie Henson and Kristin Reuter was Stage Manager.

	*UPSIDE DOWN AT THE BOTTOM OF THE WORLD,* Opened on 22 July 1981. By David Allen. Directed by Robert Chuter; Set Designed by Jamie Maclean; Lighting by James Henson, Stage Management by Caroline Mackie. Starring Stephen Haddan, Jenny Seedsman, Kimlarn Frecker and Kevin Cox.

	*NEW SKY,* Opened on 14 October 1981 (World Premiere). Created by Isabelle (Judith) Anderson with music by Carl Vine. Designed by Mike Bridges, Lighting Design by James Henson, Stage Managed by Owen MacDonald and Production Coordination by Lloyd Nickson. Because of its success in Brisbane, subsequently played at Nimrod Theatre in Sydney.

	*VIRGINIA,* Opened on 7 July 1982. By Edna O’Brien. Starring Kate Sheil, Alexandra Black, Brian Harrison. Directed and Designed by Gregory Gesch, Costume Design by Lexie Wright and Stage Managment by Brian Barnes.

	*DEMOLITION JOB*, Opened on 3 November 1982. Directed & Designed by Duncan Wass, Stage Managed & Sound Design by Toby Simkin, Lighting Design by James Henson and Props by Gary Cameron. Starring John Walton, Kevin Hides and Barry Searle.

	*BETRAYAL*, Opened on 11 May 1983. by Harold Pinter. Directed by Mary Hickson, Designed by Lesley Thelander, Stage Managed by Toby Simkin, Assistant Stage Managed by Steven Ford, Lighting Design by James Henson and Music by Alan Lawrence. Starring Richard Moir, Margaret Moore, Peter Noble and Steven Ford.

	*CANNIBALS IN THE WET HEAT,* Special Staged Reading on 22 May 1983 by Mark Macrossan was a piece that flashed between a contemporary teachers life and a primitive world that haunted them and it showed theatrical flair and immense future promise for the writer. There wasn’t a budget but QTC had the venue and had subscribers as a potentially interested audience, so Gregory Gesch approached QTC artisans to gauge interest. The heroes of the endeavor were the actors and stage managers who enthusiastically volunteered their time and talents.

	*BEECHAM*, Opened on 27 July 1983 by Ned Sherrin & Caryl Brahms about the life of conductor Sir Thomas Beecham. Directed by Amanda Field; Designed by Beverley Anne Jansen; Lighting Design by Geoff Street; Stage Management by Steven Ford and Toby Simkin; Technical Coordination by Jamie Henson; Starring David Clendinning as Beecham, Alister Cheyne and Amanda Field.

	Replacing previously announced Gershwin!, *CLOUDLAND,* Opened on 2 November 1983. In early 1983 Darien Sticklen and Peter Noble approached Alan Edwards about writing a musical to celebrate Brisbane’s iconic Cloudland Ballroom. It had recently been demolished in the middle of the night, state sanctioned vandalism of the time. The shock caused outrage and an outpouring of nostalgia – particularly for QTC artists who had recently rehearsed HELLO, DOLLY! there. Alan commissioned them and they wrote it for their dream cast, Karen Crone, Hazel Phillips and Margery Forde who would play individual women and also an entertainment trio who were the spirit of Cloudland – while Peter Noble played the all-purpose man. Directed by Gregory Gesch. Darien was also Musical Director and Anthony Shearsmith and Rosetta Cook from the Queensland Ballet choreographed. The band was made up of Darien on keyboards, Ross Smith on percussion and Eugene Gilfedder on reeds and guitar. With Design by James Ridewood, Lighting by Jamie Henson and Stage Management by Steven Ford. For a Tangent Production it was given a larger than usual budget. This allowed for a more complex set which centered around a faceted mirror ‘dome’ which swung open to become a couple of banquettes, exposing a central circular disc which also opened to reveal the band.
TANGENT

1984 was the first year the QTC offered ‘multiple choice’ for its subscribers who could choose from a menu of 11 plays, which included the Tangent season though they were not publicly branded as such. Therefore, the following Tangent shows, played directly under the brand of the Queensland Theatre Company:

	*SIDE BY SIDE BY SONDHEIM,* Opened on November 6, 1984. Featuring the music and lyrics of Stephen Sondheim’s West Side Story, Gypsy, A Little Night Music and more. Johnny Watson’s production featured Judi Connelli, Babette Stevens and Simon Burvill-Holmes with musician David Green. It had it’s run double in length and played 8 weeks (instead of the original 3 weeks) due to subscription ticket demand, and was remounted for a tour and also represented the QTC in the Opening Concert of QPAC in 1985 starring Geraldine Turner, Babette Stevens and Simon Burvill-Holmes with Musical Director Peter Casey.

	*THE PARKER PEN,* Special Staged Reading on 7 August 1983. Opened on 8 May 1984 until 23 June 1984 extending its run (instead of the original 3 weeks) due to subscription ticket demand. Written and performed by Kate Richter and Pamela Morrissey with music by Grant Ovenden. Designed by Gregory Gesch utilizing a fully projected set. Choreographed by Paul Atthow; Lighting Design by Jamie Henson; Stage Manager (and lighting, and sound, and AV operator) Glenda Johnson and David Green as a musician. It was a compilation of the Dorothy Parker prose and poetry as told by a younger and older Dorothy and went on to do a Sydney production.

	*GULLS* Opened on 17 July 1984 until 1 September 1984. Written by Robert Hewett. Directed by Ronald Branscombe; Designed by Gillian Page-Lee; Lighting Design by John Watson and Stage Managed by Lindsay Fairman. Starring Dianne Eden, Kerry Francis, John Heywood and Betty Ross with Puppeteers Michael O’Donnell and Muriel Watchorn. Gulls looked at the plight of brain damaged people and the choices that face their families – to attempt to care for the ‘patient’ at home or accept institutional care.
TANGENT

“It is satisfying to see a small scale piece presented in such thorough and convincing detail”
The Australian

The New Edward Street Community Arts Centre Theatre was the ideal venue for QTC Tangent Productions. Small, trendy and located in the inner city area, with plenty of parking nearby. The Trocadero restaurant was downstairs.

Unfortunately, government funding cuts made the continuation of QTC Tangent Productions at Edward St., along with their touring plans last only a few years before the financial risks became too much for the QTC Board, but during that time there were many memorable productions and some went on to further lives.