Neither the sudden reversal regarding their gymnasium playing space, or the “Selarang Incident,” stopped the Aussie concert party from performing the show that had been in its final rehearsals. On Sept. 30th, Keep Singing—their first original revue written by Slim De Grey and Ray Tullipan—opened at a hastily arranged venue somewhere in the Selarang Area. This was also the first appearance of the troupe under their new leadership and name, “The A.I.F. Concert Party.”
It wasn’t long before they found another location in Selarang for their permanent theatre: a bomb-damaged garage. Frazer Harvey and his construction crew went to work and quickly got the new space transformed into a theatre that would seat close to a thousand audience members.
In Murray Griffin’s drawing you see the new A.I.F. Theatre built into the garage. It was completely open on one side but curtains could be pulled across this opening to shut out any daylight or rain when necessary. Audience seating was in two sections: on the level main floor and in the stalls at the back. All seats were made from split palm logs, but the stalls were supported by large posts made from rubber trees. At the far end is a proscenium with a raised stage built on a foundation of solid oak rifle racks; an orchestra pit in front. Scenery would be improvised from old tenting and anything else they could scrounge or steal. Compared to their old gymnasium theatre, the acoustics in this new theatre proved to be excellent even without a microphone.[i]
Playbill for October ‘42.
The month of October found Prom Concerts still being presented every weekday evening at the Pavilion Theatre in the Southern Area; the “P.O.W. WOWS” continuing with their latest show in the 11th Div. Area and on tour; The Dream still playing at the Command Theatre, and I Killed The Count running at the New Windmill Theatre until another diphtheria outbreak temporarily closed the theatre.
[i] Boardman, J. “Notes,” n.p.
Note that all the documents in this series of blogs reside in Sears A. Eldredge Archive in the De Witt Wallace Library at Macalester College, 1600 Grand Avenue, St. Paul, Minnesota, 55105
Sear’s book, Captive Audiences/Captive Performers: Music and Theatre as Strategies for Survival on the Thailand-Burma Railway 1942-1945, was published by Macalester College in St. Paul, Minnesota in 2014, as an open-access e-book and is available here: http://digitalcommons.macalester.edu/thdabooks/22