Program of 9 films, from Thursday 6 August to Wednesday 30 September 1987, to be screened at the Were Street Theatre. "An intimate comfortable cinema where nice people attend"Black print on white paper, one sided.were street theatre, were street theatre movie guide

Movie Guide for the Were Street Theatre, 21 June - 15 August [year not specified, c1979].Double-sided program printed in colourwere street movie theatre, were street

Paper program for a play performed at the Russell Street Theatre commencing 4 June 1980athenaeum theatre, program, russell street theatre, bent, melbourne theatre company

Paper program for a play performed at the Russell Street Theatre commencing 30 January 1980athenaeum theatre, program, russell street theatre, betrayal, melbourne theatre company, harold pinter

The play was directed by George Ogilvie.Paper program; program contains brief biographies and photographs of the cast. The production toured to Perth and Sydney.russell street theatre, program, dusa, fish, stas and vi, george ogilvie

einstein, russell street theatre, melbourne theatre company

The play was written in Russia after the revolution in 1928. A satire on Soviet life, productions were banned and after 1934 the play disappeared completely until the 1970s.Translated by Peter TegelThis program contains historical information about both the author and the play as well as reviews from previous audiences :good conditionthe suicide, russell street theatre, program, melbourne theatre company

Directed by Ray Lawler; the play is set in a basement of a bombed out house in the old city of Warsaw, in October1944. Contains background information on the Author and a timeline of world war 2 that relates to the play: good conditionthe truce, program, russell street theatre, melbourne theatre company, ray lawler, sandy mccutcheon, world war 2, warsaw

Play set in Paraguay Paper programrussell street theatre, program, programme, visions, louis nowra, paraguay

part of the 1988 comedy festivalcoloured programtristram shandy – gent, program, programme, russell street theatre, melbourne theatre company, melbourne international comedy festival, simon phillips, laurence sterne

Black and white image, copy : Image shows three storey stone building on corner of Williamson street and High Street. Name on lower storey 'Theatre Royal' on top ' Cobb & Co., Booking Office' on LH side of Theatre ' J. Kronheimer & Co, tobacconists' Road is dirt. Two horse and carriages on LH side on road.Batchelderplace, bendigo, theatre royal, kronheimer's, sandhurst, bendigo, theatre royal, cobb & co, kronheimer & co.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

Obtained by Secretary of Melbourne Athenaeum in 1972 (Mr Leslie Stephens) to see the advertisement for library membership that was included in the program. Includes a loose page documenting advertising rates in the Theatre program. Melbourne Theatre Company programs often included advertising for the library. MTC later leased the Athenaeum Theatre.Paper program for a play performed at the Russell St Theatre 24 October until 18 November 1972; coloured cover; 20 p. includes articles about the play, the actors and advertisementsmelbourne theatre company, russell st theatre, program, a touch of the poet, eugene o'neill, the university of melbourne, australian elizabethan theatre trust, melbourne city council

In 2018, Greensborough Historical Society placed plaques in the Main Street area of Greensborough. In this photograph, GHS member Chris Foster has photographed the installation of the Ashril Theatre plaque on Main Street Greensborough. The Main Street Plaques Project placed historical information about original Greensborough buildings as close to the original site as possible. Further information available on the GHS website. The Plaques were made possible through a Greensborough RSL Grant.Digital copy of colour photograph.main street plaques project, main street greensborough, ashril theatre

Historical Plaques in the Greensborough shopping strip. The Ashril Theatre in Main Street Greensborough. This Theatre stood near the current (2019) site of the Plaza entrance in Main Street. Further information available on GHS website.The Main Street Plaques Project was undertaken by Greensborough Historical Society and made possible with a grant from the Greensborough RSL. Digital copy colour photographmain street greensborough, main street plaques project, ashril theatre

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

Two strips of negatives Princess theatre, view Street, Bendigo. The negatives shows sections of the last film.entertainment, theatre, princess

Articles in the annual report include: the reduced subsidies provided by government and the increased need for public support, success of family counselling and support programs have reduced numbers at nursery and kindergarten, plans for Low Vision Clinic, reconditioning and assembly of bicycles in workshop, retirement of Matron Scott and Mrs McCallum (heads of Victor Maxwell nursery and Sandy Robertson kindergarten respectively), continued success of Mitchell Street Theatre, and all the NSW blind participants who attended the Toronto Olympiad won medals.1 volume of text and imagesroyal blind society of new south wales, corporation records, marno parsons, june gollan, joan mackenzie, alexis albert, lions club, mitchell manufacturing, phillip taylor, graham laurence, a.e. stephen, graeme innes, a innes, mrs mccallum, matron scott, val woods, marge brown, nan tait, lady norman, josephine gale, phyl eastman, mitchell street theatre, william street blind women's bowling club

Articles in the annual report include: death of General Manager Ian Burnet, expenditure exceeding income, need to sell Woolahra (Helen Keller hostel) property, goal of opening 20 new Day centres by the end of 1975, plans to establish Occupational Therapy Training unit, review of aging hostels and restructure workshop, growth of Mitchell Street Theatre, increase of children with more than sight loss at nursery, decision to establish reading competition in memorial to Barbara Rutherford, launching of a literary workshop by Max Nisbett, official opening of a blind bowling green at Enfield, and awarding of Churchill Fellowship to Joan Ledermann for a review of Braille production units overseas.1 volume of text and imagesroyal blind society of new south wales, corporation records, ian burnet, helen keller hostel, mitchell street theatre, alexis albert, a.e. stephen, h wakeham, roy kippax, sir roden cutler, sandy chapman, victor maxwell kindergarten, sandy robertson kindergarten, max martin, jack chamberlain, betty cuthbert, mary lidbury, mark spitz, suzy spitz, billy sinclair, john sinclair, max nisbett, balmain blind bowling combination, joan ledermann, barbara rutherford

An overview of activities and achievements during the past financial year. Articles in annual report include: the handing over from former President Sir Alexis Albert to Paul Cullen, the implementation of Project 5000 (increasing C77 Talking Book Machines to that number as well as book titles), new fitness groups and CB clubs supported by John Simon and Norman Healey, new course that teaches Braille at home via cassette developed by Louise Long, continued success in supporting children to attend integrated kindergartens rather than an segregated one, introduction of music therapy and Father's Groups, loss of beloved reader John Dease, 3rd RBS Arts Festival at the Grace Gallery, Chatswood, sales increase for workshop products particularly bicycles, the success of the Black and White Ball (held since 1936), and the production of two films sponsored by OPSM and depicting the impact of RBS "I see, I see" and "Future Sight". It also updates on the Braille Writers Association, the RBS Literary Contest (inaugurated 6 years ago by Max Nisbett) and the successful production of some works by the Mitchell Street Theatre group, name change of William Street Blind Women's Bowling Club to Blind Society Women's Bowling Club, Enfield and Blind Sporting Association formed just over a year ago and competed in the Leeton Rowathon.1 volume of text and imagesroyal blind society of new south wales, corporation records, alexis albert, paul cullen, sir robert drew, laurel brennan, john simon, norman healey, carol lausch, margaret smallwood, louise long, sylvia manuel, loreen rosser, diana palmer, anne palfrey, john dease, mitchell manufacturing, ken martin, sueann wilson, duncan archbold, cath littlefair, gai wibberley, jack chamberlain, des lean-fore, michael simpson, ron black, john mountford, marno parsons, black and white committee, graham laurence, w. cannington, films, lee smith, matt ponsonby, ray hunter, joan ledermann, mitchell street theatre, max nisbett, vivian hargrove, australian national council of and for the blind, braille writers association of new south wales, blind sporting association, william street blind women's bowling club, balmain blind bowling combination

historic buildingNational Trust Collection: Masonic Hall (now Capital Theatre) designed by Vahland Six B&W photographs, includes two sketches of View Street facade Three negatives of select photos 3084.97a large sketch of View Street facade of Masonic Hall 3084.97b small sketch of View Street facade of Masonic Hall 3084.97c B&W photo of six columns at entry to the Hall 3084.97d B&W photo of facade column and steps 3084.97e B&W photo of internal lobby 3084.97f B&W photo of masonic silver trowel Three negatives (3084.97 a & b, c and f) bendigo masonic hall (capital theatre)

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.