From the desk of Roland Rocchiccioli – 2 April

If the actress, Geraldine Turner, had done on the American musical stage what she has done in Australia, she would be a huge Broadway star!

SADLY, in Australia, nothing stands for anything. No matter how illustrious your career – and Geraldine’s has certainly been that, or how much the critics rave, you are still required to audition. Those who are coming-through know little, if anything, about those who paved the way, and Geraldine was one of those who helped paved the way. Along with a number of talented actors, she demonstrated Australian theatre does not need imports to play the leads.

Geraldine’s recently published memoir, Turner’s Turn, is the story of a dysfunctional family, and a little girl, who grew-up to become a star! It is disarmingly honest. Also, it is a detailed record of a golden period in Australian theatrical history; a time in Melbourne when you could smell the excitement in the air.

Those who were around when Geraldine burst onto the scene remember it with crystal clarity. June, 1972. The stage musical No, No, Nanette opened at Her Majesty’s Theatre, Melbourne, starring Cyd Charisse. Directed by Freddie Carpenter, the cast included Jilly Perryman, Booby Limb, and Rosie Sturgess. It was a glittering production.

Geraldine played Betty-from-Boston, and brilliant she was. Gifted with a singing voice which might easily break the sound barrier, it has two states: loud, and louder! She did, literally, take the theatre scene by storm.

Geraldine is a brilliant raconteuses. She writes humour, regret, honesty, sadness, and a matter-of-factness which makes it a page-turner, her clarion voice is loud and clear.

She tells of her triumphs and failures with the same note of relish. Whether it is recounting standing ovations, or dealing with audiences in South Africa more interested in the buffet than her performance, she delivers recalls the same degree of importance.

The role of Mama Rose in Gypsy is one which has escaped her. Six times she prepared herself, and six times it slipped her fingers, and always through no fault of her own.

Aside from her career, she recounts of a childhood marred by her mother’s mental health problems, her father’s domestic assaults and drunkenness, and her incompatible brothers. The awfulness of her first marriage wedding reception is documented with such honesty it reads like a page from a shilling-shocker; however, Geraldine never loses her sense of humour.

What shines through is Geraldine’s vulnerability; her core strength. Where some might have fallen by the wayside under the weight of personal problems, she uses it as a form of determination to

succeed in what is a notoriously tough industry. As the late, great Bette Davis said, “showbusiness is not for sissies!” And she was right!

Turner’s Turn is a must read for anyone who loves musical theatre, and who has seen Geraldine strutting her stuff on stage.

The Victorian Liberal party proposal to expel Moira Deeming, Member for Western Metropolitan Region, is exactly as it ought be.

It is not because neo-Nazis turned-up at the infamous Melbourne Let Women Speak rally; rather, because it was headlined by the odious, British, anti-transgender activist, Kellie-Jay Keen. Ms Deeming was, by her presence, lending support, unequivocally!

Ms Deeming is an elected representative. Her views should be reflective of her supportive majority. Her incumbency is not leave to espouse personal, misguided, hateful ideologies, however deep-seated.

Given her views were known, it is difficult to imagine how Ms Deeming came to be preselected. A cursory internet search reveals the most alarming catalogue of her ugly views which have no place in our society.

Roland can be contacted via [email protected].