Composer, lyricist, music director.
During his childhood Charles Zwar developed a passion for music, and is reported to have been a student of Mr G. W. McKeown (Williamstown Chronicle 19 May 1923, p. 3). After completing his education at North Williamstown State Primary and Williamstown High he undertook a degree in Law and Arts at the University of Melbourne in the late 1920s. Much of his spare time was spent being involved in social events and student productions as both a performer and music director. Among these productions was the 1933 revue Stude Prunes.
1933 also saw Zwar make his first appearance on radio, being part of a 3AR programme of dance music that was interspersed with singing by Ella Riddell and comedy by Johnny Marks. Zwar's contributions saw him billed as a 'novelty entertainer' (Queenslander 27 July 1933, p.45). His popularity with audiences saw him return to the airwaves several times over the next couple of months. His performances were not confined to the piano, however, with a Derby Week engagement at St Kilda seeing him billed as a singer (Argus 27 October 1933, p.4).
Zwar's growing reputation also saw Zwar invited to contribute additional lyrics for Frank Thing's 1933 production of the T. Stuart Gurr and Varney Monk musical comedy Collits' Inn. Others involved in the creative aspects of the musical included George Wallace and Jock McLeod. The following year Zwar contributed most of the music and lyrics for another university revue, Swots Next (18 April) while also collaborating with J. C. Bancks (creator of the Ginger Meggs ) on the musical comedy, Blue Mountains Melody (1934). Produced by J. C. Williamsons, Zwar was given the opportunity to work closely with 'the Firm's' highly experienced music director, Andrew MacCunn. The Sydney Morning Herald theatre critic wrote glowingly of Zwar's input into the production:
The opening scene established at once both the wit and resourcefulness of Mr Bancks as author, and the crisp, fashionable charm of Mr Zwar's music. The composer had scored the various numbers with varied melodic effect; with unfailing taste; and above all with a really delightful feeling for rhythm. Two pianos played an important part in the orchestra. At one of these Mr Zwar himself appeared; and he showed during a brief entr'act that he is a jazz pianist of considerable attainment (17 September 1934, p.4).
Zwar left Australia for Britain in 1936 on the same ship as children's author Isobel Shead. The couple, who married in Surrey (England) in 1938, had met in Melbourne while Shead was working for the ABC between 1933 and 1936. Both had likely made the move to England in the hope of establishing careers there. In this respect they both succeeded, with Shead going on to work in a number of high profile positions with the BBC, while Zwar carved out a career as a composer and musical director for musical comedies and revues that lasted more than three decades.
Zwar's longest and most successful collaboration was with writer/lyricist Alan Melville. He also wrote songs with Kenneth Leslie-Smith, Diana Morgan, Robert MacDermot (1910-1964) and Australian Lance Mulcahy. His last involvement in a production written especially for Australian audiences is believed to have been the 1964 Phillip Theatre revue Is Australia Really Necessary?.
[Source: Australian Variety Theatre Archive]
