Gallipoli Bill

by Arthur Adams

The last professionally-performed stage play by Arthur Adams (1872 – 1936).

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Description

Arthur Adams‘ Gallipoli Bill is the last professionally-performed stage play by Arthur Adams (1872 – 1936) and “deserves to be remembered not just as a historical curiosity but because of its conscious attempt to record some of the attitudes and slang of the Australian soldiers during the Great War of 1914 – 1919.” – Richard Fotheringham.

SYNOPSIS

Worlds collide when the proprietors of a stately English home generously invite two wounded soldiers to recuperate within their walls. But these aren’t just any soldiers — these are ANZACs. Echoes of their bravery on the beaches of Turkey have travelled throughout Europe and have lead Bill Gash and Jim Blake right into the heart of the British upper-class, and while they may not be prepared for the Lords, Ladies, titles & servants — the English aristocracy are certainly not prepared for two blokes from the Merrawinia Cattle Station.

HISTORICAL SIGNIFICANCE

Gallipoli Bill is a cornerstone of ANZAC theatre and a first hand account of the social changes brought on by the war, all wrapped up with a romcom bow.

Arthur Henry Adams was a novelist, playwright, journalist, and editor of the Sydney Bulletin’s “Red Page.” As an ardent supporter of Australian playwrights, he was heavily involved in the local industry and frequently gave feedback and advice to aspiring artists, and criticised the dictators of main stage theatre for being indifferent to home grown talent.

In Gallipoli Bill he records the shifting social landscape, including industrialisation, gender roles and class structure in both Australia and England. It manipulates dramatic tools and features common at the time of writing, such as the inclusion of character Lady Vicky Polyblank, to reinforce this theme of a world in flux.

There are few figures (if any) that Australians revere more than the ANZAC. The impact these men and their legends have had on our national psyche is enormous. Adams’ play and Tal Ordell’s performance as Bill “helped mould the legend of the Aussie digger,” Richard Fotheringham, 2013.

PRODUCTION HISTORY

Little is known about productions of Gallipoli Bill apart from a short professional production in 1926.

ISBN: 978 1921390 357

Print-on-Demand (POD)

This item is a digital download only, we currently do not offer POD versions of this play.

Playlab Theatre may be able to arrange POD versions of this text on a case by case basis, so please email info@playlabtheatre.com.au or call (07) 3220 2763 for more information.

Photocopy Licences

You are required to purchase A Photocopy Licence if you wish to print or make digital copies of this script.

If you need copies of this script for a cast to rehearse or a class to study, please email us at info@playlabtheatre.com.au or call (07) 3220 2763 us for assistance.

Please note:

  • Photocopy Licences are not available for hardcopy scripts.
  • Educational institutions covered by a Copyright Agency Limited (CAL) licence should take note that their CAL licence only allows them to copy a maximum of one chapter or 10% of a script whether it is in digital or hardcopy format.
  • Photocopy Licence does not include the right to on-sell copies of the script printed under the licence.
  • Playwrights receive royalties from the sale of licences.

Performance Rights

We can help you obtain the performance rights for your production. Simply fill out the below form and email it back to us at info@playlabtheatre.com.au and we will get you on track to having your production off the page and onto stage.

Performance Rights Enquiry Form

Any performance or public reading of any text published by Playlab Theatre is forbidden unless a licence has been received from the author or the author’s agent. The purchase of a Playlab Theatre publication in no way gives the purchaser the right to perform the play in public, whether by means of a staged production or as a reading. Please direct all inquiries concerning performance rights, publication, translation or recording rights to the Playlab Theatre team.

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