Jill Perryman

Act 1, Scene 10, The Promenade of the Embassy, from My Fair Lady, 1960, with David Oxley as Henry Higgins, Patricia Moore as Eliza Doolittle and chorus. National Library of Australia, Canberra.

‘I was lucky... I have a husband who encourages me to do what I love.’

Betty and John Baines. Australian Performing Arts Collection, Arts Centre Melbourne.1949 was a very significant year in Betty Pounder’s life. On 20 June, she and JCW orchestra member, saxophonist and clarinettist, John Ellis Baines, would marry at the family home which was now on Murray Road, East Preston. Betty and John, who was born 4 September 1905 in Adelaide, remained together until the end, both incredibly loving and supportive of everything they did. Pounder would say in an interview in 1988, ‘I have a very good married life because my husband has allowed me free rein to do what I want to do.’ Although they didn't have children of their own, their ‘adopted’ family was considerable. Pounder always regarded her dancers as her children. She also had the great pleasure of being Godmother to life-long friends, Gloria Lynch and Ormonde Douglas’s daughter Christine, who would go on to have a highly successful operatic career herself; to Dawn Spry and Graeme Bent’s daughter Wendy; and to John and Tikki Taylor’s son, Paul Newman. The early part of their married life was spent living in the Pounder family home, which Betty would acquire following the death of her mother. They would later move to a post-war home on Hill Street, Hawthorn.

On the closing night of the musical Camelot in Melbourne in 1964, a farewell party was held in the Penthouse of the 1930s Art Deco apartment building, ‘Stratton Heights’ on Alexandra Avenue, South Yarra. Glamorous actress Bettina Welch, who was playing the role of Morgan Le Fey in the show, was friends with the owner and was staying there during the run. Betty and John were invited to the party and when they saw the apartment with its incredible views across the Yarra River to the city, its wonderful rooftop garden, heated floors AND its secret room which was entered through a door behind the bar in the living room, they fell in love with it. Betty told the owner if she ever wanted to sell, she had to get in touch with them as they would love to buy it. Several years went by and due to the ill health of the husband of the woman who threw the party on that fateful night, she got in touch with Betty to let her know she needed to sell the apartment. The parties held at the apartment are legendary, including get-togethers with Betty’s chorus members in the 60s and 70s where she would get everyone up and say, ‘Tonight we’re going to learn The Totem Dance from Rose Marie,or The Military Tap from The Desert Song’,and she would teach everyone the numbers she had done 20 years earlier. The rest, as they say...

Scene from Kiss Me Kate, 1952. Betty is second from the right in the middle.

Kitty Greenwood Collection

Evie Hayes and chorus in the Washington Square dance scene from Call Me Madam, 1953

National Library of Australia, Canberra

‘I had to work with the dancers as well as discipline them and share a dressing room with them when I was Ballet Mistress and that was difficult. You need to retain your friends but also still do your job.’

In 1951 Betty was offered the position of Ballet Mistress by Australian Musical Productions Pty. Ltd. on the new and successful Australian musical The Highwayman, at the King’s Theatre in Melbourne, one of seven all-Australian musicals that Pounder would be involved in. She was also performing the role of The Riding Mistress in the revival of Annie Get Your Gun at Her Majesty’s Theatre.

Kiss Me Kate with Hayes Gordon and Joy Turpin in 1952 would be the last show in which Pounder would appear as a dancer. Maggie Fitzgibbon, Graeme Bent, Alec Kellaway, Robert Healey were also in the cast along with Betty Gribble, Audrey Davis, Kitty Greenwood, Jeanette Liddell in the chorus and who Pounder would cast in future shows herself. More responsibilities as Ballet Mistress came along and in 1953 she was given the official title of Dance Director on Call Me Madam which starred her friend Evie Hayes in the star role, along with Alec Kellaway, Graeme Bent, Coral Deague, Bobby Mack, Jill Perryman, who had been given the position of Miss Hayes’ understudy as well, Betty Gribble, Billie Fowler, Clive Hearne, Shirley Sunners, Dawn Spry, Kevan Johnston, and Garth Welch who would later go on to a highly successful career as a Principal with the Australian Ballet Company. Betty was also the company Ballet Mistress for Call Me Madam.

Scene from Paint Your Wagon, 1954, for which Betty was Ballet Mistress

Australian Performing Arts Collection, Arts Centre Melbourne

Scene from Can-Can, 1956, with Betty once again as Ballet Mistress

Australian Performing Arts Collection, Arts Centre Melbourne

‘Everything was going wrong and no one knew what to do so I yelled out, “Blackout! Blackout!” I got fined for screaming “Blackout” in the middle of a performance.’

In 1954 Betty was asked to choreograph a production of The Chocolate Soldier at the Princess Theatre in Melbourne and back at Her Majesty’s, South Pacific and Paint Your Wagon were presented with Pounder as Ballet Mistress once more. Sadly Betty’s father Joseph died at the age of 76 during the rehearsal period of South Pacific. A revival of Viktoria and Her Hussar would finish off the year.

In 1955 J.C. Williamson launched its second Italian Grand Opera season with Pounder overseeing the ballets once again. 1956 saw Williamson’s ‘New Look’ Gilbert and Sullivan company, again with Pounder in charge of the dances. Can-Can was The Firm’s major musical comedy that year with Betty as Ballet Mistress. Jill Perryman and Kevan Johnston, William Newman, Graeme Bent, Alton Harvey, Robert Healey, John Newman, Ron Folkard, Kevin Foote, Joyce ‘Tikki’ Taylor, all JCW favourites, were featured cast members while Adele Jarrett, Valrene Tweedie, Noel Hardres were among the chorus. Can-Canwould also see young Robina Beard make her professional debut as one of the dancers. William Orr borrowed Pounder from The Firm in 1956 to choreograph his pantomime, Alice In Wonderland for the Phillip Street Theatre in Sydney, with Borovansky ballerina Kathleen Gorham in the title role. It was revived once again in 1958 and yet again in 1961 at the Comedy Theatre in Melbourne. It was such a successful production that it was revived at the Sydney Tivoli Theatre in 1966 and finally at Melbourne’s Princess Theatre the year after.

Scene from the JCW production of The Pajama Game, 1957, featuring Keith Petersen, William Newman and Toni Lamond

Australian Performing Arts Collection, Arts Centre Melbourne

Ron Shand, Jill Perryman and John Sanger in The Pajama Game, 1957

National Library of Australia, Canberra

‘It’s very hard to keep a colour in your eye, which is something I learned to do.’

1957 would be what Pounder herself would describe as ‘the highlight of my professional career up to that point’. Although officially still only in the position of Ballet Mistress, Sir Frank Tait entrusted her to fly to New York to bring back the original Bob Fosse choreography for the new hit musical, The Pajama Game. ‘It was my dream to go to Broadway so you can imagine my excitement when I was asked to go over and bring the show back here.’ She watched the show 12 times from out front, taking careful notes on every aspect of the involved choreography, along with notes on lighting cues, colours and fabrics for the costumes, scenery, and direction notes. She had assumed that she would be welcomed by the Broadway company with open arms and that they would take her backstage where they would teach her the routines. This was not to be the case. They gave no help at all. It was up to her to sit out front, watch the show and make her notes and reproduce it exactly as it was on their stage. She always felt that she owed it to the original choreographer of any show to reproduce their work as closely as she possibly could. She also auditioned many, many people for the lead roles but felt we had performers back home who were equally suited to the roles, and after discussions with Sir Frank, he agreed. An all-Australian cast was engaged, among them lifelong friends Toni Lamond, John Newman, Frank Sheldon, Tikki Taylor, Jill Perryman, Kevan Johnston, Robert Healey, Ralphine Sprague. On Pounder’s recommendation, rising star Jill Perryman was given the featured role of Mabel, a role she was actually too young for, but pulled off brilliantly!

Tikki Taylor would later say, ‘Betty Pounder was always the reliable girl when she was so young, as well as having the best legs of any of us, and had a wonderful memory, and that is why she became assistant ballet mistress. Right from the word go, she was the intelligent one in the group. But also, if anyone was down or had any problems, Pounder was always the one they would go to.’

Scene from Lola Montez, 1958. Betty acted as Assistant Director and Assistant Choreographer to George Carden.

National Library of Australia, Canberra

Scene from Lola Montez, 1958, with Mary Preston, Terry Marr and Kevan Johnston

National Library of Australia, Canberra

‘I would sit there in the dark and make rough notes in a little book and then do the routines in my hotel room and go back the next night and catch what I had missed.’

The Independent Theatre in Sydney borrowed her talents for their 1957 Australian show, Nex’ Town, which was set in a sideshow. J.C. Williamson stalwarts Minnie Love and Victor Hough were in the cast, Vic having been in the chorus of shows like No, No, Nanette, Rose Marie, Follow the Girls and Annie Get Your Gun with Betty when she was also a chorus member.

Pounder would be taking regular trips to New York to select shows as possible JCW productions until they folded in 1976, and as well as notating the dance routines for the shows which The Firm finally settled on, on her recommendations, she would be making detailed notes on the costumes, colours and fabrics, the sets, the lighting designs and cues, publicity etc. As Nancye Hayes pointed out, ‘Not only was Pounder writing all the choreography down, she was reproducing what she saw back at The Maj... the other way around to what she was looking at!!’ John Newman said, ‘She devised her own shorthand of dance. She would pay for her seat and sit up the back somewhere with her little notebook and write the steps down. She noted the lighting plot, the colours and details of the costumes and everything. She knew the whole show. Perhaps not officially, but practically, she produced the show.’

The Australian musical Lola Montezwas premiered by the Union Theatre Repertory Company in association with the Australian Elizabethan Trust at the Union Theatre at Melbourne University, opening on 19 February 1958. Later in the year the Trust presented a reworked, rescored, redesigned, recast and re-choreographed version of Lola Montez at Her Majesty’s in Brisbane (1 October 1958) and at the Elizabethan Theatre in Sydney (25 October 1958). For this new production Pounder was appointed assistant choreographer to George Carden, ‘courtesy of J.C. Williamson Theatres Ltd.’.

‘I'd like to see that show revived. It really didn’t get the chance it deserved the first time around. Unlike Broadway where shows have tryout seasons, everything here opens cold.’ Mary Preston (replacing Justine Rettick who created the role of Lola in Melbourne), Frank Wilson, Jane Martin, who would go on to play Eliza Doolittle in the second company of My Fair Lady,Bruce Barry, Fred Patterson were all in the cast. Sadly the reworked version was never staged in Melbourne.

Damn Yankeesalso had the Betty Pounder stamp with it played in Melbourne and Sydney during 1958.

Betty Pounder backstage at Her Majesty’s, 1950, when she was appointed Ballet Mistress

Australian Performing Arts Collection, Arts Centre Melbourne

Embassy Ball scene from My Fair Lady, 1959, with Robin Bailey and Bunty Turner

Australian Performing Arts Collection, Arts Centre Melbourne

‘Fred Astaire and the rest of them couldn’t get over the youth and beauty and energy that we have out here.’ (My Fair Lady)

My Fair Lady hit Australia in 1959 and was the biggest show to come to our shores since Annie Get Your Gun in 1947. The hype was huge and of course, Williamson’s wanted Pounder to reproduce the original Hanya Holm choreography, but the American producers would not have any of that. Pat Drylie, who was Dance Captain on the original 1956 Broadway production and Holm’s assistant, would be sent over to reproduce it here, along with Sam Liff who would reproduce Moss Hart’s direction, Liff having been Stage Director on the Broadway production. Typical of Pounder’s way, she happily stepped aside for the very serious and non-smiling Ms Drylie, but was always on hand to teach any of the dancers steps they were having trouble with. She was there in the background, but her presence was felt by all and the dancers knew they could go to her. Once the American team had gone back home, Pounder put her own stamp on the choreography, making small but improved changes. This would be something she would always do. Small changes but for the better of the overall look of the routines. She was listed in the program as ‘Ballet Mistress’. For the next seasons in Brisbane, Sydney, and Melbourne’s return season and the New Zealand and South African runs, the program credits read, ‘Original Choreography and Musical Numbers staged by HANYA HOLM. Adapted by PAT DRYLIE. Choreography for the Brisbane Production Staged by BETTY POUNDER.’

Fred Astaire, Betty Pounder and Gregory Peck with cast members of My Fair Lady, Her Majesty’s Theatre, Melbourne, 1959

Australian Performing Arts Collection, Arts Centre Melbourne

Scene from Grab Me a Gondola, 1959, featuring Guido Lorraine (with hat), Barbara Robinson and chorus

National Library of Australia, Canberra

A special treat came to Betty and the cast one night in Melbourne when Ava Gardner, Fred Astaire and Gregory Peck attended a performance and met everyone on the stage of Her Majesty’s at the end of the show during their time in town filming the movie, On The Beach.The original run of My Fair Lady was the biggest show in Australian Box Office history until the first season of The Phantom of The Opera in 1990.

Grab Me a Gondola also had Pounder as choreographer in the same year with favourites, Sheila Bradley, Tikki Taylor, John Newman, Robert Healey, Letty Craydon and Bill French. There was also a production of Shakespeare’s A Midsummer Night’s Dream, which was presented by Williamson’s in association with The Royal Shakespeare Company which Betty would work on.

ATN-Channel 7 borrowed Pounder for their televised 75 minute musical comedy presentation, Pardon Miss Westcott,with music, lyric and book team Peter Stannard, Peter Benjamin and Alan Burke, who also wrote the musical Lola Montez. The amount of work done in one year was proving just how incredibly hard working Betty was, not only for J.C. Williamson’s but also for other companies who they loaned her to.

The Union Theatre Repertory Company engaged Pounder to choreograph their review, Look Who’s Here in 1960. Anne Fraser did the sets and costumes, George Ogilvy directed while Wendy Pomroy was Musical Director. Fred Parslow, Joan Harris, Mary Hardy, Bob Hornery and Marion Edward were all in the cast.

To be continued

Surely recognised as one of Australia's most loved couples in the showbusiness, Jill Perryman and Kevan Johnston hail as true theatrical royalty. Not only loved and respected for their monumental careers in the entertainment industry, both individually and as a team, but also as two of the most down to earth, engaging and generous people anyone could hope to meet.

Jill & Kevan photographed in 1966 by Victor Johnston

State Library of New South Wales, Sydney

Jill was born on 30 May 1933 into a theatrical family, her father being Melbourne born actor-singer and radio announcer, William Perryman and her mother, the Adelaide actress-singer Dorothy Eileen Duval. William was in an extraordinary number of productions at The Tivoli, Theatre Royal and Her Majesty's in Melbourne, Sydney and Adelaide from 1919 until the late 30s, productions as varied as Faust,Lucia di Lammermoor,Madame Butterfly,Carmen,The Mikado,The Gondoliers,The Merry Widow,Lilac Time,Florodora,Maid of the Mountainsand Hit the Deck to name just a few. Both being regular performers with the great J.C. Williamson Theatres Ltd, Dorothy appeared in shows such as Lilac Time,The Merry Widow,Bitter Sweet,The Arcadians, often appearing alongside her husband. The Perrymans were proud parents of daughters Jill and Diana Perryman, Diana, a veteran of the stage working extensively for The Independent Theatre, Minerva Theatre and Phillip Street Theatre in Sydney as well as in radio and television.

Jill Perryman, aged four

 

Jill's father, William, third from the left, in an unknown musical

 

Jill's first stage appearance was at the tender age of two in a circus tent production of White Horse Inn,in which her parents and big sister were appearing. Wandering onto the stage wearing nothing but a nappy, she was such a hit that she was actually written into the show and was credited in the program as "Baby Perryman". However, the end of the tour also saw the end of Little Miss Perryman's stage career! So much for a life on the stage. Well, for now anyway!

While working as a shop assistant in 1952 at the age of just nineteen, Jill received a phone call asking her to attend the open auditions for the chorus in the 1953 J. C. Williamson original production Call Me Madam.This would be a phone call that was to change the course of her life and begin her journey to become one of the brightest and most loved stars of the Australian stage.Not only was she a great asset to the chorus, but she was also made understudy to the leading lady, Miss Evie Hayes! Another important member of the chorus was the handsome young dancer, Kevan Johnston! Remember that name and watch this space! Call Me Madam would be the start of a long association with JCW and also with the company's choreographer, and later casting director, the legendary Betty Pounder. Pounder, as she was known in theatrical circles, spotted Jill's talent right away, drawing more and more out of her with every production. Pounder and Jill would become and remain life-long friends.

Jill as one of the Mormons in Paint Your Wagon, 1954

 

Jill in Can-Can, 1956

 

South Pacificfollowed and then Paint Your Wagonin 1955 in a featured role as one of the three Mormans, Jill having her own featured photo and biography in the program in just her second show. Next came Can-Canin 1955-56 where she, again, understudied the female lead role, taking it over when Sheila Arnaud's contract ran out. In 1957 Williamson's bought the rights to The Pajama GameandAmerican Director Fred Hebert and Betty Pounder and JCW General Manager John McCallum were convinced we had the right performers for all of the lead roles right here in Australia, rather than use imports which was the usual practice. An all Australian, top-rate cast was assembled which included Toni Lamond, William Newman, Tikki Taylor, Frank Sheldon, Keith Petersen and, there's that name to remember again, Kevan Johnston! Jill was cast, and padded out for the role, as Mabel.

Jill as Mabel in The Pajama Game, 1957

 

Wedding bells rang for Jill and Kevan in 1959, the start of a life of love and devotion and more theatre partnerships. Together they had two children, Tod and Trudy; Tod a singer, songwriter with his band, Tod Johnston & PeaceLove, a producer, television host, radio announcer, Master of Ceremonies and corporate host, and Trudy an actress, theatre director and teacher. The theatre bug continues in the family with Trudy's daughter, Mackenzie Dunn, making a name for herself in principal roles in Jersey Boys,Grease,Hairspray,Annieand Waitress.Mackenzie's sister, Cassidy is continuing the performing family-line with her own career on the stage, television and film and Jill and Kevan could not be prouder of their children and grandchildren. Family has always been everything to them and the balance of work and family was always their top consideration.

Jill with Jack Goode in Hello, Dolly!, 1965

 

Jill and Kevan in Carnival, 1962

State Library Victoria, Melbourne

Carnivalwas the next show to come along for both Jill and Kevan in 1962 where Kevan played the role of the magician, Marco the Magnificent, and Jill as his assistant, The Incomparable Rosalie. Eight shows a week Jill would climb into a small box, through which Kevan would proceed to insert a number of long swords! Thankfully Jill was always safe and unharmed and ready for the next performance! Hello, Dolly!came up for her in 1965 where she played Irene Molloy and once again had the chance to understudy the star, the great Carole Cook, in the lead role of Dolly Levi. Miss Cook would admit, during a videotaped presentation to Jill years later, that she faked being sick a few times, knowing Jill had what it took to play the role, and to give her the chance to go on. Thirty years later she would play Dolly once again, this time eight shows a week. Also in 1965, Jill had the lead in a made-for-television musical The Good Oil.Jill and Kevan got to sing a couple of numbers together, and Kevan, as well as having a starring role, was also the show's choreographer.

"Hello, gorgeous", Funny Girl, 1966

State Library New South Wales, Sydney

Jill as Private Schwartz in "Rat-Tat-Tat-Tat",  Funny Girl, 1966

State Library New South Wales, Sydney

1966 saw JCW buy the rights to Funny Girl,the American producers insisting the role of Fanny Brice must be played by an American. Betty Pounder auditioned over one hundred American girls but kept coming back to one thought. Jill Perryman. Betty won the fight and Jill shot to stardom. Betty would say in an interview years later, "That opening night of Funny Girl in Sydney was one of the greatest and if anyone has star quality, it's Jill!" She would win an Erik Award for her performance in the show, and the song "People" would become one of Jill's standards. In fact, during rehearsals, Betty Pounder quite often had her sing the song a number of times over and when Jill asked if there was a problem that she needed to work on with the song, Betty told her, "No, I just love listening to you sing it." On 18 October 1990, Jill performed the song at the fundraising event, A Night on Broadway,for The Performing Arts Museum in the ANZ Pavillion at the Victorian Arts Centre with Bartholomew John as her co-star. Accompanied by Kevin Hocking at the piano, Jill started the number with, "This is for Miss Betty Pounder." Producing the event, Betty would pass away just one and half months later.

In between engagements with J.C. Williamson's, Jill appeared many times during the late 50s and 60s at The Phillip Street Theatre in Sydney in a wide variety of reviews, again earning critical acclaim.

The Esler family, from left, Gail, Mrs Renee Esler, and Geraldene, they are looking at the program for Funny Girl, which stars their cousin, Jill Perryman

State Library Victoria, Melbourne

Jill with Stephen Douglas in I Do, I Do,  1969

 

I Do, I Doin 1969 saw Jill doing something she had no idea she could actually do! She played the violin! On Betty Pounder's episode of This Is Your Lifein 1980, Jill, being one of the guests, would say, "Pounder has guided, cajoled, spoon fed and shoved me, on occasion when needed, through twelve musicals. You've made me do things I didn't know I could do. I didn't know I could do a dance routine, I didn't know I could play the violin! I did a show called I Do, I Do,in which the star had to play sixteen bars with the orchestra, and of course Betty said, "Oh yes, she can play the violin!" Nothing is impossible to this lady and for this I am so very, very grateful."

Jill with Paul Wallace in No, No, Nanette, 1972

Australian Performing Arts Collection, Arts Centre Melbourne

Jill with David Gilchrist in A Little Night Music, 1973

Australian Performing Arts Collection, Arts Centre Melbourne

The Two of Usfollowed in 1971 and the following year, the superb revival of No, No, Nanettein 1972 with Jill, once again perfectly cast, as Lucille Early, the role and performance which would win her another Erik Award. When her leading man, American Paul Wallace, left the show at the end of this contract, the role of Billy Early was taken over by Kevan, and the couple got the chance to perform together again in a big show, their Act 2 number "You Can Dance with Any Girl at All" stopping the show each night. A Little Night Musicwas next in 1973 with Jill's performance as the Countess being a highlight. This was the final show Jill did for Williamson's in the company's original form before it closed its doors in 1976. Williamson's had a second life for a short time as J.C. Williamson Productions Limited and Jill, along with cousin-in-law Geraldene Morrow, Bartholomew John and John Laws, wowed 'em in the compilation musical Side By Side By Sondheim. Next, in 1978, Jill was cast as the formidable Miss Hannigan in Annie, Kevan and Jill sharing the stage once again with Kevan cast as Rooster! Their song, "Easy Street", performed with great friend Nancye Hayes, would later be sung by Jill and Kevan's grand-daughter Mackenzie Dunn in the 2025 revival.

Reminiscing about her time with Williamson's, Jill said, "Working for J.C. Williamson's was probably the greatest thing that ever happened to me. I loved Williamson's, funnily enough, before their theatres were tarted up, because I loved the grottiness backstage. As you opened the Stage Door there used to be an onrush of the smell of size, which was the glue they used for the sets and the backdrops and everything. It was awful, but to me it was like Chanel No. 5. I think I'd have been happy in the chorus for the rest of my life. I just loved being there. The rest of my career that evolved was a total shock."

Album cover for I Feel a Song Coming On, 1974

State Library of Western Australia, Perth

Jill in Perryman on Parade, 1973

Australian Performing Arts Collection, Arts Centre Melbourne

The 1973 ABC television variety series Perryman on Paradeshowcased Jill's talents brilliantly, recreating numbers from some of her most famous stage roles and for this she would win a Penguin Award from the Television Society of Australia for the Best Variety Performer. Further awards came through when she won her second Penguin Award for the Best Single Performance by an Actress for Palace of Dreams.Jill also won the Best Supporting Actress from the Australian Film Institute for her outstanding performance in the movie Maybe This Time.The ABC television special, JILLwas produced in 1975 with another television special An Evening with Jill Perrymanin 1977. She would also make two LP recordings! I Feel a Song Coming Onin 1974 and Leading Ladyin 1975.

Jill's episode of This Is Your Life with her mentor, Betty Pounder and Mike Willisee, 1976

Australian Performing Arts Collection, Arts Centre Melbourne

While taping a television special in 1976, Jill was suddenly surprised when someone walked up behind her and interrupted her song. It was Mike Willesee. "Oh, it's not that program!", she said! Yes, it was! Jill was the guest of honour on This Is Your Life.A host of friends and colleagues paid tribute to her with Kevan by her side and, later, their children Tod and Trudy joining them. The program finished with Jill singing, appropriately enough, "People"from Funny Girl.

Noises Offin 1983, Brighton Beach Memoirsin 1984, Ninein 1987 when she took over the role of Liliane La Fleur from Nancye Hayes who was committed to another production for a short time, Chicagofollowed with Jill as Matron Mama Morton in 1988, Companyfor the West Australian Theatre Company, Summer of the Seventeenth Dollin the same year, 'night Motherplaying opposite June Salter,Wallflowering,Legend '94 were just some of the shows that followed. At Sydney's Music Loft Restaurant, and later Melbourne's St Martin's Theatre, she played to packed houses in a show that was created especially for her entitled, Leading Lady.In 1987 Jill was asked by the West Australian Ballet Company to be the narrator for their work, the Brecht-Weill production, Seven Deadly Sins,an experience she regards as one of her working highlights. The following year she appeared as Ma Rudd opposite Kevan as Pa in On Our Selection,once again with daughter Trudy also in the cast. 1990 saw mother and daughter, Jill and Trudy team up for the West Australian Theatre Company's Dinkum Assortedplaying aunty and niece!

Jill and Kevan in Wallflowering, 1990

State Library of Western Australia, Perth

In between theatre engagements Jill worked on such television shows as, in both on-going and guest roles, Bellbird,Home Sweet Home,Dynasty,A Country Practice,Homicide,The Flying Doctorsand Changigiving a remarkable performance opposite Bud Tingwell. Jill also acted in the movies Maybe This Time,Windrider,The Swan,Love in Limboand Hidden Creatures.

In 1993 Jill took part in the acclaimed production Follies in Concert,directed by Tony Sheldon. Jill was a powerful Phyllis and the show featured just about every leading lady and man in Australia, her co-stars included long time great friends and colleagues, Toni Lamond, Nancye Hayes, Lewis Fiander, Jeff Warren, Margaret Haggart, Reg Livermore, Maggie Fitzgibbon, Sheila Bradley, Peter Adams, Glenda Raymond, Fred Parslow and June Salter! That production is still talked about in theatre circles.

After a fifteen-year absence from the stage in a long-running show, in 1994 John Frost managed to sweet talk Jill into playing Dolly Levi in the Gordon-Frost production of Hello, Dolly!And yes, she really WAS back where she belonged! For her performance, Jill won the Sidney Myer Performing Arts Award for the Best Musical Theatre Performance.

Jill with June Salter in 'night Mother

 

Jill as Peter Allen's mother in The Boy From Oz, 1998

 

Coming out of retirement in 1998, Miss Perryman shone, yet again, creating the role of Marion, Peter Allen's mother, in the original production of The Boy from Oz,her solo "Don't Cry Out Loud", being an incredibly poignant moment in the show. Even in retirement the odd offer would come along that Jill found too good to turn down, one being acting in Death of a Salesmanin 2002 for the Hole In The Wall theatre company in WA, and how could she possibly have turned down the chance to appear with her own son at the Mandurah Performing Arts Centre in Jill Perryman and Tod Johnstonin 2005? Jill's last formal appearance was the inaugural concert celebrating the newly formed Kookaburra, The National Musical Theatre Companyin 2006, alongside a star-studded line-up of fellow artists.

Looking back on her career, Jill would say, "I've been blessed all along the way and I wouldn't change anything. I think it's because I've been able to combine my career with my wonderful family."

Jill with Peter Brayshaw in 1961, when Jill received her sister Diana's Erik Award for Two for the Seesaw

State Library Victoria, Melbourne

Jill's awards include the Order of the British Empire in 1979, the Order of Australia in 1992, the AACTA Award for the Best Actress in a Supporting Role for her performance in the movie Maybe This Timein 1980, an Erik Award for her performance as Fanny Brice in Funny Girlin 1966 and a second Erik for her performance as Lucille Early in No, No, Nanettein 1972. She received a Mo Award in 1995 for Female Musical Theatre Performer of the Year, and the J.C. Williamson Award in 2011 through The Helpmann Awards was a triple-bill with fellow JCW stars Toni Lamond and Nancye Hayes, all receiving the award and a standing ovation. The same year saw Jill receive the West Australian Screen Award for Outstanding Contribution to the Industry. The Equity Lifetime Achievement Award in 2013 was given to Jill and Kevan as joint recipients, and in 2018 they were both given honorary doctorates at the Edith Cowen University Awards. In 2024 The Perryman Theatre Company was formed in Melbourne by Jill's family was named in her honour.

Always humble in her approach, Jill said, "Our family's always been a strong priority and I haven't been overly ambitious. I never force things to happen. If it's got my name on it, OK. If not, it's obviously meant for someone else." Describing herself as "very suburban", she says, "When I'm not working, I'm not pining to work, although I love to see good theatre."

Kevan Johnston in 1974

 

Kevan with Shirley Sunners in Call Me Madam, 1953

Australian Performing Arts Collection, Arts Centre Melbourne

And so to the "other half" of the dream-team! While little Miss Jill Perryman was treading the boards at the age of two in White Horse Inn,across on the other side of the country, five-year-old Kevan Johnston was making his first stage appearance at His Majesty's Theatre in Perth. Born on 8 January 1931, Kevan, just like Jill, was born into a theatrical family. His mother was the leading Perth dancing teacher Peggy Elser and his aunt was the JCW singer and dancer, Renee Elser. Kevan's cousins, daughters of Renee, are Geraldene Morrow, star of stage and music hall and who is still performing today, and Gail Esler, stage singer for JCW and Garnet Carroll, stage manager and Resident Director. Kevan began dancing lessons at a very early age at his mother's school and he excelled in everything from classical ballet to tap, from jazz to Highland dancing, for which he won many medals. Finding his love for the stage early on, it wasn't long before he was performing in a number of amateur shows. But professional life soon called.

Kevan (third from the right in front), at his mother's dancing school in Perth

Private Collection

 Kevan in full flight in Can-Can, 1955

State Library of New South Wales, Sydney

Kevan was a foundation member of The West Australian Ballet Company during his time with them, he auditioned for J.C. Williamson Theatres and their production of Call Me Madamin 1953, a turning point in Kevan's career and also in his life, meeting vivacious young chorine Jill Perryman. Kevan was given the position of one of the three principal dancers, even getting a feature photo in the program. Not bad for a first show! The production's Ballet Mistress, Betty Pounder, spotted Kevan's obvious talent and versatility and the following year put him straight into Paint Your Wagon,again as one of the principal dancers. At the end of the production, he was put straight into Can-Can,once again as featured principal dancer and once again working alongside Jill. His partner in the Quadrille, The Garden of Eden Ballet, as the Snake, and The Apache dance, was the show's choreographer, Eleonore Treiber who had danced in the Broadway production and who reproduced the original choreography for the Australian show.

Kevan (centre front) in Paint Your Wagon, 1954

 

1957 saw the first all-Australian cast in a musical, The Pajama Game,with Kevan, Tikki Taylor and Frank Sheldon stopping the show in the ‘Steam Heat’ number. At the end of the show's run, Kevan went straight into the Australian musical, Lola Montez in 1958.

Falling in love, Kevan and Jill married in 1959.

Television variety shows were extremely popular at this time and Kevan was now working as choreographer on the show Bandstand as well as In Perth Tonight. An interesting time for Kevan, learning the differences between stage choreography and that of television variety shows, it was a great chance for him to broaden his horizons. In 1961, Betty Pounder cast Kevan as Conrad Birdie, the title character in the show Bye, Bye, Birdie.More work as a choreographer came from the Phillip Street Theatre in Sydney which kept him busy between shows for JCW. He was now in demand more and more for his talent as a choreographer.

Jill and Kevan in Carnival, 1962

State Library Victoria, Melbourne

Carnivalin 1962, A Cup of Tea, A Bex and a Good Lie Down,which he not only appeared in but also choreographed,On Our Selection,One Day of the Yearall featured Kevan's talents, as well as the television special, The Good Oil,with Kevan as choreographer and performer alongside his wife, Jill. In 1972 he took over from American Paul Wallace in the huge revival of No, No, Nanette,again, with Jill as his on-stage wife, giving the audience that sparkle that they had together on the stage. Pippinin 1974 with Colleen Hewitt, Johnny Farnham, Jenny Howard, Nancye Hayes, Ronne Arnold, and in 1978 Jill and Kevan enjoyed a wonderful run in Annieas mean-to-the-core sister and brother, Miss Hannigan and Rooster.

The cast of Annie in 1978: From left to right, Jon Sidney, Anne Grigg, Hayes Gordon, Sally Bourne, Jill Perryman, Kevan Johnston and Nancye Hayes

 

Kevan and Jill moved to Kevan's hometown of Perth in the mid-70s with their children, when things were "slowing down", little realising just how busy they would be in Perth. "Going to Perth", Jill would say, "gave me the opportunity of doing drama that I would never have had if I'd stayed in Melbourne or Sydney", and once it was known both she and Kevan were "home", more and more offers came in as well as continued work back in Sydney and Melbourne.

Kevan was Production Coordinator on the Australian tour of Disney on Parade,was Dance Captain in the original production of Evitain 1980 and he performed in the highly acclaimed Sydney Theatre Company production of Chicagoin 1981.

Kevan and Jill in Summer of the Seventeenth Doll, 1988

State Library of Western Australia, Perth

As Director, Kevan worked on The Twenties and All That Jazzin 1983, and Chicagoin the same year as choreographer as well as performing the role of Billy Flynn. The Sentimental Blokein 1986 saw Kevan and daughter Trudy working together, and they played father and daughter in On the Wallabyfor the West Australian Theatre Company that year as well. Side By Side By Sondheimfor the Hole In The Wall company in WA in 1987, Eureka Stockadefor the West Australian Opera in 1988 as choreographer, as an actor in Summer of the Seventeenth Dollin the same year alongside Jill, and as Ma and Pa, they worked together once again in On Our Selectionfor the WATC, with daughter Trudy also in the cast. The three would once again work together in '88 in the West Australian Theatre Company's acclaimed production of Company.Next to come along was Waiting for Godotin 1989, the two-hander, Love Lettersin 1991, again with Jill, Evitain 1994, and also with Jill in 1996, One Day of the Year, all for Hole In The Wall. For the West Australian Opera Company Kevan choreographed a wide variety of works, everything from Orpheus in the Underworldto Countess Maritza.He has also appeared as guest artist with the West Australian Ballet Company in Alice in Wonderlandand Cinderella. 1994 saw Kevan and Jill settle into a big, long-running musical once again, Hello, Dolly!for Gordon-Frost, with Kevan playing Harmonia Gardens Maitre d', Rudolph Reisenweber.

In 2012, Trudy and Tod wrote and produced a special cabaret show, as part of the Perth Morning Melodies series at His Majesty's Theatre, titled View from the Wingswith the pair performing songs from their parent's past and telling stories of what it was like growing up as children "on the road". Everything from life in hotel rooms, the moving from school to school, doing schooling via correspondence, to life with "out of the norm" parents. One of highlights was Tod, as Kevan, mowing the lawn in a dressing-gown doing a soft shoe shuffle as he thought of some choreography for an upcoming show! Stories had their audience, which included Jill and Kevan, centre front row of the Dress Circle, in stitches. Stories such as Jill loving the sound of rain on a corrugated iron roof, and Kevan climbing up on their roof and attaching a piece of iron to it just so Jill could lay in bed and listen to the rain!

Jill and Kevan in I Do, I Do, 1988

 

Jill Perryman and Kevan Johnston truly are Australian theatrical royalty, appearing together in shows such as Call Me Madam,Paint Your Wagon,Can-Can,The PajamaGame,Carnival,The Good Oil,No, No, Nanette,Annie,I Do, I Do, Hello, Dolly!,andCompany,and acting together in the plays that included Summer of the Seventeenth Doll,Wallflowering,Love Letters,One Day of the Year,On Our Selection.Their partnership was a great one, not only on-stage but certainly off-stage as well. Both known for being humble, approachable, down to earth and generous, it's no wonder they are held so fondly in the hearts of everyone who worked with them and who knew them. True Aussie theatre royalty and legends while also being your typical Aussie next-door neighbours.

Putting this tribute together, I didn't realise the truly massive amount of work they had both put in to entertain the public from the early 50s until the late 90s and even beyond. A remarkable legacy.

The theatre world in Australia felt a great, great loss when Kevan Johnston, loved and adored husband of Jill, devoted father of Tod and Trudy and "Pop" to his grandchildren and great grandchild, passed away peacefully, with his family by his side on 17 April this year, 2026. Theatre royalty... absolutely! But also, just our Jill and Kev, the people everyone would have loved to have had as our next door neighbours. It's been an absolute pleasure!

Note on images

Unless otherwise noted, images are from Kevin Coxhead's collection

Keith Petersen as Oscar in The Odd Couple, 1966. National Library of Australia, Canberra.In Michael Powell’s 1966 film of They’re A Weird Mob there is a scene of an abusive drunk on the Manly Ferry who ends up in the harbour. It is quite a funny scene.

The actor was Keith Petersen and I hope he can be remembered for much more than this cameo in the iconic Australian film.

Born in 1919 in Port Macquarie the young Keith was clearly one of those people born to perform. He was only ten when he made his first appearance at the Princess Theatre while studying tap dancing with the legendary May Downs. He appeared in several juvenile roles and pantos. Keith had outstanding physical skills so it is not surprising that in his early years he joined a comic acrobatic group. This group played all over Australia.

Like many performers of his generation Keith loved vaudeville with a passion. I have spoken to many performers over the years and noticed how their eyes would always light up when I asked about the Tivoli or a variety show. Keith loved performing in the 1953/54 Harry Wren production of Thanks For the Memory with legends such as George Wallace Sr, Jim Gerald and Queenie Paul.

Keith appeared in several pantomimes. Strange that very few younger Australian audiences would know what a pantomime or ‘Panto’ is, yet years ago mums would take their young kids off to the Tivoli during holiday time to yell ‘he’s behind you!’ Pantos were a very quirky form of entertainment. The Principal Boy or lead was mostly played by a woman! The most famous in Australia was Jenny Howard.

There was quite a lot of audience participation in Panto with many popular phrases such ON NO I DIDN’T to which the audience would yell OH YES YOU DID! Lollies would be thrown out to the audience by the cast, to be eagerly caught by the kids. Panto was full of slapstick, campy humour and variety acts thrown in. Lots of jokes for the kids but the adults were not left out. There were many risqué jokes for the mums and dads. The kids were often laughing at very different things to their parents.

The most important role was a man dressed as a woman: the Pantomime Dame. These Dames were played by famous comedians of the day. Jim Gerald, George Wallace and numerous great stars of vaudeville played the Dame! The young Keith would watch the Dame, wishing he could talk to him and meet him. Keith vowed that one day he would play the Dame and go and meet the kids. The dream came true when he formed his own company and in full drag would greet the kids after the show. For over three years he played the Dame throughout Victoria and South Australia, touring with his wife and fifteen-month-old baby.

He played Dame Trot in a production of Jack and the  Beanstalk. His wife Joy played Second Boy. At that time fashion was changing because as frocks were becoming short and skimpy there was nothing to burlesque. Keith studied the makeup of the day very carefully. He often said that he would look at the very good and then do the opposite! ‘You then,’ he said ‘HAD A DAME!’

He experimented especially with hats and wore a different one in each performance. He LOVED feathers!

It could be argued that in some ways Panto was ‘gender bending’ way before it became a social and equality issue. In Pantos they often used a children’s dance school to build up the size of the cast. Keith did this a child as we know. Pantos were musical with lovely sets and costumes.

It is hard to understand why pantomimes disappeared from theatre. I loved my days going off to see pantos. I still remember seeing Robinson Crusoe On Ice starring the popular comedian, Jackie Clancy.

Yet even though we do not see much Panto today in Australia it is alive and well in the UK. At Christmas holiday time people flock to theatres all over the UK to celebrate this great theatrical tradition.

Programme cover for Ice Parade, Princess Theatre, Melbourne, 1953

Theatre Heritage Australia

Programme cover for Cinderella On Ice, Empire Theatre, Sydney, 1958

Theatre Heritage Australia

Often the cast members of an evening vaudeville show would also perform two matinee performances of a Panto and then the nightly show. Three performances a day! This happened in the case of Ice Parade which Keith played in Sydney Adelaide and Melbourne. These kinds of shows were popular. They were performed on ice and on stage. In Ice Parade Keith played alongside the Kermond Brothers, Enzo Toppano and Peggy Mortimer. It was a colourful expensive show! Keith even learned ice skating!

Then during the day Keith performed in Cinderella On Ice. This was a lavish spectacular Panto performed at the Princess Theatre with the Carroll Management. Cinderella was played beautifully by Peggy Mortimer. Keith often formed friendships with fellow cast members and kids loved him. Peta Toppano recalls ‘Uncle Keith’ taking her skating.

Keith played the role of Buttons in Cinderella. It is a tricky part because although it’s comedy there is an element of pathos needed to play a good Buttons. He is Cinderella’s best friend but he also loves her. Cinderella however does not love Buttons and Cinders always lives happily ever after with the handsome Prince. Keith was a perfect Buttons.

Some may be surprised about an artist doing more than one show a night but this was not unusual in vaudeville. Keith performed in all areas of entertainment. His career in musical comedy was extraordinary.

Musicals in Australia were often cast with an overseas import. There are several theories why JCW and Carrolls did this. Often the stars were not stars at all but understudies or even minor cast members of a few shows. Still what many of the critics of this policy forget is that these performers often stayed in Australia and contributed much to Australia theatre. Australia would be the poorer without Hayes Gordon, Sheila Bradley, Johnny Ladd, Jeff Warren and so many others.

Still many wondered why we could not have an all Australian cast. We certainly had the talent. It was the great choreographer, Betty Pounder, who often ‘pushed’ for this. There was a strike once which made it impossible for imported artists to come here. The Aussies seized the day!

Programme cover for The Pajama Game, Her Majesty’s Theatre, Melbourne, 1957

Theatre Heritage Australia

Toni Lamond as Babe Williams in The Pajama Game, 1957

Australian Performing Arts Collection, Arts Centre Melbourne

In 1957 it finally happened. JCW took a gamble and they presented The Pajama Game with an ALL AUSTRALIAN CAST. It starred Toni Lamond, Bill Newman (then called William) and Keith Petersen in the role of Mr Hines.

Hines is a great part. It is the third lead and for Keith it was a triumph. It gave him the chance to sing dance and really strut his stuff.

There is a lovely number in the show when Mr Hines, who suffers from pangs of jealousy, gets advice from Mabel in a song which became a show stopper ‘I’ll never be jealous again’. Keith sang this with a relatively unknown actress who was playing a much older character than she really was. Her name? Jill Perryman!

Pajama Game toured Australia and New Zealand for two and a half years. Keith, like other JCW performers, not only did the show, he became involved in the show’s promotion. He appeared at Hordens Department store promoting blankets. He was on radio, TV and many public appearances promoting the show. It was a tough schedule.

Programme cover for Once Upon a Mattress, Princess Theatre, Melbourne, 1959

Theatre Heritage Australia

Patsy Hemingway as Lady Larken, John Hunter as the Jester and Keith Petersen as the King in Once Upon a Mattress. 1959. Photograph by Zeus Merfield.

Australian Performing Arts Collection, Arts Centre Melbourne

In 1962 Carrolls presented Once Upon A Mattress and Keith had great fun playing the King. This role was mimed because the King cannot speak and Keith was both poignant and funny. The show starred Gloria Dawn. Keith and Gloria were great friends and later worked on a show called Peaches and Screams. Mattress later starred Sheila Bradley. Keith’s performance in Once Upon A Mattress eared him much acclaim including the Sydney Press annual awards for which he won ‘comedy performance of the year’.

For a few years Keith returned to vaudeville and toured with the Tivoli in Many Happy Returns and Yellzapoppin. He performed with great stars like Gladys Moncrieff, Jenny Howard and others.

Jim Gerald, Keith Petersen and George Wallace Jr in a sketch in Many Happy Returns, c.1960

National Library of Australia, Canberra

Programme cover for Wildcat, Princess Theatre, Melbourne, 1963

Theatre Heritage Australia

In 1963 came Wildcat. This was a vehicle on Broadway for Lucille Ball, giving the ‘Queen of Television’ her first show on Broadway. Wildcat on Broadway had nothing but problems. It is a lovely show and terribly underrated. On Broadway there was more emphasis on Ball than on the show itself. When Ball became ill the show floundered.

Carrolls took a huge risk on Wildcat. They did see that it was actually a good show and also it would be relevant to Australia because of our growth of oil refineries and mining. This is the setting for Wildcat and it is about Wildy and when she struck oil.

The starring role went to one of Australia’s great stars, Toni Lamond, and her co-star was by Gordon Boyd. The comedy role of Sookie went to Keith. The showstopper was Keith and Toni singing ‘What takes my fancy’. Some sources claim that the Australian production reinstated the duet for Sookie (Keith) and Wildy (Toni) ‘Ain’t it sad, ain’t it mean’ which was cut  from the Broadway production yet I cannot find it listed on my programme.

Wildcat has a wonderful score and a pleasant enough book. When one listens to the score you wonder why it was not a more successful show. Toni Lamond was at her peak and from all accounts was excellent. Wildcat is one of those shows that deserved more success than it got.

When the American director Fred Hebert directed Keith in The Pajama Game he was so impressed with him that he invited him to play Oscar in Neil Simon’s smash hit comedy The Odd Couple. The cigar smoking Keith relished the role and delivered one of his best performances. He was teamed with Fred Parslow as the whimpering and obsessive Felix. There was a superb chemistry between Keith and Fred and it is a pity they did not get to work together more often. I have seen many productions of The Odd Couple and no one has been as good as Keith and Fred.

John Newman and Keith Petersen in the Duelling Scene from Can-Can, 1958

National Library of Australia, Canberra

Judy Nunn, Keith Petersen, Yvonne Matthew and Fred Parslow in The Odd Couple, 1966. Photo by Rembrandt Enterprises, Sydney.

National Library of Australia, Canberra

Other productions in which he appeared included Simple Spymen, TheRoaring Twenties, a stint in Can-Can and even the light opera Die Fledermaus.

Throughout the sixties he was resident comedian at the Bankstown Sundowner Hotel where he frequently worked with his good friends Gloria Dawn and Frank Cleary. Keith was a regular act at the clubs around NSW donning his trademark baggy suit and cracking gags. His famous cigar and hat routines were pure vaudeville.

He often finished his routines with a tap dance and even thrilling his audiences by doing the splits!

He worked with many headline acts on the Club circuit. One of Keith’s most unusual ventures was an attempt in his later years to bring vaudeville back to the suburbs. Keith argued that audiences had not changed all that much and many longed for a return to vaudeville.

Business card for Keith Petersen’s West Side Theatre Restaurant. Courtesy of Vanessa Berry, Mirror Sydney, https://mirrorsydney.wordpress.com/tag/keith-petersen/

The business card (above) is for the West Side Theatre Restaurant in Marrickville. Keith argued that the working class people wanted a return to variety as much as anyone else. In 1967 he opened what he regarded the most lavish theatre restaurant in Australia. From all accounts it was beautiful.

Keith was the manager and of course a performer and Edwin Duff, various guest artists and thirteen dancers were in the cast. There was also a dance floor.

As a kind of hobby, Keith had a pig farm near Campbelltown. He often joked that he was so busy he had no time for his pigs any more and pigs were his ‘relaxation’.

In 1970 Keith mounted the pantomime Dick Whittington.It starred his wife Lynette and a newcomer called John Farnham. It was a brave noble venture, but it was not  a complete success.

Keith died in 1971 near Campbelltown.

While writing this it has struck me as sad we do not have many video records of Keith at his best. It would be great to see some of his live performances. As a teacher I often ask my students why they want to be actors. Most often (but thankfully not always) they respond saying that they want to be famous or get into Neighbours! Artists like Keith Petersen simply had to perform. He loved a connection with a live audience. He was hardly ever out of work, living by the old show biz slogan... no job too big or too small.

As I spoke to performers they smile when they talk of Keith … they say, ‘He was a trouper’ I can think of no greater epitaph!

The ‘On the Rue de la Paris’ scene in Many Happy Returns, c.1960, with Keith Petersen (costumed as a gentleman’s pissoir!), George Wallace Jr (checked shirt) and Jim Gerald (as the blind man). National Library of Australia, Canberra.

Very special thanks to Frank Van Straten for his assistance with the preparation of this article.