The enduring vitality of Ray Lawler's Summer of the Seventeenth Doll, now celebrating its 70th anniversary, is nothing short of remarkable. Often, classic plays gather a cloud of outdated or misleading connotations that can obscure their true essence in the public mindset. This is certainly true for Lawler’s work, which is frequently hailed as a cornerstone of Australian theatre. It is celebrated for its groundbreaking portrayal of genuine working-class experiences on stage, yet many interpretations and assumptions have accumulated around it since its debut in 1955. As a result, it can sometimes be misperceived as merely a relic of the past—an important piece of history but one that feels distant and irrelevant to contemporary audiences.
However, when the St Kilda-based theatre company Red Stitch announced their upcoming revival of not only Lawler’s iconic play but also the other two pieces in the Doll Trilogy—Kid Stakes and Other Times—they uncovered a treasure trove of narratives bursting with relevance and energy.
"Historically, there’s been a lot of grandiose language about these plays being about the transformation of a nation," explained director Ella Caldwell. "But the reality is much simpler. It’s fundamentally about a specific family navigating their struggles, both significant and minor, within a particular period of Australia’s rich history."
Set against the backdrop of a boarding house located in the inner-Melbourne suburb of Carlton in 1953, Summer of the Seventeenth Doll begins with barmaids Olive (played by Ngaire Dawn Fair) and Pearl (Emily Goddard) eagerly anticipating the arrival of Queensland canecutters Roo and Barney (Ben Prendergast and John Leary). For 17 consecutive years, these men have journeyed south for the layoff, continuing a cherished annual tradition. Each Christmas, Olive’s partner, Roo, surprises her with a new Kewpie doll—a ritual that this year marks the 17th doll, and as it turns out, the last one.
With its straightforward premise, compelling characters, and profound emotional depth, the play achieved unprecedented success when it premiered at the Union Theatre (now known as the Melbourne Theatre Company). Following its initial run, it toured across Australia for two years before garnering immense acclaim in London’s New Theatre under the direction of Laurence Olivier. In contrast, its New York debut did not fare as well, and the subsequent Hollywood adaptation faced a host of issues, including odd casting choices (featuring Angela Lansbury, Anne Baxter, and Ernest Borgnine) and inconsistent accents. Nevertheless, none of these setbacks tarnished the play’s reputation, and it has been revived in Australia every decade since its inception.
Two decades later, Lawler expanded upon this narrative universe with two prequels that also take place in the same Carlton boarding house: Kid Stakes, which unfolds during the original layoff in 1937, and Other Times, set in the immediate aftermath of World War II. These initial installments are decidedly more optimistic than the tragic Summer, yet they intricately complicate and deepen the central conflict of the trilogy: how does one construct a way of life that stands in stark contrast to societal norms? Moreover, how can one sustain such a lifestyle amidst personal flaws and insecurities? While self-deception is a guiding theme in the Doll, the earlier plays delve into the roots of that self-delusion.
Though Lawler’s world may seem somewhat obscure to younger audiences—his use of accents and idioms might come off as quaint—it has undeniably permeated our cultural landscape. Moreover, these plays offer a far more subversive and critical examination of national identity than older generations might recall.
For instance, the protagonists are not the staid middle class typical of the Menzies era; rather, they are dynamic, unpredictable working-class Melburnians embracing unconventional lifestyles as barmaids and roamers, boldly defying societal expectations for as long as possible. Furthermore, Lawler’s portrayal of war is remarkably unromantic and painfully realistic. New viewers to the Doll may be surprised to discover that the narrative is also matriarchal in nature, centered around the resilient single mother Emma, portrayed here by the outstanding Caroline Lee.
Red Stitch’s revival will provide audiences with a unique opportunity to experience all three plays consecutively during marathon sessions on Saturdays throughout February and March. This immersive experience promises to enhance the understanding of the trilogy’s themes and concerns. As actor and former Sydney Theatre Company director Robyn Nevin—who played Emma in Neil Armfield’s acclaimed 2011 Belvoir production—remarked in a 2024 ABC RN interview: "Experiencing all three plays in a single day is an unforgettable experience."
Caldwell emphasizes that the female roles especially flourish in this deeper exploration. "You develop a deeper connection with Nancy, who is portrayed as a spectral presence in the Doll. You gain a greater appreciation for the strength and resilience of Olive and Emma, witnessing the fierce vision and resolve of all the women involved."
Additionally, audiences have the option to view the plays individually during the week, allowing for various configurations. Some may prefer to begin with the poignant narrative of the Doll and then trace back through time, akin to the narrative structure of Stephen Sondheim’s Merrily We Roll Along, where the heartrending sadness of the latter play casts a shadow over the optimism of the earlier works. Others might opt to attend only one play.
Caldwell has expressed a particular fondness for Other Times, which was initially regarded as the "problem play" but underwent revisions by Lawler. It serves as a poignant reminder of the sacrifices made during wartime, highlighting the optimism and sense of freedom that people would never reclaim. Although its tragedies may seem small in scale, they accumulate into an overwhelming force, foreshadowing the inevitable ruin.
Describing the trilogy, Caldwell stated that it "feels like a gift," while Prendergast labeled it "binge theatre." He remarked, "These are generations that are fading away, so hearing that vernacular spoken by younger actors is quite special. It champions a beautiful world that has slipped from our grasp."
The Doll Trilogy is scheduled to run until April 11 at the Red Stitch theatre in Melbourne.
