Category Archives: My Story

On the Board at Fox Studios

Hi res Fox Colour_0How a Writer’s op-shop jacket got him cast in a commercial.

Towards the end of my acting training my class appeared in The Legend of King O’Malley by Bob Ellis and Michael Boddy. In preparation for the title role, I scoured the local op-shops for weeks in search of my costume.

Having been an inveterate op-shopper for years, I knew the chances of finding anything my size were slim, so when I discovered a light green plaid jacket, the sleeves of which covered my long arms right to my knuckles, I rushed to pay the hefty $5.

But hey, I had an outfit that didn’t pinch me in the shoulders or make me look like Frankenstein, wrists exposed from cuffs halfway up my forearms. I felt able to play the man (“The King”) who had such an impact on the formation of modern Australia.

About a fortnight after the show, I was rehearsing for a production of The Popular Mechanicals by Keith Robinson, Tony Taylor and William Shakespeare, at Penrith’s Q-Theatre, when I got a call from the only agent I’ve ever had (who recruited models and actors through letterbox drops), asking me to attend a casting session for a car commercial at Fox Studios in Sydney. “Dress corporate,” she said.

My only smart jacket was King O’Malley’s. Matched with a business shirt (I had to fork out another $2), I looked about as corporate I was ever going to get, and plonked myself down in the casting office waiting room, surrounded by people in black and grey.

We were seen in groups, seated in a mock boardroom complete with a whiteboard, and launched into a board meeting improvisation. I was asked to stand and play the boss, whiteboard marker in hand.

BOARDROOM BITCH Faye Dunaway as Joan Crawford in Mommie Dearest.
BOARDROOM BITCH Faye Dunaway as Joan Crawford in Mommie Dearest.

Having spent months in theatre training, I was used to playing to the car park, so I was drawn to channel Faye Dunaway playing Joan Crawford in the Pepsi Cola scene in Mommie Dearest, (“Don’t f#%k with me fellas!”), and launched into sacking the whole lot of my motley staffers.

A note from the big wigs in the shadows, behind the camera, asked me to “Do it again, but tone it down.”

So I changed gears, made it quieter, colder, figuring they might be framing my head and shoulders. My fellow actors looked back at me with fear. Before I knew whether they were acting or not, we were shuffled out.

At the callback we had to imagine, on cue, a wonderful new car driving past our meeting, which was so innovative and attractive that it stopped us, and all our corporate musings, in shock. The result was several rounds of dreadful face pulling, and a bit of inappropriate chuckling.

But I got the gig!

Marched before the director at the costume fitting, “The Board” all looked at me when he asked “Where’s your green jacket?”.

“At home,” I muttered, feeling like I’d worn the wrong gear to sports class. “Can you bring it to the shoot? Can he bring it to the shoot?” he asked, not allowing me to say anything to the first part of his question. The costume designer looked at me with daggers in her eyes, nodded, and marched us out.

There was me thinking it was my well-honed acting skills which got me the job!

On the day, “The Board” waited in a bland green room at Fox Studios, where we worked out very quickly that only one of us could be defined as a “proper” actor – the NIDA graduate cast in the role of “The Boss”. The rest of us were ring-ins, really – a film festival producer, an accountant, an ad sales-rep – all earning far more in one day than we’d ever get in our day jobs.

If we made the final cut, that is. Word got around the set that the director was speculating on too many scenes for his Asian-screened commercial, and if we got cut we might get nothing.

No-one said it, but everyone on “The Board” thought “Don’t f#%k this up, people”.

We were fetched by a man with five mobile phones on his belt, seated in front of a blue screen with a small black track across it, given two quick rehearsals to aid in focussing on the fluorescent taped mark as it sped by (indicating where the “car” would be keyed-in by the editors) and then we were on.

I was seated with my back to the “car”. After the first take, they asked us to take our cue from the NIDA graduate, who was to take his from the director. We were all to be amazed by the “car” at different moments.

After a few more takes, a message came through to the NIDA graduate that he needed to do his turn, his “discovery” of the “car”, “less Broadway, please”. Everyone chuckled, because he had, actually, been having far too much fun with it.

A few more takes later, I shoved some papers off the table, on purpose. “Upstager!” I imagined the NIDA graduate say under his breath. But they liked it, “Keep the papers falling, please.”

A few takes later, they asked for me to take my green jacket off and put in behind me on the chair and roll up my shirt sleeves. No problem, it was getting warm anyway.

Then things started to go a little awry. The NIDA graduate was turning early, which put us all off. The message came through to “Stick to the cue, please”.

Bemused, sweat trickling down his temples, the NIDA graduate looked as though he really was earning his extra dollars for being slightly more featured in this commercial than us ring-ins. While they reset the marker, he leant across to me and whispered: “What’s my cue again?”

“When the director says ‘action’,” I whispered, as reassuringly as I could.

A few more takes later and it was all over. “The Board” was marched off the set to loud applause from the clients, clustered around a mock living room at the edge of the sound stage.

THE BORED MEMBERS Corporate grey is good, but green is better.
BORED MEMBERS Corporate grey is good, but green is better.

“When do you think we’ll get paid?” one of “The Board” asked back in the green room. “Don’t be so cynical,” the guy with five mobile phones said, calling-in the two models cast in the scene where the secretary gets ravished on the photocopier by some random office guy, after seeing the “car”, or course.

We cynical non-actors laughed, exchanged business cards, raided the fabulous leftover catering, and departed.

I drove back to Penrith for the technical rehearsal of The Popular Mechanicals, which was to open in only a few days. After all the blood, sweat and tears that goes into putting anything onto the stage, we played to some houses comprising fewer people, showing less enthusiasm, than the ad execs after “The Board’s” gripping performance at Fox Studios.

And we got paid nix. Welcome to Showbusiness, Mike.

I kept the green jacket for a few more years, but ditched in a hurried move, and I have never acted since I gave it up. Maybe it was my Good Luck Jacket?

© Michael Burge, all rights reserved.

Gambling on Madame Melville

MAGIC MADAME Stephen James King and Susie Lindeman in the Australian premiere of Madame Melville.
MAGIC MADAME Stephen James King and Susie Lindeman in the Australian premiere of Madame Melville.

A Writer learns the cost of casting.

HAVING started out in the Australian theatre scene as a designer, and reinvented myself in England as just about everything else – director, writer, producer – I eventually re-trained as an actor on Sydney’s fringe, made a splash in a couple of college shows, and then spent a year totally unemployed in that field apart from a stint in a car commercial. Probably an average result, in hindsight.

My big question was always this: how did actors without agents even hear about roles that were going, let alone get cast in one?

When an independent theatre company was producing the Australian premiere of Richard Nelson’s beautiful play Madame Melville at the Belvoir Street Theatre in Sydney, I found some answers.

A friend in the cast loaned me a copy of the script. Nelson’s sentimental study of his sexual awakening at the hands of a Parisian teacher in the 1960s is so evocatively written I could envisage it on the stage after just one read. There was also a part in the play I thought I had half a chance of getting cast in.

It’s impossible to explain this role without providing the worst spoilers for anyone who has not seen a production of Madame Melville. Suffice to say the character is the very rarest of roles in the modern theatre – a short, devastating attack on the protagonist, bringing the play to a swift, bittersweet conclusion.

So I pushed, a little, and put myself forward.

The offer of an audition hung in the air while the production company deliberated over theatre dates. Eventually, my friend called and said the show probably wouldn’t go ahead – there was a hole in the budget, and the highly experienced director would not work for free.

Disappointed, and experienced in putting budgets together, I asked, “How big is the hole?” I was in an excellent position to ask – I’d just sold my house, and was about to buy again in a cheaper market. I could afford to invest in my career a little.

My friend cried on the phone when I said I’d be happy to put up the money, which was nothing, really, just a fair fee for the director.

As a firm believer that everyone should get something from a professional collaboration, I understood his bottom line. I also understood mine – all I wanted in return was to remain an anonymous donor, and an audition for the role.

In due course, I got the call. The slightly scary part was having to front-up at NIDA, which was always imposing for this graduate. I’d left without really saying goodbye, my mind focussed on desperate family matters at home.

I’d been back for the place’s 40th birthday, and stood in a crowd watching a video clip on a huge screen celebrating student work across those four decades, and been part of the admiring-yet-envious silence, when Cate Blanchett’s picture flashed-up on the screen.

Because, like it or not, we who were watching comprised the 99 percent that NIDA’s dream factory told us would be unemployed for 99 percent of the time.

The director greeted me generously – we’d been NIDA students about the same time – and he took me upstairs to one of the familiar rehearsal rooms, explaining he was on a break from the annual NIDA applicant actors’ auditions.

That made me even more nervous – he’d been auditioned-for by even younger, hungrier, more hopeful actors than me all morning!

My first piece was a disaster. The other seemed to take him by surprise, and got a genuine laugh. He said that if he’d seen me do that in the morning, he’d have asked me back for the afternoon.

I took my leave and walked back past the young people posturing around the lunch room waiting for their afternoon call-back. I’d’ve been ‘asked back’ too, I muttered to them in my imagination.

MADAME MELVILLE 2

Weeks later, I heard that Madame Melville was going ahead. We’d secured a slightly awkward slot, right off the back of New Years, which was only weeks away, meaning the production would open to little advance publicity.

But I decided to enjoy not having to worry about such matters, and just act.

The professional cast was welcoming and generous, and I embraced the chance to inhabit the half-light of theatre wings once again. Nelson’s script calls for offstage voices throughout, and I had fun with those, whiling-away the hour or so before my entrance.

A one-line role over an extended season was a bit like a marathon of self-amusement. I created my character’s back story, went through serious preparations while listening the others onstage over the tannoy, gossiped with the cast of the upstairs Belvoir show, and duly took my cue.

Entering through the audience, I regularly heard their gasps of surprise and shock as I did battle with the protagonist … it was a joy to be part of such dramatic impact.

My technique of getting an audition got me nowhere beyond this production, the curtain call sometimes seemed longer than my time on the stage, but we got good audiences and well reviewed as a creative team, and a modest profit-share cheque eventually arrived in the post.

Odds aside, it was life-enlarging to be back in the theatre as part of the one per cent for a Summer.

© Michael Burge, all rights reserved.

Back in town

Inverell Court House, built in 1886 (Photo: Cgoodwin).
DAY IN COURT Inverell Court House, built in 1886 (Photo: Cgoodwin).

A Writer returns to the scene of the crime. 

MORE than 20 years after my family moved away from the country town of Inverell, leaving behind failed dreams and a broken marriage, I returned on a rainy evening in late 2003 with some unfinished business.

I’d called ahead to my grandmother, who was still living there in a nursing home. Before taking her to lunch the next day, I dropped into the local courthouse, an imposing clock tower at the centre of town, where a helpful woman proceeded to assist me in finding my mother’s name in the court records.

The court staffer didn’t flinch when it quickly became apparent we were not looking for a plaintiff of any kind, but rather a defendant. Trouble was, I had no specific dates to search, only the barest clues from what I’d been told about mum’s appearance in the court on a shoplifting charge sometime in the 1970s.

That meant mum’s name was still on the police computer database, in which the dates became brutally clear: just before Christmas, 1977, the police had made their way to our property off the Bingara Road, with complaints from two Inverell shops that mum had stolen childrens’ clothing and kitchen implements.

All court records prior to 1980 were stored in the archives of the New England University at the nearby city of Armidale. Would I like them faxed over? I agreed to return to the police station adjacent to the courthouse when they were ready.

Next, I dropped into the council chambers with a request. I had in my possession a hand-sized flat stone which had been picked up off the driveway of our farm, a flint-like rock with a broad space for a thumb to hold the sharpened edge to use it for cutting – an aboriginal hand axe of indeterminate age.

I asked if there was any kind of Aboriginal cultural heritage centre, or perhaps a museum, which would be interested in taking this stone tool off my hands?

The council staffer held her gaze with an open, shocked mouth, and shook her head, muttering “no…,” and, “good luck with that,” before leaving.

The tourist information centre had the name of an Aboriginal elder who lived locally. I drove the streets of our old neighbourhood searching for the address, but there was no-one home, and the only Aboriginal public office was well and truly closed.

SHOW & TELL Aboriginal hand axes from Arnhem Land.
SHOW & TELL Aboriginal hand axes from Arnhem Land.

I began to wonder whether the stories I’d been told about this stone were true, or if they’d been elaborated into family myths? I had taken it to school for ‘show and tell’, with the family name written on it using thick black marker pen in my mother’s hand. She was interested in anthropology, and we had inherited all kinds of fossils and artefacts at her death at decade before.

But on returning to the riverside shopping centre to buy grandma a present, my doubts were allayed by the wall built of local stone at the gateway, the very same blue, brown and ochre basalt. The wall was all that remained of the department store built by my ancestors in the town. I knew then I had the right rock back in the right region.

Grandma was dressed and eager to get out and about, waiting for me outside the door of the nursing home. We laughed as I lifted her into the passenger seat of my four-wheel drive, me allaying any embarrassment she felt by reminding her of the hundreds of times she had lifted me into a car when I was a child.

We had a lovely lunch. She enjoyed the meal and hearing all my news about life in the big city. We’d corresponded about family stuff many times, and it seemed a waste of time to go over it all again – she and I had come to terms already. We loved one another, that’s all that mattered.

I dropped her home when she started to tire, and headed out of town, along a well-trodden road into the uplands south west of Delungra, where fields of wheat in black soil run for miles and miles under enormous skies.

I’d met the present owner a few years before, but I hadn’t come to see the house again. I’d picked-over the traces of my family’s dream many times before: the room where my baby brother died, and the hopeful imprint my parents had made on a property which was derelict when they moved there.

I looked over the stones on the driveway, and sure enough, scattered along the verges were more of those flinty fragments like the larger one in my pocket.

I was headed a few kilometres further west, to a lonely place on the Bingara Road, where a memorial had been built in the year 2000 to the Aboriginal men, women and children who were slaughtered on a hillside in 1838 at the hands of European settlers in what came to be known as the Myall Creek Massacre.

MASSACRE SITE: The Myall Creek Massacre Memorial (Photo: Department of Environment: Mark Mohell).
MASSACRE SITE: The Myall Creek Massacre Memorial (Photo: Department of Environment: Mark Mohell).

There, I walked along the trail which marks the gruesome milestones of this iconic event – the first time in Australia’s history that settlers were tried and hanged for the murder of Aboriginal people.

I took the Aboriginal axe, with our family name impossible to erase from it, and buried it at the site, not only out of respect for the Aboriginal lives lost, but also those in my own scattered family.

Night was falling when I arrived back at the Inverell police station, where a large envelope awaited me. At a motel out of town I pored over its contents, like some terrible play in which my parents were protagonists.

Buried deep in the court transcripts, describing in detail how mum was found guilty of multiple counts of theft, was the news of one shop owner who’d waived all charges in the light of the psychologist’s report, and the one who’d refused.

The sentence in Mulawa Womens’ Prison in Sydney, a day’s drive away from her children, detailed the number of days’ imprisonment resulting from the value of each item of clothing stolen.

The transcripts of friends who stood in the dock spoke of her good character.

The psychologists’ report itself – one clinical, succinct letter linked mum’s behavior to deep feelings of guilt and shame about the death of her third child, the result of Sudden Infant Death Syndrome (SIDS).

And then the suspended sentence – no jail time to be served, in exchange for a warrant of good behaviour.

I suddenly understood why mum did not put up a fight for her financial share of the marriage settlement. Buying her freedom had cost our family dearly, and walking away with nothing but a car and some furniture, she might have felt she’d repaid her dues.

I could also see why she eventually left town, allowing the myth to emerge that she’d left dad, not the truth, which was all the other way around. Our family name on ‘Burge Bros.’, an Inverell shopfront, speaks of our pedigree as descendants of proud local shopkeepers, which mum might have felt was brought into disrepute by a depressed city girl. Housed in the same precinct was the shop whose owner would not forgive her.

I remembered how mum recalled being interviewed by the police after my brother died. It was a matter of course, apparently, that the mother was the first subject of investigation after the death of a child who had been laid in his bed by her arms only hours before. Lindy Chamberlain was to face that same moment only seven years later.

And I remembered it was mum who told me about the Myall Creek Massacre. While the other adults were playing tennis at the courts near the creek, she pointed to the hillside and whispered to me about what had occurred. Whispered. Not to the other kids, or any of the white adults enjoying weekend sport, but just to me.

The Myall Creek Massacre memorial was eventually the subject of an Australian Story episode in which descendants of the settlers who committed the crimes reached out in reconciliation to the descendants of the Wirrayaraay people who were slaughtered.

SET IN STONE Plaque at the Myall Creek Massacre memorial.
SET IN STONE Plaque at the Myall Creek Massacre memorial.

But in its first decade, it endured vandalism. Not brainless destruction, but calculated censorship of the facts about the case and its impact on lives.

It’s a beautiful part of the world, the place I was born, but it can be a harsh place too.

The shock and grief wrought on one family in the wake of the sudden death of one baby tells us how magnified the same emotions would have been after the sudden slaughter of multiple defenceless women, children and old men at Myall Creek, but despite the well-known contributing factors of depression and grief-related kleptomania, there was little reconciliation or understanding on offer for my mother in the 1970s. The community was still coming to terms with what happened to the Wirrayaraay.

Mum got away from Inverell and made a new life. Grandma died in 2008 and we gathered in Inverell for her funeral, but no-one in our family lives there anymore.

I’ll go back to Myall Creek one June for the annual memorial service. Hearing the true story of the place probably marks the start of my journey to being a writer.

© Michael Burge, all rights reserved.