The Tempest is set on a remote island, where Prospero, the rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skillful manipulation. He conjures up a storm, the eponymous tempest, to lure his usurping brother Antonio and the complicit King Alonso of Naples to the island. There, his machinations bring about the revelation of Antonio's lowly nature, the redemption of the King, and the marriage of Miranda to Alonso's son, Ferdinand.
The daughter of Lucy Barbara Ingoldsby (Smythe) and Tarlton Jefferis, Barbara Jefferis was educated at Riverside in Adelaide and then began a Bachelor of Arts at the University of Adelaide. In 1939, she married John Hamilton Hinde, a film critic for the ABC. She moved to Sydney in her twenties and worked in daily and magazine journalism, then as a freelance radio writer. Jefferis wrote more than 50 radio dramas and dramatised documentaries as well as serials, scientific and educational programmes. She was a regular reviewer for The Sydney Morning Herald and The Australian. Her novels have been widely translated into European and Asian languages.
Jefferis was the first woman President of The Australian Society of Authors (ASA), serving three terms (1973-1976), and was a force in writers' politics from the time the society began in the 1960s. She was a member of the ASA executive from 1973 onwards, with particular interests in publishing contracts and Public Lending Right (PLR). Jefferis represented writers' interests on the Government's PLR committee fron 1979-1985; the last year as Acting PLR Chairman. She held the ASA's PLR portfolio from 1981-1989 and held the ASA's Contract Advisory Service portfolio from its inception.
Jefferis made cultural exchange visits to Russia, India and Canada.
The Barbara Jefferis Award for the best novel written by an Australian author that depicts women and
girls in a positive way or otherwise empowers the status of women and
girls in society was created in 2007 after being endowed by Jefferis's husband of sixty-four years John Hinde upon his death.
McNeer compares elements of similarity in Murray Bail's Eucalyptus and William Shakespeare's The Tempest. McNeer particularly examines fables, fairy tales and mythic stories that may have been available to Shakespeare and, derivatively, influenced Bail. The characters of Miranda in The Tempest and Ellen in Eucalyptus are compared as are their respective fathers, Prospero and Holland.
McNeer concludes with a quotation from G. Wilson Knight's The Crown of Life: Essays in Interpretation of Shakespeare's Final Plays (1965): 'It is, perhaps, inevitable that Shakespeare, so saturated with the spirit of his land, should, in such a summation of that work in The Tempest, have outlined, among much else, a myth of the national soul' (p.255). This parting comment, says McNeer, 'may provide the most profound connection of all between William Shakespeare and Murray Bail'.
Printer and publisher, based in Hobart, Tasmania. Massey was the printer of the Labor paper The Clipper, and split from his erstwhile partner W.A. Woods to form The Critic, edited by Milner Macmaster, and run on, according to contemporary newspaper, more broadly democratic lines. (Woods, meanwhile, continued to run The Clipper.)
A ten-minute 'steampunked' version of The Tempest.
'A novel of alien contact and communication through time. In the near future, an Australian theatrical producer assembles a theatre company to mount a radical, experimental production of "The Tempest" in the outback. The experiment ends in disaster, with lasting and terrifying repercussions.'
Source: Publisher's blurb.
'Indigenous Theatre at Belvoir supported by The Balnaves Foundation.
'Louis Nowra’s Radiance is an exuberant black sabbath for three great Indigenous dames. It begins conventionally enough: Mae, Nona and Cressy gather at the old Queenslander in the tropics for Mum’s funeral. But these three sisters are forces of nature, and they haven’t been in the same room for years, and years. It isn’t long before that old house can’t contain the joy and pain of them all being together again…
'Radiance began its life at Belvoir in 1993. After 22 years, Nowra’s feat of playwriting – almost Shakespearean, a Tempest-like packet of lust, rage, grief and high-flying foolery – is ready to be unleashed again. Leah Purcell is the woman for the job.
'Purcell is a powerhouse. She burst onto the national stage nearly two decades ago and is as full of fight and life as she ever was. What better idea than for this all-round theatre elder to direct herself in this mighty little classic?' (2015 Production summary)