It might be difficult to imagine these days, but there was a time when theatre in Australia was so politically incendiary it could cause an international diplomatic scandal. A year after it premiered on Broadway in 1935, US playwright Clifford Odets’ Till the Day I Die found itself at the centre of controversy in Australia when it was banned by the federal government at the request of the Nazi party’s consul general, on the grounds it was offensive to a “friendly foreign nation”.
Odets’ play, about a communist Berliner arrested by the Nazis for producing leftwing political pamphlets, was a companion piece to his more famous Waiting for Lefty, which was staged the year before by Sydney’s New Theatre – one of a branch of theatre companies that sprang up around the globe in the 1930s that was heavily affiliated with communism. The ban was counterproductive, leading to a massive public outcry and a cobbled, surreptitious production performed on the back of a truck at Collingwood town hall in Melbourne.
That truck is a galvanising symbol of rebellion and resistance for theatre-makers Mark Wilson and Katie Sfetkidis, who have been inspired to revisit the play as an act of leftist solidarity with the past and a spur for future activism. They’re staging a new production of it for this year’s Melbourne fringe festival in the car park of the Trades Hall building on the back of their own truck. “We got excited by these artists refusing to be banned, about the idea of a necessary theatre,” Wilson says.
