Gulf-Inspired Theatre
by Belinda Pearson

B: Blind Worms Sting - how did the name happen?
G: It’s one of the ingredients of the witches’ brew prepared by the ‘secret, black and midnight hags’ of Macbeth; the ingredients are ‘portents of disaster”, part of a very sickening soup that was the Gulf War. The blind-worm of course has no sting so there’s a paradox to start with: of course there are delightful connotations of horror and magic spells.

B: And yet Blind Worms Sting is on the surface a realistic, even naturalistic play?
G: Certainly the central event - the Gulf War of 1991 - did occur but the interplay between the violence, domestic strife and the ever-present computer games of destruction make it more than a slice of life.

B: Symbolic perhaps?
G: Arrgh! If I explain every metaphor it detracts from the audience’s work. Being a Brecht disciple I feel they need to engage their mind as well as their retinas.

B: You were in America during the Gulf War, George; clearly the Americans’ reaction had a powerful effect on you?
G: Like every Australian, I’m affected by the American culture. But there’s only so much burger you can digest. There comes a point when you have to say ‘no’ to the culture and media that does not sit with your personal morality.

B: Do you anticipate that the Gulf War will be buried in the rubble of history like, say, the UK-USA-Japanese invasion of the USSR in the 1920s, an occurrence that astonishes and appals new generations?
G: I have a strong belief that we can learn from even the tiniest conflict if we allow ourselves to. (No disrespect to the USSR.)

B: Do you think violence on stage or video is likely to be cathartic or to provoke violence in young audiences?
G: There’s sex and violence in BWS. The difference is whether you condone it or not or if it is misinterpreted. I do not condone aggression. The play its about its negative effects. Please do not misinterpret that.

B: Is there enough sex and violence to satisfy a modern audience or is it BWS out of its century?
G: I suggest an audience seeking this should keep their money and stay home and watch “Baywatch”. I say this with regret as these are the type of minds I would like to affect. But I’m a realist. “Baywatchers” rarely go to see a play at Gorman House.

B: This is your third and latest play?
G: Well I am already writing the fourth, but yes. My first, Brother’s Grim was one of the chosen few at the 1990 (final) TAU Drama Festival and has been performed at Belconnen Community Centre, at Theatre 3 and at the Wagga Drama Festival; there is a CSPR radio performance around too. I have played the elder teenage, Matt, in each of these but have been told it’s time to realise that I’m 27.

B: The second, Fear and Misery of the Fourth Reich was directly descended from Brecht’s Fear and Misery of the Third Reich. Why?
G: It was one of Brecht’s more ‘realistic’ plays. Perhaps he was too close to the horrors of Nazi germany to create an epic drama; instead the twenty-four scenes are almost documentary in approach. Whereas the Brecht play is powerful for an older audience, it would not appeal to my kids at Radford.

B: I saw your version as a sci-fi or comic book version of Brecht - none the less shocking for that.
G: The kids at Radford certainly related to it and relished performing it; so did the adults involved in the later production at Belconnen. My students are indicating to me lately that I’m finally becoming out-of-touch and need to stop trying to be ‘with it’.

B: Why do you write plays?
G: Being a school-teacher by profession, my job is to influence impressionable minds. Writing for the theatre is a logical extension: trying to affect a larger sensibility with an artistic statement that (hopefully) heightens someone’s perception. Another reason is vanity.

B: You’ve been doing some directing outside Radford College - in addition to football, singing and playing in a band, acting and of course writing. Last year you were awarded the “Best Director” Emmy or Whammy or whatever Wagga Festival gives: will you be back this year?
G: Yes - this year I’m taking some of the same group - radical theatre Company plus Liz Bradley and Aukje Robertson to do The House of Bernarda Alba at Wagga. Radical Theatre Company is a very promising bunch of young theatre people.

B: Are you also involved in the forthcoming production of BWS?
G: I promised that I wouldn’t but in fact I am; blame Ivor Selby for twisting a very weak arm. I play the American, Marv.

B: And the rest of the cast?
G: Peter Morris, Jennie Tonzing, Margaret Forster, John Massey and Scott Jackson.

It is to be directed by Ivor Selby at the Ralph Wilson Theatre at 8pm from August 17-20.

MUSE

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Play With a Sting

“I see an unperformed play as a bit like pregnancy. It’s nice tyo give birth and get it out there,” George Huitker said. For George it has been long labour - three years, in fact, since he wrote the play Blind Worm’s Sting. Now, the play is set to be performed by ACTEST at the Ralph Wilson Theatre.

The play was originally written immediately after the Gulf War. Since then, it has been reviewed and revised a number of times, until George and director Ivor Selby were happy with it. “I also gave it to some local actors. They’re honest - they’ll tell you if it’s good,” he said. The play centres on an American couple and an Australian couple, and their interaction around the time of the Gulf War. “The global tensions become personal tensions,” George said.

As if writing the play was not enough, George also plays one of the leading roles. It is not something he is completely comfortable with. “I’d personally prefer not to act in it,” he said. “But I wasn’t given too many options.” He had to work hard to make sure he didn’t step on anyone’s toes. “I go to pains to make sure the director is the boss.”

Blind Worm’s Sting plays at Ralph Wilson Theatre, Gorman House, August 17 to 20. For bookings phone 249 7377.

Canberra Weekly, 4-10/4

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