The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.One of five small black and white photographs of members of the cast in The "Q" Theatre Guild's production of Blossom Time in 1957. The were presumably promotional photographs as they are shot in the Royal Botanical Gardens in Melbourne. A newspaper report in the Age on 27 October noted that the performance was held in the Kew Recreation Hall. performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew recreation hall, theatre programmes, musical comedy -- melbourne -- victoria

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.One of five small black and white photographs of members of the cast in The "Q" Theatre Guild's production of Blossom Time in 1957. The were presumably promotional photographs as they are shot in the Royal Botanical Gardens in Melbourne. A newspaper report in the Age on 27 October noted that the performance was held in the Kew Recreation Hall. performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew light opera company, kew recreation hall, theatre programmes, musical comedy -- melbourne -- victoria

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.One of five small black and white photographs of members of the cast in The "Q" Theatre Guild's production of Blossom Time in 1957. The were presumably promotional photographs as they are shot in the Royal Botanical Gardens in Melbourne. A newspaper report in the Age on 27 October noted that the performance was held in the Kew Recreation Hall. performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew light opera company, kew recreation hall, theatre programmes, musical comedy -- melbourne -- victoria

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of members of the cast of the "Q" Theatre Guild in their 1959 production of Michael Balfe's The Bohemian Girl. Beatrice Oakley was the producer and John Trotter the musical director. The costumes were designed and made by Marion Tilley while the scenery was designed by Claude Ward and Lachlan Stebbins. An annotation, in the corresponding programme, records that Joan Carden (later a star of the Australian Opera) performed in the Ladies of the Chorus.Marion Tilley, the creator of the scrapbook, wrote the following names underneath the photograph: "Fred C., Esme M., Val Breen, Jeanette R., Alan Wilson, B. Meagher, Irene T., Gwen Bolden".performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew recreation hall, theatre programmes, musical comedy -- melbourne -- victoria

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of Val Breen and members of the cast of the "Q" Theatre Guild production of Michael Balfe's The Bohemian Girl in 1959. Beatrice Oakley was the producer and John Trotter the musical director. The costumes were designed and made by Marion Tilley while the scenery was designed by Claude Ward and Lachlan Stebbins. An annotation, in the corresponding programme, records that Joan Carden (later a star of the Australian Opera) performed in the Ladies of the Chorus.Marion Tilley, the creator of the scrapbook, wrote the following underneath the photograph: "Val Breen in my wedding dress".performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of Val Breen and Alan Wilson in the "Q" Theatre Guild production of Michael Balfe's The Bohemian Girl in 1959. Beatrice Oakley was the producer and John Trotter the musical director. The costumes were designed and made by Marion Tilley while the scenery was designed by Claude Ward and Lachlan Stebbins. An annotation, in the corresponding programme, records that Joan Carden (later a star of the Australian Opera) performed in the Ladies of the Chorus.Marion Tilley, the creator of the scrapbook, wrote the following underneath the photograph: "Val Breen in my wedding dress".performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew recreation hall, musical comedy -- melbourne -- victoria

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of Alan Wilson and Iaan Young in the "Q" Theatre Guild production of Michael Balfe's The Bohemian Girl in 1959. Beatrice Oakley was the producer and John Trotter the musical director. The costumes were designed and made by Marion Tilley while the scenery was designed by Claude Ward and Lachlan Stebbins. The photograph shows two cast members: Alan Wilson seated, and Iaan Young who played Thaddeus (an exiled Rebel).Marion Tilley, the creator of the scrapbook, wrote the following underneath the photograph: "Alan Wilson, Iaan Young".performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Sepia-toned photograph of members of the "Q" Theatre Guild in a performance of Gay Rosalinda, an arrangement of Johann Strauss' Die Fledermaus. The performance took place in the new Kew City Hall, with elaborate scenery created by Robert Jewell and Claud Ward. Costumes were designed and made by Marion Tilley.performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, musical comedy -- melbourne -- victoria, kew city hall -- cotham road -- kew (vic.)

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Sepia-toned photograph of a group of performers and organisers in the "Q" Theatre Guild's performances of Gay Rosalinda, an arrangement of Johann Strauss' Die Fledermaus. The performance took place in the new Kew City Hall, with scenery created by Robert Jewell and Claud Ward. Costumes were designed and made by Marion Tilley. A characterful photograph that includes Marg Moir - Ida/rehearsal pianist, Phil Wakenshaw - Props, Marion Tilley - costume designer and wardrobe, Den Lynch, Maureen Lynch, and Mary Dupuy.Marion Tilley, the creator of the scrapbook, wrote the following underneath the photograph: "Marg Moir, Phil Wakenshaw, Self, Wendy ****, Maureen Lynch, Mary Dupuy". She was to add at a later date: "My dress was grey satin. Denise Lynch: brother Phil Lynch MP. Mary Dupuy went for holiday with daughter 1962 became ill in car was dead by the time a doctor arrived."performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, musical comedy -- melbourne -- victoria, kew city hall -- cotham road -- kew (vic.)

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Sepia-toned photograph of a group of performers in the "Q" Theatre Guild's performances of Gay Rosalinda, an arrangement of Johann Strauss' Die Fledermaus. The performance took place in the new Kew City Hall, with scenery created by Robert Jewell and Claud Ward. Costumes were designed and made by Marion Tilley. Marion Tilley, the creator of the scrapbook, wrote the following underneath the photograph: "Jean Hayles, Apthorpe, English, Robert Preston in my crinoline I wore for Centenary Ball. Apricot & black trim. Mum made it. Marion Smith."performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, musical comedy -- melbourne -- victoria, kew city hall -- cotham road -- kew (vic.)

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of Stanley Wilson or Howard Bell, who performed on different nights as Frank, the governor of the gaol in the "Q" Theatre Guild's performances of Gay Rosalinda, an arrangement of Johann Strauss' Die Fledermaus. The performance took place in the new Kew City Hall, with scenery created by Robert Jewell and Claud Ward. Costumes were designed and made by Marion Tilley.performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, musical comedy -- melbourne -- victoria, kew city hall -- cotham road -- kew (vic.)

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Atmospheric photograph of performers in the "Q" Theatre Guild's performance of Gay Rosalinda, an arrangement of Johann Strauss' Die Fledermaus. The performance took place in the new Kew City Hall, with scenery created by Robert Jewell and Claud Ward. Costumes were designed and made by Marion Tilley. performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, musical comedy -- melbourne -- victoria, kew city hall -- cotham road -- kew (vic.)

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Faded photograph of Jeanette Rayment in full costume in the Royal Botanical Gardens to promote The "Q" Theatre Guild's performances of Blossom Time during the Moomba Festival of 1959. The performances took place in the Alexandra Gardens. Rayment played the role of Therese in the production.Marion Tilley, the creator of the scrapbook, wrote the following underneath the photograph: "Jeanette Rayment, Botanical Gardens, promoting Blossom Time."performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, musical comedy -- melbourne -- victoria, kew recreation hall

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Faded photograph of Esme Melville and Jeanette Rayment in full costume in the Royal Botanical Gardens to promote The "Q" Theatre Guild's performances of Blossom Time during the Moomba Festival of 1959. The performances took place in the Alexandra Gardens. In the production, Melville performed the role of Countess Fritzi Frangipani, while Rayment played the role of Therese.Marion Tilley, the creator of the scrapbook, wrote the following underneath the photograph: "Esme Melville, Jeanette Rayment, Botanical Gardens, *** Blossom Time."performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew recreation hall, musical comedy -- melbourne -- victoria

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Souvenir programme issued by the "Q" Theatre Guild for a performance of Franz Lehar's The Land of Smiles in 1961. The production was performed at the Kew City Hall. The Cast List includes annotations by Marion Tilley. This was the first time that The Land of Smiles had been performed in Melbourne."q" theatre guild, performimng arts, kew city hall, the land of smiles (lehar)

In 1964 Camberwell City Council commissioned Professor Geoffrey Blainey to first write this history. Since that time, many changes have taken place and therefore the Council asked Professor Blainey to bring the book up to date. Bibliography, includes index. The author presents a century of pioneering development and endeavours. He has traced the coming of the wood-cutters and the farmers, the transition from rectangular paddocks to a grid of roads and streets, the growth from shire to borough, town and city, the filling up of thirteen squares miles into residential suburbia - in successive waves of invasion, along new transport routes - including the Outer Circle Railway. Substantial chapters cover the War Years and the progress of Camberwell since the 1960s have also been included in this edition. 134p; ill;camberwell, victoria, market gardens, tolls, railways, mayors, boroondara road board, borondara shire, councillors, (mr) (prof) geoffrey blainey

Erected 1974, dismantled 2000s. The Headquarters was operated from the family home at Ferris road at its inception, and in 1974 to the Barrie home at First Avenue Melton South. A storage office and Radio Tower was erected in the yard. A connection phone line was linked to the home of Wayne and Lynn Sullivan who lived at the rear in Kurrajong Cr later became LY remote. Wayne later became Communications Officer and the Headquarters moved location to the Melton Fire Station. The Mount Cotterill Group encompassed the Rural Fire Brigades of Melton, Rockbank, Sydenham, Toolern Vale, Truganina, and Werribee and later Diggers Rest. In the stage of transition from H.F.( High Frequency) to Very High Frequency some radio sets were non CFA Tankers when the group was established. Antenna was at 19 First Avenue, Melton.emergency services

This simple rear cottage door at Hymettus built 1900-1901 has been the back door since the early 1900s. Photos in the family collection however, reveal that it was originally the return front verandah door to the dining-room and the transition seems to have occurred about 1910 when a new door was installed for the front verandah to complement the art-nouveau lead light transom and surrounds to the main front entrance. A similar simple glass and two panel cottage door closes off the passage from main passageway to the kitchen and service end of the home so that the home presents as more simple in the service area fittings with more decorative features to the more important front rooms of the home reflecting the progression of style as the family had more money to spend on the home.

Four booklets containing analyses of ex-student post-secondary education pathways. 1972: WHICH WAY WANGARATTA. A white bound booklet with a large black and white image of a Wangaratta street on the cover, analysing the pathways of students who graduated in 1972. 1983: WHERE HAVE ALL OUR STUDENTS GONE. A yellow bound transition education research project booklet with a WHS logo and a large double headed arrow and question mark symbol on the cover, analysing the pathways of students who graduated in 1983. 1987: WHY DO YOUNG PEOPLE LEAVE THE WANGARATTA REGION: A grey stapled booklet containing a WHS student survey report on the reasons young people leave the Wangaratta region after their secondary schooling 1994: CLASS OF 94. WHERE DID THEY GO: A white stapled booklet containing an analysis of WHS students graduating in 1994 and their post-secondary education pathways

Set of two 35mm Kodak white cardboard colour slide by Keith Kings of: .1 - W2 600 testing the diverted track at St Kilda Jtn. Sunday 10/12/1967. Looking south See Keith's notes as well. Track welding being carried out. Tram showing Special. In the background are signs for Castrol, Speedie Electrical Appliances. .2 - W5 812 and W2 521 on the temporary track following the first diversion for the construction of the new bridge works looking north. Also see Keith's notes. 812 has adverts for wax and Harold's diamonds.Keith Kings stamp and number "14-23" and "14-28"", with details of exposure. .1 - "MMTB St Kilda Jtn bypass works. W2 600 as the test tram after the St Kilda Junction by Pass, No. 1 diversion trying out the south bound temporary track 3.03pm, Sunday 10/12/67. The North bound track tried out at approx. 12.40pm: .2 - "MMTB 521 (route 64 - City) and 812 (route 64 - East Brighton and Malvern Burke Road) on temporary track at St Kilda Jtn bypass. Note sharpness of curves and very limited transitions and tangents. Looking north. 10/12/1967trams, tramways, st kilda junction, trackwork, road works, w2 class, w5 class, route 64, east brighton, tram 600, tram 521, tram 812

**This publication contains an image of Aboriginal and/or Torres Strait Islander children who may now be deceased.** In July 1909, a modest 12-page booklet was put together by members of the fledgling Old Ruytonians Association (ORA) and distributed to the Ruyton Girls' School community. It was one of their first projects, and their aim was to nurture continuing interest in the School among former and current students. They named it "The Ruytonian." At first, The Ruytonian was produced twice yearly, and always bore a plain cover with a simple name banner. Initially, it was the work of volunteer editors from the ORA, but in 1913 they handed the publication over to the first student editors, Esther Gibson and Lucy Tickell. Since that time, the style and content of The Ruytonian has continuously evolved. The biggest shifts occurred in 1942 when it transitioned to a yearly publication, and in 1969 when it moved to a larger A4 format with a cover image specifically selected for that year.The record has strong historic significance as it pertains to the fourth oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Due to the age of the record dating back to 1952, we can infer it is one of the few remaining complete, intact and original examples of The Ruytonian from this period. Therefore, it can be considered an outstanding representation of its type, and is a reference example for research in early Victorian school history. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication with a blue cover and printed on papyrus coloured paper. 55 pages.Front Cover: THE / RUYTONIAN / RECTE ET FIDELITER / DECEMBER, 1952 /ruyton girls' school, the ruytonian, kew, old ruytonians association, yearbook, school, publication, girls school, junior school, senior school, journal, students, teacher

Time is an abstraction, a filing system used to arrange events and memories into a logical system of cause and effect. This new print was created with images arranged from drawings made while sitting by paths near nature, creeks and overlapping streets. I am a local artist and illustrator with a history of drawing, painting and printmaking.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

When I visit Merri-bek I wonder, when I step on the tarmac of the Barkly Square carpark, what was here before? In fact, at this spot and across Brunswick there were clay pits, which would feed the pottery workshops in Brunswick that produced the pottery, gargoyles and decorative items for Marvellous Melbourne homes and suburbs. Marvellous for those who had profited from gold, property and finance, not so for those working in the clay pits. My print is a contemplation on what is beneath our feet and our relationship to the ground. I am a design academic working at RMIT University and began my print and design practice on a Golding foot-treadle Letterpress machine.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

Merri-bek’s bi-annual collection and the communities’ tendency to dump rubbish makes these temporal sculptures part of the visual landscape of walking in Merri-bek. The collections of personal items, untold stories and connections which we all piece together whilst on an afternoon stroll. Over the years trends in pet ownership and technology advances can be documented in discarded items, also commenting on wealth and material value of objects. I have been living, parenting, working and volunteering in Merri-bek for the last 9 years. As time passes the community and landscape shift and change as does my connection to it. A once dedicated art practice is now tumbled around with life and family. Photography, video, drawing and painting are used to explore ideas around the everyday and meaning we attach to small moments of time.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

With two young kids, I often find myself at Coburg Lake on a weekend, playing amongst the natural beauty of the park area, rugged embankments, local birdlife, and... ‘Bin Chicken Island’. Bin Chicken Island has become a running joke in the community, known for its wafting stench and as an environmental eyesore (never go to the park on a warm day with an easterly breeze). So much so that someone added a campground listing on the island to Google Maps. Whenever I drive past the lake, I always keep an eye out for disgruntled backpackers who have realised that the only camping to be had is by the Bin Chickens themselves. I am a local graphic designer who lives in Pascoe Vale and works in Brunswick. I head up the design studio, Atticus Design.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

The image is based on a 3D component of one of my recent series of jewellery artworks. The heart metaphorically alludes to two locations of Merri-bek. One is Moreland Road, the other is Wallace Street in Brunswick. These locations pinpoint a time of collective trauma and communal experiential reflection. I was born in Brunswick in 1984 and have lived and worked there since. Brunswick for me is filled with stories of family, community, growth, tragedy and history experienced across a Greek Diasporic framework.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

My work is dedicated to the animal residents that cohabit with us in the suburbs. I focused on the Red Wattlebird, as it is always a welcome visitor across the gardens and parks of Merri-bek. The frayed edges of the page from my notebook are reminiscent of the act of note taking and how we remember and observe things in our daily lives. I am a local artist and writer living in Naarm with a studio in Coburg as part of Schoolhouse Studios.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

Ancestral Bouquet is a visual homage to the different plant species each migrant community brought with them to the lands of Merri-bek. It is a celebration of these plant communities and those (elderly migrants) who still know and practice traditional forms of food harvest and preparation. I was born and raised in unceded Wurundjeri Willum Country, in Coburg. My Father lived in the Southern Suburbs of Naarm as a refugee from Palestine, and eventually found Coburg as a place he could fit in as a migrant. My arts practice varies in modalities, and always comes back to the story of displaced cultures, my folklore, and my connection to Coburg and the Merri Creek.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

This image of Coburg Olympic Swimming Pool represents my connection to Merri-bek / Moreland. Being brought up around water, swimming has played a key role in my family and I feel a sense of the community when swimming in a public pool. The gum trees and the proximity of this pool to the river reminds me of my home town, Albury. For me, a public pool is a gathering place, a place of leisure and play, somewhere to learn and grow, spend time and let go.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print