Theatre Design & Technology - Spring 2018 - Public - 32

Wales (NSW) in Sydney holds William
Constable's costume designs for Dean's
1954 Corroboree, two of Robin Lovejoy's
original costume designs for the 1950
production, and a vast collection of personal papers donated by Dean and her
husband Victor Carell that document a
large cross-section of their careers, including photographs, letters, notebooks,
meeting notes, lighting plots and costume lists, as well as extensive newspaper clippings and festival, symposium,
and performance programs.
The National Museum of Australia
(NMA) in Canberra holds all existing
costumes and props relating to Dean's
productions. It also has a large collection
of photographs and negatives, many of
which relate to printed photographs held
at the State Library of NSW, as well as
further personal papers and ephemera
from Dean, and the folder documenting
the 1994 Corroboree remount with The
Australian Ballet School. The National
Library of Australia (NLA), also in Canberra, has the transcript and oral history
recording of an interview between Beth
Dean and Hazel de Berg from 1975.

32 |

THEATRE DESIGN & TECHNOLOGY

|

SPRING 2018

The fact that the costumes, costume
designs, related photographs and negatives, documentation, and programs are
scattered across cities and institutions
complicates the researcher's plight, making it difficult to reach firm conclusions
regarding the costume details.

Introducing the Ballet

Corroboree began life as a score composed by John Antill, who was inspired
by Aboriginal performances he had seen
in his youth. The score was picked up
in 1946 by visiting conductor Eugene
Goossens, who promptly took it to Royal
Albert Hall in London, where the music
became a tremendous success worldwide. In 1950, Corroboree was turned
into a ballet, choreographed at very short
notice by Rex Reid with the National
Theatre Ballet Company, with sets by
William Constable and costumes by
Robin Lovejoy. The production received
mixed reviews, and was remembered
with scorn in the years that followed.
After seeing a 1952 performance of
Beth Dean's "ethnic dances," which included an Australian Aboriginal dance,

president of the Australian Arts Council
Dorothy Helmrich went backstage and
apparently insisted that Dean simply
must choreograph a new version of Corroboree for the proposed Royal Gala.
Dean's husband Victor Carell produced,
stage managed, and helped create the
story of the ballet, and William Constable designed both the costumes and set.
Constable was an Australian designer and artist whose prolific career
included the set and costume design for
countless ballets, operas, dramas, and
films in Australia and overseas. He was
the resident designer for the Borovansky Ballet in the 1940s and '50s, one of
Australia's most influential early ballet
companies, which eventually became
the foundation of The Australian Ballet.
With Borovansky, Constable designed
some of the earliest ballets to focus on
Australian themes, such as Terra Australis in 1946 and The Outlaw in 1951,
which told the story of the infamous
bushranger Ned Kelly. Constable had a
relationship with Dean prior to designing her 1954 Corroboree production, as
evidenced by quick sketches held in the


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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com