Beaumaris Theatre Secretary, Debbie Keyt interviewed Dr. Cheryl Threadgold OAM to find out more about her remarkable new book
D.K- Congratulations on "In the Name of Theatre" Cheryl, it is such a marvellous book. Firstly, please tell us about your interest in history and your love of writing.
C.T- Thanks so much Debbie for your congratulatory wishes for the book. I have always loved writing and as a youngster earned pocket money from sending poems to The Age children's column and Corinella's Sunbeamers page in the Herald Sun. I received a large Oxford Concise Dictionary from Grandma for my eighth birthday, and a few years later when performing, Mum and Dad gave me the Complete Works of Shakespeare - both very precious books. Recording the moment has always been important to me, developing over time into an interest in what has been recorded about the past.
Theatrical history was particularly important in 2003 when researching and writing Beaumaris Theatre's 50th Anniversary production, and also in 2005 when researching the history of MLOC Productions for their 60th-anniversary event. A love of local history developed when joining Friends of Black Rock House in 1999 and researching, writing, and directing the 90-minute tribute production 'The Jewel by the Sea' for the 150th anniversary, which was gifted to you in 2011 as Director to steer the production into the future. I have also enjoyed researching and writing live performance plays for LOTS Theatre at Moorabbin Airport, under the artistic direction of Maggie Morrison.
D.K- All non-fiction publications begin with an idea or a concept, and yours began with a PhD research project with Swinburne University of Technology to explore the history and culture of the arts sector in Victoria. What prompted you to focus your research project on this topic?
C.T- Returning to the local theatre in 1990 in production, creative, performative, publicity and committee roles, I became aware of a shortage of collective published literature about amateur theatre in Victoria, but never imagined writing a book on the topic one day.
In 2007, I booked in with Open Universities Australia for one English subject to help improve knowledge of Greek Mythology to enhance my honorary writing and reviewing for the Melbourne Observer, which commenced in 2005 and continues today. Learning new knowledge was great, and I booked in for another ... passing 24 units to gain a Bachelor of Arts Degree (Communication/English Expression & Literature). A Master of Arts Degree (Writing) followed and during this time, a Ph.D. was suggested. At first, I wasn't sure, but then recognised the perfect opportunity to research amateur theatre in Victoria thoroughly and then hopefully publish a book at the end of the four years.
D.K- A very large component of your initial Ph.D. research project involved interviewing each amateur musical and non-musical theatre companies in urban and regional Victoria. That must have been a huge undertaking.
C.T- Yes, it was a wonderful experience, Debbie. The culture and spirit of the amateur theatrical arts sector shone through the voices of representatives from 70 musical and non-musical theatre companies across the state. Interviewees were so kind as to give of their time for the one-hour interviews. My husband Malcolm, fortunately, enjoys driving, so interviews with company representatives in various country towns were pre-planned and interview times scheduled, allowing travelling time between towns for the next interview. I aimed not to exceed four interviews per day and would transcribe the interviews at night. I have such happy memories of those interviews conducted in various venues such as a cosy kitchen, a lakeside cafe, theatres, a work shed, in front of a wood fire in a cafe, a costume room, working bee, and the atmospheric Powerhouse in Mildura on the banks of the Murray River, to name just a few.
I conducted technology-free interviews, using shorthand learned in High School combined with longhand, and it worked very well for transcribing the interviews. The mobile phone was always on standby for recording if becoming tired and losing focus, but was never used. With no microphone, I noticed this helped interviewees relax.
Five different documents and forms were required for each interview, and these were created by the candidate and approved by the Swinburne University Ethics Department. They included a Letter of Invitation, a Project Information Statement, Project Consent Form for Theatre Companies, Project Consent Form for Participants, and a Guideline of Interview Questions (to ensure familiarity for respondents with the suggested research questions). A Photographic Release Form was later sent to theatre companies or individuals for signature giving permission to use images in the thesis and book.
D.K- At what point did you decide to turn your original Ph.D. research into a book?
C.T- It was hoped when commencing doctoral studies that the thesis would evolve into a book to fill the gap in literature. After marking by a local and international examiner, the thesis by artefact and exegesis titled "Amatorem: the history and culture of amateur theatre in Victoria", is currently embargoed and should be available online in a couple of years' time. The 120,000-word thesis contains a detailed investigation into the history of amateur theatre combining creative non-fiction and academic evaluation.
D.K- The book is divided into two parts; can you give us a description and summary of both?
C.T- Part One of the book, the History, starts in New South Wales in 1788 and moves through the decades to modern-day. I was advised to condense the history component in the thesis down to 20,000 words for the book. Respectful acknowledgment is made of the cultural live performances presented by First Nations People for their communities over 60,000 years.
Part Two, the Culture and Voices, contains individual stories from 129 musical and non-musical theatre companies in urban and regional Victoria. Some of these have been written by theatre company representatives, while others have been updated from the interviews four years ago. There are also lists of known past theatre companies to pay tribute to their existence, and some results of analytical research data from the field-research interviews
D.K- How did you go about researching the history component of the book?
C.T- The History component of the book is condensed from the thesis. When commencing research in 2015, it made sense to first visit State Library Victoria because of their vast book collection. I initially planned to start the project in 1952 with the formation of The Victorian Drama League, but in the Library an inspirational moment happened - I heard Julie Andrews sing 'Let's Start at the Very Beginning ...'. What a good idea. Thanks, Julie. So I sourced books on convict theatre. The preceding 60,000 years of wonderful live cultural music, dance, and storytelling by First Nations People for their communities are respectfully acknowledged and deserve specialised research and their own dedicated publication.
I became a familiar face at SLV and also at the delightful Prahran Mechanics' Institute Library where books can be borrowed. Swinburne University of Technology has an excellent library and urban and regional historical societies, Arts Centre Melbourne, the Salvation Army Museum, and online resources were helpful too. The challenge with research is knowing how much to do when to stop and what to use.
While a student 'orphan' for three months in late 2016 due to resignation or promotion of my first Supervisors, I continued researching and accruing more knowledge. When Professor Josie Arnold became my fantastic principal Supervisor, she suggested the huge 'V' of compiled research needed to be turned upside down and tapered for use in the project. Josie and her ace supervisory team mentored the project from then on, with it winning the Dean's Award in 2019 for 'Best HDR Thesis' (Higher Degree by Research) in the faculty
D.K- What were your biggest challenges in writing and compiling the book and the editing process?
C.T- I first envisaged handing the creative artefact to a publisher for a book after the thesis was marked. Both examiners commented that the artefact was publishable. But changes were required, including wanting to include all currently operating amateur theatre companies, and interviews with the 70 theatre companies needed in most cases to be updated four years later.
A publisher advised condensing the history to 20,000 words and it was challenging but do-able to precis the story from 80,000 words and retain the historical narrative. This is the first book of its kind about amateur theatre in Victoria and I was determined that the arts sector deserved a book with a hardcover, colour images, and moderate recommended retail price.
This is impossible for a publishing house to undertake with so many other expenses. When pondering whether to self-publish the book over lunch with my Supervisors early this year, Professor Josie Arnold asked if I played golf, the answer was 'no', and she said, 'Well, do the book then!' So I did.
D.K- Please explain the process of publishing the book and all the important decisions that have to be considered and made.
C.T- Publishing a book means you are responsible for every aspect of the publication. To have control over the content and cover design is terrific, but also a big responsibility. Unless having a grant, it also means one's own money is risked to publish the book.
A terrific graphics artist was recommended by a city publisher for the cover and page design. The text was sent in one file and the 300 approx. images in another file, numbered chronologically, with captions printed in the text where the image would be inserted. An ISBN number and barcode had to be purchased, topped by a new user's fee. The ISBN number goes in the Imprint Page at the beginning of the book and the barcode on the back. The format of the book evolved and there were often changes.
A proof-reader was paid to peruse the text and photo captions and photographic clearance forms were sent regarding all images and returned signed. Care was needed to ensure correct acknowledgment was given to referencing the source of historical photos. Every published quote by other writers needed permission to use it in the book or be deleted. This became tricky when some publishing houses have closed.
An Australian printer had to be sourced and many quotes were viewed. The best printer for this hard-cover book was IngramSpark in Scoresby. One benefit is they can print extra copies quickly, but unlike other printers do not usually offer a volume discount. So one book or one thousand books will still cost the same per copy. Transporting 350 books was expensive, but overall I think the printer has done splendid work with the book.
The cover/page designer uploaded the finished proof onto the IS website and they printed and delivered a proof ($55). If the publisher approves this proof then it stays on the website waiting for the order to be placed and paid for. Very exciting.
When the books are delivered, the distribution process takes place and bubble wrap and adhesive tape need to be purchased, also brown carry bags and brown paper, depending on the mode of delivery/postage and a ledger for book-keeping to keep track of sales.
D.K- They say 'you can't judge a book by its cover', but the cover of your book is wonderful, who designed it and how much input did you have in the final decision?
C.T- Thanks Debbie, yes I am rapt with the cover. Graphics designer Luke Harris of Working Type Studio in Eltham designed the cover and page layout. I had envisaged a more conservative design but when Luke sent the first proof I realised this was terrific - a good mix of theatrics and history. The publisher provides the text for the cover, gives suggestions, and is 100% overall responsible for the finished product. Luke has been first class to work with and good-naturedly patient with requested alterations.
D.K- How did you decide on the title for the book?
C.T- The title was given to an essay I wrote for a competition at uni which attempted to investigate an appropriate name for the unpaid performer's theatrical arts sector. Nine suggestions were explored, including community theatre, local theatre, am-dram, social theatre, little theatre, repertory theatre, art theatre, non-professional theatre, and amateur. The closest was a 'non-professional' theatre which is not totally satisfactory because today some amateur shows are of a professional standard. 'Community Theatre' is my favourite but cannot be used because nowadays it applies to a professional community arts practitioner working with local actors on a project about their community.
I was disappointed the essay hadn't achieved a solution, then realised that the unpaid theatre-maker doesn't care about any overarching category to describe their arts sector. It's all In the Name of Theatre. The essay won a runner-up prize of $500 which was great.
The term 'amateur' is used in the book and thesis and is historically technically accurate to describe the unpaid theatre-maker. The negative connotation of the word is unfortunate, but more importantly, the word 'amateur' is derived from the Latin word 'amatorem' - for love.
D.K- How has the COVID-19 Pandemic affected the release of the book?
C.T- Interestingly, the book seems to also be serving the purpose of cheering up many thespians across the State who are missing their involvement in theatre due to closures caused by Covid-19. The book not only reminds them of past achievements but will hopefully serve as an inspiration for renewal in the future.
I was very much looking forward to catching up again with interviewees and others on some road trips when personally delivering their ordered books. Lockdown due to the pandemic has of course prevented this, but posting has proven effective and it has still been great to reconnect via email.
The pandemic has restricted distribution of the book, such as when copies could normally be sold in theatre foyers as a fundraiser for individual companies.
It is a difficult time for bookshops and many are adhering to strict COVID preventative rules where customers are not permitted to browse books instore. When delivering books to one shop, they advised the books had to be left in another room for a couple of days.
It is now not possible with restrictions to launch the book in the Prahran Mechanics' Institute Library function room, but Secretary Librarian Steven Haby will still MC the event, online. The launch is on Saturday, 5 September at 2.00 pm and anyone interested can contact me on thrdgld@optusnet.com.au so a link can be sent a couple of days before the launch.
Frank Van Straten AM has kindly agreed to launch the book online and guest speakers include Professor Josie Arnold from Swinburne University of Technology, the Presidents of the VDL and Music Theatre Guild of Victoria, Bruce Cochrane, and Ang Cuy respectively, and the President of Theatre Heritage Australia, Simon Piening.
I regret not being able to serve refreshments after the launch, but the good thing is that many more people can now attend.
D.K- What has been the most rewarding part of your entire journey?
C.T- Firstly seeing the book become a reality and, most importantly, receiving extremely positive feedback and thanks and lovely messages from theatre-makers and audiences across the state. The book seems to be making others happy and that is a very good thing. There have also been some very good reviews published about the book. A sense of goodwill is associated with the publication, with profits going to The VDL and Music Theatre Guild of Victoria, and any interested theatre company.
In closing I would like to thank Bruce Cochrane, President of the Victorian Drama League and Ang Cuy, President of the Music Theatre Guild of Victoria and their committees very much for their encouragement over the past few years.
D.K- Thank you so much for taking the time to chat with us about your magnificent book, "In the Name of Theatre". An absolute pleasure Debbie. Thank you.
Beaumaris Shows 1959 Summer and Smoke (Young Alma), 1961 Hiss the Villain (Heroine Lucy), 2003, wrote and directed Beaumaris Theatre's 50th-anniversary production, 2006 Steele Magnolias directed by Debbie Keyt, 2008 The Boyfriend Revisited performed at Beaumaris Theatre, 2009 Dimboola as Anonymous Theatre, 2016 and 2017, Radio Theatre Comes to Beaumaris and audience member attending many shows. Several Biggest Morning Tea fundraising shows with the Golden Tappers until 2019.