text:
Guide to the Papers of John Romeril
Manuscript Name Papers of John Romeril
Last Updated February 2008
Extent 10.10 m (76 boxes, 1 enclosure)
Abstract This collection comprises manuscript papers and related material by the Australian playwright John Romeril.
The collection comprises papers relating to John Romeril's career as a playwright and teacher. The collection includes correspondence, scripts for produced and unproduced plays for theatre, film, radio and television, including stage, musicals, puppet theatre, pantomimes and street theatre; treatments, dramaturgy, rehearsal and production schedules, floor plans, flyers, leaflets, programs and posters; drafts of poetry and songs; drafts of articles, essays, talks, interviews and reviews; and photographs and audio cassette tapes.
Wikipedia article: https://en.wikipedia.org/wiki/John_Romeril
John Henry Romeril was born 26 October 1945 in Melbourne, and educated at Bentleigh West State, Highett State, Brighton Technical and Brighton High Schools, Melbourne. He graduated with a B.A. Honours from Monash University in 1970, majoring in English Literature and Politics.
Romeril is a playwright, screenwriter, lyricist, adaptor and dramaturge, and is one of Australia's most prolific writers. He wrote his first four plays before graduating from university; was a founding member of the Australian Performing Group (APG) and worked with the group first at Cafe La Mama and later at the Pram Factory, Melbourne, from 1968 until their demise in 1981. He writes for a living and has worked continually in Australian theatre, radio, television and film. From 1974, he has been playwright-in-residence with a number of theatre companies and tertiary institutions throughout Australia and at the National University of Singapore. He was Artist-in-residence at the Victorian Arts Centre and Dramaturge at the Victorian College of the Arts.
Professional and amateur theatre companies have produced Romeril's plays throughout Australia and overseas. His plays are often based on current events, e.g. Australian-American relations, the constitutional events of 1975, elections, social and labour problems, war and social conflicts, and contain a strong social message. His work is a product of theatre, occasion, situation and community, is consciously experimental and often produced in workshop community-based conditions.
Romeril is the recipient of numerous awards, grants and fellowships, including:
Australia Council Grants, Awards and Fellowships, Literature Board Fellowship, 2003
Winner of the Playbox Asialink Playwriting Competition, 2003 for Tokyo Henry
Inaugural winner of the Australian National Playwrights Centre Award, 2003 for Miss Tanaka
Winner of the Australian National Playwrights Centre Award, 2003 for Miss Tanaka
Winner of the New South Wales Premier's Awards, Play Award 2002 for Miss Tanaka
Shortlisted for the New South Wales Premier's Literary Awards, Community Relations Commission Award, 2002 for Miss Tanaka
Winner AWGIE Awards, Television Award, Telemovie Original, 2001 for One night the moon
Inaugural winner of the Canada-Australia Prize, 1976, which recognized his important contribution to the world of literature
Victorian Government Drama Fellowship, 1988
Australian Council for the Arts travel grant, 1972.
Romeril wrote or adapted the following works:
A nameless concern, produced Melbourne, 1968
The kitchen table, produced Melbourne, 1968. Included in the publication Two plays, 1971
Scene one, with John Minter, produced Melbourne, 1969
Chicago, Chicago : an art piece in twenty scenes alternative title The man from Chicago, produced Melbourne, 1969. First published in Plays, Penguin, Ringwood, Victoria, 1970
The American independence hour, produced Melbourne, 1969
Mr Big, the big, big pig, produced Melbourne, 1969
In a place somewhere else, produced Melbourne, 1969
I don't know who to feel sorry for, produced Melbourne, 1969. Published by Currency Press, Sydney, 1973 and Eyre Methuen, London, 1975
Chicago Chicago, produced Melbourne, 1970. Published in Plays, Penguin, Melbourne, 1970 and in Plays of the 60s, Currency Press, Sydney, 1998
200 years, produced Melbourne, 1970
Marvellous Melbourne, with Jack Hibberd, produced, Melbourne, 1970. Published in Theatre Australia, August 1977, vol. 2, no. 4, p. 35-44 and September/October 1977, no. 5, p. 29-39
Dr. Karl's kure, produced Melbourne, 1970
The magnetic Martian potato, produced Melbourne, 1970
Whatever happened to realism, produced Melbourne, 1971
Mrs Thally F., produced Melbourne, 1971. Published in Seven one-act plays, edited by Rodney Fisher, Currency Press, Sydney, 1983 and in Plays of the 70s, Currency Press, Sydney, 1998
Two plays, includes The kitchen table and Brudder Humphrey, published by Kosmos, Clayton, Victoria, 1971
Rearguard action, produced Melbourne, 1971
Hackett gets ahead, with Bill and Lorna Hannan, produced Melbourne, 1972
He can swagger sitting down, produced Melbourne, 1972
Bastardy, produced Melbourne, 1982. Published Yackandandah Playscripts, Montmorency, Victoria, 1982
A night in Rio and other bummerz, with Tim Robertson, produced Melbourne, 1973
The earth, air, fire, and water show, produced Melbourne, 1973
Waltzing Matilda : a national pantomime with tomato sauce, with Tim Robertson, produced Melbourne, 1974. Published Yackandandah Playscripts, Montmorency, Victoria, 1984
The floating world, produced Melbourne, 1974. Published Currency Press, Sydney and Eyre Methuen, London, 1975; revised edition published by Currency Press, Sydney, 1982
The golden Holden show, produced Melbourne, 1975
The accidental poke, produced Melbourne, 1975. Published in Popular short plays for the Australian stage, edited by Ron Blair, Currency Press, Sydney, 1985
Dudders, with John Timlin, produced Melbourne, 1976
The radio-active horror show, produced Melbourne, 1977
Mickey's Moomba : a musical, produced Melbourne, 1978
Carboni, produced Melbourne, 1980
700,000, produced Canberra, 1980
Samizdat, produced Adelaide, 1981
Centenary dance, produced Adelaide, 1984
The Kelly dance, produced Adelaide, 1984. Published Yackandandah Playscripts, Montmorency, Victoria, 1986
Definitely not the last : a rock'n'roll fable, produced Adelaide, 1985. Published Yackandandah Playscripts, Montmorency, Victoria, 1989
Jonah, music by Alan John, adaptation of the novel by Louis Stone, produced Sydney, 1985; revised version produced Adelaide, 1991
Legends, with Jennifer Hill and Chris Anastassiades, produced Melbourne, 1986. Published Yackandandah Playscripts, Montmorency, Victoria, 1986
Koori radio, produced Hobart, 1987
The imposter, adaptation of a play by Sha Yexin, produced Melbourne, 1987
History of Australia : the musical, with Tim Robertson and Don Watson, produced Melbourne, 1988
Lost weekend, produced Adelaide, 1989
Black cargo, adaptation of a story by John Morrison, produced, Melbourne, 1991
The reading boy, produced Adelaide, 1991
Working out, produced Melbourne, 1991
Bring down the house, produced Melbourne, 1992
Doing the block, Melbourne, 1993
Hanoi-Melbourne, produced, 1995
Red sun red earth, produced Adelaide and Nago City, 1996
Love suicides, music by Peter Neville, produced Canberra and Melbourne, 1997. Published by Currency Press in Association with Playbox Theatre, Sydney, 1997
Kate'n'shiner, produced Perth, 1998
XPO : the human factor, produced Brisbane, 1998
Miss Tanaka, produced Melbourne, 2001. Published by Currency Press, Sydney, 2001.
Film, television and video scripts and adaptations for the screen:
Nothing like experience, 1969
Bonjour Balwyn, 1969
The best of mates, 1972
Charlie the Chequer Cab kid, 1973
The great McCarthy, from a novel by Barry Oakley, 1975
Six of the best series, 1981-1986
Mr. Steam and dry, 1986
State of defence, 1987
Concept Inc, 1987
The ballad of Lois Ryan, 1988
Everything's a hustle, 1989
The Firm, 1989
Making trax, 1998
One night the moon, 2001
Computer typescript list of 'John Romeril manuscripts and allied literary materials held by the author', 16/10/1993
Contemporary dramatists, 6th edition (1999) p. 599-601
AustLit Australian Literature Gateway database, 2003
Theatre programs
Popular short plays for the Australian stage (1985)
ScreenSound Australia, National Screen and Sound Archives, 2003
Papers of John Romeril, Academy Library, UNSW Canberra, Australian Defence Force Academy, Canberra, Box [Number], Folder [Number].
The collection was acquired by the Library in 1994.
Papers of the Almost Managing Company, MS 215 and Papers of Peter Corrigan, MS 245, Academy Library, UNSW Canberra, Australian Defence Force Academy
Papers of Bill Garner, MS 12835 and Papers of Jack Hibberd MS 12269, State Library of Victoria
Hanger Collection of Australian Playscripts, Fryer Library, University of Queensland.
Australian drama, dramatists
John Romeril 1945-
Dramatists
Series 1 Correspondence, 1964-1993
This series comprises two subseries of correspondence relating to Romeril's professional and personal life. The correspondence consists of letters received by Romeril and drafts of letters composed by him. There are letters from editors, publishers, theatre groups, writers and agents relating to his professional life; personal correspondence from family and friends; and a collection of undated letters collated by Romeril.
1.1 Professional correspondence, 1964-1993
This subseries comprises correspondence to and from John Romeril, with colleagues, literary associates, theatre companies and publishers, concerning Romeril's various literary endeavours and work. The correspondence reflects Romeril's involvement with the Melbourne theatre scene in the late 1960s to early 1990s, his collaboration with the Australian Performing Group (APG), his work with a number of Australian and overseas theatre companies, Australian tertiary institutions and the National University of Singapore.
Including Australian Broadcasting Commission (ABC), Jacaranda Press, Meanjin quarterly, Oz Publications, Sun Books and The Age
Including Argot, ABC, Melbourne Theatre Company, Monash University and National Union of Australian University Students
General correspondence, 1970
Including Cambridge Film & T.V. Productions, Jack Hibberd, John Sumner of Melbourne Theatre Company, Monash University, John Bell of Nimrod and John Hooker of Penguin Books
Including Graeme Blundell, Crawford Productions, John Sumner of Melbourne Theatre Company, Murray Foy of Queensland Theatre Company and Joyce and Peter Cheeseman of Victoria Theatre
Including ABC, John Timlin of APG, Currency Press and Margaret Ramsay
Including ABC, Australian Literature Board, The Australian National Playwrights Conference, The Australian Writers' Guild and Currency Press
Including APG, Department of English, Western Australian Institute of Technology, New Theatre and Victorian College of the Arts
Including APG, Australian Literature Board, Christian Community College and Currency Press
Including John Timlin of the Almost Managing Company, APG, Australian Theatre Workshop, Harrington Harlow, Hoopla Theatre Foundation and Jigsaw Company
Undated general correspondence, 1970-1980
Including APG, The Australian, Graeme Blundell and Penguin Books
Including the Almost Managing Company, Australia Council, Bread and Circus Theatre Company, Currency Press, Magpie State Theatre in Education Company of South Australia and Penguin Books
Including the Almost Managing Company, Australia Council, Richard Walsh of Angus & Robertson, APG, Tony Summers of ABC, Bushwackers, Heinemann Educational Australia, Sydney Theatre Company, and Troupe
Including Australasian Drama Studies Association, Melbourne Theatre Company, Sydney Theatre Company and Winter Theatre
Including the Almost Managing Company, Tony Summers of the ABC, Australian National Playwrights Conference, Currency Press, Leslie Comens Agency, Ward McNally and Donald McDonald of Sydney Theatre Company
Including the Almost Managing Company, ABC, Currency Press, Sydney Theatre Company, Troupe and Victorian Arts Council
Including the Almost Managing Company, National Screenwriters Conference, The Playhouse and Richard Wherrett of Sydney Theatre Company and correspondence relating to Jonah
Including the Almost Managing Company, Australia Council, the Australian Bicentennial Authority, Sydney Theatre Company and Victorian College of the Arts
Including the Almost Managing Company, Currency Press and Richard Wherrett of Sydney Theatre Company
Including the Almost Managing Company, Australia Council, ABC, Currency Press, Salamanca Theatre Company, Richard Wherrett of Sydney Theatre Company, Theatre Works and Victorian College of the Arts
Including the Almost Managing Company, ABC, Handspan Theatre, Gavin Anderson of the Melbourne Moomba Festival, Playbox Theatre Company and the Victorian Ministry for the Arts
Including the Almost Managing Company, Australia Council, ABC, Belvoir St Theatre, Currency Press, Spoleto Melbourne Writers' Festival, State Theatre Company of South Australia and Victorian Ministry for the Arts
Undated correspondence, 1981-1993
Including the Almost Managing Company, ABC, Belvoir St Theatre and Melbourne Writers' Festival
Floating world overseas correspondence and reviews, 1978-1979
Agreements, 1970-1990
Correspondence with David Barker of Stoney Creek Films, 1960s-1990
Correspondence with Otrun Zuber-Skerritt, 1981-1988
1.2 Personal correspondence, 1960s-1993
This subseries comprises correspondence to and from John Romeril with family and friends, and personal business matters.
Family correspondence, 1960s-1993
Personal correspondence with friends, 1960s-1993
Personal correspondence with friends and personal business correspondence, 1960s-1993
Greeting cards and artwork by children, 1960s-1993
Personal correspondence with Christine Berkman, 1970s-1980s
Greeting cards and postcards from family and friends, 1960s-1993
Series 2 Dramas, 1968-1992
This series comprises produced, unproduced and unfinished plays and musicals written by Romeril from 1968-1992. His plays have been performed in alternative and community theatres and in Australian and overseas state theatres. He has written for and worked collaboratively with the Australian Performing Group, community theatres, theatre-in-education companies and youth theatre devising dramatically strong, innovative and topical works.
The papers include notes, research material, manuscript, typescript, carbon, roneoed and photocopied drafts and galleys. Correspondence relating to this material is included in Series 1, B4 size materials are located in Series 7, audio visual materials are located Series 8, photographs are located in Series 9 and posters are located in Series 10.
2.1, The kitchen table (1968)
Short absurdist one-act play first produced by Monash University Drama Society, Monash University, 1968, directed by Romeril. Performed again at La Mama, directed by Jack Hibberd, 1969. Romeril's first produced play. Published in Two plays by John Romeril, Monash University, Clayton, Victoria, 1971 and as a supplement to Komos, vol. III, no 1-4, [1972].
Galley and notes, 1971
2.2, A nameless concern (1968)
Short absurdist play set in a Public Service tearoom, written by John Romeril when he was a second year English Honours student at Monash University. Romeril's first play produced at La Mama, directed by Graeme Blundell, 1968.
Production draft, carbon typescript with ms. annotations, 18 p., 1968
2.3, Chicago, Chicago : an art piece in twenty scenes (1970)
First produced by members of the Saturday Morning Club, La Mama Theatre, Carlton, 1969 under the title The man from Chicago directed by Hugh Rule. Revised version entitled Chicago, Chicago : an art piece in twenty scenes was first produced by the Australian Performing Group at the Pram Factory Theatre, Melbourne, 7 June 1970, directed by Max Gillies. Published in Plays, Penguin, Melbourne 1970 and Plays of the 60s, Currency Press, Sydney, 1998.
Notes, flyers, press release, Captain Cook Bi-Centenary Celebrations Citizens Committee Award - Highly Commended Open Section (Play, Literary Competition), 1970
2.4, 200 years (1970)
A three hour two-act epic devised for the Melbourne University Student Drama Society to commemorate James Cook bicentennial celebrations, 1970, directed by Graeme Blundell and John Duigan.
Research materials, 1970
Manuscript, annotated typescript and roneoed typescript drafts (incomplete), 1970
2.5, Mrs Thally F. (1971)
A long one-act play based on a real-life murderer, devised for the Australian Performing Group's Portable Theatre Company as a companion piece to Brenton's Christie in love. First produced by the Australian Performing Group at the Pram Factory, Melbourne, 16 July 1971, directed by Graeme Blundell, then at various tertiary campuses. Published in Seven one-act plays, edited by Rodney Fisher, Currency Press, Sydney, 1983 and Plays of the 70s, edited by Katharine Brisbane, Currency Press, Sydney, 1998.
Annotated typescript draft, roneoed post first production draft, annotated 2nd draft carbon typescript, program, 1971
2.6, The magnetic Martian potato (1971)
Children's play written for the Australian Performing Group by Romeril. First produced by the Australian Performing Group's Portable Theatre in April and June 1971, directed by Graeme Blundell. Later produced by Melbourne University Student Drama Company as a summer entertainment for outdoor venues, January and February 1972, directed by John Price.
'The magnetic potato', roneoed typescript, 9 p.
The magnetic Martian potato, roneoed typescript with inserts, 32 p. (2), photocopy of music scores for two songs, 1972
2.7, Rearguard action (1971)
Seven scenes, commissioned and workshopped by Melbourne Theatre Company at their South Melbourne premises, directed by Simon Hopkinson, 1971.
Synopsis, letter, notes, manuscript draft, comments on play, 1970
Manuscript, annotated typescript and roneoed drafts, 1970-1971
2.8, Bastardy (1972)
One-act play first produced by the Australian Performing Group at the Pram Factory Theatre, Melbourne, 23 August 1972, directed by Bruce Spence. Published by Yackandandah Playscripts, Montmorency, Vic., 1982.
Research material annotated typescript and annotated carbon and photocopy typescript drafts of APG's first production (4), 1972
Roneoed typescript drafts (5), 1972
Revised annotated photocopy typescript draft of Perth production, 1978 and Yackandandah computer typescript draft, 1982
2.9, He can swagger sitting down (1972)
One-act, seven scenes docu-drama about Alabama populist politician George Wallace. First produced at the Pram Factory as an APG double bill with Alma De Groen's The Joss Adams show, directed by Graeme Blundell as a companion piece to Chicago, Chicago. Alternative title 'The fighting little judge'.
Roneoed typescript, 24 p, variant roneoed typescript, 28 p, 1972
2.10, The earth, air, fire, and water show (1973)
A political revue produced by the Australian Performing Group, 1973, directed by Max Gillies, with a sketch and a song from Jack Hibberd.
Manuscript and annotated typescript, carbon typescript and photocopy typescript drafts, 1973
Manuscript and annotated typescript, carbon typescript and photocopy typescript drafts of sketches, directional notes, running order, report and budget, 1973
2.11, Night with the right, c. 1970s
A political revue produced by the Australian Performing Group in the 1970s. The material was also used at rallies, conferences, meetings etc.
Notes, research material, editorial material, manuscript drafts, c. 1970s
Annotated typescript drafts, c. 1970s
2.12, A night in Rio and other bummerz (1973)
Rock'n'roll musical written with Tim Robertson, music by Martin Armiger and others. First produced by the Australian Performing Group at the Pram Factory, directed by Graeme Blundell, 1973.
Scenario, notes, annotated typescript drafts, 1973
2.13, Waltzing Matilda : a national pantomime with tomato sauce (1973)
A rock'n'roll pantomime in five scenes, written in collaboration with Tim Robertson. First produced by the Australian Performing Group at the Pram Factory Theatre, Melbourne, November 1973, directed by Robertson and Joe Bolza. Published by Yackandandah Playscripts, Montmorency, Victoria, 1984.
Notes, annotated typescript drafts with cut and paste inserts (2), photocopy and roneoed copies of production scripts (2), photocopy of press release, program, reviews, 1972-1974
2.14, The floating world (1974)
Twenty scenes, first produced by the Australian Performing Group at the Pram Factory, Melbourne, 6 August 1974, directed by Lindzee Smith.
Published by Currency Press, Sydney and Eyre Methuen, London, 1975, revised edition published by Currency Press, Sydney, 1982. Translated by Sawada Keiji yaku into Japanese and entitled Furotingu warudo, published by Oseania Shuppansha, Yokohama, Honshu, Japan, 1993.
Research material, notes and glossary, 1972-1974
Annotated typescript, roneoed typescript and photocopy typescript drafts
Revisions and annotated photocopy typescript draft of the STC production
Notes, media release, program, production dates, royalty statement, reviews, seminar material, introduction page for published book, 1975-1986
2.15, The accidental poke (1975)
A one-act pastiche melodrama devised for the Hills family show. First produced by the Australian Performing Group at the Pram Factory Theatre, Melbourne, 4 July 1975, directed by Bill Hannan. Published in Popular short plays for the Australian stage, edited by Ron Blair, Currency Press, Sydney, New South Wales, 1985.
Roneoed typescript draft with actor or stage manager annotations, final version, typescript with ms annotations and white-out corrections, notes, program, floor plans, 1975
2.16, The golden Holden show (1975)
An experimental work along biomechanical lines about General Motors in Australia. It was in rehearsal in 1975 when the constitutional crisis erupted and was reshaped as a response to those events. First produced by the Australian Performing Group at the Pram Factory, 1975, directed by Lindzee Smith.
Notes, research material, handouts, 1959-1975
'The golden Holden mit electoral relevance', annotated typescript draft with cut and paste inserts and photocopy typescript, 1975
Notes and manuscript and typescript drafts with ms annotations, song lyric, 1975
Various drafts, annotated typescripts, carbon typescripts and photocopy typescripts, review, 1975
2.17, The records of the Castlemaine pioneers (1976)
Three epic pieces of village theatre utilising gold-fields history as its source. There are drafts of Don't laugh throw nuggets, The Downshire lass and Courtroom capers, written by Romeril. First produced by Castlemaine Drama Society in 1976, from a series of ten plays recreating the history of Castlemaine. There are also drafts of another three untitled plays from this series.
Don't laugh throw nuggets, research material, notes, program, rehearsal schedule, notes on stage design
Don't laugh throw nuggets, notes and manuscript, typescript and photocopy typescript drafts with ms annotations and cut and paste inserts, 1976
The Downshire lass, annotated photocopy drafts (3), 1976
Courtroom capers, notes, manuscript and photocopy typescript drafts with ms annotations, program, 1976
Untitled and incomplete manuscript, typescript and photocopy typescript drafts with ms annotations of three plays from the series, research materials, schedules, notes, c. 1970-1976
2.18, Radio-active horror show (1977)
An anti-uranium revue group piece devised by Romeril and members of the Australian Performing Group. First produced by the Australian Performing Group at the Pram Factory Theatre, Melbourne, 7 July 1977, directed by Carol Porter.
Research material, 1970s
Research material, notes, drafts of sketches, annotated typescript, photocopied typescript and roneoed typescript drafts, c. 1977
2.19, Dudders and The dud war, 1940-1988
Dudders written by Romeril and John Timlin. First produced by the Australian Performing Group at the Pram Factory Theatre, Melbourne, November 1976, directed by Romeril. The first unperformed version was written for a theatre restaurant venue, a bowdlerized version was later performed.
Dudders was revised by Romeril and entitled The dud war. First produced by University of Newcastle drama students, directed by Terence Clarke.
Research material, synopsis (2), APG program, club version, photocopy typescript draft and cast list, 1940-1976
Annotated photocopy typescript draft, c. 1975-1976
Annotated photocopy typescript drafts with cut and paste inserts, 65 p. (3), c. 1975-1976
'The dudders : a dance drama', typescript with ms annotations and cut and paste inserts, photocopy typescripts with ms annotations (2), 44 p. c. 1976
Notes, manuscript, typescript, carbon typescript and photocopy typescript drafts with ms annotations and cut and paste inserts (incomplete), c. 1975-1976
APG prompt copy with ms annotations, 65 p., 1976
The dud war, workshop notes, synopsis, research material, University of Newcastle Department of Drama program
Notes, typescript and photocopy typescript drafts with ms annotations and cut and paste inserts
2.20, Mickey's Moomba : a musical (1979)
Rock'n'roll musical first produced by the Australian Performing Group at the Pram Factory's Panel Beater Space, February 22 [1979], directed by Alan Robertson.
Research materials, flyer, show handout, copy of Blinky Bill comes to Moomba, 1946-1979
Notes, annotated typescript and photocopy typescript drafts with cut and paste inserts, 1978-1979
2.21, 700,000 : a farcical chase into the black hole of unemployment (1980)
Play in eight scenes on unemployment devised with Jigsaw for Canberra schools and community audiences during Romeril's residency, directed by Joe Woodward, 1980.
Notes, song lyrics, flyers, manuscript and annotated typescript drafts with cut and past inserts and white-out corrections, 1979-1980
2.22, Carboni (1980)
Musical based on Raffaello Carboni's book entitled The Eureka stockade, adapted by Romeril, music by George Dreyfus. First produced by the Australian Performing Group at the Pram Factory, directed by Paul Hampton, 1980. Revised and staged at Eureka Festival Ballarat and the Mill Workers Fire Fund Benefit at Castlemaine, 1981.
Notes, research materials, flyers, reviews, 1942-1985
Notes, annotated typescript and photocopy typescript drafts with cut and paste inserts and white-out corrections, 1979-1985
2.23, Samizdat (1981)
Play in two parts, four scenes, which consists of three separate stories to do with the persecution and injustice meted out to three citizens by the Queensland police force. First produced by Troupe Theatre, Unley, Adelaide, 1981, directed by Keith Gallasch.
Research material, song lyric, synopsis, poem, notes, annotated typescript drafts, 1979-1981
Annotated typescripts and photocopy typescripts with cut and paste inserts and white-out corrections, 1979-1981
2.24, The Kelly dance (1984)
Dance drama in four parts, written by Romeril when he was Writer-in-residence at the School of Drama, Flinders University, Adelaide, 1983. First produced by the Bushdance Theatre Company, Troupe Theatre, Unley, South Australia, 24 May - 9 June 1984, directed by Jules Holledge and Gavin Strawhan. Toured through South Australia and Victoria. Published by Yackandandah Playscripts, Montmorency, Victoria, 1986.
Research material 1878-1983
Notes, manuscript drafts in notebooks, music scores, 1983
Typescript and photocopy typescript drafts with ms annotations, cut and paste inserts and white-out corrections, 1983-1984
Annotated typescript draft with cut and paste inserts and white-out corrections, photocopy typescript draft, 1984
Programs, flyers, press release, reviews, reports, budget expenditure, 1983-1984
2.25, The centenary dance (1984)
A musical portrait of South Australia devised to commemorate the centennial of organised labour in South Australia, in the form of a 1950s 60/40 basket supper dance. First produced by Troupe Theatre Company and the Adelaide band Black Diamond Corner, Unley, Adelaide, 11 December 1984.
Research material, notes, annotated typescript drafts with white-out corrections, 1984
Notes, synopsis, research material, cast contacts list, flyers, contract, 1985-1987
2.26, Legends (1985)
Two part play co-written with Jennifer Hill and Chris Anastassiades, when Romeril was the Matthew J. Cody Writer-in-residence at the Victoria Arts Centre. First produced at the Victorian College of the Arts (VCA) as a final year student piece, Victoria Arts Centre Studio during the Next Wave Festival 20 August 1985, directed by Paul Hampton. Published by Yackandandah Playscripts, Montmorency, Victoria, 1986.
Concept, synopses, contact lists, schedules, 1984-1985
Research material, 1984-1985
Annotated computer, typescript and photocopy typescript drafts with cut and paste inserts and white-out corrections, 1984-1985
Program notes, flyers, reviews, 1985
2.27, Jonah Jones and Jonah, 1979-1991
Two-act musical based on Louis Stone's novel Jonah, words, lyrics and adaptation by Romeril, music by Alan John, commissioned by the Sydney Theatre Company in 1982. Jonah Jones version workshopped twice and first produced by Sydney Theatre Company, Wharf Theatre, Sydney, Saturday 26 October 1985, directed by Richard Wherrett and Wayne Harrison.
Revised version first produced by State Theatre Company of South Australia under the title Jonah, The Space Theatre, Adelaide Festival Centre, Saturday 31 August 1991, directed by Neil Armfield.
Synopses, notes, dramaturgical reports, rehearsal schedules, STC notes, call sheets and agreement, 1979-1981
Manuscript and annotated carbon and photocopy typescript drafts (incomplete), c. 1982
1st half, manuscript and typescript draft and annotated photocopy typescript draft, 42 p., 1982
Parts 1 and 2, annotated typescript, carbon and photocopy typescript draft with white-out corrections and cut and paste inserts, 1983
Part 1, annotated photocopy typescript with white-out corrections and cut and paste inserts, 58 p., 1983
Part 1, annotated photocopy typescript draft (incomplete), 61 p., 1983
Manuscript, annotated typescript draft with white-out corrections and cut and paste inserts, c. 1983
Annotated typescript and photocopy typescript drafts with white-out corrections and cut and paste inserts (incomplete)
Parts 1 and 2, annotated typescript and photocopy typescript draft with white-out corrections and cut and paste inserts, 89 p., 1985
Jonah Jones, annotated photocopy typescript draft, 102 p., 1987
Jonah, State Theatre Company of South Australia's production script, annotated computer typescript, 80 p., 1987
Manuscript and annotated computer typescript draft, c. 1990
Annotated computer typescript draft, 86 p.
Revised dialogue, manuscript and annotated photocopy typescript draft, 98 p., 19/7/19901
Original script to be copied from, computer typescript draft, 99 p.
Flyer, programs, notes, reviews, 1985-1991
2.28, Dame Nellie Melbourne : definitely the last and Definitely not the last : a rock'n'roll fable, 1979-1985
A three part rock'n'roll song cycle. First produced by Magpie Theatre-in-Education group as part of the 1985 Come Out Festival, Elizabeth, South Australia, 29 April 1985, music by Arnold Strahls, directed by Geoffrey Rush. Published by Yackandandah Playscripts, Montmorency, Victoria, 1989.
Synopses (3), Dame Nellie Melbourne : definitely the last, annotated typescript and photocopy typescript drafts (3), 1979
Notes, Definitely not the last, annotated typescript, carbon typescript, photocopy typescript drafts, 1979-1985
State Theatre Company of South Australia's versions, annotated typescript and photocopy typescript drafts with cut and paste inserts and white-out corrections, 1985
State Theatre Company of South Australia's address list, production schedule, flyer, reviews, cards from the cast, 1985
2.29, Koori radio (1987)
A play in twelve scenes. Devised for Salamanca Theatre Company when Romeril was resident playwright, 1986. First produced as a Theatre-in-education project by Salamanca Theatre Company to High Schools throughout Tasmania in term 2, 1987, directed by David Young.
Agreement, notes, songs, information on Salamanca, program notes, review, 1986-1987
Research materials, 1986-1987
Editorial notes, 1987
Annotated computer typescript and typescript drafts with cut and paste inserts and white-out corrections, performance assessment forms, 1986-1987
2.30, History of Australia : the musical (1988)
Two-act musical commissioned by Victoria's 150th Anniversary Committee and the Australian Bicentennial Authority, based on Manning Clark's History of Australia (1962-1987); authors Tim Robertson, Don Watson and John Romeril; lyrics by Tim Robertson and Don Watson with John Romeril; script editing by Romeril; music by George Dreyfus, Martin Armiger and Dave King. First produced at the Princess Theatre, Melbourne, 10 January 1988, directed by John Bell. Published by Yackandandah Playscripts, Montmorency, Victoria, 1995. B4 size scene order (2), art work and newspaper clippings are located in Series 7.
Sponsorship proposal, scene breakdowns, song and music breakdowns, budget breakdown, personnel and company lists, synopses, telephone list, notes to John Bell, 1984-1988
Romeril's publicity notes, 1984-1988
Research material, reviews, programs, postcard
Notes, annotated typescript, computer typescript and photocopy typescript drafts with cut and paste inserts and white-out corrections, 1984-1988
2.31, Top end (1989)
A play in two parts, 29 scenes, originally written in 1979 and revised in 1986. First public reading by the Melbourne Theatre Company, Sunday 4 September 1988, directed by Janis Balodis. First produced by the Melbourne Theatre Company, Russell Street, Melbourne, 30 September 1989, directed by Paul Hampton.
Synopsis, notes, scene breakdown, rehearsal schedule, 1979-1989
Notes and annotated computer typescript and photocopy typescript drafts with cut and paste inserts and white-out corrections, 1984-1989
Program, reviews, flyer, script reports, 1988-1989
2.32, Lost weekend (1989)
A play in thirty scenes, based on a treatment originally devised by Romeril for a television series. First produced by South Australian State Theatre Company, The Space Theatre, Adelaide Festival Centre, Adelaide, August 1989, directed by John Gaden and Ian Watson.
Synopses (2), research material
Notes, annotated typescript and photocopy typescript drafts, 1988-1989
State Theatre Company of South Australia photocopy typescript, 1988
Post production typescript (2), rehearsal schedule, program notes, reviews, flyer, 1989
2.33, Working out (1991)
A play in fifteen scenes devised for upper secondary level students on the subject of work experience. Commissioned by the Victorian Arts Centre for its Art Ed Program. First produced by the Victorian Arts Centre Art Education Unit at the Fairfax Studio, 1991, directed by David Myles.
Concept, tour schedule, notes, 1991
Notes, annotated computer typescript and typescript drafts with cut and paste inserts, 1991
Costume and set designs and theatre floor plans, 1991
Teachers' notes, completed performance assessment forms, 1991
2.34, Black cargo (1991)
Two part musical based on John Morrison's short story of the same name; adaptation, words and lyrics by John Romeril, music by Irine Vela. Commissioned in 1990 by Melbourne Workers Theatre. A public reading was held at the Lincoln Hotel in July and the first draft was workshopped in late 1990. First produced by Melbourne Workers Theatre, Anthill Theatre, South Melbourne, 24 May 1991, directed by David Carlin.
Research material, submission to Arts Centre, annotated typescript draft with cut and paste inserts and white-out corrections, 1955-1991
Notes and annotated photocopy and computer typescript drafts, 1990-1991
Annotated typescript, photocopy typescript and computer typescript drafts with cut and paste inserts (5), 1990-1991
Part 1, annotated typescript drafts (2), rehearsal schedules, budget, flyer, program, 1990-1991
2.35, Reading boy (1991)
One hour puppet play in seven chapters, devised by Romeril from an idea by Peter J. Wilson for primary school audiences, commissioned by Handspan. First produced by Handspan Theatre, The Space Theatre, Adelaide, during the 1991 Come Out Festival, directed by Peter Wilson.
Notes, synopsis, research material, rehearsal schedules, annotated computer typescript draft (incomplete), 1990-1991
Annotated typescript, computer typescript and photocopy typescript drafts with cut and paste inserts and white-out corrections, 1990-1991
Drawing and a copy of Fingerprint, vol. 7, no. 1, May 1991, 1990-1991
2.36, Bring down the house (1992)
Musical by Romeril, music by Irine Vela. First produced by Arena Theatre Company, CUB Malthouse, South Melbourne, 20 May 1992, during the Next Wave Festival, directed by Barbara Ciszewska.
Research material, 1991
Research material, notes, draft contract, early manuscript and annotated typescript drafts prepared for workshop, first draft song lyric, scene order, 1991-1992
Annotated typescript and photocopy typescript drafts (6), flyers, 1991-1992
2.37, Miscellaneous Dramas, 1969-1970
This subseries comprises drafts of plays written by Romeril for the Australian Performing Group, including street theatre created for demonstrations, May Day marches, election campaigns, factory tours, restaurants, children and women's liberation groups and workshops. The plays have been devised for specific occasions and when circumstances change either new plays or adaptations are made. The chief aim is to propagandise, to inform, to debate. They are the work of a group, which while anxious to entertain its audiences, are yet more intent on having their audiences absorb the message. Adaptability and a readiness to improvise are key factors to the success of this type of theatre.
Notes, research material and manuscript and typescript drafts of an article on street theatre by Romeril, 1969-1970
Mr Big the big, big pig, 1969
Includes manuscript and annotated typescript drafts
The American independence hour, 1969
Research material, notes and annotated typescript drafts of In a place somewhere else, What happened to realism, Pot and peace miracle show and Dr Karl's kure, 1969-1970
Research material, notes and annotated typescript drafts of This side of socialist transformation, 1969-1970
Research material, notes and annotated typescript drafts of an untitled piece, 1969-1970
Research material, notes and annotated typescript drafts of Women's thing, Unhappy Harvey, Image maker, Happy and Dinga, Monologues, The hayseed's harangue, Death of an agitator, Curtain and The US imperialism show, 1969-1970
2.38, Night of national reconciliation, c. 1980s
A series of political revues devised by various writers including Romeril, Don Watson, Patrick Cook, John Clark and Phil Scott for Max Gillies. Staged at Kinsellas before touring Sydney, Adelaide and Melbourne in the early 1980s.
Notes, synopsis, research material, song lyrics, budget schedule, manuscript, typescript, carbon and photocopy typescript drafts with ms annotations, white-out corrections and cut and paste inserts, c. 1980s
2.39, Unproduced and/or unfinished dramas, 1970-1989
This subseries comprises research material, notes and drafts of unproduced and/or unfinished plays by Romeril.
'The capture of sound', 1978
Includes research material, notes, annotated typescript and photocopy typescript drafts (2)
'Elvira Vermillion', c. early 1970s
Includes research material, notes, synopsis, song lyrics, manuscript and annotated typescript drafts
'Going through', 1988-1989
Includes research material, notes, scene breakdown, annotated typescript draft and typescript draft with cut and paste inserts (2)
'Kelly kartoon', 1975-1977
Includes research material, notes, synopsis, song lyrics, manuscript drafts
'Isabella Kelly', c. early 1970s
Includes research material, notes, synopsis
'My brilliant career', 1970s
Includes annotated typescript draft
'96', c. 1970s
Includes synopses (2)
'Rosa', 1972
Includes research material, notes, annotated typescript and carbon typescript drafts
'Tax play', 1977-1978
'Town and country', 1985
Includes research material, notes, prospectus, synopses for ten scripts, manuscript drafts
'Xmas play', c. early 1970s
Includes notes, annotated typescript draft
2.40, Carlton rock (1979)
Carlton rock, a song cycle written by Romeril for the suburb of Carlton, Melbourne, designed to be produced in a soft rock cafe.
Research material, manuscript, annotated typescript, carbon and photocopy typescript drafts, 1979
2.41, Untitled dramas
Untitled and undated drafts of two plays written by Romeril.
Manuscript draft, annotated photocopy typescript drafts (2)
Series 3 Radio and Television Dramas, 1972-1989
This series comprises produced, unproduced and unfinished radio and television dramas written by Romeril for adults and children from 1972-1989. Includes notes, research material, synopses, introductory account of the series, scene and character breakdowns, manuscript and typescript drafts. Correspondence relating to this material is included in Series 1, B4 size materials are located in Series 7, audio visual materials are located Series 8, photographs are located in Series 9 and posters are located in Series 10.
3.1, Time for love, 1972-1973
Television series exploring the subject of love and relationships. First produced by the Australian Broadcasting Commission's Drama Department, Melbourne.
The best of mates, carbon typescript synopsis (2), carbon typescript draft (incomplete), writers' notes, 1971-1972
Charlie the Chequer Cab kid, working title 'Good time Charley - the Chequer Cab kid', research material, typescript draft, carbon and photocopy typescript drafts, notes, 1973
3.2, Six of the best, 1981-1982
Television series which explores the life of six adolescents during their first year in the adult world after school. First produced by the ABC Education Department in association with the Transition Education Advisory Committee, Victoria, 1982
Notes, synopses, scene breakdowns, story line notes, script due dates, episodes 7-12, 1981-1982
Notebook, research material, manuscript and annotated typescript drafts with cut and paste inserts and white-out corrections, 1981-1982
Synopsis, notes, annotated typescript and roneoed annotated typescript drafts with cut and paste inserts and white-out corrections, 1981-1982
Episode 1, camera script, call sheet, scene breakdown, 1981
Episode 2, notes, synopsis, drafts, rehearsal script, 1981
Episode 3, revisions, scene breakdown, camera script, 1981
Episode 4, rehearsal script, camera script, call sheet and recording schedules, 1981
Episode 5, camera script, rehearsal script, scene synopsis, 1981
Episode 6, rehearsal script, scene breakdown, 1981
Episode 7, rehearsal script, camera script, taping schedule, 1982
Episode 8, camera script, rehearsal script, call sheet for episodes 7 and 8, 1982
Episode 9, camera script, 1982
Episode 10, camera script, cast address list, rehearsal script, 1982
Episode 11, rehearsal script, call sheet, 1982
Episode 12, rehearsal script, camera script, 1982
Episode 12, camera scripts (3), Episode 13, call sheet, 1982
3.3, Inside running (1989)
Everything's a hustle, episode 17 of the television series Inside running, written by Romeril and edited by Tony Watts. First produced by the Australian Broadcasting Commission's Drama Department, Melbourne, 1989.
Concept, notes, synopses, copies of other episodes, 1989
2nd annotated computer typescript draft, 1989
Edited annotated computer typescript draft and notes, 1989
Script amendments, 1989
Final computer typescript and drawings, 1989
3.4, The junior chess champion of N.S.W, n.d.
Half hour radio play produced by the Australian Broadcasting Commission, Sydney on the subject of teenage violence.
Carbon and annotated photocopy typescript drafts
3.5, A nasty little story, n.d.
An unproduced thirty minute television drama for two main characters.
Annotated carbon typescript draft, 18 p.
Series 4 Screenplays, 1975-1986
This series comprises notes, research material, manuscript, typescript, carbon, roneoed and photocopied drafts of produced and unproduced film scripts written or adapted by Romeril. Correspondence relating to this material is included in Series 1, B4 size materials are located in Series 7, audio visual materials are located Series 8, photographs are located in Series 9 and posters are located in Series 10.
4.1, Animals, c. 1975
Unproduced film script about an extended family faced with unemployment.
Notes, synopsis, storyboard cards, annotated typescript draft with white-out corrections (2), c. mid 1970s
4.2, The First Boomerang Church of Herbert, 1978
A feature length comedy film script entered in a New South Wales Film Corporation competition for the best contemporary comedy screenplay, 1978.
Research material, advertisement re competition, 1966-1978
'God tattooed Smith', annotated typescript and annotated roneoed typescript drafts (4), 1978
Notes, annotated typescript drafts, assessor's comments, 1978
4.3, The great McCarthy (1975)
Independent feature film adapted from Barry Oakley's novel entitled A salute to the great McCarthy, screenplay by John Romeril, directed by David Baker, produced by Baker and Richard Brennan for Stoney Creek Films, 1974. First released 1975. Alternative title A salute to the great McCarthy.
Synopsis and manuscript, annotated typescript and annotated carbon typescript drafts (incomplete), c. 1974
Manuscript, annotated typescript and annotated carbon typescript drafts (incomplete), c. 1974
Synopsis and annotated typescript and annotated carbon typescript drafts (incomplete), c. 1974
2nd bound roneoed typescript draft with ms. annotations, 140 p., April 1974
Romeril's copy of annotated typescript, carbon and photocopy typescript draft, 171 p., c. 1974
Final script, annotated roneoed typescript, 271 p., June 1974
Revisions to final script (3rd draft) and crew list, 8/7/1974
4.4, McLuckie, 1974
Unproduced film script prepared by Bill Hannan, Barry Oakley and Romeril, adapted from Barry Oakley's play entitled Beware of imitations. Result of a six-week workshop conducted by the Australian Performing Group, October-November 1974.
Notes, research material, budget, typescript, photocopied typescript and roneoed typescript drafts, 1974
4.5, Mr Steam and Dry, 1985-1990
Unproduced feature film based on an idea by Mike Jenkins, screenplay by Romeril and Jenkins.
Concept, synopses, writer's note, research material, notes, production cards, annotated typescript, photocopy typescript and computer typescript drafts with cut and paste inserts, 1985-1990
Series 5 Dramaturgy and Treatments, 1987-c. 1990
This series comprises notes, research material, manuscript, typescript, carbon, roneoed and photocopied drafts of treatments and dramaturgical work written by Romeril. Correspondence relating to this material is included in Series 1.
5.1, State of defence (1987)
Two-act play written by Andrew Bovell, dramaturgy by Romeril, directed by Russell Walsh. First play produced by the Melbourne Workers Theatre in workplace venues, June-July 1987. State of defence is part of the Australia Councils' Art and Working Life Program, funded by the Community Arts, Literature, Music and Theatre Boards of the Australia Council and the Victorian Ministry for the Arts.
Notes, annotated photocopy typescript draft, annotated workshop typescript draft, flyer, 1987
5.2, The ballad of Louis Ryan (1988)
Two-act play written by Andrew Bovell, dramaturgy by Romeril, directed by Denis Moore. First produced by the Melbourne Workers Theatre in workplace venues, 1988.
1st annotated photocopy typescript draft, 2nd annotated photocopy typescript draft with cut and paste inserts, 1988
5.3, Electric (1989)
Written by Patricia Cornelius for Junction Theatre Company, lyrics by Romeril, music by Ian Farr.
Annotated typescript and computer typescript drafts of lyrics with cut and paste inserts, 1989
5.4, Farewell welfare (1989)
Romeril assisted a St. Kilda welfare group to produce a play on the subject of schizophrenia, produced at various venues, August 1989.
Research material, synopses, annotated typescript drafts, rehearsal schedule, flyer, 1989
5.5, The firm (1989)
Musical based on the history of J.C. Williamson's, from an idea by Royce Foster and Bill Marshal, treatment by Romeril, adapted from A family of brothers : the Taits and J.C. Williamson : a theatre history, by Viola Tait.
Research material, notes, annotated typescript drafts, 1989
5.6, Greening, c. 1992
Sketches by Romeril relating to the greening of Swanston Street, Melbourne.
Notes, annotated typescript drafts, c. 1992
Including 'Swanston Street : the rough, the smooth the everyday', 'Tinkit', 'Aborigine', 'Glass of water near at hand', 'Muesli', 'The audience comes upon an unaware actor' and 'The opening prayer'
5.7, The imposter (1987)
Play by Sha Yexin, Li Shoucheng and Yao Mingde, from the Shanghai People's Theatre, translated by Daniel Kane, dramaturgy by Romeril. First performed by Playbox Theatre Company and Melbourne Spoleto Festival, St. Martins Theatre 1, 11 September 1987, directed by Geoff Hooke.
Notes, photocopy of Kane's translation, annotated typescript prelude, scene and character breakdowns, annotated typescript and photocopy typescript drafts with cut and paste inserts, contact list, rehearsal schedules and flyer, 1987
5.8, The Safcol story, c. 1980s
Benefit theatre piece devised by the Oz-Latin band Mambo-ologists, dramaturgy by Romeril.
Draft, notes, c. 1980s
5.9, They will never believe you, n.d.
Treatment of They will never believe you, by Romeril.
Annotated photocopy typescript draft, 36 p.
Series 6 Other Prose
This series comprises notes, manuscript and typescript drafts of unpublished short stories and one novel by Romeril.
Including notes and annotated carbon and photocopy typescript drafts of The floating hamburger, Atheist at the altar, and untitled short story
Manuscript, typescript and photocopy typescript drafts of an untitled novel
Series 7 Miscellaneous Papers, c. 1960s-1993
This series comprises material relating to the Australian Performing Group, copies and cuttings of various newspaper articles, material and scripts by other people, biographical information, theatre programs, newsletters, pamphlets and other papers. Correspondence relating to this material is included in Series 1, research and drafts are located in Series 2 and Series 3, audio visual materials are located Series 8, photographs are located in Series 9 and posters are located in Series 10.
Material relating to the Australian Performing Group, 1969-1981
Including copies of ideas and outlines for dramas, press releases, newsletters, minutes, budgets and copies of correspondence relating to meetings and reports written by Romeril
Material and scripts sent to Romeril
Newsletters and pamphlets, 1970-1987
Melbourne Writers' Theatre newsletters and minutes, 1983-1984
University exercise books, c. 1960s
Biographical material relating to Romeril, includes interviews, two typescript copies of Marvellous Melbourne (lyrics only, not score), typescript reference by Romeril
Material collected whilst Writer-in-residence at the National University of Singapore, 1987
Including notebook, magazines, brochures, receipts and newspaper clippings
Box-folder 14
History of Australia : the musical B4 size scene orders (2), newspaper clipping of reviews, stencil for pamphlet, A3 size photocopies of articles, 1988
Newspapers containing articles used for Koori radio and Legends, copies of floor plans, designs and working drawings of Working out, B4 size scene order for first half of Black cargo, 1985-1991
Box-folder 16-17
Newspapers and articles collected by Romeril, c. 1970-1990
Series 8 Audio Visual, 1970-1985
This small series comprises one record and audio cassettes relating to Romeril's dramas and musicals. Correspondence and papers relating to this series are located in Series 1, Series 7, Series 8 and Series 10.
200 years: Shell talking map and 33-1/3 r.p.m. record entitled The first voyage : a re-discovery of Australia with Captain James Cook, 1970
Audio cassette of Castlemaine rock, 1976
Audio cassette of Jane Hammond demo tape, 20 June 1989
Audio cassette of meeting regarding the drama Legends, 1985
Audio cassette of 'Kelly kartoon' interview with Alec Brierly, 1975-1977
Audio cassette tapes (3) of The dud war, produced at University of Newcastle, 1979
Series 9 Photographs, 1942-1987
This series comprises black and white and colour photographs used for publicity purposes and photographs relating to theatre productions written by Romeril. Correspondence and papers relating to the photographs are located in Series 1, Series 7, Series 8, Series 9 and Series 10.
Box-folder 1
Slides of woodblock prints by Walter Pidgeon taken from The Eureka stockade : the consequence of some pirates wanting on quarter-deck a rebellion, by Carboni Raffaello, with an introduction by Herbert V. Evatt, illustrated by W. E. Pidgeon (1942)
Black and white photographs of cast from Carboni
Black and white photographs of cast from The dud war, includes lists of cast applicants with photographs
Colour photographs from Kelly dance
Negatives of slides of Golden Holden, 1970
Slides of Rosa
Black and white and colour photographs of casts from:
Legends;
Koori radio
Photographs and negatives of Jonah
John Romeril
Colour photographs taken in Tasmania
Negatives of John Romeril transferred from office file
Negatives of Definitely not the last, 1972-1987
Series 10 Posters, 1985-1992
This small series comprises posters advertising theatre productions, flyers and a card.
Including A night in Rio and other bummerz, Bring the house down, Jonah Jones, Jonah, Koori radio, Legends, Lonely hearts club band, Mrs. Thally F., Night of national reconciliation, Samizdat, La Mama Company, Handspan Theatre touring 91 & 92, Melbourne Workers Theatre bulletin, Mill night, Deakin University and a card from the cast of The three Musketeers
Awaiting Processing:
Page last updated: Tuesday, 17 April 2018


Nikita has resigned to start working in this hospital in Remote Karnali region. This is a social work under newly formed Rabi Lamichhane foundation. The hospital Raskot Community Hospital was announced in January - right after Rabi and Nekita got married. Rabi Lamichhane is a Nepalese television presenter who set the world record for hosting the longest-ever television talk show broadcast in News24 Television in April 2013. He is one of the most popular TV journalists working in Nepal.


I figured any mod to your motor would shorten the life of the engine( JUST LEARNED) I was really wondering if the EMS would shorten life span? and if I could do the dry nos system with the engine managment or would it be just to much.
But what does everyone think about the idea of dry NOS and the hondata EMS works together or trying to boost way to much?
My advice would be to sell your car and buy something designed and built by its manufacturer to be faster; it'll cost you much less in the long run.
I Like the style and look of my car that why I got it. I will work with what I have thanks for the thought tho.
A EMS unit on a otherwise stock car is going to do nothing but cost a lot of money.
Nitrous is an option, but I would always recommend a wet kit over a dry kit, makes tuning a lot easier and a lot safer.
Live2rice I have greddy short ram intake and a exhaust system on the way as we speak. Would these considered still stock? Why wouldn't it up my performance of my car? Just asking not trying to argue the fact could you just explain why I wouldn't benefit from a EMS system?
A intake and exhaust wouldn't matter for an upgraded engine management. I've always said you need at least upgraded cams shaft to make a EMS worth it.
I'm not saying its not possible to squeeze a little more power out of the stock engine with a system like Hondata, but the gains would be minimal, and definitely not worth the $800 for Hondata Kpro+instillation and tune.
It seems like there really isn't too much support for the k24z3 yet. You could try and be a pioneer and custom make some parts, but even a turbo kit seems difficult because of the unique exhaust manifold set up on your engine.
Upon a little more research it seems as though Hondata Kpro won't even worth with your stock ECU.
Do you have the K24Z2 or k24Z3? Seems like there is almost nothing available for the Z2.
This is probably your best bet if you have a K24z3, you could probably get it to work.
Yes ive seen this build on joeys 2010 sedan looks pretty awesome. Was wondering if there was a cheaper route. But seems to be the only choice I have because the availabilty of parts for my car.
Fact of life, if you want meaningful gains in both power and torque, it's going to cost you several thousand dollars at the minimum.


text:
Sir James Wilson Agnew
Biography of Sir James Wilson Agnew
James Wilson Agnew graduated MD from the University in 1839, after having gained Membership of Royal College of Surgeons from London in 1838.
Agnew emigrated to Sydney, Australia, but it was in Tasmania where Agnew would settle and have a successful career as a physician and popular politician. From his first appointment in 1841 as assistant surgeon to the agricultural establishment, Agnew continued to practice in Holbart, Tasmania, until 1877, when he was appointed to the Legislative Council. From 8 March 1886 and 29 March 1887, Agnew held the office of Premier and Chief Secretary of Tasmania. He resigned from politics thereafter, but continued his memberships on various boards, such as the Council of Higher Education and in 1890 the Council of the University of Tasmania. An active member of the Tasmanian Society (the Royal Society of Tasmania), Agnew was the first chairman of the board of management of the Tasmanian Museum and Art Gallery, and chairman of the trustees of the Hobart Public Library until 1901. He was also president of the Tasmanian Racing Club and father of the Tasmanian Club.
In 1894 he received a Knighthood for his services to Tasmania.
Born 2 October 1815.
Died 8 November 1901.
University Link: Alumnus, Graduate
GU Degree: MD, 1839;
Occupation categories: physicians; politicians
Record last updated: 3rd Sep 2013
Graduate [View Sir James Wilson Agnew's record in the list of graduates]

redpajama_set_name: RedPajamaCommonCrawl


text:
British steel slips into an era of steep decline – it comes as no surprise
Baris Yalabik
Centre for Business, Organisations and Society (CBOS)
Despite cries of foul play, it should not come as a surprise to anyone that the UK steel industry has lost its edge – it was actually lost a while ago. The official line – low prices and a global glut brought on by excess Chinese supply and low demand – is true to some extent. But it tells only part of the story.
https://theconversation.com/british-steel-slips-into-an-era-of-steep-decline-it-comes-as-no-surprise-49473Licence: CC BY-ND
https://theconversation.com/british-steel-slips-into-an-era-of-steep-decline-it-comes-as-no-surprise-49473
Dive into the research topics of 'British steel slips into an era of steep decline – it comes as no surprise'. Together they form a unique fingerprint.
iron and steel industry Social Sciences 100%
demand Social Sciences 51%
Yalabik, B. (2015). British steel slips into an era of steep decline – it comes as no surprise. The Conversation. https://theconversation.com/british-steel-slips-into-an-era-of-steep-decline-it-comes-as-no-surprise-49473
British steel slips into an era of steep decline – it comes as no surprise. / Yalabik, Baris.
Yalabik, B 2015, 'British steel slips into an era of steep decline – it comes as no surprise' The Conversation. <https://theconversation.com/british-steel-slips-into-an-era-of-steep-decline-it-comes-as-no-surprise-49473>
Yalabik B. British steel slips into an era of steep decline – it comes as no surprise. The Conversation. 2015 Oct 23.
Yalabik, Baris. / British steel slips into an era of steep decline – it comes as no surprise. In: The Conversation. 2015.
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AB - Despite cries of foul play, it should not come as a surprise to anyone that the UK steel industry has lost its edge – it was actually lost a while ago. The official line – low prices and a global glut brought on by excess Chinese supply and low demand – is true to some extent. But it tells only part of the story.
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text:
'The Holiday' Sequel Is Not Happening, Nancy Meyers Announces
Too good to be true. Nancy Meyers denied rumors that a sequel to 2006's The Holiday was on the way.
'The Holiday' Cast: Where Are They Now?
"So many DM's about this — sorry but it's not true. ❤," the director shared via Instagram on Tuesday, December 6.
Reports circulated on Monday, December 5, claiming that a follow-up was in the works and set to start filming with all the major stars signed on to return. Journalist Katie Couric spoke for many fans when she commented with a simple broken heart emoji on Meyers' post shooting down the rumors.
The Holiday starred Cameron Diaz and Kate Winslet as Amanda and Iris, respectively, two women who exchange houses for the Christmas season after being jilted by the men in their lives. Amanda trades her swanky Los Angeles mansion for Iris' quaint English cottage and falls for Iris' brother (Jude Law). Meanwhile, the British writer soaks up the sun in California while falling for Amanda's colleague (Jack Black).
The movie, directed and written by Meyers, had a budget of $85 million and earned over $205 million at the worldwide box office.
Taylor Swift! Dolly Parton! Stars Reveal Their Favorite Holiday Films
It only earned one award — a Teen Choice Award for Choice Movie: Chick Flick. However, it remains a beloved Christmas movie, with live concerts for the soundtrack hosted in London and Alamo Drafthouse theaters hosting screenings this year.
Meyers recalled that the film wasn't immediately a favorite when it hit theaters. "Criticism stings, and you move on. The Holiday is the perfect example," she told Vulture in a December 2020 interview. "If anybody in 2006 in December, when that movie came out, told me 14 years later someone's going to say 'When it's December, you watch The Holiday' — what can I tell you? Time will tell. The audience is everything."
Diaz, for her part, recalled getting to spend a lot of time working with Meyers because Amanda has so many solo scenes.
"The funny thing is that I did a lot of acting on my own, and just with Jude," the Avaline wine founder told Vulture in December 2020. "Because we only had one scene with Jack and Kate. Our characters never crossed over. Basically Kate and Jack did their movie; Jude and I did ours. We only had the one scene at the end, where we all came together, and we shot that kind of at the beginning of the [shoot]."
Everything Cameron Diaz Has Said About Stepping Away From Acting
She continued, "Jude and I had a lot of fun shooting our bits. But I mean, there's a lot of scenes where Amanda's just kind of trudging along on her own. Trying to figure out her life. And I'm just acting with Nancy the whole time, which was a lot of fun."
Diaz largely retired from acting after her role in 2014's Annie, but she'll step back in front of the camera soon for Netflix's Back in Action opposite Jamie Foxx, which was announced earlier this year.
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The barrage of sites with mind-numbingly stupid content and clickbait titles is neither new nor exhilarating.
However, ad-mongering, for the lack of a better word, and short-shorter-shortest attention spans of people, when paired with the ubiquity of technological access has made them garishly visible and overwhelming, sometimes to the point of frustration, and oftentimes, far beyond.
Here's a list of reasons why these word-bundles posing as "articles" are a force of evil. Also, the mandatory "You won't believe number 7!"
Their titles offer little to no information about the actual content.
Their content is usually unnecessary at best.
Oversimplifications are not just made and brushed over, but celebrated.
They are mostly opinion-pieces, with the opinion being "I am better than you" or "Yoohoo, You get a stereotype, you get a stereotype, everybody gets a stereotype! There's enough for everyone."
The primary purpose of these articles is to entice with a title that tugs at heartstrings of potential readers, so that their clicks help earn ad revenue.
The secondary purpose is to reinforce biases, stereotypes and self-indulgence.
For some reason, a vast section of the populace believe other people share their biases and would love to read fluff pieces of no consequence.
Most use cringeworthy images/gifs they don't hold the rights to publish.
The authors are often deluded enough to think they have invested this new awesome format no one ever though of.
The grammar is, well, horrendous on most occasions.
The list is 0.43252003274489856000 items shorter than the title. So Sue Me.
43252003274489856000 is the total number of possible combinations on a standard Rubik's Cube.
P.S. I think "notable trivia" is an oxymoron, but I've been wrong before.
All to often, people dismiss Linux if something tiny doesn't work out of the box. They claim that one does not face such problems in Windows, forgetting the extensive jumping through hoops known as installing a bunch of drivers that negates the whole "out of the box" premise.
I had just gotten a fresh install of openSUSE Edu Li-f-e, based on Leap 42.1, running on the behemoth that is Alienware M17xR4. All seemed fine until I realised that plugging a headphone into the relevant jack does not reroute the sound output through the headphones, while the speakers keep blasting away.
Pulseaudio, or rather pavucontrol, was helpful enough to switch between line-out and headphones on cue within the GUI, albeit with little effect, as the sound output remained unaffected.
The situation wasn't too different with the KDE's "Audio Volume" module, which largely seems to be a front end to pulseaudio.
As I was bungling through the settings, I realised that the issue wasn't detection of headphones, as it was the switching audio output from the speakers to the headphone.
alsamixer has a particularly unhelpful welcome display, which has no bearing on the level of customisability it offers.
We can, however, get much better controls, once we manually select the sound card (Press F6).
Note: If you fail to find the option for the given sound card, See Note 1 at the bottom of the post.
We then navigate to the HP/Speaker Auto Detect (in red in the image below) and toggle to ON (by pressing M).
If you get stuck along the way, help is just an F1 away.
options snd-hda-intel model=alienware at the end of the file /etc/modprobe.d/50-alsa.conf .
If the file does not exist, look through the folder /etc/modprobe.d/ to check if any similar file exists with a different number preceding it, and edit the same.


text:
// Copyright 2004-present Facebook. All Rights Reserved.

#pragma once

#include <memory>
#include <sstream>
#include <unordered_map>
#include <vector>

#include <folly/dynamic.h>
#include <jschelpers/JavaScriptCore.h>
#include <jschelpers/Unicode.h>
#include <jschelpers/noncopyable.h>

namespace facebook {
namespace react {

class Value;
class Context;

class JSException : public std::exception {
public:
  explicit JSException(const char* msg)
    : msg_(msg), stack_("") {}

  JSException(const char* msg, const char* stack)
    : msg_(msg), stack_(stack) {}

  const std::string& getStack() const {
    return stack_;
  }

  virtual const char* what() const noexcept override {
    return msg_.c_str();
  }

private:
  std::string msg_;
  std::string stack_;
};

class String : public noncopyable {
public:
  explicit String(): m_context(nullptr), m_string(nullptr) {} // dummy empty constructor

  explicit String(JSContextRef context, const char* utf8)
  : m_context(context), m_string(JSC_JSStringCreateWithUTF8CString(context, utf8)) {}

  String(String&& other) :
    m_context(other.m_context), m_string(other.m_string)
  {
    other.m_string = nullptr;
  }

  String(const String& other) :
    m_context(other.m_context), m_string(other.m_string)
  {
    if (m_string) {
      JSC_JSStringRetain(m_context, m_string);
    }
  }

  ~String() {
    if (m_string) {
      JSC_JSStringRelease(m_context, m_string);
    }
  }

  String& operator=(String&& other) {
    if (m_string) {
      JSC_JSStringRelease(m_context, m_string);
    }

    m_context = other.m_context;
    m_string = other.m_string;
    other.m_string = nullptr;

    return *this;
  }

  operator JSStringRef() const {
    return m_string;
  }

  // Length in characters
  size_t length() const {
    return m_string ? JSC_JSStringGetLength(m_context, m_string) : 0;
  }

  // Length in bytes of a null-terminated utf8 encoded value
  size_t utf8Size() const {
    return m_string ? JSC_JSStringGetMaximumUTF8CStringSize(m_context, m_string) : 0;
  }

  /*
   * JavaScriptCore is built with strict utf16 -> utf8 conversion.
   * This means if JSC's built-in conversion function encounters a JavaScript
   * string which contains half of a 32-bit UTF-16 symbol, it produces an error
   * rather than returning a string.
   *
   * Instead of relying on this, we use our own utf16 -> utf8 conversion function
   * which is more lenient and always returns a string. When an invalid UTF-16
   * string is provided, it'll likely manifest as a rendering glitch in the app for
   * the invalid symbol.
   *
   * For details on JavaScript's unicode support see:
   * https://mathiasbynens.be/notes/javascript-unicode
   */
  std::string str() const {
    if (!m_string) {
      return "";
    }
    const JSChar* utf16 = JSC_JSStringGetCharactersPtr(m_context, m_string);
    size_t stringLength = JSC_JSStringGetLength(m_context, m_string);
    return unicode::utf16toUTF8(utf16, stringLength);
  }

  // Assumes that utf8 is null terminated
  bool equals(const char* utf8) {
    return m_string ? JSC_JSStringIsEqualToUTF8CString(m_context, m_string, utf8) : false;
  }

  // This assumes ascii is nul-terminated.
  static String createExpectingAscii(JSContextRef context, const char* ascii, size_t len) {
#if WITH_FBJSCEXTENSIONS
    return String(context, JSC_JSStringCreateWithUTF8CStringExpectAscii(context, ascii, len), true);
#else
    return String(context, JSC_JSStringCreateWithUTF8CString(context, ascii), true);
#endif
  }

  static String createExpectingAscii(JSContextRef context, std::string const &ascii) {
    return createExpectingAscii(context, ascii.c_str(), ascii.size());
  }

  static String ref(JSContextRef context, JSStringRef string) {
    return String(context, string, false);
  }

  static String adopt(JSContextRef context, JSStringRef string) {
    return String(context, string, true);
  }

private:
  explicit String(JSContextRef context, JSStringRef string, bool adopt) :
    m_context(context), m_string(string)
  {
    if (!adopt && string) {
      JSC_JSStringRetain(context, string);
    }
  }

  JSContextRef m_context;
  JSStringRef m_string;
};

class Object : public noncopyable {
public:
  Object(JSContextRef context, JSObjectRef obj) :
    m_context(context),
    m_obj(obj)
  {}

  Object(Object&& other) :
      m_context(other.m_context),
      m_obj(other.m_obj),
      m_isProtected(other.m_isProtected) {
    other.m_obj = nullptr;
    other.m_isProtected = false;
  }

  ~Object() {
    if (m_isProtected && m_obj) {
      JSC_JSValueUnprotect(m_context, m_obj);
    }
  }

  Object& operator=(Object&& other) {
    std::swap(m_context, other.m_context);
    std::swap(m_obj, other.m_obj);
    std::swap(m_isProtected, other.m_isProtected);
    return *this;
  }

  operator JSObjectRef() const {
    return m_obj;
  }

  operator Value() const;

  bool isFunction() const {
    return JSC_JSObjectIsFunction(m_context, m_obj);
  }

  Value callAsFunction(std::initializer_list<JSValueRef> args) const;
  Value callAsFunction(const Object& thisObj, std::initializer_list<JSValueRef> args) const;
  Value callAsFunction(int nArgs, const JSValueRef args[]) const;
  Value callAsFunction(const Object& thisObj, int nArgs, const JSValueRef args[]) const;

  Object callAsConstructor(std::initializer_list<JSValueRef> args) const;

  Value getProperty(const String& propName) const;
  Value getProperty(const char *propName) const;
  Value getPropertyAtIndex(unsigned int index) const;
  void setProperty(const String& propName, const Value& value);
  void setProperty(const char *propName, const Value& value);
  void setPropertyAtIndex(unsigned int index, const Value& value);
  std::vector<String> getPropertyNames() const;
  std::unordered_map<std::string, std::string> toJSONMap() const;

  void makeProtected() {
    if (!m_isProtected && m_obj) {
      JSC_JSValueProtect(m_context, m_obj);
      m_isProtected = true;
    }
  }

  template<typename ReturnType>
  ReturnType* getPrivate() const {
    const bool isCustomJSC = isCustomJSCPtr(m_context);
    return static_cast<ReturnType*>(JSC_JSObjectGetPrivate(isCustomJSC, m_obj));
  }

  void setPrivate(void* data) const {
    const bool isCustomJSC = isCustomJSCPtr(m_context);
    JSC_JSObjectSetPrivate(isCustomJSC, m_obj, data);
  }

  JSContextRef context() const {
    return m_context;
  }

  static Object getGlobalObject(JSContextRef ctx) {
    auto globalObj = JSC_JSContextGetGlobalObject(ctx);
    return Object(ctx, globalObj);
  }

  /**
   * Creates an instance of the default object class.
   */
  static Object create(JSContextRef ctx);

private:
  JSContextRef m_context;
  JSObjectRef m_obj;
  bool m_isProtected = false;

  Value callAsFunction(JSObjectRef thisObj, int nArgs, const JSValueRef args[]) const;
};

class Value : public noncopyable {
public:
  __attribute__((visibility("default"))) Value(JSContextRef context, JSValueRef value);
  __attribute__((visibility("default"))) Value(JSContextRef context, JSStringRef value);
  __attribute__((visibility("default"))) Value(Value&&);

  Value& operator=(Value&& other) {
    m_context = other.m_context;
    m_value = other.m_value;
    other.m_value = NULL;
    return *this;
  };

  operator JSValueRef() const {
    return m_value;
  }

  JSType getType() const {
    return JSC_JSValueGetType(m_context, m_value);
  }

  bool isBoolean() const {
    return getType() == kJSTypeBoolean;
  }

  bool asBoolean() const {
    return JSC_JSValueToBoolean(context(), m_value);
  }

  bool isNumber() const {
    return getType() == kJSTypeNumber;
  }

  bool isNull() const {
    return getType() == kJSTypeNull;
  }

  bool isUndefined() const {
    return getType() == kJSTypeUndefined;
  }

  double asNumber() const {
    if (isNumber()) {
      return JSC_JSValueToNumber(context(), m_value, nullptr);
    } else {
      return 0.0f;
    }
  }

  int32_t asInteger() const {
    return static_cast<int32_t>(asNumber());
  }

  uint32_t asUnsignedInteger() const {
    return static_cast<uint32_t>(asNumber());
  }

  bool isObject() const {
    return getType() == kJSTypeObject;
  }

  Object asObject();

  bool isString() const {
    return getType() == kJSTypeString;
  }

  String toString() noexcept {
    return String::adopt(context(), JSC_JSValueToStringCopy(context(), m_value, nullptr));
  }

  static Value makeError(JSContextRef ctx, const char *error);

  static Value makeNumber(JSContextRef ctx, double value) {
    return Value(ctx, JSC_JSValueMakeNumber(ctx, value));
  }

  static Value makeUndefined(JSContextRef ctx) {
    return Value(ctx, JSC_JSValueMakeUndefined(ctx));
  }

  static Value makeNull(JSContextRef ctx) {
    return Value(ctx, JSC_JSValueMakeNull(ctx));
  }

  __attribute__((visibility("default"))) std::string toJSONString(unsigned indent = 0) const;
  __attribute__((visibility("default"))) static Value fromJSON(JSContextRef ctx, const String& json);
  __attribute__((visibility("default"))) static Value fromDynamic(JSContextRef ctx, const folly::dynamic& value);
  __attribute__((visibility("default"))) JSContextRef context() const;
protected:
  JSContextRef m_context;
  JSValueRef m_value;
  static JSValueRef fromDynamicInner(JSContextRef ctx, const folly::dynamic& obj);
};

} }

redpajama_set_name: RedPajamaGithub


Informa's survey suggests service providers and vendors are confident that they can derive mutual gains from G-PON interoperability and certification, especially in terms of reducing time-to-market. A number of major service providers are in the process of moving towards multivendor networks, while challenger vendors see interoperability as a way to get a foot in the door of existing deployments. Skeptics may say they've heard it all before, but more pieces seem to be in place to make it happen this time around.
There will always be a trade-off between the how much time and money certification can save service providers and how much it costs vendors to conform. The BBF is right to extend G-PON certification to cover wholesale, multicast and mobile backhaul and other emerging service models, but it also needs to help ONU vendors to spread the cost of certifying the growing number of products in their portfolios, say by allowing variants to be granted certification if a vendor's flagship product passes. The industry should also focus on promoting guidelines about deployability based on realworld case studies.
Some vendors might question how reasonable service providers' calls for greater G-PON interoperability are, but they are likely to grow rather than abate. Informa believes the industry should innovate in order to capitalise on, rather than resist, the transition to multivendor networks. Service providers need to collaborate more to create scale for their requirements, while OLT vendors should restructure their offerings to offset potential lost ONU sales with revenues from implementing and managing interoperability and bettersegmented ONU portfolios.
The majority of executives Informa interviewed were satisfied with the Broadband Forum's certification schemes and test plans. The greatest challenge the organization faces is getting its message across to the skeptics, the undecided and the plain unaware. Key to this effort will be understanding and explaining how multivendor deployments can drive innovation and reduce the total cost of ownership of G-PON, and not just the per-unit cost of ONUs.


Smilecraft Dental Care is a private dental practice located in the heart of Stevenage Old Town. We provide general, preventative and cosmetic dentistry to patients of all ages.
Smilecraft Dental Care understands the importance of quality dental care. We know how a dental procedure can affect a patient's overall health, which is why we make sure we provide safe and effective treatments that, with recommended maintenance and effective home-care, will be durable.
We provide a full range of dental treatments that patients can trust. Whether you are in need of teeth whitening, root canal therapy, extractions or adult orthodontics in Stevenage, Smilecraft Dental Care is here to serve you. We also screen you for mouth cancers at every consultation visit.
We will always see emergency patients. If you have a genuine emergency we will see you on the same day but we would prefer to hear from you as early as possible to help us to accommodate you. A call at the end of the day might make a same day appointment difficult.
Smilecraft Dental Care constantly reinvests to provide the latest dental technologies and techniques. We equip our practice with state-of-the-art tools and facilities, which benefits our patients. Apart from this, we invest in our continuing professional development so that we can provide our patients with advanced techniques relating to preventative and cosmetic dentistry. One of our latest acquisitions is the Wand, for computerised pain-free anaesthesia, which we have in both of our treatment rooms.
Smilecraft Dental Care's main priority as a dentist in Stevenage is the health, comfort and happiness of all of our patients. We aim to provide consistently good quality dental care for all of our patients and place importance in the relationships we build with them. We pride ourselves in treating our patients with kindness and respect and in carrying out treatment which is required, appropriate and desired. Our patients are accustomed to a truly personal service delivered in comfort and, most importantly of all, with integrity and trust. That's why they keep coming back.
So whatever it is you would like to achieve - simple hygiene maintenance, restorative work or a life-changing makeover using braces – Smilecraft Dental Care is here to help you. Book an appointment with us today.
I really wasn't looking forward to my Root Canal treatment but when I arrived at the surgery, Bradley and Dawn really put me at my ease and did such a professional job. It wasn't nearly as bad as I had imagined. Thank you for being such a good team.
My wife and I have been going to Smilecraft since they opened in 1990 and we couldn't recommend them more highly. A visit to the dentist is regarded with dread by some but Bradley and his team put everybody at their ease.
Dear Bradley I must apologise for not writing to you earlier to say how pleased I am with my dental work. Your care makes it so worthwhile keeping my dentist in Hertfordshire and send my best wishes to you and your excellent team.
Bradley worked on my teeth for over an hour and used an amazing pain killing device called 'The Wand', which left me with no numbness in my lips, I was able to talk and drink with no embarrassment immediately afterwards. no wonder it's called 'The Wand' its certainly worked its magic.
Aside from the delights of The Wand, my teeth have been cared for by Bradley and his excellent team for the last 14 years and I cannot praise them highly enough.
Thanks to Bradley and his team, my lifelong fear of dentists is but a distant memory. I can't thank them enough for the first-class work they have done. Bradley is an exceptional dentist, and he and all his staff are the loveliest people you will ever meet. I love going there!
I have always been of a very nervous disposition which can trigger fear and panic for me. I find that any fears are lifted when I visit Caroline and the team at Smilecraft Dental Care as I feel that I am being very well looked after and could not ask for better dental care. My husband and I would recommend your practice to any friend or relative. Thank you so much!
A big thank you to Caroline and Staff Caroline was so understanding about my daughter's fear of the dentist - her beautiful nature and explaining what was being done helped such a lot and my daughter now feels much less stressed than before coming here. With thanks and warm wishes.


text:
TEEN TITANS GO TO THE MOVIES Trailer Trolls DC Movies
Posted by Eric Diaz on May 1, 2018
Ladies and gentlemen, the wait is finally over; the trailer for this summer's animated super-team epic is finally here. And no, we're not talking about The Incredibles 2. (Although yes, we are totally excited for that one too). Nope, we are talking about the trailer for Teen Titans Go to the Movies, the big screen debut of Cartoon Network's biggest superhero team this side of the Powerpuff Girls. You can check it out down below, and then we'll unpack all the best Easter eggs and goodies this trailer throws at us during its two minute run time.
First off, this trailer actually begins with an Easter egg, as the Titans are seen watching a trailer for the debut movie of "Batman's best friend," who turns out to not be Robin, but Alfred the butler. The Batman in that trailer is the Batman: The Animated Series version, which should make plenty of fans grin from pointy ear to pointy ear. This trailer also takes no prisoners in making fun of DC's film output over the last two decades, including digs at Green Lantern, Jonah Hex, Steel, and even the upcoming Shazam! I mean, you'd think they'd wait till that one came out first! And yes, that is none other than Nicolas Cage, who finally gets to play Superman after all these years.
But maybe the best part of the trailer is Will Arnett as the Titan's #1 baddie, Deathstroke Slade, since Deathstroke was too intense a name for a character in a movie with fart jokes in it I guess. After killing it as LEGO Batman, Arnett is getting read to to do the same with Slade, and we can't wait. And even though it's played for laughs in this trailer, we're glad someone is acknowledging that Deadpool is the rip-off of Deathstroke, not the other way around. Slade Wilson came out way before Wade Wilson kids!
Teen Titans Go! To the Movies–starring the voices of Scott Menville, Tara Strong, Khary Payton, Greg Cipes, Hynden Watch, Kristen Bell, and Will Arnett–will be released on July 27th.
Are you as excited to see the Teen Titans on the big screen as we are? Be sure to share your love of all things Titans down below in the comments.
Images: Warner Brothers
More for the comics fan!
Get to the bottom of the big ol' cosmic universe with our DC New Gods primer!
Fancasting the Green Lantern Corps movie!
Who could be the MCU's next big villain after Thanos?
DC Comics, nicolas cage, Teen Titans, Teen Titans Go, Teen Titans Go To the Movies, Warner Brothers Animation, will arnett
15 Movies You Absolutely Need to See This Summer
Nicolas Cage Will Finally Play Superman in TEEN TITANS
First Pics of the DC Comics Rides at the WB Theme Park
James Gunn has shared the first slate of films and TV shows for "Chapter 1" of the new unified DC Universe.… https://t.co/4qkASVWHsI


If You're tired of high weed prices and changeable quality maybe it's time to learn how to develop your own weed. Growing Elite Marijuana is an entire 748 page marijuana growing guide. It covers all you want to know to grow your very own premium excellent bud. It is chock full of marijuana growing tips which can benefit beginners and more advanced manufacturers alike.
The first is that the rapid growing start. It's a great deal of detailed HD pictures to be able to help you through the procedure step by step without being confusing. It doesn't have a bunch of technical terms that nobody can comprehend, therefore it's easy to follow! You may download this part straight away so you can begin ASAP and the next section also.
The second part is the in depth Explanation for those looking to know about growing marijuana. It's over 750+ pages filled with knowledge so that you will have the ability to find the reply to some more complicated questions about growing you could have.
A lot has Happened in the previous five years. Things are changing quickly and while there are a number of basics, strains come and go and growing techniques continue to advance also. You have to have the most current growing information to make the right decisions.
· An in-depth look at marijuana"strains" and how every offers you a colorful fresh stoned atmosphere, a lot of information here, and it is all up to date.
But Where do you start learning how to grow? In case you have ever searched the net because want to understand how to grow your own weed you probably discovered it to be a very confusing location. Everything is spread out all around the place. Should you ask a simple question on the forums you'll likely get 20 different responses and several will be just plain incorrect.
However, this Guide is not just for beginners. It covers advanced topics too so you can boost your abilities. I find myself going back to it again and again and I have been growing top shelf bud for years. I really enjoy the section on breeding cannabis since it's where my interests lie at this point.
Perhaps you Are not ready to start breeding your own breeds because you are only starting out, but I am sure you would wish to know how to put your grow area correctly. A lot of men and women concentrate on breeds, but really a suitable growing environment is even more crucial to successful growth. With no no strain will ever reach its whole potential for quality and yield.
By following The suggestions in Growing Elite Marijuana you will produce a perfect growing system and prevent costly, even fatal mistakes. It doesn't matter whether you want to increase in soil, coco or hydro. It doesn't matter whether you would like to grow marijuana indoors or out.
This manual Covers everything you need to know. From seed to veg to blossom from light to CO2 enrichment. Training, breeding, hydroponics and much much more. There is simply too much info to print all the topics covered in detail in this short article. You truly must visit the official Growing Elite Marijuana website to grasp just how much information is in this marijuana growing guide.


text:
Illustrated Non-Fiction
Authors – Fiction
Authors – General Non-Fiction
Authors – Illustrated Non-Fiction
Authors – Children's
To keep updated on our latest news within Fiction & Narrative Non-Fiction, please sign up to our newsletter!
CATEGORY: FictionX
ALL A B D E G H I J L M N O P R S T V W
Maria Adolfsson (b. 1958) lives in Stockholm where she writes full-time. The Doggerland series has fast become an international bestseller, has been translated to 19 languages to date and has sold over 325,000 copies in Sweden alone.
Kristina Agnér
Kristina Agnér, b. 1981, is a freelance developmental editor with a background within social work. The lakes and the woods surrounding her cottage in Småland is what inspired her to start writing the 'Småland series'. AFRAID OF THE DARK is her debut.
Linnea Axelsson
Linnea Axelsson (b. 1980) is from Porjus, northern Sweden, but now lives in Stockholm. She studied humanities at Umeå University and received her PhD in Art History in 2009. Her debut novel Tvillingssmycket was published in 2010 and in 2018 her acclaimed epic Ædnan won the prestigious August Prize,…
Susanne Axmacher
Susanne Axmacher (b. 1974) has lived abroad for many years working as a consultant on gender issues in France, Italy, the United States and Sudan on behalf of the EU, the UN and the Armed Forces. Season of the Nymph is Axmacher's second novel. Water Lily Children, published in 2009, was given a bril…
Marie Bengts
Marie Bengts (b. 1968) hails from southern Sweden but now lives in Stockholm, where she works as a journalist. Her debut, Death by Scissors, was published in 2017 to both great sales and critical acclaim.
Lars Berge
Lars Berge (b. 1974) is a Stockholm-based writer, journalist and documentary film maker. His debut novel, Office Ninja was translated into five languages and his first non-fiction work, Project Wolf became an instant national bestseller and was nominated for the international Ryszard Kapuściński Awa…
Daniel Birnbaum (b. 1963) is as of January 2019 the director of Acute Art in London, and previously worked as the Director of the Moderna Museet in Stockholm. He has managed both museums and art schools in Germany and Italy, and in 2009 he curated the Vienna-Biennale. DR. B. is his first novel, tell…
Daniel Dalgaard
Daniel Dalgaard, b. 1987, has a degree from the Authors' School in Copenhagen, a bachelor's degree in Literary History from Aarhus University and teaches at the West Jutland University College's author program. In 2013, he debuted with the collection of poems Vi er ikke konger and established himsel…
Åke Edwardson (b. 1953) is a pioneer and central figure on the Swedish detective fiction scene. His crime novels have won the Swedish Crime Writers' Academy Award for best crime novel, including his debut in 1995 Till allt som varit dött. Since the publication of Death Angels in 1997, the first inst…
Kerstin Ekman
Kerstin Ekman (b. 1933) debuted in 1959 as a crime writer. In 1978 she was elected to the Swedish Nobel Academy, and left her chair in 1989. Her rich narratives, often rooted in the everyday, have made her one of the most widely read Swedish writers of the twentieth century. Her works are translated…
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text:
<?php

/*
Make sure to add a class of 'tappable' in your theme or add-on
to everything you want to use this function with!
*/

add_action( 'foundation_module_init_mobile', 'foundation_tappable_init' );

function foundation_tappable_init() {
	wp_enqueue_script(
		'foundation_tappable',
		foundation_get_base_module_url() . '/tappable/tappable.min.js',
		array( 'jquery' ),
		FOUNDATION_VERSION,
		true
	);

	wp_enqueue_script(
		'foundation_tappable_wptouch',
		foundation_get_base_module_url() . '/tappable/wptouch.tappable.js',
		array( 'foundation_tappable' ),
		FOUNDATION_VERSION,
		true
	);
}